Public executive severance packages will be limited to 20 weeks' salary and no severance is allowed for those fired due to misconduct.
A plan to curb severance packages for public executives was signed into law today by Gov. Bruce Rauner. Drafted by the Better Government Association's Policy team, the Government Severance Pay Act is a commonsense approach to ending the exorbitant severance packages that too often are handed out to public executives and managers who leave their jobs under questionable circumstances. The law (SB 3604) now ends severance for executives fired for misconduct. The law limits severance packages to 20 weeks' salary for other executives.
The BGA's Policy team examined public severance deals over the past decade and found at least 14 examples of six-figure severance packages that cost taxpayers more than $5.8 million. The go-away deals were given to executives at housing authorities, transit agencies, elementary districts, municipal government and higher education institutions.
Some of the more sizable packages included former NIU President Doug Baker getting $617,000 and former College of DuPage President Robert Breuder getting $762,000. Baker gave contracts to friends and hired pricey consultants, while COD board members agreed to a severance deal for Breuder after it was revealed he had spent millions of dollars on special perks for himself. Breuder since has filed a breach of contract lawsuit against trustees.
Change was needed to rein in payouts, stop the abuse, and restore accountability. The Policy team's research showed that several states including Minnesota, California, and Idaho, restrict the severance pay of some or all public employees. Since 2011, Florida has restricted severance pay for any "officer, agent, employee, or contractor" to no more than 20 weeks' salary.
With that in mind, the BGA Policy team wrote the Government Severance Pay Act with Cullerton. The bill passed the Senate unanimously and the House nearly unanimously. It takes effect January 1, 2019 and will apply to future public executive contracts.
"This law begins the process of restoring taxpayer trust in Illinois," Greising said. "The Better Government Association is proud to have been the catalyst for a law that ensures better stewardship of the public's money."
The BGA testifies that language protecting public access to police documents should be improved in the Chicago police consent decree that is an important achievement.
While the draft Chicago police consent decree is an important step, the BGA's Policy Team recommends revisions to advance Chicago police transparency.


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Home » 2019 Health Care Heroes: Decorated pediatric surgeon works with kids he saved decades ago
2019 Health Care Heroes: Decorated pediatric surgeon works with kids he saved decades ago
February 21, 2019 | Tom Harton
Keywords 2019 Health Care Heroes / Health Care Heroes
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Dr. John W. Brown, Riley Children's Health, Indiana University Health
In the movie "It's a Wonderful Life," George Bailey needed an angel to show him how much good he'd done in the world.
Dr. John Brown has spent four decades repairing children's hearts and, in some cases, inspiring them to follow in his footsteps.
Dr. John W. Brown doesn't need supernatural evidence. Brown, who's been doing heart surgery on infants and young adults for 40 years, sees the results of his good work every day. He sees his patients survive and thrive. He even works with doctors and nurses whose lives he saved when they were children.
"I've had the honor and privilege of operating on about 25 patients who went on to go to medical school at IU," said Brown, who teaches at the Indiana University School of Medicine and does surgery at Riley Children's Health at IU Health.
One of those former patients is Dr. Mark Ayres, a pediatric cardiologist at Riley who was 9 years old when Brown saved his life by replacing an infected heart valve.
"It is because of Dr. Brown and the other great people at Riley that I decided to become a pediatric cardiologist, so I could try to pay it forward for the things they did for me," Ayres said.
"The absolute best part of my job is when my patients that I share with Dr. Brown find out that he is my surgeon, too. We instantly have a bond because Dr. Brown has saved both of our lives. We share the same hero."
Brown's four decades of saving lives and his hero status among patients, colleagues and students make him the top honoree in the Health Care Heroes physician category.
Brown, who grew up on a farm outside of Gosport, had intended to follow in the footsteps of his two older brothers, who studied engineering at Purdue University. But he began to have doubts about engineering in his senior year of high school. "It seemed rather sterile, and like it wouldn't have the interaction with people that I desired."
At the suggestion of one of his teachers he took an aptitude test, the results of which said he was best suited to be a doctor. He traces his desire to practice medicine to the moment he saw the results of that test.
Because his tiny high school didn't offer physics, chemistry or foreign language courses, Brown arrived at IU-Bloomington with a lot of catching up to do. But he managed to cram what should have been eight years of undergraduate and medical school study into seven years.
It was during his time in medical school that he was exposed to the work of cardiac surgeons at IU and saw what a difference they could make. As a senior, he did cardiac rotations with Dr. Harold King, who performed surgeries on children with congenital heart conditions.
"It was inspiring to see these sick infants and children get better as a result of what he did," Brown recalled.
Brown did his surgical training at the University of Michigan and at the National Heart, Lung and Blood Institute in Bethesda, Maryland, where he was exposed to some of the pioneers in his field, but he said he always knew he'd return to Indiana.
It's here that he's operated on nearly 15,000 children, helped train nearly 100 cardiothoracic surgery residents and fellows, authored more than 275 peer-reviewed research publications, and won numerous awards.
According to Dr. Mark Turrentine, the John W. Brown Professor of Cardiothoracic Surgery at the IU School of Medicine, Brown's international reputation in surgical education and research has immeasurably furthered the reputations of the medical school, IU Health and Riley.
For Brown, the accolades are secondary to helping his patients and their families.
"It's been very gratifying to help develop new techniques and new ways of doing things that improve quality of life," he said, noting that the durability of the repairs surgeons are capable of today means patients often don't have to endure multiple follow-up procedures.
The stress parents feel when their child is facing life-saving surgery is all too familiar to Brown, who said it's humbling to realize people are willing to entrust you with the most precious thing in their lives. "I tell them I'll treat their child as if they were my own child or grandchild."
Brown feels fortunate to have all three of his children and seven grandchildren nearby, and he said he owes not just his family but his career to his wife of 50 years, Carol Ann.
"She bought into my dream and supported me and picked up all the loose ends of raising a family," he said. "I couldn't have had the life I've had without her."
Though his job is demanding, Brown, 74, has reason to believe he can continue to be productive a while longer. His dad lived to be 95 and his mom is going strong at 97.
"I hope I have several more good years," he said recently, a day after performing back-to-back six-hour operations.
"This profession demands that. You just do what's needed."•
Read more Health Care Heroes profiles.

redpajama_set_name: RedPajamaCommonCrawl


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May 12, 2021 By IIDA HQ
Campus Center Spotlight: University of Tennessee, Knoxville
The IIDA 2021 Campus Center Award Winners discuss the importance of building legacy, alumni involvement, and resiliency in uncertain times.
By IIDA HQ May 12, 2021
Published in Honors
IIDA is committed to being a force for change in the industry and future of interior design—beginning with our student members. For students, being involved in their IIDA Campus Center can mean the opportunity to gain leadership and professional development experience outside of the classroom—in the association, on their campus, and with their peers. This can include everything from program development, budgeting, marketing, and event planning, to learning how to navigate within the structure of an organization.
Every spring, IIDA recognizes a campus center through the IIDA Campus Center Awards, supported by our partner OFS, for exceptional achievement in program development that contributes to the local interior design community and profession. Each center that applies for the Best Thing Ever Award is considered for the Campus Center of the Year award and is recognized by their local chapter at a local event, featured on IIDA.org and in the student newsletter QUAD, and is eligible for the $1,000 prize.
Our 2021 Campus Center of the Year and winner of the Best Thing Ever submission is the University of Tennessee, Knoxville Campus Center, part of the IIDA Tennessee Chapter. In a year like no other, members recognized the need for a more dynamic system of support and community for student members, and set out to lay the framework for a lasting legacy and supportive alumni network. With a revitalized identity as IA Collaborative, revised mission, expanded officer positions, and programming dedicated to development and mental health, the campus center provided the resources and opportunities necessary for students to stay connected, be supported, and continue to develop their leadership and professional skills.
We reached out to the submitting student members at the University of Tennessee, Knoxville (UTK) Campus Center to discuss the importance of building legacy, alumni involvement, and resiliency in uncertain times.
You'll hear from:
Caitlin Turner, Student IIDA, President, University of Tennessee Campus Center
Sam Richwine, Student IIDA, Programming Chair, University of Tennessee Campus Center
Allie Bierman, Student IIDA, Vice President, University of Tennessee Campus Center
Delaney O'Brien, Student IIDA, Philanthropy Chair, University of Tennessee Campus Center
Tell us a little bit about how IA Collaborative – what is it, and how did it come to be?
Caitlin Turner: After being sent home last spring, our IIDA Campus Center at the time lost energy, as many did, and we saw a need to create a space to support one another. The structure of the campus center had been failing for some time though, so I contacted a friend and classmate, Allie Bierman, in May of 2020 and we decided to do something about it. As many students lost their internship opportunities last summer, we took that time to work hard and develop new officer positions, create a brand kit, and lay out our short and long-term goals for the organization. Overall, IA Collaborative fosters a community of students with a similar desire to grow as designers, support one another, and to give back to and build relationships with the surrounding community. We have especially devoted energy to establishing a community and a framework for future student leaders to build on in many years to come.
How did the goals and mission of your campus center change throughout the events of 2020 – the pandemic, social upheaval, and generally the ways in which you are able to connect with yourselves and your community?
Sam Richwine: As everyone has experienced throughout 2020 and 2021, the pandemic really impacted how everyone interacts with each other on a daily basis. In order to keep our members and community safe we followed all CDC and social distancing guidelines, prompting us to be creative in how we engaged with our members and how we encouraged members to stay involved.
University of Tennessee, Knoxville Campus Center's IA Collaborative branding, image courtesy of the campus center.
For all events throughout the year, we offered virtual options and socially distanced in-person options—to help counteract the "Zoom fatigue" that we have all faced during the pandemic, we offered mental health events such as yoga and meditation. To encourage professional engagement we hosted portfolio workshops and had guest lecture series with local professionals, and to engage in the community we had several volunteer opportunities outdoors and socially distanced.
We also employed many different forms of communication to stay in touch with our members; for example, we made use of our Instagram page for announcements and to showcase student work and we sent out bi-weekly newsletter to help members feel more connected. Although Covid-19 has changed the way we interact in-person, we were able to think of solutions and activities that could still be done safely.
Why should Campus Centers apply for the Best Thing Ever, and what does the award help you to accomplish going forward?
Caitlin Turner: Being the recipient of the IIDA Campus Center Award has meant a lot to us as a source of recognition for all of our hard work over the past year. When discussing whether or not we would want to apply for this award, we decided it was worth at least setting a precedent for future officers to have something to always work towards. One of our main goals this past year was to create a foundation and legacy that will only grow stronger in the future. This award will allow IA Collaborative to do just that. My hope for this recognition is that it will inspire our members and future leadership to never shy away from a challenge. I also hope that this recognition will inspire others across the IIDA community in the same ways that many campus and city centers have inspired us.
Sam Richwine: IIDA Campus centers should apply for the Best Thing Ever award to highlight and be recognized for their achievements. This award strives to showcase the work that was put into growing the organization and supporting young design students through professional events. Receiving this award has helped us to spread the word about how IA Collaborative has taken the values and goals of IIDA to support the community of design students in Knoxville, and how we have served the greater Knoxville community as a whole through networking and philanthropic events.
Halloween for Essential Employees gift bags for the essential employees maintaining the UTK campus Art and Architecture Building, image courtesy of the chapter center.
IA Collaborative student practicing self-care, meeting up in person and socially distant, image courtesy of the campus center.
Why is it important to highlight campus center activities and projects to the greater IIDA membership community?
Allie Bierman: In the beginning of my academic career getting involved in professional organizations seemed extremely overwhelming and out of my reach. It was hard to imagine spending time on things that didn't directly benefit my studio classes or other projects. But after seeing other student work being highlighted through newsletters and social media, it became clear that being involved could benefit me in so many other ways. Highlighting student and campus center activities excites the community and in turn makes it easier for more people to stay engaged. Investing in student relationships and celebrating the successes of campus centers also creates meaningful connections. These connections not only can serve as employment opportunities, but also inspire students to feel valued in the greater IIDA community and continue in leadership roles as future professionals.
Why is it important for students to get involved in their communities whether through philanthropy or volunteering?
Delaney O'Brien: One of my 2021 New Year's Resolutions was to get more involved in the Knoxville community. Being philanthropy chair for IA Collaborative created the perfect opportunity for me, as well as all IA Collaborative members, to achieve that. Members were able to volunteer for various events throughout Knoxville and learn more about the community and its rich history. As interior architecture students, we often research communities and their topography, demographics, and history, but we have often never been to these communities. Volunteering provided us the opportunity for hands-on research in Knoxville, while creating a positive impact. I cannot wait to continue volunteering with IA Collaborative and witness the good spread throughout our community.
(Lead image, IA Collaborative volunteers at the Knoxville Botanical Gardens, image courtesy of the campus center.)
What is most exciting about working with your chapter now and looking to the future, and how does the professional community support your members?
Delaney O'Brien: Coming into college, especially a program like interior architecture, is scary. IA Collaborative has provided a space to form friendships and mentors that will last during and after college. There is an incredible mentor-to-mentee relationship created by the members, and I believe many will continue working with the program upon graduation. The professional community has provided extraordinary support for IA Collaborative and has set up events to aid members—we have had the opportunity to create amazing connections with people during a time where connections were really hard to make. I personally have learned so much due to the influence of older members and the professional world, and cannot wait for younger students to experience this as well.
Allie Bierman: As a graduating member of IA Collaborative, I am most looking forward to continuing to serve the students at UTK as a mentor and professional connection. When IA Collaborative took shape this year, a large goal of the team was to lay the groundwork for a supportive alumni network for our members, and I am excited to be able to serve in this new role. I will begin to support my campus center with the other amazing professionals who have poured their resources into students by creating Speed Mentoring Nights, Volunteering opportunities, and social events. With their support I know the UTK Campus Center will continue to be an essential resource for students.
Click the image below to view the 2021 Best Thing Ever project presentation from the University of Tennessee Knoxville Campus Center.
Visit the IIDA Campus Center Awards page to view our 2021 entrants and their projects.


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Keith Creighton December 18, 2020
Into every generation, a band is born to slay. They will stand against the forces of division, boredom, and overall 'meh'. They are Volk, and they're here to rock you.
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Eric Martin stops by the Popdose Lounge to talk about his acoustic tour, possible new music from Mr. Big & his memories of working with Toto.
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SAINTS OF FAILURE
Generator Theater
Ryan Conarro (Artistic Director) is a founding member of Generator Theater. He's a creator of theater and interdisciplinary performance works; an educator; and a community engagement facilitator. He's Artistic Collaborator in Residence with Ping Chong + Company (NY), where projects include ALAXSXA | ALASKA (co-directed with Ping Chong); "AAN YÁTX'U SÁANI: Noble People of the Land," (co-led with Frank Henry Kaash Katasse and presented by Juneau Arts & Humanities Council); and the community project and podcast CIHA STORIES through ArtPlace America. His solo performance installation "this hour forward" has toured to museums and performance spaces nationally, including the Performance Project at University Settlement (NY). His work has also been seen at the Kennedy Center; La MaMa; National Museum of the American Indian at the Smithsonian; Oregon Contemporary Theatre; Stonington Opera House; and Gainesville Theatre Alliance. Education: MFA Interdisciplinary Arts, Goddard College; BFA Drama & English, NYU's Tisch School of the Arts.
Flordelino Lagundino (Founding Artistic Director) Flordelino Lagundino is a director, actor, producer, and is currently the artistic director of Park Square Theatre in Saint Paul, MN. He is the 2018 SDC Sir John Gielgud Classical Directing Fellow, 2017 Drama League NY Directing Fellow and a company member of Theater Akimbo. His directing credits include: FOB (DirectorFest); Trigger (Leviathan Lab); Deliverance - workshop (Syracuse Stage); Un - workshop (Pan Asian Rep); Sweeney Todd, Doubt, Yellowman, Cedar House, and Animals Out of Paper (Perseverance Theatre); Flipzoids, True West, and Shakespeare's R&J (Generator Theater Company); Sweeney Todd (Juneau Symphony); in the Next Room (or the vibrator play), Much Ado About Nothing, Stone Cold Dead Serious, In the Blood at (Brown University/Trinity Repertory Company). As an actor, his credits include: Vietgone (Mixed Blood Theatre); Measure for Measure (The Old Globe); Camino Real (The Shakespeare Theatre Company); Willy Wonka (The Kennedy Center); The Long Season, Yeast Nation, Hamlet, Twelfth Night, The Importance of Being Earnest, Hair, The Who's Tommy, Noises Off, The Last Five Years, The Inspector General(Perseverance Theatre); Invisible City 14th Street (Woolly Mammoth Theatre Company). Producing: former artistic director of Leviathan Lab, former associate producer at La Jolla Playhouse, founding producer of Romp of Otters. Directing fellowships: Kennedy Center, Oregon Shakespeare Festival FAIR Fellow, Arena Stage Allen Lee Hughes Fellow. Education: MFA in directing, Brown University/Trinity Repertory Company; MFA in acting, University of Texas at Austin. www.flordelinolagundino.com.
Enrique Bravo
Kristin Garot


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Jagat Nanjappa to RFC 2017 – Global Series Finale, Malaysia
Veteran Rallyist Jagat Nanjappa and co-driver Chetan Changappa to represent India at RFC 2017 Global Series Finale in Malaysia
New Delhi, November 15, 2017: After impressing everyone with their incredible performance at the Force Gurkha RFC India 2017, Veteran Rallyist Jagat Nanjappa and co-driver Chetan Changappa are all set to hoist the tricolor on the Malaysian soil at the 21st edition of the Rainforest Challenge Global Series Finale. To be held from 24th November to 5th December, RFC 2017 Global Series Finale is going to be a grand clash of the best offroaders from across the globe, as they compete for the winner's trophy at one of the top 10 toughest motor races in the world.
RFC 2017 Grand Final is the culmination of the Global RFC Series, which has 25 editions worldwide in countries like India, Australia, Russia, China, Vietnam, Thailand, Sri Lanka, Korea, Myanmar, Ukraine, Balkans, South Europe and North Europe among others. In India, the event was launched in 2014 by Delhi-based Cougar Motorsport Pvt. Ltd. and despite being only four editions old, has gained enormous acclaim across the international offroading fraternity.
Jagat Nanjappa and Chetan Changappa sealed their entry into the RFC Global Series Finale this year due to an exceptional performance at Force Gurkha RFC India 2017, wherein they claimed the overall second position. When asked about his plans for the forthcoming event, Jagat shares, "I went to watch the RFC Malaysia event in 2011 and was amazed by the level of vehicular modifications and equipment at play. After 37 years of racing in India, this is my maiden opportunity to go abroad and compete. I want to put every bit of effort in it and win it for my country. To prepare for the challenges ahead, Chetan and I have adopted a tougher fitness regime, as the competition is going to last for 10 days which is a bit longer than its Indian version. We plan to land there and acclimatize ourselves with climate & the vehicle a few days prior to the flag-off. We want to stay cool, carefully walk our path and try to clinch a podium finish. Rest, we have our fingers crossed, let's see how it fares out."
Speaking of his vehicle, Mr. Nanjappa explained, "I'll be driving a rented modified Jeep, turbo charged with a 2L Petrol engine. We are using a mechanical winch, which happens to be faster than the electrical ones. I'm satisfied with the vehicle and I'm hopeful that it'll perform well." At the age of 59, Mr. Nanjappa carries with him a vast experience in offroad motorsports and has been a celebrated Motorcyclist and rallyist, having won the prestigious National Rally Championship nine times in his illustrious career, before entering into offroading.
Cougar Motorsport has played a pivotal role in helping Nanjappa realize his dream of representing India at this prestigious international event. The organization is supporting Team India by sponsoring their RFC 2017 Grand Finale entry ticket worth $3,900 and return airfare to Malaysia amounting to $914. Moreover, Cougar Motorsport is contributing a significant amount towards the cost of hiring ($6,150) the competition vehicle.
As per Cougar Motorsport's Director Mr. Ashish Gupta, "Ever since we brought RFC to India, I have dreamt of seeing an Indian team emerge as an overall champion at the Global Series Finale. We tasted a milestone victory last year at the RFC Global Series Final with Team India winning their category for the first time ever. That victory said a lot about the massive progress that has been made by Indian offroaders in such a short span since the launch of RFC India. My belief that Indian offroaders are very much capable of giving a tough fight to the international offroaders was strengthened by the incredible performances we witnessed this year at RFC India. I am confident that Jagat Sir and Chetan would deliver an outstanding performance and make India proud at the international offroading stage."
This year's edition of RFC Global Series Finale will start in Kuala Lumpur and subsequently travel to Pahang, the biggest state in Malaysian peninsula and a tropical paradise for sports & adventure based tourism. The event will have twenty four Special Stages (SS) that will be divided into four progressively difficult competitive legs – the Prologue, the Predator, the Terminator and the Twilight Zone. The competition will test the competitors' strength, endurance, driving and vehicle recovery skills under extreme off-road conditions and the team with the maximum points at the end of all the SS will be announced as the winner.
This is the third attempt by an Indian team at RFC Global Series Finale. Chandigarh's Gurmeet Virdi and co-driver Kirpal Singh Tung successfully won their category in the previous edition of the competition. Though the top 4 teams from Force Gurkha RFC India 2017, including Champions Gurmeet Virdi and Kirpal Singh Tung, qualified for the mother event in Malaysia, the other three teams are unable to participate due to personal commitments. Therefore, Jagat Nanjappa and Chetan Changappa would be the sole team among the RFC India 2017 Top Four that would represent India at the mega event this year.
Author: Ashok R at 11/17/2017 02:25:00 pm
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WRC (163) Sebastien Ogier (62) ERC (56) Dakar (51) Sebastien Loeb (42) VW Polo R WRC (41) Gaurav Gill (25) APRC (24) CS Santosh (19) European Rally Championship (9) World Rally Championship (9) Indian National Rally Championship (4) Raid de Himalaya (3) Asia Pacific Rally Championship (2) Indian Rally Championship (2)
Rally Stars
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Music, Porn Micco Caporale July 12, 2020
The Funky Tale of How 'Bow-Chicka-Wow-Wow' Came to Mean 'It's Doin' It Time'
Essentially an onomatopoeia for the noise of strumming a guitar while stomping a wah-wah pedal, the funk-inspired lick has been permanently seared into our brains as the soundtrack of sex
Nothing says "it's doin' it time" quite like the opening licks of Marvin Gaye's "Let's Get It On." There's something sexy about wah-wah infused guitar — maybe the way it stretches the sound like a moan or feels both soulful and otherworldly at the same time. It's a signature funk tone that moves through your entire body. One that, when imitated, goes a little something like this: "Bow-chicka-wow-wow."
As any sexually active adult knows, that sound — essentially an onomatopoeia for the noise of strumming a guitar while stomping a wah-wah pedal — is synonymous with getting freaky. It's even become the automatic, funk-based stand-in sound for sex. A ubiquitous shorthand that — among many, many, many other examples — has been used to promote the powers of Axe Body Spray (three times over), and served as the title of a horrifically bad Mike Posner song about "seduction." (Even more cringe, country star Meghan Patrick's attempt.)
How, though, did we get here? That is, why do we associate the funk-inspired "bow-chicka-wow-wow" not only with sex, but the entire canon of porn?
Well, for starters, considering one of funk's most iconic songs is James' Brown's "Sex Machine," sensuality is just a big theme in funk music. Blaxploitation films also helped cement the association between funk and sex because pretty much every movie featured both. Shaft is the undeniable standout of the genre, and who doesn't hear the rolling rhythm of the hi-hat followed by a wave of groovy guitar from the titular song whenever the film is mentioned?
The lyrics are both sexually implicit ("Who's the black private dick…") and explicit ("…that's a sex machine to all the chicks?"), and they prepare us to experience Shaft — a guy who's gonna get laid a lot in the next hour and forty minutes.
But Shaft isn't porn. It wasn't the first Blaxploitation film, either. Three months before Shaft's release in 1971, Sweet Sweetback's Baadasssss Song dropped. This was one of the first movies to demonstrate that Black militancy and urban life could be profitable stories — and some scholars have argued that it is porn. The story centers on a boy raised in a brothel who grows up to have a huge dick, and between car chases and police showdowns, there's so much sex — the real kind, not the simulated stuff — that it received an X-rating. And it's all set to a gospel-tinged funk soundtrack with helpings of — you guessed it — "bow-chicka-wow-wow."
Aligning Sweet Sweetback with Blaxploitation over porn has likely afforded it closer critical inspection. But in the book Blaxploitation Films, scholar Mikel J. Koven argues this is a mistake. "The film is more pornography than Blaxploitation," he writes. "Conventional wisdom … likes to note that the film's box-office success indicates that it spoke to a contemporary Black audience. [But] it strikes me that the $1.5 million it made domestically was due more to curiosity about the sex in the film, than an engagement with the socio-politics of it." (An obvious questions, of course, but why couldn't people be interested in both?)
To sell the movie, director Melvin Van Peebles advertised it as "rated X by an all-white jury." This banked on an understanding that Black sexuality is held to closer scrutiny, and the legacy of Sweet Sweetback and similar movies' soundtracks may be proof. Van Peebles didn't have money for a composer, but his secretary was dating a member of the then-unknown group Earth, Wind & Fire, so he worked out the music's basic feeling for the band, before recording them playing as he projected the film in their apartment.
There are ecstatic keyboards, groove drumming, saxophones and wailing guitar — early audible expressions of what would later get watered down to become porno funk cliches. But again, Sweet Sweetback was a groundbreaking film because it was made by Black people about Black experiences and fantasies. So despite its sex and soundtrack, it's mostly remembered as an exploration of Black masculinity and revolution, not an erotic movie — or the soundtrack to one.
You know what is remembered that way, though? Deep Throat. It came out a year later, but it's often cited as porn's breakout moment because it paired sex with higher production values, a cogent plot and a super-memorable soundtrack. (Sound familiar?) This brought on-screen sex closer to the mainstream than it'd gotten. When writing about the film in his mid-century survey, soundtrack historian Kristopher Spencer explains, "Instead of wall-to-wall porno funk, one gets some surprisingly memorable melodies, occasional passages that convey a genuine cinematic mood, [and] competent musicianship by anonymous musicians."
Even as a supposed expert, Spencer takes porno funk for granted pre-Deep Throat by suggesting the movie's lack of funk is a welcome departure. He also implies funk musicians are incompetent while ignoring the occasional whiffs of deep funk on Deep Throat's soundtrack. (Alex, what is racism?)
For a better answer then, I took the question to April Hall, one of the brains behind the Rialto Report and a consultant for HBO's The Deuce. "It's an interesting question as there have been so many musical styles used in porn films — everything from classical music 'borrowed' by early filmmakers like John Amero to scores from European composers like those commissioned by Radley Metzger to original pop songs sung by Linda November, queen of commercial jingles in the 1960s to 1980s," Hall writes over email. "As to why the music is so defining, the fans of the films hold the answer. Many of them describe in painstaking detail and with great nostalgia the tunes that embedded in their brains during their formative sexual viewing."
In short, there can be a popular idea of what porn "sounds" like — or at least, what we think it did at one time — as well as a deeply personal one. However, gay porn complicates things further. Gay film historian Evan Purchall, who recently released the archival porn montage movie Ask Any Buddy, explains that mainstream porn — i.e., straight porn — operated like a "shadow Hollywood," but that gay porn had its own musical conventions.
"There was a lot of money being put into [straight porns of the 1970s]," he says, "A lot of people seeing them. So the filmmakers would use library tracks or private musicians to compose original scores. The gay side was like Poverty Row, and very low-budget. The filmmakers knew that people would never admit to seeing these movies, so they had no problem stealing whatever music they wanted. You'll hear The Beatles, Pink Floyd, a lot of disco, even Steve Reich."
One thing was true of both, however: They often tapped whoever was closest for soundtracks. This could include family members as much as studio musicians and composers. For example, director Alfred Sole recruited his 16-year-old nephew's band to score his 1972 movie Deep Sleep. In gay porn, this could be an aspiring musician friend who went uncredited. "Basically, it was who you knew, who knew you and how much you enjoyed sex films," Hall explains.
But for straight porn, soundtracking became increasingly professionalized. In the late 1970s, erotic cinema was lucrative enough to attract big-budget composers, who'd often work under pseudonyms to maintain facades of professional respectability. By the mid-1980s, though, some people started parlaying porn soundtrack work into mainstream Hollywood opportunities under their own names. Especially fascinating is Mitchell Froom, who started out doing unsettling synth-y scores for horror porns and ended up working with artists like Bob Dylan and Sheryl Crow.
It's a little unclear exactly when funk got absorbed into porn soundtracking. With few exceptions, it didn't seem to be happening much in the 1970s and 1980s — definitely not enough to be a hallmark of adult movies. But by the late 1990s, the once-vibrant Black 1970s sound had been neutered for white, cable-ready softcore. In an article for Salon, lounge musician Brother Cleve recalls working at Cinemax during that time. "I saw some of the late-night 'Skinemax' films, and they had scores by people who were undoubtedly using assumed names," he explains. "The sound was 'wah-wah funk' in the sort of Blaxploitation style."
Cultural appropriation is probably the biggest reason why this happened. But even though, as mentioned earlier, most Blaxploitation movies aren't considered porn, nudie magazines and porn industry periodicals of the 1970s would still often review them, especially ones featuring pimps and sex workers like Trick Baby, which was adapted from a novel by a real-life pimp. (It's also worth noting that there was one clear-cut Blaxploitation porno — 1974's Lialeh, featuring a soundtrack by Aretha Franklin's musical director.)
These publications would also advertise the albums of comedians like Richard Pryor, whose material included sexual candor as much as anti-police jokes and frank discussions of race. Some of these records included funk music, too. Thus, funk didn't need to be in porn to be on the radars of its most avid consumers. It was an aural signal of things outside mainstream acceptability, including explicit sex.
Moreover, funk music itself shifted in the late 1970s. In his book Funk: The Music, the People and the Rhythm of the One, music historian Rickey Vincent argues Black music in general went from being sexually implicit to explicit, pointing to Donna Summer's orgasmic "Love to Love You Baby" as "a symbolic demolition of the age-old Black musical tradition of innuendo: teasing, implying and anticipating the sexual experience as a means of enriching it."
Summers was coaxed to whisper and moan through the song (what one reviewer described as "a marathon of orgasms") by her white producer. Vincent suggests this is emblematic of a larger phenomenon that still happens today: Black music orchestrated by white executives for white audiences, who demand hearing Black musicians express sexual availability. "Black music was now out of control of its practitioners," Vincent writes.
Fast forward 20 years, and all these factors contribute to someone saying, "I know what would make a great soundtrack for this blonde getting plowed in a hot tub…"
Of course, the goofy groove known as porno funk has never approximated the build-up of desire that's the hallmark of classic 1970s funk. So while our TVs may have cheesed out "bow-chicka-wow-wow," but our bedrooms will always have Marvin Gaye.
Micco Caporale
Micco Caporale is a Chicago-based culture writer. She loves talking about music no one's listened to since 1987 (especially hair metal).


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First POST: Wartime
BY Micah L. Sifry | Wednesday, September 24 2014
A website claiming that it was about to leak nude photos of actress Emma Watson in retaliation for a powerful feminist speech she gave last week at the United Nations now turns out to have been a marketing stunt by a PR firm, reports Brian Koerber for Mashable. Worse yet, the firm, Rantic Marketing, claims its real purpose was to push for the censorship and shutdown of free-for-all site 4chan.
Watson's HeForShe gender solidarity campaign now has more than 100,000 backers worldwide.
Josh Stearns, the director of the Geraldine R. Dodge Foundation's journalism sustainability program, is calling out media organizations for not telling readers how much data about them they may be collecting and how that data is being used. Amen to that. He goes further, insisting that journalists should advocate for reader privacy:
Journalism has long claimed to serve the public interest. In the digital age, part of that service should be standing up for its users and pushing the ad industry strike a better balance between privacy and tracking. We don't have to abandon advertising but as journalists and news organizations we should be forceful advocates for better advertising systems that give people more control over how their data is used.
The war between Airbnb and New York City's affordable housing activists gets a full-blown treatment by Jessica Pressler in New York magazine.
Rehashing the "clicktivism" debate: How Change.org and 38 Degrees have brought e-campaigning to the United Kingdom, by Emma Howard in the Guardian.
The Smart Chicago Collaborative has published an in-depth guide to its home-grown method for civic tech engagement, centered on how to build a Civic User Testing Group.
David Karpf offers some celebratory thoughts for the White House's We the People e-petition site on its 3rd birthday.
Following in Google's footsteps, Facebook is on the verge of ending its relationship with ALEC, the American Legislative Exchange Council, Joe Garofoli reports for the San Francisco Chronicle.
The shoe that didn't drop? The United States has embarked on a massive new bombing campaign in Syria, and my inbox isn't filling up with missives from either the left or the right. (Exception: Credo Action, which is calling for Congress to hold a vote on the war.) How about yours?
civic user testing group
clicktivism
CREDO Action
e-democracy
Emma Howard
Jessice Pressler
Joe Garofoli
Josh Stearns
Rantic Marketing
reader privacy
smart chicago collaborative


Join Crista Cowan, The Barefoot Genealogist, for a weekly look at how to do genealogy research, use the Ancestry websites, and build your family tree.
Every Tuesday at 10am Pacific, 11am Mountain, 12pm Central, 1pm Eastern. Spend some time with Ancestry.com's expert family historians. Check out free online videos and pick up a tip or two from the Barefoot Genealogist.
An unofficial guide to using Ancestry.com, including general questions, specific video tutorials, and common issues (as well as how to avoid them).
The unofficial, unauthorized view of Ancestry.com and FamilySearch.org. The AncestrySearch Insider reports on, defends, and constructively criticizes these two websites and associated topics. The author attempts to fairly and evenly support both. (more...).


Audi may be Volkswagen's luxury arm, but it's still part of the emissions scandal body, and the arrest Monday of the Audi CEO in Germany on fears he might try to evade justice is the highest-profile twist in this ongoing investigation yet.
German authorities detained the chief executive of Volkswagen's Audi division, Rupert Stadler, as part of a probe into the manipulation of emissions controls after three years have already seen billions in fines and the arrest and indictment of numerous executives, both in the U.S. and Germany.
As of last September, the scandal had already cost VW around $30 billion.
The scandal emerged in September 2015 when the U.S. Environmental Protection Agency (EPA) filed charges against VW for equipping its diesel cars from 2009 through 2016 with "defeat devices"—software designed purposefully to trick federal emissions tests.
VW and its competitors enjoyed strong sales of diesel vehicles in the U.S. and Europe for several years. They were good days for VW, leading to the highest-ranking diesel car sales for both Audi and WV brands with turbo direct injection (TDI) engines. For consumers, it meant strong performance and great fuel economy.
Stadler had previously denied any knowledge that engines were rigged, and his arrest comes just days after VW agreed to pay a $1.2-billion fine imposed at the request of German prosecutors. In total, the scandal has cost the company some $30 billion and has led to criminal charges for several employees.
Ever since 2016, German prosecutors searched the homes of several current and former Audi employees in connection with the diesel emissions cheating scandal.
The arrest has been confirmed for media by both Audi and VW, who stress there is still a presumption of innocence with regard to Stadler.
Volkswagen has pleaded guilty to criminal charges in the United States. Nine of its managers, including former CEO Martin Winterkorn, have been charged. Two are serving prison terms, while Winterkorn and the others remain in Germany with no indications that they will be extradited to the U.S. Germany is currently said to be investigating a total of 50 people in connection to the scandal.
In the meantime, this is far from over for VW, which faces legal proceedings in 55 countries and investigations into stock-market manipulation in Germany.
Neither is the arrest of Stadler the end of the story for Audi.
According to Reuters, Germany's automotive watchdog, KBA, has accused Audi of continuing to manufacture vehicles with illicit emissions controls, despite the scandal. KBA has ordered the recall of 127,000 Audi vehicles, which include the latest Euro-6 diesel models, all located in European Union.
In a statement issued earlier this year, Audi said that the models A6 and A7 were included in a voluntary recall of 850,000 diesel vehicles with V6 and V8 TDI engines announced in July 2017.
Now all automakers are under scrutiny because eluding emissions is turning out to be an epidemic.
Last week, KBA said that up to a million Daimler cars had been found to contain illegal emissions devices.
The agency said it has found five illicit software-functions that allegedly manipulate emissions-testing in Daimler AG diesel vehicles. This led to another recall order, this time for Daimler, the parent company of Mercedes-Benz, and 774,000 vehicles in Europe. The affected vehicles include the Mercedes-Benz Vito commercial van, the C22od sedan and the GLC22od crossover SUV.
Daimler, however, will reportedly not be slapped with fines but nonetheless is considering an appeal of the mass recall.


The City of Columbus was presented the Accelerate Indiana Municipalities (Aim) Local Government Collaboration Award at the Aim Ideas Summit Annual Awards Luncheon, held on October 3, 2018 in French Lick.
The 42ndAnnual Aim Annual Awards program, presented by Umbaugh, recognizes communities and individuals in municipal government for excellence and outstanding achievement. A nine-member panel of qualified judges selected this year's winners from a competitive field of nominees from around the state.
The City of Columbus won the award for the collaboration between the City, State of Indiana, Bartholomew County, Louisville & Indianapolis Railroad/CSX and Cummins, Inc. to address the issue of the projected increase in traffic with delays, which will cause an estimated $34.4 million in economic impact at the Indiana SR46 and Indiana SR11 intersection. Without a solution, the increase in trains, estimated to grow from 8 per day to 22 per day, would significantly disrupt productivity and the quality of life for Columbus residents and area businesses.
The collaborative parties identified a solution that provides a grade separated railroad crossing and eliminates the vehicular delay at the intersection. The State of Indiana agreed to pay 50% of the project costs, while the City of Columbus, Bartholomew County, LIRC, CSX, and Cummins, Inc. came together to fund the remaining the project costs.
L to R: Dave Hayward, City Engineer and Mayor Jim Lienhoop accept the 2018 Aim Local Government Collaboration Award on behalf of the City of Columbus and its partners.


Travelers around the world woke up on Tuesday to an alarming new development: a new edict from the Transportation Security Administration, the American agency that administers security at airports, clamping down on the electronic devices many jet-setters take for granted.
If you're traveling on a direct flight to the United States from any one of 10 airports in Muslim-majority countries, you are now barred from bringing electronic devices larger than a cellphone or smartphone in your carry-on bag. British authorities have also announced a set of restrictions targeting a similar, but not identical, set of airports.
This means travelers on such flights to the United States and Britain must pack devices like laptops and tablets in their checked luggage, a move that raised the hackles of activists and journalists. Conspicuously, the United States' edict did not affect any American carriers, who do not singly operate long-haul flights to the airports now placed under the ban. The British edict does affect a number of British carriers.
So, the US and UK are targeting different countries.
There are quite a few reasons to be both perplexed and skeptical about the new rules. Security experts interviewed by a number of outlets were bemused by the decision. Some doubted that placing laptops in cargo holds would be any safer than carrying them aboard. Journalists and researchers also feared that the measures would risk compromising sensitive information and sources once their laptops are no longer in their immediate possession.
If you're a journalist or an activist, fly with a chromebook. Carry minimal sensitive info anyway. Put it in an encrypted USB—always on you.
Saj Ahmad, the chief analyst at aviation consultancy firm StrategicAero Research in London, told Al Jazeera that the move seems to contradict the U.S. federal aviation authority's own stated concerns over the presence of lithium batteries (which are found in laptops and other such devices) in a plane's cargo hold. He also noted that the new edicts wouldn't deter a terror attack launched from an airport in Paris or Brussels — European capitals where jihadist cells have already carried out deadly and spectacular attacks.
The answer, critics suggest, is that the electronics ban is not about security.
The expansion of big global carriers like Etihad, Emirates, Qatar Airways and Turkish Airlines has turned airports in Dubai, Doha and Istanbul into international hubs. Millions of passengers from countries far removed from the Middle East — as far afield as Africa, Southeast Asia and Eastern Europe — travel to the United States through these cities every year. Dubai's airport is projected to receive close to 89 million passengers in 2017 and retain its current status as the world's busiest airport for international traffic.
Anybody flying to the United States from these points of departure knows there are already significant and often time-consuming additional security measures in place at these airports to screen U.S.-bound passengers. Now the Trump administration has created yet another reason to consider different routes.
Of course, this wouldn't be the first time Trump has invoked national security to justify edicts that pursue other ideological ends. Advocacy groups attacked the ban as an extension of the White House's controversial executive order halting immigration from six Muslim-majority nations. The hashtag #MuslimLaptopBan trended on Twitter.


text:
Ojo de Agua es una localidad de México perteneciente al municipio de Huasca de Ocampo en el estado de Hidalgo.

Geografía

La localidad se encuentra en la región geográfica de la Sierra Baja; le corresponden las coordenadas geográficas  de latitud norte y  de longitud oeste, con una altitud de 2198 m s. n. m.

En cuanto a fisiografía se encuentra dentro de las provincia del Eje Neovolcánico, dentro de la subprovincia de Llanuras y Sierras de Querétaro e Hidalgo; su terreno es de llanura y lomerío. En lo que respecta a la hidrografía se encuentra posicionado en la región del río Panuco, dentro de la cuenca del río Moctezuma, en la frontera de las subcuencas del río Metztitlán. Cuenta con un clima templado subhúmedo con lluvias en verano, de humedad media.

Demografía

En 2020 registró una población de 623 personas, lo que corresponde al 3.54 % de la población municipal. De los cuales 274 son hombres y 349 son mujeres. Tiene 175 viviendas particulares habitadas.

Economía
La localidad tiene un grado de marginación medio y un grado de rezago social bajo.

Véase también

 Localidades del municipio de Huasca de Ocampo
 Localidades del estado de Hidalgo

Referencias

Enlaces externos

 H. Ayuntamiento de Huasca de Ocampo - Sitio Oficial
 Gobierno del Estado de Hidalgo - Sitio Oficial

Localidades del municipio de Huasca de Ocampo

redpajama_set_name: RedPajamaWikipedia


Contact lenses for kids can be an important aspect of treatment for kids with special vision needs. While the idea may seem inappropriate to some, contact lenses for kids are relatively common. Contact lenses may even be used in infants with aphakia, or absence of an eye lens after cataract removal surgery. When considering contact lenses for kids, parents and guardians should ensure that the child is responsible enough to understand responsibilities and follow directions. In infants, parents and guardians should consider the severity of the child's medical need.
Many parents and medical professionals have dissenting opinions regarding the optimal age for contact lenses for kids. In an American Optometric Association (AOA) survey, roughly half of optometrists felt that ages 10 to 12 are most appropriate. Roughly one-quarter felt that 13 to 14 was an appropriate age range, and the remaining quarter was divided amongst the eight to nine age range and below age eight. It is important to consider that age ranges are variable. The most important factors to consider relate to each individual child.
There are a number of factors that may influence the use of contact lenses for kids. A study from the Ohio State University's College of Optometry showed that children ages eight through 11 may experience improved self-perception while wearing contacts as opposed to glasses. This pattern was especially prevalent in young girls.
It is critical that kids with contact lenses practice proper hygiene and responsibility. A 2010 study in the journal Pediatrics examined children's emergency room visits from medical device injuries and complications. Of the roughly 70,000 children observed, about one-fourth sought emergency attention for issues related to contact lenses. These issues included abrasions and infections due to poor responsibility and hygiene.


text:
Q: Prevent click events on Sortable of jQueryUI I have sortable, draggable and click events binded to the same DOM element.
On sorting, I want the click event to be disabled.
I am using the following code for draggable, which works fine:
$('.selector').draggable({
    start: function(event, ui) {
    ui.helper.bind('click.prevent', function(event) {
        event.preventDefault();
    });
    },
    stop: function(event, ui) {
       setTimeout(function(){
           ui.helper.unbind('click.prevent');
       },1000);
    }
});

I got the above example while going through SF a while back.
However, the same code doesnt work when I use it for sortable.
I found out the reason being that the ui.helper is null for sortable's stop function.
Any way that i can prevent click event on sorting ?

A: jQuery UI Sortable -- How can I cancel the click event on an item that's dragged/sorted?

redpajama_set_name: RedPajamaStackExchange


Anna Litvinova, who represented Russia in Miss Universe 2006 pageant in Los Angeles where she placed in the Top 20, has died from cancer in Germany on January 22, 2013. She was only 29. Litvinova had won the Miss Russia 2003 pageant.
In 2003 Litvinova won the title of the most beautiful woman in the "Miss Kuzbass", and entered the top five on the All-Russian competition of beauty, with the title of "Miss Grace." She became the first runner-up in "Miss Siberia" contest. In 2006 she won Miss Universe - Russia contest and then went to Los Angeles to represent Russia in Miss Universe. She did not win, but finished in the Top 20.
After winning the regional beauty competition of Novokuznetsk, she went to Moscow and started a modelling career. In Moscow she worked as a manager, she was organizing competitions and helping models to find work abroad. There she worked as second degree designer too. About her life in Moscow, Litvinova said "Moscow is a very large, noisy, bustling city. But I got used to it and loved it."


text:
Oscar Wilde: The Picture of Dorian Gray
CHAPTER 13 (continued)
An exclamation of horror broke from the painter's lips as he saw in the dim light the hideous face on the canvas grinning at him. There was something in its expression that filled him with disgust and loathing. Good heavens! it was Dorian Gray's own face that he was looking at! The horror, whatever it was, had not yet entirely spoiled that marvellous beauty. There was still some gold in the thinning hair and some scarlet on the sensual mouth. The sodden eyes had kept something of the loveliness of their blue, the noble curves had not yet completely passed away from chiselled nostrils and from plastic throat. Yes, it was Dorian himself. But who had done it? He seemed to recognize his own brushwork, and the frame was his own design. The idea was monstrous, yet he felt afraid. He seized the lighted candle, and held it to the picture. In the left-hand corner was his own name, traced in long letters of bright vermilion.
It was some foul parody, some infamous ignoble satire. He had never done that. Still, it was his own picture. He knew it, and he felt as if his blood had changed in a moment from fire to sluggish ice. His own picture! What did it mean? Why had it altered? He turned and looked at Dorian Gray with the eyes of a sick man. His mouth twitched, and his parched tongue seemed unable to articulate. He passed his hand across his forehead. It was dank with clammy sweat.
The young man was leaning against the mantelshelf, watching him with that strange expression that one sees on the faces of those who are absorbed in a play when some great artist is acting. There was neither real sorrow in it nor real joy. There was simply the passion of the spectator, with perhaps a flicker of triumph in his eyes. He had taken the flower out of his coat, and was smelling it, or pretending to do so.
"What does this mean?" cried Hallward, at last. His own voice sounded shrill and curious in his ears.
Previous: Chapter 13 Next: Chapter 13 (continued)
Buy a copy of The Picture of Dorian Gray at Amazon.com


text:
Everybody Eats PDX Will Bring Ultimate Seafood Mac and Peach Cobbler Chicken and Waffles to the Pearl
Come for the Southern-meets-Pacific-Northwest cooking; stay for the atmosphere, the peach margaritas, and the community focus.
By Katherine Chew Hamilton February 18, 2021
The Ultimate Seafood Mac is loaded with lobster, shrimp, and crab.
Image: Courtesy @simsshot
Everybody Eats, a restaurant from Johnny Huff Jr. and Marcell Goss, is moving across the river this month. The business, which got its start in catering in 2016, recently moved into its first brick-and-mortar in May 2020 inside the Oriental Value Food market on SE Powell and 172nd, offering takeout, counter service restaurant, and catering (though orders have been limited due to the pandemic). But with no street-facing presence, limited seating, and no full liquor license, the duo decided to move elsewhere to open the restaurant of their dreams. In early March, they plan to open a brand-new restaurant on 10th Avenue in the Pearl, complete with indoor and outdoor seating, a full bar, brunch, lunch, and dinner service, and late-night hours (well, 11 p.m.—that's relatively late for Portland, especially in a pandemic)—all in an atmosphere that's welcoming, vibrant, and fun.
"[I was] born and raised in Portland. I dine out quite often. I haven't seen nothing close to what we're gonna do," says Huff, who grew up in Northeast Portland. "I believe we're one of the only Black-owned restaurants in the Pearl. We're definitely going to be bringing a different kind of vibe to Portland and downtown."
Huff and Goss in the kitchen.
At Everybody Eats, Huff and Goss serve up their own flavor of Southern-meets-Pacific-Northwest cooking. Huff learned to cook from his family, who hail from various parts of the South including Houston and New Orleans. His grandfather, a former Navy chef, would cook massive amounts of food for family get-togethers.
What can we expect from the restaurant? Count on creative, cheffy twists on classics, says Huff, who attended Oregon Culinary Institute with Goss. At brunch, straightforward dishes like chicken and waffles and shrimp and grits will complement inventive dishes like peach cobbler chicken and waffles. For dinner: glazed lamb chops with sides like mashed potatoes and asparagus and Cajun pasta. The showstopper is the ultimate seafood mac and cheese—Tillamook cheese sauce mixed with crab, lobster, and shrimp, then topped with a Tillamook Mexican cheese blend, half a lobster tail, a half pound of king crab meat, and two prawns.
With capacity restrictions in place, the owners say the restaurant will seat about 40 people indoors and 20 people outdoors. There'll be a full bar slinging Southern-inspired drinks like peach margaritas and daiquiris, plus a sound system with occasional guest DJs, TVs for watching sports, and a backdrop for taking photos. They also say weekly events like Taco Tuesdays are on the horizon, featuring specials like oxtail quesadillas.
Everybody Eats' mission is about more than food. As Portland Monthly reported back in June 2020, Huff and Goss partnered with former mayoral candidate Teressa Raiford to feed 200 Black Lives Matter supporters for free. In November, they gave away baskets of fish, shrimp, and chicken, and for Thanksgiving, they gave away turkeys to families in need. "The way I was brought up, it was like, if you got something, whether it's like food, money or whatever... you got to make sure everybody eat," Huff says. "It is your duty to make sure that everyone else has it, whether you've given them a piece of yours, or you showing them how to get it."
Huff and Goss also recently registered their new nonprofit, Black and Blue PDX. Ten percent of proceeds from Everybody Eats will support the nonprofit, which aims to keep Black youth out of the criminal justice system by forging positive connections between at-risk youth and police officers.
"We're trying to separate the void, the tension that the Black community have toward police, basically over a meal. We teach them how to make a meal, and they make a meal together, and through the meal and their dialogue, they talk about where each other comes from," Huff explains. "When they see each other in the community, if anything happens with the kids, like they get into a fight at school, the officers know the student before a situation occurs, so they don't have to judge them off [that] interaction [alone]. It's like, 'I actually know this kid because we made ultimate seafood mac together, so I kinda understand what this kid is going through.' It doesn't have to immediately lead to charges. The cop can basically de-escalate the situation before it leads to a Black youth being [placed] into the system."
Everybody Eats (138 NW 10th Avenue) will be open until 11 p.m. for takeout, dine-in, and delivery on all major platforms. Stay tuned on the restaurant's Instagram page, @everybodyeats503.
Restaurants, Breaking News, Southern Food, Pearl District
Property Watch: Classic Penthouse in the Heart of the Pearl
09/13/2021 By Melissa Dalton
Vivienne Will Become an Evening Cafe, Wine Bar, and Bookshop
Next-Gen Vietnamese American Noodle Shop Thơm Opens Soon
08/12/2021 By Karen Brooks
Tikim, a New Filipino Supper Club, Launches Soon


Administrators manage building blocks from the Install Building Blocks page or using the B2Manager command line tool.
The Software Updates module, located in the Administrator Panel, provides building block updates and access to newly released building blocks.
In some cases, installing a new version of a building block might require that you uninstall the existing version before installing the new version. If overwriting the building block does not work, try this method.
Before you can install a building block, you must download an existing building block or create a new one.
In a load-balanced or distributed environment, Blackboard Learn automatically deploys the information to all other nodes.
On the Administrator Panel, under Building Blocks, select Building Blocks.
Select Installed Tools > Upload Building Blocks > Browse and locate the building block .war file. This file may also be a .zip file.
Blackboard maintains an Extensions Catalog of building blocks. To learn more about creating building blocks, see Building Blocks API and Web Services Specifications and Changes. These files are available in English only on behind.blackboard.com.
Select Submit to upload the file to Blackboard Learn, and then select OK to go back to the Building Blocks page.
To enable the building block, select Available in the Availability list for the building block. Blackboard Learn lists the permissions that the building block requires. This is a security feature to protect Blackboard Learn from dangerous content. If you are concerned about the permissions given to a building block, contact the vendor before approving the permissions.
To make the building block available and allow it the listed permissions, select Approve.
To update a building block, follow instructions from the vendor. Note that most upgrades uninstall the old version of the building block and replace it with the new version.
When a building block is no longer needed, administrators can choose to delete the building block or make it unavailable. When you make a building block unavailable, it remains in Blackboard Learn but is not available to users. When you delete a building block, it is removed from Blackboard Learn.
If you plan to use the building block again in the future, we recommend that you set it to unavailable.
On the Administrator Panel, go to Building Blocks > Installed Tools.
To disable the building block, select Set Unavailable in the building block's menu.
To uninstall the building block, select Delete, and then OK to approve the action.
Content tools that are added as building blocks allow instructors to create different types of content and display it to users. When a content tool has been removed or made unavailable, users can't access content created using that content tool. Students can't see the links to these content items. Instructors can see the links, but they can't open or view the content. If the building block is made available again, the links become visible and available to everyone.
Make changes to the building block Settings. This button will only appear if the building block is configurable. Make any changes to the configuration of the building block. The settings are specific to each building block and may contain items such as license files, external resources, or global settings.
Remove the building block Uninstall. This action is irreversible.
Set Inactive: In this state the building block is registered but can't execute any code, including configuration scripts. This is the default state when all building blocks are first installed.
Set Available: The building block is available to users.
Set Unavailable: The building block is registered, can execute code, but is not available to users.
Set the default availability within courses for a building block tool The list in the Course/Org Default column. This option determines whether the tool is available by default within courses.
Examine details about the building block View Components. This page lists the components that make up the building block as well as a description, its version number, the vendor information, and its default and available languages. If the building block has its own CSS for any of the default themes, those themes are listed to help you locate the proper files during customization work.
Download a Building Block Find and Download Building Blocks. This links to the Extensions Catalog. Building blocks can be downloaded to a computer and then added to the system. Downloading a building block will not install it.
Install a building block Upload Building Blocks.
In the verbose list, locate the building block being configured.
From the Setup field, copy the URL listed and paste it into a web browser. If asked to authenticate, use your Blackboard administrator credentials.
Follow the steps provided by the building block provider to complete the configuration process.
You can manage any building block using the B2Manager command line tool.
Note: To identify the handle of the building block, enter one of the List commands (-v or -l).
-r Remove the specified building block from the system. This action is irreversible.
INACTIVE: In this state, the building block is registered but cannot execute any code, including configuration scripts. This is the default state when all building blocks are first installed.
AVAILABLE: The building block is available to users.
UNAVAILABLE: The building block is registered, can execute code, but is not available to users.
-v List all installed building blocks in verbose form. If the filename or B2_Handle is specified, only the information for that building block will be listed.
*BLACKBOARD USE ONLY* Usage can put your system in an unstable state.
The Integration user is a special account that is used by the Snapshot command line tool and the Data Integration API to process operations from a client machine using Simple Object Access Protocol (SOAP). This page allows administrators to change the password for the Integration user.
The Integration user does not have access to Blackboard Learn through the user interface nor can the Integration user be assigned to a course or participate in the teaching and learning environment in any way.
On the Administrator Panel, under Building Blocks, select Data Integration, and then select Integration Password.


Abstract: ProQuest's guided research and learning resources, reference solutions and ebooks will be available this fall to California's 6.2 million school children in the state's 10,000 K12 schools. ProQuest is one of three companies selected as part of California's new statewide digital educational resources program, which is designed to provide anytime-anywhere access to high-quality authoritative content to educators, students and staff in K12 schools. Encyclopedia Britannica and TeachingBooks.net are the two other selections.