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Phosphorus Forms for Cranberry Production
Carolyn DeMoranville
Commercial cranberry (Vaccinium macrocarpon Ait.) soils are high in iron and calcium and have low pH. This soil chemistry causes conditions where phosphorus is tightly bound and is, to a large extent, unavailable to the cranberry plants. In theory, P forms that directly enter the plant (foliar), or that do not quickly dissolve to become rapidly immobilized (organic, slow-release, other insoluble forms) could be more efficient for cranberry production. To test this hypothesis, two separate sets of field plots, one comparing 19 kg P/ha from sole P sources (all received 22 kg·ha–1 each N and K2O as ammonium sulfate and potassium sulfate) and the other comparing "complete" N–P–K fertilizers containing P, were established at six locations on three cranberry cultivars. Experiment #1 showed that, over all locations, there were no differences in mean yield for plots fertilized with triple super phosphate (current practice), foliar, or rock phosphate. However, fruit rot levels differed by treatment. In Experiment #2, organic forms (except bone meal) gave the lowest yields, while rock phosphate plots had the greatest yields. These field studies indicated that, while some organic P sources may not be suitable for cranberry production, low-leaching P forms such as bone meal and rock phosphate were as effective for cranberry production as the more-soluble triple super phosphate.
In HortScience Volume 30 (1995): Issue 4 (Jul 1995)
CRANBERRY BOG SOIL pH: HISTORIC AND CURRENT RELATIONSHIP TO YIELD.
An extensive study (276 samples) was conducted in 1960 to correlate cranberry (Vaccinium macrocarpon, Ait.) bog soil pH and productivity (Chandler, F. B. and Demoranville, I. E. 1961. Cranberries 26(3):9-10). At that time, soil pH averaged 4.37 and excellent productivity was represented by a yield greater than 10 mT/ha. Thirty years later, when more than 28 mT/ha is considered good yield, soil samples will be collected from these same sites and evaluated for pH by the methods used previously. Production records for the pact three years will be obtained and the average value for each location used to construct a regression of bog yield vs soil pH. Information presented will include: 1. productivity vs soil pH in 1960 and 1990; 2. change in soil pH after 30 years?; 3. possible reasons for changes-if any (grower interviews); 4. implications for the future.
In HortScience Volume 25 (1990): Issue 9 (Sep 1990)
CRANBERRY FERTILITY RESEARCH: ESTABLISHING THE DATABASE NEEDED TO SUPPORT EFFICIENT EXPERIMENTATION IN THE 90'S.
With dwindling funding for horticultural research, the need to conduct experiments which are the most efficient in terms of resource (including personnel) utilization becomes apparent. Research on minor crops such as cranberry (Vaccinium macrocarpon, Ait.) has been particularly hard-hit by the funding crunch. A study to generate a large database as the basis for future experimental design was initiated in 1986 for the variety `Early Black' (60% of MA commercial acreage). Seasonal nutrient levels for all tissues, patterns of biomass development, components of yield, and fruit development were included. In 1989, the study was expanded to include a comparison of 6 MA varieties grown under the same cultural and environmental condition. A portion of the database will be presented and its implementation to increase field experiment efficiency will be discussed.
FISH HYDROLYSATE FERTILIZER: ITS POTENTIAL ROLE IN COMMERCIAL CRANBERRY PRODUCTION
Productivity in cranberry plots receiving either fish hydrolysate fertilizer or inorganic soluble fertilizer at the same dose has been studied for the past three seasons. In the past two seasons, fish hydrolysate fertilizer (produced from cod frames and stabilized with phosphoric acid) has been used experimentally on a commercial scale. Both series of experiments lead to the conclusion that fish hydrolysate is an acceptable alternative to soluble fertilizer for cranberries. In fact, fish hydrolysate will be included in the University fertilizer guidelines for cranberries to be issued in the spring of 1990. The evidence will be presented along with the arguments in favor of the use of this organic-type material. Continuing lines of research which may lead to increased grower acceptance will be outlined.
In HortScience Volume 25 (1990): Issue 6 (Jun 1990)
Cranberry Nutrient Management in Southeastern Massachusetts: Balancing Crop Production Needs and Water Quality
The american cranberry (Vaccinium macrocarpon) is a wetland plant native to North America. The plant is adapted to sandy, nutrient-poor, low pH soils and thus, like blueberry (Vaccinium sp.), its nutritional requirements are low compared with many other perennial fruit crops. Research conducted over the past 30 years has defined the annual requirements for nitrogen [N (20–60 lb/acre)], phosphorus [P (<20 lb/acre)], and potassium (40–120 lb/acre) based on tissue testing, plant growth demands, potential for remobilization, and determination of removal in the crop. These three nutrient elements are those most commonly applied to the crop in fertilizers. However, much of the work on nutrient rate requirements was conducted on native cultivars and there is an expectation that requirements of newer hybrid cultivars are greater. In Massachusetts, cranberries are grown in coastal watersheds and often depend on small lakes as their water source for irrigation, harvest, and winter flooding. Since cranberry production is heavily dependent on water use, the interaction of nutrient management and water management has become a primary focus area for research and extension, particularly for N and P, the nutrient elements most frequently associated with environmental pollution. Recent preliminary research examining cranberry farms with varied configurations (e.g., water passes through the bog and exits via a long channel, water recirculates back into the supply water body) has indicated that the cranberry bogs may act as either a source or sink for N depending on configuration and management activities. In a study of cranberry farms where P use was reduced to an average of <10 lb/acre, P concentration in harvest flood water declined by as much as 85% while crop production was sustained. Site variation in output of N and P in cranberry drainage and flood waters indicates the need for further research into the variables that control these processes, including soil types, site hydrology, nutrient application rates and forms, and water-management activities.
In HortTechnology Volume 25 (2015): Issue 4 (Aug 2015)
USE OF SPRING FLOOD FOR PEST CONTROL IN CRANBERRY PRODUCTION: IMPACT ON NITROGEN USE, PLANT GROWTH, AND YIELD
Extensive study of the use of late water (LW, a 4-week spring flood used to control pests) in modern cranberry production systems began in 1993, focused on the effects of the flood on pests and the cranberry plants, and compared LW to companion early water (EW, no spring flood) bogs and to their own histories. In 1993 and 1994, LW bogs had yields comparable to EW controls with N fertilizer reductions of 35% and 60%. In the year following LW, N use returned to pre-LW levels. In 1995, N use was reduced by 65%. However, yield on LW bogs was reduced in 1995, at least in part due to anomalous winter weather and drought. Upright length and density did not differ between LW and EW bogs (1993–95). This may have been due to reduced N dose offsetting any growth-promoting effects of LW. In 1994 and 1995, LW bogs had fewer flowers than EW bogs, but increased fruit set compensated in 1994. LW may adversely affect yield in some years but this could be offset by reduced production costs or increased yields in following years. Cost/return budgets are being studied.
In HortScience Volume 31 (1996): Issue 6 (Oct 1996)
Cold Tolerance of Cranberry Flower Buds Differs by Cultivar and Developmental Stage
Carolyn DeMoranville and Irving Demoranville
Cold tolerance of cranberry flower buds from four cultivars was evaluated using potted sods collected from commercial cranberry beds. The plants were evaluated weekly beginning at the spring dormant stage and continuing until the buds had elongated to at least 2 cm. The potted plants were place in controlled temperature chambers at 5°C and the temperature was lowered 3°C/hr until the target temperature was reached. The plants were held at that temperature for 3 hr then slowly warmed. After 24 hr, damage was evaluated by microscopic examination of cross-sectioned buds. In the early spring, prior to leaf greening, all four cultivars were tolerant of –8°C. In the later part of the spring, cultivars with the smallest buds had greater cold tolerance than those with larger buds. Even when all cultivars appeared to be at the same developmental stage, e.g., bud swell, `Ben Lear' and `Stevens', were more sensitive than `Early Black' and `Howes'. At the 2-cm elongation stage, minimum cold tolerance of –1°C was reached for all four cultivars. New recommendations for protecting cranberry flower buds in the spring have been formulated based on this study.
Reconciling Productivity and Environmental Stewardship: The Challenge of Production Horticulture in the BMP Era Introduction to the Workshop
Carolyn DeMoranville and Eric Simonne
In HortTechnology Volume 16 (2006): Issue 3 (Jan 2006)
Cranberry Best Management Practice Adoption and Conservation Farm Planning in Massachusetts
Carolyn J. DeMoranville
In Massachusetts, cranberry (Vaccinium macrocarpon) bogs were historically developed in existing wetlands and new plantings are now established in mineral soils that are converted into constructed wetlands. To streamline the interaction between cranberry farming and wetlands protection, the state has defined "normal agricultural practices" that are exempt from wetlands regulations under certain circumstances. As part of that process and to qualify for the exemption, farmers are required to have a conservation farm plan and demonstrate the use of best management practices (BMPs) on their farms. The University of Massachusetts Amherst Cranberry Experiment Station (UMass Cranberry Station) was engaged to bring together the U.S. Department of Agriculture, Natural Resource Conservation Service (NRCS) and cranberry industry representatives to define BMPs specific to cranberry farming practices. Initially, the documents were reviewed by scientists and regulators for soundness of science and rigor of environmental protection. A grower committee reviewed the proposed BMPs to determine if the BMPs could be implemented on real farms. The next stage of the project consisted of defining areas where more research was needed to formulate good BMPs. In particular, research projects were initiated to study nitrogen and phosphorus nutrition. This research has become the basis for nutrition BMPs, national cranberry nutrition guidelines, and standards used by NRCS for cranberry nutrient management plans. The cranberry BMP project has continued with a regular cycle of revision and additions based on grower-identified needs for horticultural and environmental guidance. This connection to the growers, along with the regulatory link, accounts for the widespread adoption of BMPs in the cranberry industry. Local NRCS estimates that 75% to 80% of Massachusetts cranberry growers have current conservation farm plans that include BMP implementation.
SEASONAL MAJOR ELEMENT PATTERNS IN FIELD-GROWN CRANBERRY.
Levels of major elements (N, P, K, Mg, Ca) in `Early Black' cranberry (Vaccinium macrocarpon Ait.) tissues changed during the season (April to October). A distinct pattern was associated with each tissue type (old leaves, woody stems, new shoots, roots, fruit) and each element. However, the pattern for a given element in a given tissue was similar from year to year. For example, nitrogen levels in old leaves rose early in the season and then declined in old leaves as new shoot tissue was produced. The early-season rise in nitrogen levels in old leaves coincided with a decline in nitrogen in woody stem tissue. Changes in the amount of applied nitrogen led to changes in nitrogen levels in new shoots after a 2 year Iag. While N, K, Ca, and Mg content (% dry weight) in roots is lower than that in other tissues, there is great biomass of root tissue, so that root tissue represents a large pool of these elements. Roots, along with woody stems and old leaves may represent a reservoir of major elements for new shoot development early in the season, prior to fertilizer application. Levels of the major elements in new shoot tissue achieved a steady state in August, an indication that this is a good time to collect tissue for routine testing.


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text:
It must be Full-Screen night on TCM
By clore,
clore
LocationSitting in front of the PC or TV
First INTENT TO KILL comes on with a warning that it has been formatted to fit this screen. Well, not mine, I have a widescreen TV. While the disclaimer is appreciated, that it was necessary isn't. I did see the film on FMC a few years ago in widescreen, so I passed on it.
Now THE LION is airing in a 4:3 ratio despite having been shot in 2.35:1. I didn't tune-in early enough to see if it too had a disclaimer and I tuned out right away. If I want to see a widescreen movie butchered, I have enough old VHS tapes that can also accomplish that.
There's a certain irony that in celebrating the career of a man known primarily as a cinematographer, that when they air films he directed, we're not seeing the whole image.
It's enough to give one the heebie-jeebies.
yanceycravat
THE LION started widescreen and went to full frame as sometimes happens. There was no warning.
I was glad to see the ratio warning prior to INTENT TO KILL. It's the first time I've ever seen TCM offer this type of warning.
Funny how so many people have latched on to Pollack's Heebie Jeebie phrase...
Yancey
PeterMario
I had the begining of The Lion punched up to fit my 55in Screen, rather grainy but I was going to watch it. THEN it happend WHY do THEY DO THAT? its sooo STUPID So I tuned out. I DO NOT WATCH PAN AND SCAN OR CROPPED PRINTS.
In my case it's because I'm sort of reminding the powers-that-be that I've seen the promo that touts TCM as the place to see movies in the proper format. There have actually been a couple of times that i saw the promo right before TCM aired a pan-and-scan feature.
It's the first time that I ever saw such a disclaimer also but given the number of widescreen TVs out there, the language needs to be altered somewhat. That may have worked for TNT twenty years ago when 4:3 was prevalent, but those days are over.
I did like the way that it said "TCM tried to get a copy..." That almost had me thinking that it was in response to those of us who complain about such things here.
slaytonf
I didn't see the beginning of The Lion so I don't know the exact time the switch from wide to 4:3 happened, but it is usual to start a movie off with wide screen during the credit sequence so that the credits don't get cropped, and then at a convenient jucture switch to the 4:3 format for broadcast on TV.
With INTENT TO KILL, the credits were squeezed together. There was action going on underneath them and the humans and autos were a mite skinnier than they should have been.
edgeciff
TCM_allow
YOUNG CASSIDY is also cropped. THE LION was originally released as a CinemaScope film. The cropping makes the images dull looking.
In the case of YOUNG CASSIDY, the film was meant to be shown at 1.66:1. So, while it is cropped, there's less damage done.
But again, we're supposed to be saluting a director who knew better than most how to compose a frame as he was also a cinematographer. Showing cropped films in such a case is like saluting Judy Garland without a soundtrack.
> {quote:title=clore wrote:}{quote}
> I did like the way that it said "TCM tried to get a copy..." That almost had me thinking that it was in response to those of us who complain about such things here.I had the same exact thought. I would agree that the powers that be decided an explanation would be needed so folks would know TCM didn't just throw something on the screen.
While I'm not a fan of cropping by any means, if it's the only way to see a film that may not otherwise be available then show it.
When I think back to when there was absolutely no consideration to cutting, cropping, awful prints and just plain bad reception we're now living in a film lovers paradise!
TopBilled
>I did like the way that it said "TCM tried to get a copy..." That almost had me thinking that it was in response to those of us who complain about such things here.
I am most certain it was. That proves the power we have as a collective consumer group.
They need to start listening to us about the overplayed titles. And about our unanimous wish that Joel McCrea finally be made Star of the Month. This has gone on long enough, and the viewers/fans of TCM deserve better.
Sprocket_Man
>It's enough to give one the heebie-jeebies.
1.66:1 cropped to 1.37:1 gives me the heebies.
1.85:1 cropped to 1.37:1 gives me the jeebies.
But BEN-HUR's 2.76:1 cropped to 1.37:1 gives me the full heebie-jeebies.
I could agree with that, but only to a certain degree. When that's the excuse for running a cropped BAND OF ANGELS, I have to say that I don't buy it because the sister division of the same parent company has it out on DVD in letterboxed form.
When they run a cropped copy of REACH FOR THE SKY that's also cut of 30 minutes, I don't want to hear that's all that's available when the DVD is in widescreen and complete. Better to just substitute another title than to violate your own declared policies of uncut films in the proper aspect ratio.
Why does every fest occupy four nights in a month and until 6am? Scrap the cropped titles and give Jack Cardiff a three night salute that at least presents the films that way he shot them. Or just play them until 2am and spread the titles over four weeks.
I couldn't help but notice that they aired the "heebie-jeebie" promo tonight during the Cardiff fest at 325am.
kriegerg69
It's not "cropped" if you're referring to how the original ratio was filmed, which was likely that it was composed for a 1.66:1 ratio, but filmed full frame and then matted theatrically in the projector.
Unless you mean iit was "cropped" because it got shown on TCM in a 1.85:1 ratio? Or do you mean something else?
> {quote:title=slaytonf wrote:}{quote}I didn't see the beginning of The Lion so I don't know the exact time the switch from wide to 4:3 happened, but it is usual to start a movie off with wide screen during the credit sequence so that the credits don't get cropped, and then at a convenient jucture switch to the 4:3 format for broadcast on TV.
...which I've never understood, because in the days BEFORE widescreen and letterboxing, you usually got the opening credits anamorphically squeezed...the credits of such a movie would be seen "squashed" thin so they all fit onto the screen.
I don't understand why that isn't done for a pan-and-scan presentation.
Sepiatone
LocationLincoln Park, MI
I remember those days, krieger. I would see some flick on the late show, and the closing credits would be squeezed in with people in the background getting taller and two inches thick. And am reminded of it everytime I see something at my nephew's house. He hates letterboxing so much, he set the ratio on his DVD player so that any letterboxed movie looks like those old closing credits. I asked him why he did that. His answer? "I didn't buy a big screen TV just to have to have them black strips make everything look smaller!" :0
chrtbsh
This is an ongoing issue - believe me, we all cringe when a film comes on that isn't properly letterboxed or the wrong version is played. And I know it seems like it should be an easy fix when a better version is out there but it can be complicated. Sometimes we don't know ourselves the version that was sent to us isn't letterboxed until a couple of days before air (and it's too late to get a replacement). Sometimes that company that sold us the tv rights is different than the company that put it out on home vidoe and obtaining the home video version is a challenge (we are very fortunate to be able to access Criterion versons when that's the situation with their films). And sometimes we make mistakes. I do apologize and we will keep trying to do better. And whenever this happens, even it's too late for a specific airing, we try to upgrade for the next time.
I also agree that it's particularly frustrating that this was the situation during a Jack Cardiff festival. We appreciate the comments.
markfp2
LocationUpstate, New York
> {quote:title=Sepiatone wrote:}{quote} His answer? "I didn't buy a big screen TV just to have to have them black strips make everything look smaller!" :0
Whether we like it or not, those of us who want to see films in their original aspect ratios are a small minority of the total TV viewers. Your nephew points that out. I don't know how many times I've been in an electronics store and heard people tell the clerk that they wanted a TV that didn't show "those black bars". I have a neighbor who has his TV picture so cropped that even when he watches something like the local news the anchor is cut off just above his eyebrows. He doesn't have a problem with that, and of course, it's his TV and and he watch it any way he wants to.
That's one of the problems TCM has. Being about the only channel that wants a film in AOR. Some of the studios just don't want to go to the expense of making two versions. Even when they do, with a hundred pan & scan copies in the distributor's warehouse and only one AOR, mistakes sometimes happen.
> {quote:title=kriegerg69 wrote:}{quote}It's not "cropped" if you're referring to how the original ratio was filmed, which was likely that it was composed for a 1.66:1 ratio, but filmed full frame and then matted theatrically in the projector.
> Unless you mean iit was "cropped" because it got shown on TCM in a 1.85:1 ratio? Or do you mean something else?
Well. let's take the case of last night's INTENT TO KILL. This was filmed in 2.35:1, a genuine "Cinemascope" film. The sides were cut off, if that doesn't quailify as being cropped, then perhaps I am using the wrong phrase.
Now BAND OF ANGELS was a 1.85:1 film, thus it was shot full-frame and intended to be matted during projection. It wasn't as if we got the unmatted image because when Gable and Knowles were squaring off in a duel, they were facing each other, but one character was cropped off at the side. I can't call it pan-and-scan as that didn't happen during the exchange of dialogue.Thus the image does appear to be "cropped."
Now there were two incidents last week where while watching ABBOTT AND COSTELLO MEET FRANKENSTEIN and MEET THE INVISIBLE MAN, we're talking Academy ratio-shot films intended to be shown in that format. They both aired on TCM HD with the tops cropped off, giving the appearance of being a wide-screen presentatrion.
But on TCM SD, they appeared as intended. ON TCM HD, my choice was either having the top and bottom cropped off at 16:9, or a skinny Costello at 4:3. OnTCM SD, the TV's 4:3 setting gave me the film as it was intended to see, and the 16:9 setting stretches the sides a bit, giving a Costello who gets even heavier when he's out of center on either side.
Meanwhile, ABBOTT AND COSTELLO MEET THE MUMMY, which was theatrically matted to 1.85: aired on both TCM SD and TCM HD in the 4:3 ratio.
Thank you for taking the time to respond.
I hope that you do understand that in a way, this is only frustration borne of TCM having created its own monster. I won't claim to have counted every instance, but it seemed to happen less often in the days before digital servers.
I've only had HD boxes for the last two months. While I do get HBO, I only watched a few things on it as TCM has spoiled me for widescreen films, something which I was not able to experience with HBO. There's no letterboxing done there for those who don't have widescreen TVs. However, since between TCM and DVDs I am so spoiled by seeing films as they were intended to be seen, I completely avoided any film on HBO being presented in the wrong format.
I don't know, maybe the thing to do is hit the suppliers where it hurts. When negotiating, try to have it read that failure to supply the proper ratio or length will affect the price level. If TCM is to be penalized by fewer viewers when a hack job is the only option, the distributor should be penalized also.
Maybe delivery dates could be advanced so that TCM gets films with enough lead time that you won't be setting in print in your "Now Playing" magazine that something such as REACH FOR THE SKY is 124 minutes and you end up with a film twenty minutes shorter. Again, there should be some penalty for your source also when you guys are made to appear less than you intend to be and it happens through no fault of your own.
But I will admit, that last night's disclaimer was a step in the right direction. It let me know that you folks were as disappointed as you expected the audience would be.
aimalac91748
I'm not trying to promote any other movie channel, because believe me I don't believe they're worth the price they charge, but of late I have noticed more and more movies being letterboxed on HBO, Cinemax, and Encore on both the regular channel and the HD channel. Starz on the other hand used to broadcast quite a few of it's movies in letterbox seems to be cutting back on the number of letterbox movies they show.
I'll have to get into the habit of checking HBO now that I have HD boxes, other than a couple of series, I hardly watch it.
I was once over a relative's house in November 2010 and while there he put on AVATAR which was airing on HBO. It was letterboxed and that's my only experience with such on HBO.
On the other hand, The Movie Channel seemed to have a catch-as-catch-can policy on letterboxing on the SD channels. Thus my viewing of it followed a similar pattern. Those are the only two premium channels that I subscribe to and I may be sacking TMC soon as I may watch one film per month there. I may opt for the Encore package instead if the cost is comparable.
Specifically, I was asking about Young Cassidy. What I forgot to mention is that instead of "open matte"...filmed full frame but composed to be matted when projected theatrically...a film can be done in "hard matte" with the needed black borders printed directly on the negative and/or print itself. In such an instance. movies filmed in 1.66 or 1.85 ARE actually cropped on the sides when shown full-screen on tv or video. This is likely what you saw with the Gable film...the source was hard matted, and likely did get cropped.
> Maybe delivery dates could be advanced so that TCM gets films with enough lead time that you won't be setting in print in your "Now Playing" magazine that something such as REACH FOR THE SKY is 124 minutes and you end up with a film twenty minutes shorter. Again, there should be some penalty for your source also when you guys are made to appear less than you intend to be and it happens through no fault of your own.
That's the whole point regarding incorrect running times like that...if the studio has promised or intended to send a print with a particular running time, and TCM puts that time into their print schedule and into the program info sent out over cable systems (like when you look at your cable guide on-screen with a program information that includes a running time), and the studio is only able to provide a certain version of a movie...there isn't much that TCM can do about that. It's either the different version of the movie or no movie at all...and they can't do a thing about changing the listed running time, at least until the next time it's shown.
This same subject has popped up before here on the board.
This is the best thread of the year (and the year's young). This is exactly what TCM needs: direct feedback and accountability to customers/viewers.
After this thread falls to page 10, it needs to routinely be brought back to page one. I hope we have more threads exactly like this on other topics that programmers need to address. This is a great channel, but it has much to improve.
> {quote:title=kriegerg69 wrote:}{quote}
> That's the whole point regarding incorrect running times like that...if the studio has promised or intended to send a print with a particular running time, and TCM puts that time into their print schedule and into the program info sent out over cable systems (like when you look at your cable guide on-screen with a program information that includes a running time), and the studio is only able to provide a certain version of a movie...there isn't much that TCM can do about that. It's either the different version of the movie or no movie at all...and they can't do a thing about changing the listed running time, at least until the next time it's shown.
> This same subject has popped up before here on the board.
Well, you'll have to excuse my duplication of a thought that has already appeared and I haven't searched through how many years of posts before stating something covered perhaps five years ago.
I do like to spend some time watching the channel as opposed to posting about it. For the record, I do a search before starting a thread on a fil or personality, but this thread started about the subject of last night's films, thus nothing more that a glance at the first page was necessary.
My point is that such things may occur less frequently if the distributor IS at fault and forced to rectify the situation at no cost (or a lesser cost) to TCM.
For example's sake, let's just say if they're supposed to get two runs of a complete REACH FOR THE SKY, then last week's airing should not count since TCM didn't get what was promised. They should not have to pay the same price for getting less any more than you should if you buy a pound of ham and the seller gives you twelve ounces because that's all that is on the shelf but charges you for sixteen.
As far as on-air programming grids go, they're notoriously inaccurate and I don't use them. Too often they disagree with what a channel offers on its own site. Since the one that Time Warner uses on my system doesn't even include running times (slot time yes, but not running time), they're of no use to me. My system had REACH FOR THE SKY listed as being 2 hours and 30 minutes since it started at 130pm and the next film started at 4pm.

redpajama_set_name: RedPajamaCommonCrawl


Nor is there such a thing as too much kindness.
Likewise, never underestimate the gargantuan power of the smallest, most simple gesture. The tiniest act of selflessness can make waves so vast, they can wash up a whole new shore.
The thing about kindness is, it has a domino effect, and like a snowball it can gather and gain power with every roll until the final result is something extremely effective and worthwhile.
So… smile, compliment, open doors, give coins, give leftovers, give used clothes and possessions. Throw whatever wisdom or advice you have around and rain your kindness down on anyone who needs or wants it. It's unlimited and it regenerates all by itself.
Open your eyes wherever you are and see what or who could use some sunshine. You may never know it, but your little random act of kindness could be the impetus that turns someone's day or even life around.


Serving clients' business financing and consulting needs for more than 25 years.
JDP Financial Group upholds the highest level of confidentiality.
JDP Financial Group employs strict safeguards to hold your affairs confidential.
Copyright 2002-2010, JDP Financial Group, All Rights Reserved.
Web Design and Hosting Services by DuraServer Technologies, Inc.


text:
Starbulls Rosenheim (celým názvem: Starbulls Rosenheim e. V.) je německý klub ledního hokeje, který sídlí v bavorském městě Rosenheim. Založen byl v roce 1928 pod názvem EV Rosenheim (Eissportverein). Svůj současný název nese od roku 2000. Německým mistrem se stal v letech 1982, 1985 a 1989. Poslední účast v nejvyšší soutěži je datováno k sezóně 1999/00. Od sezóny 2017/18 působí v Eishockey-Oberlize Süd, třetí německé nejvyšší soutěži ledního hokeje. Klubové barvy jsou zelená a bílá.

Své domácí zápasy odehrává v Emilo-Stadionu s kapacitou 4 750 diváků.

Historické názvy

Zdroj:

 1928 – EV Rosenheim (Eissportverein Rosenheim)
 1979 – SB DJK Rosenheim (Sportbund DJK Rosenheim)
 1994 – Star Bulls Rosenheim (Star Bulls Rosenheim GmbH)
 2000 – Starbulls Rosenheim (Starbulls Rosenheim e. V.)

Získané trofeje

 Meisterschaft / Bundesliga / DEL ( 3× )
 1981/82, 1984/85, 1988/89

Přehled ligové účasti

Zdroj:

 1951–1953: Eishockey-Oberliga (1. ligová úroveň v Německu)
 1962–1965: Eishockey-Gruppenliga Süd (3. ligová úroveň v Německu)
 1965–1966: Eishockey-Oberliga (2. ligová úroveň v Německu)
 1966–1970: Eishockey-Oberliga Süd (2. ligová úroveň v Německu)
 1970–1972: Eishockey-Oberliga (2. ligová úroveň v Německu)
 1972–1973: Eishockey-Bundesliga (1. ligová úroveň v Německu)
 1973–1974: 2. Eishockey-Bundesliga (2. ligová úroveň v Německu)
 1975–1992: Eishockey-Bundesliga (1. ligová úroveň v Německu)
 1992–1993: 2. Eishockey-Bundesliga (2. ligová úroveň v Německu)
 1993–1994: Eishockey-Bundesliga (1. ligová úroveň v Německu)
 1994–2000: Deutsche Eishockey Liga (1. ligová úroveň v Německu)
 2000–2001: Eishockey-Bezirksliga Bayern (6. ligová úroveň v Německu)
 2001–2002: Eishockey-Landesliga Bayern (5. ligová úroveň v Německu)
 2002–2004: Eishockey-Bayernliga (4. ligová úroveň v Německu)
 2004–2008: Eishockey-Oberliga (3. ligová úroveň v Německu)
 2008–2009: Eishockey-Oberliga Süd (3. ligová úroveň v Německu)
 2009–2010: Eishockey-Oberliga (3. ligová úroveň v Německu)
 2010–2013: 2. Eishockey-Bundesliga (2. ligová úroveň v Německu)
 2013–2017: DEL2 (2. ligová úroveň v Německu)
 2017– : Eishockey-Oberliga Süd (3. ligová úroveň v Německu)

Účast v mezinárodních pohárech

Zdroj:

Legenda: SP - Spenglerův pohár, EHP - Evropský hokejový pohár, EHL - Evropská hokejová liga, SSix - Super six, IIHFSup - IIHF Superpohár, VC - Victoria Cup, HLMI - Hokejová liga mistrů IIHF, ET - European Trophy, HLM - Hokejová liga mistrů, KP – Kontinentální pohár

 EHP 1982/1983 – Finálová skupina (4. místo)
 SP 1985 – Základní skupina (5. místo)
 EHP 1985/1986 – Finálová skupina (3. místo)
 EHP 1989/1990 – Finálová skupina (4. místo)

Odkazy

Literatura
 Stephan Müller: Deutsche Eishockey-Meisterschaften. Books On Demand, Norderstedt 2000, .
 Patrick Reichelt: Superliga DEL: die Chronik der Deutschen Eishockeyliga, Kassel 2004, .

Reference

Externí odkazy

 Oficiální stránky

Německé kluby ledního hokeje
Sportovní kluby v Bavorsku
Kluby ledního hokeje založené v roce 1928
Starbulls

redpajama_set_name: RedPajamaWikipedia


Phil Savage, the former NFL executive who has been a radio analyst for Alabama football for nine years, says the fledging Alliance of American Football league will fill a void in player development but it is not trying to be an alternative to college football.
Savage is the general manager of the Phoenix franchise in the Alliance, which begins play in February and will run for 10 weeks. On the AP Top 25 College Football Podcast this week, Savage says the Alliance will fill its rosters with players who fail to make NFL rosters but still have potential to play in the league.
Savage also talks about his book "4th-and-Goal Everyday" about how Nick Saban has turned the Crimson Tide into maybe college football's greatest dynasty.


text:
Scottish cancer research contract for Skanska Construction
Skanska Construction has won its first contract in Scotland since changing from Kvaerner Construction with a £5.3 million project to construct a five-storey cancer research building for the University of Edinburgh.
Working from its expanding Glasgow-based Scottish office, the company will build a new facility with offices, laboratories and a common room well as seminar and plant areas. The contract starts in November and is due for completion in December next year.
Constructed on pad foundations, the building will include a reinforced concrete ground floor slab, a structural steel frame, three reinforced concrete upper floors and a fourth floor plant room. Externally the building envelope will be a mixture of traditional masonry and render and aluminium cladding and glazed curtain walling. Its roof will also be clad in aluminium.
Internally Skanska Construction will install partitioning and joinery finishes in offices and will fully fit-out rooms for laboratory use. Suspended ceilings will be installed throughout. All mechanical and electrical installations will also be provided.
Skanska Construction's Glasgow-based office is currently working on contracts with a total value of more than £36 million in Scotland. It is constructing a high quality office development in Tollcross, Edinburgh's new commercial district; the Museum of Scottish Country Life in East Kilbride and has recently completed refurbishing the prestigious Scottish Justiciary Building in Glasgow.


text:
Public's resolve praised as council leader warns we must stick to rules
Published: 11:37 AM January 7, 2021
Shoppers on London Road North in Lowestoft ahead of the second national lockdown. Picture: Mick Howes - Credit: Mick Howes
The resolve of people in East Suffolk has been praised, but a council leader has warned everyone must play their part.
Steve Gallant, leader of East Suffolk Council, said the next few weeks will be "tough" as England begins a third nationwide lockdown, but he believes there is now "light at the end of the tunnel".
Speaking at a meeting of the council's cabinet on Tuesday, January 5, he urged residents in the district to follow the new government guidelines to keep everyone safe.
Steve Gallant, leader of East Suffolk Council. Picture: East Suffolk Conservatives - Credit: Archant
He said: "I fully support the measures implemented by the government, particularly in light of the new variants which are currently in circulation, and which are dramatically increasing the transmissibility of the virus.
"Additionally, the virus is spreading quickly in the East of England and far more of our residents and communities are being affected by this latest wave.
"We know there is light at the end of the tunnel and vaccinations will make a huge difference in the months to come. However, for now, we absolutely must follow the guidance laid down to the letter, and do our bit to help slow the spread of the virus.
Beccles town centre on the first day of the second national lockdown. Picture: NEIL DIDSBURY - Credit: NEIL DIDSBURY
"This is not just about staying at home, but also following the established guidelines to wear a mask, wash hands and keep a two-metre distance from people if you do need to go out for essential reasons.
"The residents and communities of East Suffolk have shown incredible resolve during the past nine months and I know this has been a really difficult time for so many people."
Mr Gallant vowed the council would continue to help people however it can, including supporting businesses and the Home But Not Alone scheme.
Southwold has long been a popular tourist resort, due to its pier, stretches of beach and quaint homes throughout Picture: SARAH LUCY BROWN - Credit: Archant
He also urged people not to travel to or around East Suffolk for exercise while lockdown measures remain in place.
He said: "This is a truly beautiful part of the country with an incredible coastline which draws millions of visitors each year, but this is not a normal situation and people really should not travel anywhere unless for absolutely essential work or care related reasons, no matter how tempting it is.
"We can't wait to welcome people back to our fantastic destinations once restrictions are lifted but for now, please stay at home and stay safe."


text:
Tennessee's Jalen Reeves-Maybin comes in at No. 77 on ESPN's #CFBrank countdown
News Sentinel Staff
Tennessee senior linebacker Jalen Reeves-Maybin came in at No. 77 in the #CFBrank, ESPN's preseason countdown of the top 100 college football players.
The ranking was determined by 32 ESPN college football writers, editors and analysts, who were asked to rate players on a scale of 0-10 based on their expected contributions for the 2016 season.
Reeves-Maybin received an average score of 7.15. Last season he led UT in tackles with 105, including 14 for loss, and added six sacks.
Reeves-Maybin is the first Vol to appear on the countdown, but likely isn't the last. Quarterback Joshua Dobbs, running back Jalen Hurd, defensive end Derek Barnett and cornerback Cam Sutton are also likely to be considered.
ESPN.com has been releasing its list 10 players at a time each day and the #CFBrank hashtag allows fans to follow the countdown or join in on the discussion.


text:
Q: Setting up a view server on a remote CouchDB host Background: I am writing an R view server for CouchDB.
To configure a CouchDB instance to use a view server, one can make an API call like so (as per earlier question):
curl -X PUT http://[localhost]/_config/query_servers/python '"/path/to/couchpy"'

In this case, the call to CouchDB on a local host is telling Couch the local path to the query server.  However, is there any way to 'install' a query server on a remote CouchDB host through an API call to Couch?

A: That is currently not possible.
You could run an external on a different host, hooking it up with a proxy handler, global handler or db handler (see https://github.com/rnewson/couchdb-lucene for how to set that up)

redpajama_set_name: RedPajamaStackExchange


text:
Q: Send a specific signal to an external USB keyboard? Or, how do I fix fdopen()? Some background: I'm trying to make the caps lock light on an external keyboard light up on-command when I run a command from the command line. Ideally it would be scriptable, so that I can use it for alerts and things (I disassembled the keyboard).
I got this command which looks like it should work:
fd=fdopen("/dev/console"); ioctl(fd, 0x4B32, 0x04);

When I try to run this command on either OS X or on a Ubuntu server I have laying around, this happens:
me@server1:~$ fd=fdopen("/dev/console"); ioctl(fd, 0x4B32, 0x04);
-bash: syntax error near unexpected token `('
me@server1:~$ fd=fdopen(/dev/console);
-bash: syntax error near unexpected token `('

So it looks like the problem is in the first part. Do I need to install a set of software/utilities? How can I manually control the caps lock light on my external keyboard?

A: Your problem is that you try to enter C code into a shell prompt, this doesn't work for obvious reasons.  You could either put it into a correct C file, compile it and get a valid binary you could execute:
#include <linux/kd.h>

#include <sys/ioctl.h>

#include <fcntl.h>
#include <unistd.h>

#include <err.h>
#include <stdio.h>
#include <stdlib.h>

static void
usage(char *argv0)
{
    fprintf(stderr, "Usage: %s <on|off>\n", argv0);
    exit(EXIT_FAILURE);
}

int
main(int argc, char *argv[])
{
    int fd;
    int on;
    unsigned char state;

    if (argc != 2)
        usage(argv[0]);

    if (strcmp(argv[1], "on") == 0)
        on = 1;
    else if(strcmp(argv[1], "off") == 0)
        on = 0;
    else
        usage(argv[0]);

    fd = open("/dev/console", O_RDWR);
    if (fd == -1)
        err(EXIT_FAILURE, "open /dev/console");

    if (ioctl(fd, KDGETLED, &state) == -1)
        err(EXIT_FAILURE, "KDGETLED");

    if (on)
        state |= LED_CAP;
    else
        state &= ~LED_CAP;

    if (ioctl(fd, KDSETLED, state) == -1)
        err(EXIT_FAILURE, "KDSETLED");

    close(fd);

    return 0;
}

Put this in a file called e.g. caps.c and compile it:
$ gcc -o caps caps.c

Then you can run it as
$ ./caps on

to turn on the LED or
$ ./caps off

to turn it off (toggling is left as an exercise for the reader).
Note: To open /dev/console you'll need super user rights.
Yet another note: This also does not prevent your terminal or X server from changing the CapsLock LED occasionally (e.g. when Caps is pressed).  This also does not work on OS X but only on Linux since there's not standardized way to do this.  Last of all, you cannot change LEDs on several keyboards individually.

A: That C code would not work anyway -- fdopen() requires more than one argument and returns a file stream, not a file descriptor.
I can remember doing this a few years ago, I thought via Xlib, but I could not find my old code (occasionally the collection gets purged) but I figured someone must have a simple app for this on github or something.  Low and behold, the first page I found was this one which while I have no memory of posting it, it was written by me four years ago ("akashiraffee" was a name I used online a lot at the time).
It does not in fact use Xlib -- it uses ioctl(), like you were trying to do -- so should work sans GUI.  I tidied it up and tried it here with a 5 LED keyboard:
#include <stdio.h>
#include <unistd.h>
#include <fcntl.h>
#include <errno.h>
#include <linux/kd.h>
#include <sys/ioctl.h>

int main (void) {
    int tty = open("/dev/console", 0), led;
    unsigned long int arg;

    if (tty < 3) {
        perror("open: ");
        return -1;
    }

    if (ioctl(tty,KDGKBTYPE, &arg) > 0) perror("ioctl: ");
    if (arg == KB_101) puts("You have a 101 key keyboard.");

    for (led = 1; led < 9; led++) {
        if (ioctl(tty,KDSETLED, led) > 0) perror("ioctl led on: ");
        printf("LED %d on...hit enter", led);
        getchar();
        if (ioctl(tty,KDSETLED, led+0xff) > 0) perror("ioctl led off: ");
        printf("off (hit enter)\n");
        getchar();
    }

    close(tty);

    return 0;
}

Compile that gcc whatever.c -o testleds then ./testleds (note you need superuser privilleges).  The first 7 worked for me; some of them them were individual LEDs and some of them are combinations.

I disassembled the keyboard

Of course, you need the ENTER to work to test that.  If it doesn't, leave a comment and I will change to test automatically using a delay instead.  If it does work in the end, I'd be happy to turn it into something you can use to toggle the lights by number (e.g. toggleLED 3).

A: Linux
What you've posted is a snippet of C code. (And not even a working one.) It isn't going to work at a shell prompt.
There is no shell interface to ioctl, but you can use Perl.
#!/usr/bin/perl
require "sys/ioctl.ph";
if (@ARGV) {
    $ioctl = 0x4b32; # KDSETLED
    $ARGV[0] =~ /^[0-8]+$/ or die "$0: $ARGV[0]: invalid argument";
    $arg = int($ARGV[0]);
} else {
    $ioctl = 0x4b31; # KDGETLED
    $arg = "?";
}
sysopen CONSOLE, "/dev/console", "r" or die "$0: /dev/console: $!\n";
ioctl CONSOLE, $ioctl, $arg or die "$0: ioctl: $!\n";
print ord($arg), "\n" unless @ARGV;

Or Python:
#!/usr/bin/env python
import array, fcntl, os, sys
console = open("/dev/console", "r")
if len(sys.argv) > 1:
    fcntl.ioctl(console, 0x4b32, int(sys.argv[1])) # KDSETLED
else:
    arg = array.array('B', [0xff]) # KDGETLED
    fcntl.ioctl(console, 0x4b31, arg, True)
    print arg[0]

Either program prints the current LED settings if executed with no argument, and changes the LED if passed an argument. The LED settings are expressed as the sum of 1 for Scroll Lock, 2 for Num Lock and 4 for Caps Lock. You can pass the argument 8 to reset the LEDs to correspond to the OS's lock settings.
Instead of calling your own program, you can also call the setleds utility from the standard console tools.
You need to either be logged on a text mode console (not under X and not remotely), or to run as root.
Linux, specific keyboard
You can also turn on and off the LEDs of a particular input device by accessing that device instead of the console device. The ioctl is different: you need to use the evdev interface and send EV_LED events.
The easiest way to use this interface is to install the evdev Python package (pip install evdev).
</dev/input/by-id/usb-_USB_Keyboard-event-kbd \
python -c 'import evdev; dev = evdev.InputDevice("/dev/stdin"); print dev.leds()'

See "Getting and setting LED states" in the tutorial for more examples.
OSX
On Mac OS X, you can access the keyboard LEDs through the HID interface. You can find examples and explanations in Mac OS X Internals or on Psychic Origami.


text:
Steph Wells / December 14, 2012
Formidable Signature add-on Release Candidate
A new and very much improved version of the signature add-on has been released. It originally contained an unaltered version of a third-party script, but has now been overhauled.
Added Options
Options have been added into the "Field Options" for each signature field. The options include changing the height and width, naming the tabs, or even removing them.
Since a signature field should default to a signature, the drawing tab is now the default. The field to type into has been moved inside the "Type It" tab to further clean the field up, and validation removed from the script and moved into Formidable to make it more seamless. The size of the signature box will scale down depending on how much room is available for it, and display the signatures in the same size they were generated.
This update is available via auto-update from your WordPress admin.
Full Change log
klynam says
The latest update is excellent - thank you!
However, auto-update was not indicated or available from my WP admin section. I had to update manually (download new > delete old > upload new)
Also, how do we get the handwritten signature (i.e. image) included with the emailed form responses?
Stephanie Wells says
The auto-update has been changed in this version so it should be more reliable in the future. It's not yet an option to attach the signature image to the email.
Not providing the imaged signature is a problem. The signature option isn't just an interesting novelty. Anyone who needs a signature on a form, needs that signature WITH the form data. Simply passing along form responses with no signature doesn't help the situation. The imaged signature is obviously there in the data set, we can see it in the form replies view. There must be a relatively easy way to include that with the form response. At this point, even including it as an email attachment would be much better than nothing at all. That way clients have a full record of the form responses, and can easily store the complete data set electronically and independently of their website (in case the site or hosting company should have problems.)
Any thoughts on getting the signature included with the form data that is returned to us by email? I now have a new client website project on hold due to this one missing element of the FP signature add-on...
This feature is not currently available, nor are there any known work-arounds. sorry.
Seriously Steve? That is not the type of answer we're used to receiving from Formidable, and certainly not used to waiting WEEKS to receive a reply. Maybe things are changing there...
Look at this from my perspective. NOT having the signature with the returned form is completely useless!!! Clearly you have the signature as an image png file - it's right there in the responses view!!! Are you saying you can't write a simple script to attach that file to the submitted form, or place it as a linked file in one of the form fields????
I'm not a programmer, but you can't honestly expect us to believe that with ALL the amazing work you and Stephanie do on this plug-in, that you are simply incapable of finding SOME kind of solution for this challenge. I have a LOT more faith in you two than that !!!
Now if you're actually saying you REFUSE to work on a solution, that's a different matter entirely. At least be honest with me...
In fact, here's another option...
You could provide a "print form" function that's available when viewing a completed form in the responses view. That would give us the option of printing a hard copy or creating/saving a PDF to keep on file - both of which would present the SIGNATURE AND THE DATA together - which is the core issue we need to solve. (*Yes, I could print from the existing form view, but of course that prints the entire browser screen, and not just the form data.)
What about other creative solutions...???
Blog comments are not monitored and responded to in the same fashion as our help desk. For timely support, please post in the help desk in the future. I never said that we are incapable of adding this feature or that it would be impossible to do, but it is not as simple as you think, and it isn't among our high-priority tasks. We are very busy working on features that more than two people have requested. The signature add-on is not widely used, and getting responses and demands like this makes us more interested in removing the add-on all together rather than keeping it around and using valuable time and resources explaining why a feature is missing or incomplete.
Now, I am not saying that your feature request isn't a good one, but it is still a feature request that has only been requested one other time. Please take a look from our perspective. Should features that have been requested 40-50 times be set aside for a feature that has been requested twice? I'm sorry if this missing feature makes the signature add-on useless for you. We certainly do try to make our products the best they can be, but there is only so much time in one day, and unfortunately, we have to make decisions about what can/should wait to be developed. I hope you can understand this and accept it. If you absolutely need this feature now, then you may need to seek developer who can build this functionality for you.
ocdee75 says
I totally understand where you guys are coming from even though I too would like this feature (guess that means we're up to 3 right? 😉 ) given that the signature add on was what prompted me to purchase formidable pro.
In the meantime I have found a workaround involving setting up dynamic custom displays and integrating them with Print Friendly and PDF Button Plugin. Hope that helps a bit.


text:
info@vitessepsp.com
Insurance, Tech
The city is open……….but is insurance?
Striding into the digital future of claims settlement
As we emerge from the COVID-19 global health crisis and lockdown restrictions are lifted, we see the city buzz returning to major metropolitan areas. Streets are busy, restaurants are crowded, and even major businesses are humming as employees return from an extended period of remote work.
However, while the cities are reviving with a new sense of purpose, one big question remains. Will the events of the past year be enough to kickstart a 'new look' insurance market? As we ease back into normality, will the insurance industry relax into the past or extend that stride into the future?
Reviving an outdated claims settlement process
On the surface, the future looks bright for insurance. According to credit analyst Volker Kudszus, less than 10% of insurance ratings and EMEA outlooks changed in 2020.[i]
However, with a global pandemic on the loose, any situation can be fleeting, and for insurance, there are two factors that could interrupt signs of positivity. The first is the nature of the emerging new consumer and the growing reliance on technology that is destined to continue long after the pandemic has ended.
These new attitudes and perceptions are impacting the insurance industry in new ways, particularly in the area of claims settlement. Consumers increasingly expect faster payouts on claims with greater transparency into the process.
Fallout from the COVID-19 pandemic is also impacting commercial insurers. In September of 2020, the courts ruled in favour of the Financial Conduct Authority (FCA) in a test case that would require insurers to pay on an estimated £1.2 billion in business interruption claims resulting from COVID-19 closures.
While 8 major UK insurers appealed the decision, a recent ruling dismissed the appeal, requiring rapid settlement of outstanding claims. The FCA says it will work with insurance companies to encourage prompt settlement of outstanding claims.[ii]
This brings us to the second issue facing the insurance industry: how to salvage a reputation damaged by recent events. One answer is to address the ambiguities and delays associated with the current claims settlement process.
Better claims settlement process improves insurance market image and customer satisfaction
Technology is playing an increasing role in the insurance claims process, particularly as digital payments make it faster and easier to settle funds. Digital payments can eliminate paper cheques or inefficient correspondent banking relationships for cross-border payments by utilizing in-country processing.
The answer lies with ecosystem platforms. Ecosystems bring together all of the parties necessary for an insurance transaction, such as independent adjusters, DCAs and digital payment providers, into one seamless environment utilising APIs.
APIs act as a connection layer between multiple players in the ecosystem, providing real-time visibility and unparalleled access to data. When it comes to settling loss funds, an API platform incorporating a modern settlement and liquidity management system can address many of the challenges currently inhibiting rapid and progressive payment of claims, such as:
Lengthy settlement process: Receiving a pay out on claims can take weeks to months, resulting in bad press for insurers and dissatisfied customers. By using APIs to connect insurance stakeholders with a modern digital payment system, claim settlement times can be drastically reduced, even when paying across borders, by facilitating in-country processing.
Transparency: To settle a claim, managing agents or coverholders must delegate a DCA for a syndicate. Communicating through traditional channels can add to the complexity of claims due to a lack of visibility between all parties. API-enabled networks make it possible for all participants to communicate in real time, increasing visibility across the claims process.
Security of funds: Too often, the funds needed to settle a claim are held in unregulated third-party environments, but an API-enabled ecosystem can unite FCA-regulated digital payment networks with MGAs, DCAs and coverholders to securely hold funds with complete visibility across all stakeholders.
In addition, working with an API-enabled payments network simplifies the settlement process for MGAs and coverholders who work with multiple DCAs, by providing a seamless cloud-based environment with a single portal for complete visibility into all partnerships. Connections require no additional software or changes to existing hardware.
Thanks to modern technology advancements like these, the city isn't the only place where businesses will thrive. The insurance industry can easily evolve using a modern claims settlement process to improve customer relationships through faster payments and greater transparency.
[i] "European Insurance in Transition: Plotting A Course in A Chaotic World." S&P Global Ratings, Dec. 3, 2020. Web.
[ii] Rupert Jones. "Small Businesses Win Covid Insurance Payouts after UK Supreme Court Victory." The Guardian, Jan. 18, 2021. Web.
Claims SettlementFintechInsurance
By The Board, Corporate, Financial Services, Insurance, Interviews, News, Tips
Insurance, News
Vitesse leverages Mastercard Send™ to provide instant Pay-to-Card solution
Surviving catastrophic losses requires faster insurance payments
Interviews, Misc
Free spirited Aussie angel investor pioneers fintech innovation
Corporate, Financial Services, Insurance, Misc, Payroll, Tech
Transforming Treasury
Faster claims pilot underway
Brexit-proof Fintech provides businesses with innovative payment & treasury tech
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Industry Documents
Vitesse PSP Ltd. is regulated by the Financial Conduct Authority (Reference 900646) under the Electronic Money Regulations 2011 for the issuance of e-money. Registered Office: 9th Floor, 107 Cheapside, London, United Kingdom, EC2V 6DN. Registered in England. Registered Number: 08461258.


Preheat the oven to 350F/175C and lightly grease an 8in cake pan.
Peel, core and dice the apple and place in a small pan with the water. Bring to a boil and simmer for around 5-10mins until the apple is soft but not falling apart. Drain the water from the pan and mash the apple either by hand or in a food processor (if the latter, leave it in as there are other things to add).
In a large bowl, mix together the flours, baking powder and soda, cinnamon and salt.
Blend together the butter, coconut oil, eggs, vanilla, sour cream, milk, honey and maple syrup until smooth. You can either do this by hand or add all to the food processor with the apple.
Add all of the wet ingredients to the flour mixture and mix well but try not to overmix. Pour the mixture into the cake pan and smooth the top. Bake for approx 45min until lightly brown all over and a skewer put into the center comes out clean.
Beat the butter either in a stand mixer or with a blender then add the sugar gradually until all is mixed in. Add the vanilla and mix in. Spread over the top of the cake or cut the cake through the middle and spread on one side before replacing the top. Chill until ready to serve.
This is a perfect transition to fall recipe!
Thanks Michelle – it was delicious a month ago, when my son requested it, but I agree it will taste even more fitting as we are moving more in to fall.
Yum! We just bought a heap of fresh apples, and this recipe should satisfy my fussy father without being unhealthy.
Thanks, I hope everyone enjoys it Jessica – it's a great way to use some apples and as you say, being healthier all the better.
This cake looks so tender and delicious! The monkey face is adorable!
Thanks Julie, I tried my best on the face (even given the warmth!). But whether that worked or not, it is definitely a really tasty cake.
Apple season is here. This is perfect!
Thanks Debbie, I know, it's so nice to be apple season – I look forward to making this and much more again soon!
This recipe is making me super excited for fall! It looks delicious and you did a great job of decorating it to look like Curious George. I hope your son had a great birthday!
I'm glad! He did indeed have a great birthday, thanks, and I think the cake played a part in that. I know he'd be happy if I made it again too as I know we all would!
That looks so good! My little monkey would love it as well! Thanks so much for sharing at Throwback Thursday!
Thanks Carlee, it was enjoyed by grown up and little monkeys alike 🙂 Hope yours enjoys too!
How darling & it sounds so delish! I love apple anything but this looks so moist and looks like a gorgeous texture.


Stephanie Russo has a bachelors in BSc Exercise Science with Specialization in Athletic Therapy as well as a BSc Honours in Psychology (Thesis Neuroscience) with a Minor in multidisciplinary sciences from Concordia University.
She is a member of the Canadian Athletic Therapy Association and is currently working towards becoming a reconditioning specialist as well as a certified strength and conditioning specialist.
Furthermore, she is involved in a research project and clinical trial involving a new rehabilitation modality for traumatic brain injury patients.
Stephanie's career path was influenced by her travels to Australia where she was able to shadow the Therapist for the Sydney FC soccer team as well as the Sydney Swan Rugby national teams.
Not only did she play varsity soccer during her studies, she also had the opportunity to work with the strength and conditioning team for the Alouettes, as well as work with the Judo and Karate Canada at their major games this past year. Her experience with these teams as well as in the private sector has allowed her to work with all different age groups and active backgrounds.
She is an avid enthusiast of physical activity and practices what she preaches. She has competed in track and field, diving and she has played soccer at the university level. She has competed in several half marathons in Montreal and the beautiful Mont-Tremblant and has found a new passion for triathlons and competed in the 5i50 Ironman series triathlon this summer. She has also coached diving, swimming and running clinics and yoga.
Stephanie's approach to treatment is understating the demands of each person's environment and tailoring a prevention or rehabilitation program to fit their needs and goals. She uses her wide knowledge of biomechanics as well as hand on approach to help you achieve your goals.
By working with her she can always get you back to best and healthiest version of yourself so you can continue doing all the activities you love.