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What's the Score at the Bodleian?
Digitizing music scores at the Bodleian Library
How to play sheet music without a piano
November 22, 2013 martinholmes123	Leave a comment
[Kelsey Gower has been faithfully contributing descriptions to the Project for some time and is gradually working her way through the scores and creating sound files for them. These will eventually be linked to the images of the sheet music on the What's the score? platform. Meanwhile, a small selection of Kelsey's transcriptions can be heard here.]
I found What's the Score? late last year through Zooniverse. I found the history behind the sheet music fascinating, but I was not satisfied simply describing it. I wanted to hear the music, but aside from a few pieces on the project page and some classical pieces on Youtube I could not find recordings anywhere. Another issue was that I did not have a piano, so I could not play the songs the way I believe they should be played. Luckily, though I didn't have a piano, I did not have to go searching for one. With some advice and help, I found I could transcribe the sheets in a MIDI creator and play the music on my computer.
A MIDI creator is a program that provides an easy way to annotate instructions to a computer's sound card in order to produce music. So far, I have transcribed these pieces using the program Noteworthy Composer, which can be used to both produce MIDI files, print sheet music, and preview composed songs. I use the number keys to set note values and accidentals. I press 'Enter' to set a note on a specific place on the staff and press 'Space' for a rest. It's a simple though repetitive system. Overall, I find the program easy to use and achieve good results with it. There are limits though – for one piece I needed to improvise a bit when I found that the program does not group quarter notes into quintuplets.
After I finish transcribing a piece of music, I listen to it, make corrections, and export it in MIDI format. From there, I convert the MIDI into an MP3 using a free converter. After that, the file is sent off to the Bodleian. Soon the MP3s will be linked from the songs themselves, and everyone can listen to the music stored in this archive. I currently enjoy making and listening to these songs, and I hope you will enjoy them too.
Kelsey writes about herself:
Kelsey Gower has had an interest in music history for some time. She started transcribing sheet music out of a desire to hear the music she was describing on the What's the Score at the Bodleian? project. Previously she has served in the United States Air Force from 2007-2013 as a linguist. During this time she earned an Associate's of Arts in Arabic Studies. She is currently planning on attending university for a business degree. Kelsey is also a regular contributor to other Zooniverse projects.
Who was Adelina Patti?
May 1, 2013 martinholmes123	3 comments
One of the new sound files on the What's the Score? website is of a piece called the Adelina Patti Galop. Among the sheet music selected for the What's the Score at the Bodleian? project, there are several pieces inspired by this lady, including the galop, The Adelina Patti Polka, The Adelina Waltz and the Patti Quadrilles.
Probably the most famous singer of her time, Adelina Patti has been described as the second most celebrated woman in the world in the year 1900, after Queen Victoria. Born in 1843, into an Italian family of singers while her parents were working in Madrid, she toured the USA as a child prodigy and made her London début at the age of 18 in the demanding role of Amina in Bellini's La sonnabula. From that point, she dominated the stage at Covent Garden for a quarter of a century, as well as performing in all the major opera houses of Europe and the Americas.
Her personal life had a degree of turbulence not unusual in such circles. She married the Marquis de Caux in 1868, the French tenor Ernesto Nicolini in 1886 (after a lengthy affair) and finally the Swedish Baron Rolf Cederström in 1899. A shrewd businesswoman, she could command enormous fees and amassed a considerable fortune. In 1878, she purchased Craig-y-Nos Castle and its estate, near Brecon, where she built her own private theatre, a miniature version of La Scala, Bayreuth and Drury Lane, rolled into one. She retired officially in 1906, but continued to make charity performances until the beginning of the First World War. She died at Criag-y-Nos in 1919 at the age of 76.
Although singing was doubtless in her genes and Patti always claimed she was self-taught,
she did receive lessons from family members when she was a child. In her heyday, she was renowned for her astonishing vocal agility and stamina, as well as for the beauty and purity of her tone. Her remarkable vocal technique meant that recordings she made in her 60s, in the early years of the 20th century, do more than hint at what she must have been like in her prime.
John Rosselli, in his book Singers of Italian opera: the history of a profession (CUP, 1992)
describes her in these terms: "The highest paid opera singer in history, in real terms, was probably the soprano Adelina Patti. Her doll-like looks and pure, even vocal emission masked a notable competence in running her career and a will of iron."
– Listen to the Adelina Patti Galop
– View the score
Categories: Uncategorized Tags: Adelina Patti, music
What's the Score at the Bodleian? goes live
May 3, 2012 martinholmes123	Leave a comment
After several months of development work and testing by a limited number of users, What's the score at the Bodleian? is finally being released to the general public today. The Bodleian Libraries are enlisting the help of the public in this experimental project to help improve access to parts of their music collections. A selection of unbound and uncatalogued piano sheet music from the mid-Victorian period has been digitised and people are asked to submit descriptions of the scores by transcribing the information they see. This will help to make them more readily discoverable online.
The Bodleian has teamed up with Zooniverse, world leaders in crowd-sourcing technology and the people behind various high-profile 'Citizen Science' projects, such as Galaxy Zoo and The Milky Way Project. They have recently branched out from purely astronomical subjects into other areas, with projects like Old Weather and Ancient Lives, and have adapted their software in order to present our music scores for the gathering of crowd-sourced data (http://www.whats-the-score.org/). In conjunction with this, the Bodleian has developed a website which will contain the digitised scores and descriptive information about them (http://scores.bodleian.ox.ac.uk). Data collected from crowd-sourcing will eventually feed into this database, to add to the basic metadata already there, making the collection searchable and available for the first time.
The music selected for this project has never been catalogued by the Library so has not been readily available to users. Although music of this kind was considered to have little academic value at the time of receipt, it can now offer an insight into the nature of amateur music-making during the Victorian period and reveal something of the social history of the time. Many of the scores have attractively illustrated covers which are a subject of study in their own right.
This project may lead in future to the Libraries exploring further ways in which members of the public, who may be experts in particular fields, can be encouraged to enrich the existing catalogues and other finding aids by contributing additional information about the collections.
So, please sign up and become a contributor (http://www.whats-the-score.org/).
For more information about the project, see http://www.bodleian.ox.ac.uk/bodley/library/specialcollections/projects/whats-the-score/.
Trial by Jury Polka
September 6, 2011 davidtomkins123	Leave a comment
Sample scores from our collection:
Trial by Jury Polka (on airs from Arthur Sullivan's operetta)
by Charles d'Albert.
Charles d'Albert was a prolific composer who, like many other composers during the second half of the nineteenth century, based some of his dance music on popular operas or ballets. Some examples of such pieces are found among the first batch of material digitised for the What's the Score at the Bodleian? project (visit our Recordings page for some samples).
Among the works that have inspired d'Albert is Trial by Jury by Gilbert and Sullivan.
Trial by Jury is a comic opera in one act, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was first produced on 25 March 1875, at London's Royalty Theatre, where it initially ran for 131 performances and was considered a hit, receiving critical praise and outrunning its popular companion piece, Jacques Offenbach's La Périchole. The story concerns a "breach of promise of marriage" lawsuit in which the judge and legal system are the objects of lighthearted satire. (Wikipedia Accessed 6 Sep 2011)
d'Albert wrote a series of dances based on the opera, and the Polka is one. It did not receive a particularly favourable reception by The Argus (Melbourne), which reviews it under its 'Music Received' heading on 31 August 1876 (page 5) :
The ' Trial by Jury Polka" is from the veteran hand of Charles D'Albert (Chappell and Co., New Bond-Street), a lively enough fragment but not equal in effect to 'The Trial by Jury Lancers,' which we noticed recently in these columns. The name of Charles D'Albert gives rise to higher expectations than are satisfied by this production. (http://trove.nla.gov.au/ndp/del/article/5900731)
What the quote shows, other than that the reviewer wasn't particularly impressed, is that other works by d'Albert were known and appreciated in Australia at that time. It is also interesting to note how quickly dance music based on stage hits was produced and exported. The Trial by Jury Polka scores had reached Australia within 18 months of the original opera opening in London, and then it had still been preceded by other titles, like The Trial by Jury Lancers.
In his article Dance arrangements from the Savoy Operas, John Sands notes that although popular in its time, many of the pieces like Trial by Jury Polka are little known today.
These attractive pieces are virtually unknown today, whilst comparable dances based on the operettas of Johann Strauss II (1825-1899) are highly regarded and regularly performed. The difference, of course, is that Strauss was responsible for arranging many such pieces himself whilst the names of Sullivan's arrangers are little more than footnotes in Victorian musical history. (Dance arrangements from the Savoy Operas by John Sands. Accessed 6 Sept 2011)
Many more pieces by d'Albert were published, and some of them are being digitised and made available through our What's the Score at the Bodlian? project. A list of d'Albert music can be found in Universal Handbook of Musical Literature (on pages 128-132) available online at The Open Library.
In this recording of Trial by Jury Polka, created for the What's the Score at the Bodleian? project, we hear Ben Sheen on the piano. The recording is released with the Creative Commons BY-NC-SA licence. It can be reused and redistributed globally provided that it is used in a non-commercial way and the reuse is attributed to "What's the Score at the Bodleian?" and Ben Sheen. If you derive a new work from the recording, the new work may be distributed provided it is released under the same licence.
You can read about the recording session when this and other pieces were recorded in our 'So that's what they sound like…' blog post. More project recordings and scores are available on the project webpage.
Categories: sample scores Tags: d'Albert, dance music, sample
The Cleopatra Galop
September 2, 2011 davidtomkins123	1 comment
A sample of the scores in our collection:
by Charles d'Albert
The version of The Cleopatra Galop that the What's the Score at the Bodleian? project is digitizing has a cover featuring a big obelisk, not unlike Cleopatra's Needle, the famous London landmark.
Cleopatra's Needle is an ancient Egyptian obelisk that can be seen in London. It was presented to the United Kingdom in 1819 but it took almost sixty years before it was actually moved from Egypt to the UK. The move was both expensive and dramatic. A special vessel was built to hold the 68 foot tall stone, and this iron cylinder – which was dubbed the Cleopatra – was then to be towed to London. The whole venture nearly ended with failure on 14 October 1877 when the vessel and tow were hit by a storm in the Bay of Biscay. Six men drowned when trying to save the Cleopatra, and the vessel with the obelisk was thought lost. She was, however, found a few days later and on 21 January 1878 the Cleopatra with her valuable cargo arrived in London. The obelisk was erected on the Victoria Embankment on 12 September 1878. (source Wikipedia 1 Sept 2011)
The Cleopatra Galop was written by Charles d'Albert, a prolific composer of the time and former dance-master. The piece is advertised as 'new dance music' in the New Zealand The Hawke's Bay Herald from 19 April 1878 (Volume XXI, Issue 50417, page 1), so it must have been written well before then to allow time for the scores to be printed and then transported all the way to Napier. D'Albert's music was not infrequently inspired by contemporary events and it is easy to imagine that the move of the Egyptian obelisk may have influenced this piece. It could also be the case that the piece was simply a reflection of the Victorian fascination with all things oriental and that the cover is a later addition, perhaps to a later re-print? The obelisk was, after all, only erected in September 1878 – several months after the arrival of the scores in New Zealand.
In this recording of The Cleopatra Galop made for the What's the Score at the Bodleian? project, we hear Tim Hawken on the piano. You can read about the recording session when this and other pieces were recorded in our 'So that's what they sound like…' blog post. More project recordings and down-loadable versions of the Cleopatra Galop and other scores are available on the project webpage.
This recording is released with the Creative Commons BY-NC-SA licence. It can be reused and redistributed globally provided that it is used in a non-commercial way and the reuse is attributed to "What's the Score at the Bodleian?" and Tim Hawken. If you derive a new work from the recording, the new work may be distributed provided it is released under the same licence.
Nearest and Dearest
August 31, 2011 davidtomkins123	Leave a comment
Sample score from our collection:
Waltz, on airs from Audran's comic opera, Olivette,
Audran's opera Olivette (Les noces d'Olivette) was first played in Paris in 1879 and then in London in 1880-1881 (English language adaptation). It must have been well received because not only did it go on to play at the Strand Theatre for 466 performances but the music was also adapted and released in several versions intended for home use. Charles d'Albert, the prolific composer/arranger, produced a waltz for piano (solo or duet) based on airs from the opera. Vocal pieces and pieces for the piano were also released, as demonstrated by adverts placed by Chappell and Co in other music publications (such as in this version of Iolanthe from 1882).
D'Albert's version is marketed under the heading 'dance music' and was presumably intended not only to be played and listened to but also to be suitable for dancing. That d'Albert's dance music was popular is not surprising when it is considered that he was very familiar with dance himself. Before he dedicated his time fully to composing and teaching, d'Albert had been a dancer. He had worked with in Paris and been a ballet-master at the King's Theatre, London, and Covent Garden. He also published a book on ballroom etiquette.
The cover of the scores digitised by the What's the Score at the Bodleian project advertises other works by the same composer: "Olivette Quadrille, Waltz & Polka" & Torpedo Galop. The cover also features a portrait of Violet Cameron who starred in the London production of Olivette. Cameron (1862-1919) had made her stage début only eight years old, and went on to have an intermittent career in comic opera and opera bouffe. She is said to be "blessed with extremely blond hair [and] a fine figure" (Richard Foulkes, Oxford Dictionary of National Biography).
In this recording of the Nearest and Dearest waltz, made for the What's the Score at the Bodleian project, we hear Ben Sheen on the piano. The recording is released with the Creative Commons BY-NC-SA licence. It can be reused and redistributed globally provided that it is used in a non-commercial way and the reuse is attributed to "What's the Score at the Bodleian?" and Ben Sheen. If you derive a new work from the recording, the new work may be distributed provided it is released under the same licence.
To hear the music from the Olivetti opera, listen to the MIDI files made available by Colin M. Johnson
The Rink Galop
The Rink Galop: as performed at the Royal Aquarium Westminster
The Royal Aquarium was an entertainment venue in Westminster, London, which opened in January 1876 with royal pomp and circumstance. As suggested by the name, a major feature of the venue was a set of large aquariums (although due to 'operational difficulties', these did not hold any fish). There were also rooms for different types of entertainment including a theatre, a roller skating rink, and a library as well as drinking bars, a restaurant and even a hairdresser's!
"It was covered with a roof of glass and iron and decorated with palm trees, fountains, pieces of original sculpture, thirteen large tanks meant to be filled with curious sea creatures and an orchestra capable of accommodating 400 performers. Around the main hall were rooms for eating, smoking, reading and playing chess, as well as an art gallery, a skating rink and a theatre." (http://en.wikipedia.org/wiki/Royal_Aquarium)
The cover of The Rink Gallop scores shown here gives an indication of what The Royal Aquarium may have looked like at the time. The music for this piece of dance music was written by Charles d'Albert. As it is advertised in the contemporary weekly magazine The Musical World from January 6th 1877 it is likely that it was written the same year the Aquarium was opened (1876).
The Rink Galop is one of hundreds of d'Albert's pieces listed in The Universal handbook of musical literature (p. 132). The Handbook was published in 1900 and claims to feature "all published compositions which at the present time are included in the various catalogues as being still obtainable at the original prices." (introduction, page A*). That suggests the piece was still for sale a quarter of a century after it was first published.
In this recording of The Rink Galop, created for the What's the Score project, we hear Ben Sheen on the piano. The recording is released with the Creative Commons BY-NC-SA licence. It can be reused and redistributed globally provided that it is used in a non-commercial way and the reuse is attributed to "What's the Score at the Bodleian?" and Ben Sheen. If you derive a new work from the recording, the new work may be distributed provided it is released under the same licence.
More information about the Royal Aquarium can be found in, for example, The Royal Aquarium, and Imperial Theatre, Westminster, London by Arthur Lloyd and Sullivan and the Royal Aquarium by John Sands.
More information about Charles d'Albert is offered in A Nineteenth Garland of British Light Music Composers (MusicWeb International), Music of Yesterday, and via Oxford Music Online (subscription service)
So that's what they sound like…
August 19, 2011 davidtomkins123	3 comments
On Thursday 11 August, three accomplished musicians and one tone-deaf member of the project team congregated in the new Ensemble Room in Oxford University's Music Faculty to record some of the pieces which are to be included in What's the score at the Bodleian?
Our sound engineer chose to use some rather less daunting equipment than this.
The pieces recorded are all by Charles d'Albert, and were selected on the somewhat unscientific basis that the collection is being digitised alphabetically by composer, and d'Albert is by far the most prolific of those composers whose surname begins with the letter A. That and the fact that we rather liked some of his tunes.
The Faculty provided us with microphones and some portable recording equipment (and instructed us how to use it), as well as – crucially – a piano (for which instructions weren't required). Twenty-seven takes and a couple of hours later, we had five piano pieces in the bag, performed with aplomb by Ben Sheen and Tim Hawken, all ready for editing and post-production:
Nearest and Dearest (Waltz, on airs from Audran's comic opera, Olivette), performed by Ben Sheen
Trial by Jury Polka (on airs from Arthur Sullivan's operetta), performed by Ben Sheen
The Rink Galop (as performed at the Royal Aquarium, Westminster), performed by Ben Sheen
Adelina (on Jules Cohen's Opera Les Bluets), performed by Ben Sheen
The Cleopatra Galop, performed by Tim Hawken
Meanwhile, having been thoroughly entertained by some live performances of parlour songs at the project's introductory reception in June, and with plenty of studio time left, it seemed too good an opportunity to miss to also record some non-project songs which demonstrate other aspects of domestic music which were popular in the 19th century:
Come into the Garden, Maud, by M. W. Balfe (words by Alfred, Lord Tennyson)
Home! Sweet Home! by Sir Henry Bishop (words by John Howard Payne)
The Lost Chord, by Sir Arthur Sullivan (words by Adelaide A. Procter)
As at the June event, these were sung by Greg Skidmore, accompanied by Tim Hawken on piano.
All of these pieces have now been made available on a new Recordings page on the project's website, and for each of the d'Albert piano pieces a PDF file of the score itself is also provided. Once the crowd-sourcing aspect of the project is in full swing, it is hoped that any members of 'the crowd' with a modicum of talent on the ivories will make their own recordings of piano pieces delivered through the project and allow us to put them online.
Categories: events, sample scores Tags: music, performance, recordings
Crowdsourcing for transcription projects
June 27, 2011 davidtomkins123	Leave a comment
What's the Score at the Bodleian? featured at an event this weekend. The Crowdsourcing for transcription projects workshop was held at Merton College, Oxford, and saw a group of eager participants gather to hear about and discuss crowdsourcing in the context of transcription projects.
The program for the half-day event opened with three talks:
Arfon Smith (Zooniverse) couldn't be at the event in person but luckily a podcast was available of his very relevant talk from the Beyond Collections 2011 conference last month. The talk provided a useful introduction not only to Zooniverse but to a number of issues to be considered by anyone setting out to conduct an academic crowdsourcing project.
David Tomkins described the What's the Score at the Bodleian? project and showed some examples of the kind of material we are working with. He could also share some screenshots from the data collection interface which has just been made available to small group of testers.
Giles Bergel (Bodleian Ballads) talked about the work with ballads that has been going on at the Bodleian for a number of years. He presented some of the problems with the material, such as some text being very difficult to read for both humans and machines, and outlined some ideas for future projects.
The rest of the morning was spent productively discussing thoughts on crowdsourcing in general and ideas about transcription crowdsourcing in particular. It was agreed that this was beneficial, and that we'd like to continue the discussions and exchange of ideas. A first step will be to collect the ideas and references gathered during the day and circulate these, together with suggestions for further activities for the group.
Categories: events Tags: crowdsourcing, event, transcription
With a bit of music
June 17, 2011 davidtomkins123	1 comment
Greg Skidmore and Tim Hawken performing parlour songs
What's the Score at the Bodleian? was introduced to a number of specially invited guests at a small event in Oxford this week. About 40 people gathered in the Denis Arnold Hall in the University's Faculty of Music to hear Bodley's Librarian, Dr Sarah Thomas, introduce the project, after which three members of project staff each gave short presentations. Martin Holmes outlined the Bodleian's extensive music collections and explained some of the problems currently faced in making them more accessible; Ylva Berglund-Prytz gave an overview of crowd-sourcing as a relatively quick and economic means of capturing data, citing in particular some of the initiatives undertaken by Zooniverse; and David Tomkins gave an overview of the project methodology and its potential for additional enhancements in the future. The presentations provided a platform for much informal discussion about the project and its future directions between guests and project staff over drinks and canapes.
Before and after the presentations, Greg Skidmore and Tim Hawken stole the show with a series of outstanding performances of parlour songs and piano pieces selected from the first batch of digitised scores for the project.
Categories: events Tags: event, music, performance, public
This Bodleian Libraries project aims to make music scores from the Bodleian collection available online with the help of members of the public. The scores will be scanned and the images will be put online. Interested parties will be invited to help make the material more easily discoverable by adding information about the images. It is not necessary to be able to read music or play an instrument to take part – anyone can help!
We write about:
Adelina Patti covers crowdsourcing d'Albert dance music digital duplicate event genre music OCR OMR performance preparation progress project public recordings sample technology transcription
project progress (4)
related topics (3)
sample scores (6)
Archive Select Month November 2013 (1) May 2013 (1) May 2012 (1) September 2011 (2) August 2011 (3) June 2011 (3) May 2011 (1) March 2011 (3) February 2011 (2)
You can still contribute descriptions on the Zooniverse platform whats-the-score.org 8 years ago
We're sorry to report that our digitised sheet music at scores.bodleian.ox.ac.uk is currently unavailable owing to a hardware failure. 8 years ago
We're still collecting descriptions of our Victorian sheet music. Please give it a go and keep contributing: whats-the-score.org 8 years ago
Who was Adelina Patti? …tsthescoreatthebodleian.wordpress.com/2013/05/01/who… 8 years ago
We've added a few more sound files to the What's the Score? web page. Hear this music come to life ... bodleian.ox.ac.uk/bodley/finding… 8 years ago
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text:
Q: How can I make my code to generate token and return it to authenticate a user? I have the code below for token generation. I follow this tutorial. When I use postman to test the code with a registered username and password, it returned the JsonWebTokenError: jwt malform. On close review, I discovered that the error comes from jwt.verify section.

*

*What do I need to adjust so that the token can be generated?

*How can I configure it so that when a users makers a log in request, say he's passing his username and password, along with email and password, the client must pass a client identity ( [payload + clientID] ), for the server to know for whom the token is to be signed.

*Is there any special value I need to pass in Postman Header to test the working of the token system?

CODE EDITED
const jwt = require('jsonwebtoken');
const fs = require('fs');

// PRIVATE and PUBLIC key
const publicKey = fs.readFileSync(__dirname + '/public.key', 'utf8');
const privateKey = fs.readFileSync(__dirname + '/private.key', 'utf8');

// Returns secret only known to server at runtime
exports.getSecret = () => {
  const secret = require('../config/secret.json').secret;
  return secret;
};

// Returns token
exports.getToken = (payload, signOptions) => {
  if (!signOptions) {
    signOptions = {
      issuer:  "Myself",
      expiresIn:  "30d",
      algorithm:  "RS256"
    }
  };
   const token = jwt.sign(payload, privateKey, options);
  return (token);
};

// Returns result of token validation
exports.validateToken = (token, verifyOptions) => {

  if (!verifyOptions) {
    verifyOptions = {
      issuer:  "Myself",
      expiresIn:  "30d",
      algorithm:  "RS256"
    }
  };
  try {
    return jwt.verify(token, publicKey, verifyOptions);
  } catch (err) {
    return err;
  }
};

// Returns validation result of token
exports.token_post = (req, res) => {
  res.send(this.validateToken(req.header.Authorization, this.getSecret()));
};

exports.hasPermission = (token, resource) => {
  const result = this.validateToken(token, this.getSecret());
  console.log(result);
  if (result.name === 'JsonWebTokenError') {
    return false;
  } else if (result.permissions) {
    let permissionSet = new Set(result.permissions);
    console.log('permissions in token', JSON.stringify(permissionSet));
    return permissionSet.has(resource);
  } else {
    return false;
  }
};

A: You're not feeding the good arguments to this.validateToken.
You should give it the verifyOptions instead of this.getSecret().
By the way, this is not a secret but a public key so I don't recommend using this name. And you are reading the public key twice.
Your hasPermission function should look like that:
exports.hasPermission = (token, resource, $Options) => {
    const result = this.validateToken(token, $Options);
    console.log(result);
    if (result.name === 'JsonWebTokenError') {
        return false;
    } else if (result.permissions) {
        let permissionSet = new Set(result.permissions);
        console.log('permissions in token', JSON.stringify(permissionSet));
        return permissionSet.has(resource);
    } else {
        return false;
    }
};

Don't forget to change the code that call that function. $Options is the one you use to sign your token, the signOptions in the tutorial.

redpajama_set_name: RedPajamaStackExchange


text:
DTM Emergency Tracking - Movement of Camp IDPs, 23 – 29 November 2020
Key findings include:
Departure of IDPs from camp settings:
In the reporting period (23 - 29 November), 1,161 further households (6,225 individuals) were recorded as departing from formal camp settings.
A total of 6,449 IDP households (32,092 individuals) have been recorded departing from camp settings since the beginning of the Emergency tracking in October 2020. While most departures have taken place in Ninewa governorate, departures have also been recorded from camp settings in Baghdad, Kerbala, Anbar, Diyala, Kirkuk and Salah al-Din governorates.
According to an update from the CCCM Cluster on 28 November 2020,11 camps and informal settlements have been closed since mid-October, with 2 formal camps reclassified as informal sites.
Arrival of IDPs from camps to non-camp settings
Since the last report on 22 November, DTM recorded an additional 959 households (5,265 individuals) as new arrivals to non-camp settings. Of these new arrivals, Mosul district received the highest number of households (311 households), followed by Khanaqin in Diyala governorate.
In total, 3,565 of the departing households (18,929 individuals) were recorded as having arrived in non-camp settings in the governorates of Ninewa, Diyala, Anbar, Salah al-Din, Baghdad and Erbil. Mosul and Telafar districts in Ninewa and Khanaqin district in Diyala received the highest number of individuals coming from camps.
Of the households who departed camps, 989 households (28%) have not returned to their location of origin, while 2,576 households (72%) have returned to their respective areas of origin.
International Organization for Migration: Copyright © IOM. All rights reserved.
Shelter and Non-Food Items
202012146186_ET_Camp_Movements_29_Nov_2020.pdf (PDF | 449.28 KB)

redpajama_set_name: RedPajamaCommonCrawl


text:
Presentación previa
Dominik Meffert y Tim Pütz eran ellos defensores del título, decidieron no participar este año.

Grégoire Burquier y Alexandre Sidorenko ganaron el título tras derrotar en la final Andriej Kapaś y Yasutaka Uchiyama.

Cabeza de serie

  Wesley Koolhof /  Matwé Middelkoop (Cuartos de final)
  Ruben Gonzales /  Darren Walsh (Semifinales)

<ol start=3>
  Andreas Beck /  Ken Skupski ''(Primera ronda)
  Andriej Kapaś /  Yasutaka Uchiyama ''(Finalistas)

Cuadro

Referencias
 Cuadro de dobles

Challenger de Saint-Brieuc 2015

redpajama_set_name: RedPajamaWikipedia


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text:
Q: How to use mapping column in criteria order by Criteria criteria = session.createCriteria(Items.class);
criteria.add(Restrictions.eq("itemId", 1003));
criteria.addOrder(Order.desc("category.categoryName"));

Here Category is ManyToOne Mapping .
Thanks!!

A: Criteria criteria = session.createCriteria(Items.class)
    .add(Restrictions.eq("itemId", 1003))
    .createAlias("category", "category")
    .addOrder(Order.desc("category.categoryName"));


text:
Q: Famous Engine Bruteforce collisions I have a famous engine setup and working with physics / drag etc.
But it appears there are other physics options, BruteForce, SweepAndPrune etc.
I suspect these may be what i need to improve the collision detection between the elements.
I've tried to add the BruteForce collision detection like so:
this.collision = new collision([rightWall, leftWall, topWall, bottomWall]);
But I get an error about an incorrect constraint.
this.simulation.addConstraint(this.collision);
Does anyone have experience with solving this issue?
You can see a demo here:

var famous = famous;
var FamousEngine = famous.core.FamousEngine;

var Camera = famous.components.Camera;

var DOMElement = famous.domRenderables.DOMElement;
var Gravity3D = famous.physics.Gravity3D;
var MountPoint = famous.components.MountPoint;
var PhysicsEngine = famous.physics.PhysicsEngine;
var Position = famous.components.Position;
var Size = famous.components.Size;
var Wall = famous.physics.Wall;
var Sphere = famous.physics.Sphere;
var Vec3 = famous.math.Vec3;
var math = famous.math;
var physics = famous.physics;
var collision = famous.physics.Collision;
var gestures = famous.components.GestureHandler;
var Spring = famous.physics.Spring;
console.log(famous)
var anchor = new Vec3(window.innerWidth / 2, window.innerHeight / 2, 0);

//Create Walls
var rightWall = new Wall({
  direction: Wall.LEFT
}).setPosition(window.innerWidth - 20, 0, 0);
var leftWall = new Wall({
  direction: Wall.RIGHT
}).setPosition(window.innerWidth + 20, 0, 0);
var topWall = new Wall({
  direction: Wall.DOWN
}).setPosition(0, 20, 0);
var bottomWall = new Wall({
  direction: Wall.UP
}).setPosition(0, window.innerHeight - 20, 0);

var centerPoint;

function Demo() {
  this.scene = FamousEngine.createScene('body');
  this.collision = new collision([rightWall, leftWall, topWall, bottomWall]);
  console.log(this.collision)
  this.simulation = new PhysicsEngine();
  this.simulation.setOrigin(0.5, 0.5);
  this.simulation.addConstraint(this.collision);
  this.items = [];
  this.walls = [];

  //Create Items
  for (var i = 0; i < 10; i++) {
    var node = this.scene.addChild();
    node.setMountPoint(0.5, 0.5);
    var size = new Size(node).setMode(1, 1);
    var position = new Position(node);
    if (i === 0) {
      createLogo.call(this, node, size, position);

    }
    if (i !== 0 && i !== 9) {
      node.id = i;
      createSatellites.call(this, node, size, position);
    }
    if (i === 9) {
      node.id = i;
      createAlternateShape.call(this, node, size, position);

    }
  }

  //Create Walls
  var node = this.scene.addChild();
  createWalls(node);

  var once = true;

  Demo.prototype.onUpdate = function(time) {
    this.simulation.update(time);
    this.collision.resolve(time, 360)

    //Postition walls
    var wallPosition = topWall.getPosition();
    node.setPosition(wallPosition.x, wallPosition.y);

    //Position elements
    if (this.items.length > 0) {
      for (var i = 0; i < this.items.length; i++) {
        if (once) {
          console.log(this.items[i][1]._node.moving)
          once = false;
        }
        if (this.items[i][1]._node.moving) {
          console.log('moving!')
        } else {
          var itemPosition = this.simulation.getTransform(this.items[i][0]).position;
          this.items[i][1].set(itemPosition[0], itemPosition[1], 0);
        }

      }
    }

    FamousEngine.requestUpdateOnNextTick(this);
  };

  FamousEngine.requestUpdateOnNextTick(this);
}

function createWalls(wallNode) {
  wallNode.setSizeMode('absolute', 'absolute', 'absolute').setAbsoluteSize(window.innerWidth, 10, 0);
  var wallDOMElement = new DOMElement(wallNode, {
    tagName: 'div'
  }).setProperty('background-color', 'lightblue');
}

function createLogo(node, size, position) {
  node.moving = false;
  size.setAbsolute(100, 100);
  var mp = new MountPoint(node).set(0.5, 0.5);
  var el = new DOMElement(node, {
    tagName: 'img',
    attributes: {
      src: 'http://www.denisboudreau.org/presentations/2014/CSUN/Browser%20Zoom%20and%20Low%20Vision/Comps/ToM_EnsoCircle.png'
    }
  });
  centerPoint = new Sphere({
    radius: 50,
    mass: 10000,
    restrictions: ['xy'],
    position: new Vec3(window.innerWidth / 2, window.innerHeight / 2, 0)
  });

  var spring = new Spring(null, centerPoint, {
    stiffness: 95,
    period: 0.6,
    dampingRatio: 1.0,
    anchor: new Vec3(window.innerWidth / 2, window.innerHeight / 2, 0)
  });

  centerPoint.setVelocity(0, 0, 0);
  this.simulation.add(centerPoint, spring);
  this.items.push([centerPoint, position]);
  this.collision.addTarget(centerPoint);
}

function createAlternateShape(node, size, position) {
  node.moving = false;
  size.setAbsolute(100, 100);
  var el = new DOMElement(node, {
    properties: {
      'background-color': 'red',
    }
  });

  var box = new physics.Box({
    size: [100, 100, 100],
    mass: 10,
    position: new Vec3(100, 100, 0)
  });

  // Attach the box to the anchor with a `Spring` force
  var spring = new Spring(null, box, {
    stiffness: 95,
    period: 0.6,
    dampingRatio: 1.0,
    anchor: new Vec3(window.innerWidth / 2, window.innerHeight / 2, 0)
  });

  box.setVelocity(0.5, 0.5, 0);
  this.simulation.add(box, spring);
  this.items.push([box, position]);
  this.collision.addTarget(box);
}

function createSatellites(node, size, position, i) {
  node.moving = false;
  var rand = Math.round(Math.random() * 100 + 30);
  size.setAbsolute(rand, rand);
  var radius = 100;
  var x = Math.floor(Math.random() * radius * 2) - radius;
  var y = (Math.round(Math.random()) * 2 - 1) * Math.sqrt(radius * radius - x * x);
  var color = 'rgb(' + Math.abs(x) + ',' + Math.abs(Math.round(y)) + ',' + (255 - node.id) + ')';
  var el = new DOMElement(node, {
    properties: {
      'background-color': color,
      'border-radius': '50%'
    }
  });

  var satellite = new Sphere({
    radius: rand / 2,
    mass: 10,
    position: new Vec3(x + window.innerWidth / 2, y + window.innerHeight / 2, 0)
  });

  // Attach the box to the anchor with a `Spring` force
  var spring = new Spring(null, satellite, {
    stiffness: 95,
    period: 0.6,
    dampingRatio: 1.0,
    anchor: anchor
  });

  //console.log(color);
  // satellite.setVelocity(-y / Math.PI, -x / Math.PI / 2, y / 2);
  satellite.setVelocity(0.5, 0.5, 0);
  // this.gravity.addTarget(satellite);
  this.simulation.add(satellite, spring);
  this.items.push([satellite, position]);
  this.collision.addTarget(satellite);
  //Drag
  var nodeGesture = new gestures(node);
  nodeGesture.on('drag', function(e, p) {
    if (e.status == "move") {
      node.moving = true;
    }
    var currentPos = node.getPosition()
    var newPosX = currentPos[0] + e.centerDelta.x
    var newPosY = currentPos[1] + e.centerDelta.y
    satellite.setPosition(newPosX, newPosY)
    node.setPosition(newPosX, newPosY)

    if (e.status == "end") {
      node.moving = false;
    }
  });
  //event
  node.addUIEvent('click');
  // node.addComponent({
  //   onReceive:function(event, payload){
  //           if(event==='click'){
  //               // el.setContent('I\'ve been clicked')
  //
  //           }
  //       }
  //   })
}

setTimeout(function() {
  // Boilerplate
  FamousEngine.init();
}, 500);

// App Code
var demo = new Demo();
<!DOCTYPE html>
<html>

<head>
  <meta charset="utf-8">
  <meta http-equiv="X-UA-Compatible" content="IE=edge">
  <title>Famous :: Seed Project</title>
  <link rel="icon" href="favicon.ico?v=1" type="image/x-icon">
  <meta name="description" content="">
  <meta name="viewport" content="width=device-width, initial-scale=1">
  <style>
    html,
    body {
      width: 100%;
      height: 100%;
      margin: 0px;
      padding: 0px;
    }
    body {
      position: absolute;
      -webkit-transform-style: preserve-3d;
      transform-style: preserve-3d;
      -webkit-font-smoothing: antialiased;
      -webkit-tap-highlight-color: transparent;
      -webkit-perspective: 0;
      perspective: none;
      overflow: hidden;
    }
  </style>
</head>

<body>
  <script src="http://code.famo.us/famous/0.6.2/famous.min.js"></script>
</body>

</html>

A: This is the solution using BruteForceAABB.

var famous = famous;
var FamousEngine = famous.core.FamousEngine;

var Camera = famous.components.Camera;

var DOMElement = famous.domRenderables.DOMElement;
var Gravity3D = famous.physics.Gravity3D;
var MountPoint = famous.components.MountPoint;
var PhysicsEngine = famous.physics.PhysicsEngine;
var Position = famous.components.Position;
var Size = famous.components.Size;
var Wall = famous.physics.Wall;
var Sphere = famous.physics.Sphere;
var Vec3 = famous.math.Vec3;
var math = famous.math;
var physics = famous.physics;
var collision = famous.physics.Collision;
var gestures = famous.components.GestureHandler;
var Spring = famous.physics.Spring;
console.log(famous)
var anchor = new Vec3(window.innerWidth / 2, window.innerHeight / 2, 0);

//Create Walls
var rightWall = new Wall({
  direction: Wall.LEFT
}).setPosition(window.innerWidth - 20, 0, 0);
var leftWall = new Wall({
  direction: Wall.RIGHT
}).setPosition(window.innerWidth + 20, 0, 0);
var topWall = new Wall({
  direction: Wall.DOWN
}).setPosition(0, 20, 0);
var bottomWall = new Wall({
  direction: Wall.UP
}).setPosition(0, window.innerHeight - 20, 0);

var centerPoint;

function Demo() {
  this.scene = FamousEngine.createScene('body');
  // this.collision = new collision.({broadphase: 'BruteForce'});
  var broadPhase = new physics.Collision.BruteForceAABB([rightWall, leftWall, topWall, bottomWall]);
  this.collision = new collision([topWall], {
    'broadPhase': broadPhase
  });

  this.simulation = new PhysicsEngine();
  this.simulation.setOrigin(0.5, 0.5);
  this.simulation.addConstraint(this.collision);
  this.items = [];
  this.walls = [];

  //Create Items
  for (var i = 0; i < 10; i++) {
    var node = this.scene.addChild();
    node.setMountPoint(0.5, 0.5);
    var size = new Size(node).setMode(1, 1);
    var position = new Position(node);
    if (i === 0) {
      createLogo.call(this, node, size, position);

    }
    if (i !== 0 && i !== 9) {
      node.id = i;
      createSatellites.call(this, node, size, position);
    }
    if (i === 9) {
      node.id = i;
      createAlternateShape.call(this, node, size, position);

    }
  }

  //Create Walls
  var node = this.scene.addChild();
  createWalls(node);

  var once = true;

  Demo.prototype.onUpdate = function(time) {
    this.simulation.update(time);
    // this.collision.resolve(time, 360)

    //Postition walls
    var wallPosition = topWall.getPosition();
    node.setPosition(wallPosition.x, wallPosition.y);

    //Position elements
    if (this.items.length > 0) {
      for (var i = 0; i < this.items.length; i++) {
        if (once) {
          console.log(this.items[i][1]._node.moving)
          once = false;
        }
        if (this.items[i][1]._node.moving) {
          console.log('moving!')
        } else {
          var itemPosition = this.simulation.getTransform(this.items[i][0]).position;
          this.items[i][1].set(itemPosition[0], itemPosition[1], 0);
        }

      }
    }

    FamousEngine.requestUpdateOnNextTick(this);
  };

  FamousEngine.requestUpdateOnNextTick(this);
}

function createWalls(wallNode) {
  wallNode.setSizeMode('absolute', 'absolute', 'absolute').setAbsoluteSize(window.innerWidth, 10, 0);
  var wallDOMElement = new DOMElement(wallNode, {
    tagName: 'div'
  }).setProperty('background-color', 'lightblue');
}

function createLogo(node, size, position) {
  node.moving = false;
  size.setAbsolute(100, 100);
  var mp = new MountPoint(node).set(0.5, 0.5);
  var el = new DOMElement(node, {
    tagName: 'img',
    attributes: {
      src: './images/famous_logo.png'
    }
  });
  centerPoint = new Sphere({
    radius: 50,
    mass: 100000,
    restrictions: ['xy'],
    position: new Vec3(window.innerWidth / 2, window.innerHeight / 2, 0)
  });

  var spring = new Spring(null, centerPoint, {
    stiffness: 95,
    period: 0.6,
    dampingRatio: 1.0,
    anchor: new Vec3(window.innerWidth / 2, window.innerHeight / 2, 0)
  });

  centerPoint.setVelocity(0, 0, 0);
  this.simulation.add(centerPoint, spring);
  this.items.push([centerPoint, position]);
  this.collision.addTarget(centerPoint);
}

function createAlternateShape(node, size, position) {
  node.moving = false;
  size.setAbsolute(100, 100);
  var el = new DOMElement(node, {
    properties: {
      'background-color': 'red',
    }
  });

  var box = new physics.Box({
    size: [101, 101, 101],
    mass: 100,
    position: new Vec3(100, 100, 0)
  });

  // Attach the box to the anchor with a `Spring` force
  var spring = new Spring(null, box, {
    period: 1.5,
    dampingRatio: 0.8,
    anchor: new Vec3(window.innerWidth / 2, window.innerHeight / 2, 0)
  });

  box.setVelocity(0.1, 0.1, 0);
  this.simulation.add(box, spring);
  this.items.push([box, position]);
  this.collision.addTarget(box);
}

function createSatellites(node, size, position, i) {
  node.moving = false;
  var rand = Math.round(Math.random() * 100 + 30);
  size.setAbsolute(rand, rand);
  var radius = rand;
  var x = Math.floor(Math.random() * radius * 2) - radius;
  var y = (Math.round(Math.random()) * 2 - 1) * Math.sqrt(radius * radius - x * x);
  var color = 'rgb(' + Math.abs(x) + ',' + Math.abs(Math.round(y)) + ',' + (255 - node.id) + ')';
  var el = new DOMElement(node, {
    properties: {
      'background-color': color,
      'border-radius': '50%'
    }
  });

  var satellite = new Sphere({
    radius: rand / 2,
    mass: 100,
    position: new Vec3(x + window.innerWidth / 2, y + window.innerHeight / 2, 0)
  });

  // Attach the box to the anchor with a `Spring` force
  var spring = new Spring(null, satellite, {
    // stiffness: 10,
    period: 1.5,
    dampingRatio: 0.8,
    anchor: anchor
  });

  //console.log(color);
  // satellite.setVelocity(-y / Math.PI, -x / Math.PI / 2, y / 2);
  satellite.setVelocity(0.1, 0.1, 0);
  // this.gravity.add(satellite);
  this.simulation.add(satellite, spring);
  this.items.push([satellite, position]);
  this.collision.addTarget(satellite);
  //Drag
  var nodeGesture = new gestures(node);
  nodeGesture.on('drag', function(e, p) {
    if (e.status == "move") {
      node.moving = true;
    }
    var currentPos = node.getPosition()
    var newPosX = currentPos[0] + e.centerDelta.x
    var newPosY = currentPos[1] + e.centerDelta.y
    satellite.setPosition(newPosX, newPosY)
    node.setPosition(newPosX, newPosY)

    if (e.status == "end") {
      node.moving = false;
    }
  });
  //event
  node.addUIEvent('click');
  // node.addComponent({
  //   onReceive:function(event, payload){
  //           if(event==='click'){
  //               // el.setContent('I\'ve been clicked')
  //
  //           }
  //       }
  //   })
}

setTimeout(function() {
  // Boilerplate
  FamousEngine.init();
}, 500);

// App Code
var demo = new Demo();
<!DOCTYPE html>
<html>

<head>
  <meta charset="utf-8">
  <meta http-equiv="X-UA-Compatible" content="IE=edge">
  <title>Famous :: Seed Project</title>
  <link rel="icon" href="favicon.ico?v=1" type="image/x-icon">
  <meta name="description" content="">
  <meta name="viewport" content="width=device-width, initial-scale=1">
  <style>
    html,
    body {
      width: 100%;
      height: 100%;
      margin: 0px;
      padding: 0px;
    }
    body {
      position: absolute;
      -webkit-transform-style: preserve-3d;
      transform-style: preserve-3d;
      -webkit-font-smoothing: antialiased;
      -webkit-tap-highlight-color: transparent;
      -webkit-perspective: 0;
      perspective: none;
      overflow: hidden;
    }
  </style>
</head>

<body>
  <script src="http://code.famo.us/famous/0.6.2/famous.min.js"></script>
</body>

</html>


One of the greatest ways you can partner to make CityFest with Luis & Andrew Palau a success is by giving financially to this campaign. Luis and Andrew Palau, as well as the entire Palau Association, are donating their time and resources to help us in this effort. That means every penny raised in West Michigan will stay in West Michigan and will be used to serve our community and proclaim the name of Jesus Christ to our neighbors, family, and friends.
Your giving will help accomplish this massive, region-wide effort. Your partnership will help to proclaim the Good News, unite the Church community, and impact our region for generations to come.


You can take this for whatever it's worth, but my Denmark insider tells me Suemnick is not looking at WIAC schools. Says he is holding out for something to open up at one of the D2s that have been sniffing around and if nothing comes of that he is heading to Carroll and the CCIW.
Suemnick was offered by UM-Duluth tonight. Kaukauna's Donovan Ivory got out of his letter of intent to Duluth recently and my guess is that opened up a spot to offer Suemnick.
Good for him. Denmark isn't exactly a basketball factory. He caught my eye on your list because I have seen him play live 5 times, 4 this year the last being the state semifinal and once last year. Really liked his defense in the state semifinal against Wisconsin's Mr. Basketball Waupun's Marcus Domask (Northern Kentucky for now... their coach seems to be getting a lot of interest from other schools). Slammed two back in his face and Domask only had 9 points when Suemnick picked up his fourth foul with 12ish minutes left (averaged 27 and ended up with 21). Like you said earlier he is very athletic for a 6'7" guy, I saw him put on a crazy dunking exhibition after their game at UWGBs Kress Center last year. He can definitely play above the rim. It would have been nice if Denmark would have focused their offense on him more often instead of playing so much 5 out motion with him on the wing. Of course this is all moot if he does end up in D2, but he could always end up in D3 some day.
Former Whitewater assistant Nate Oats has been named head coach at Alabama. Leaves Buffalo after a 4-year run.
2019 G Henry Noone (6-2) of Lourdes Academy has committed to UW-La Crosse. Brother of Charlie, shot over 50 percent from 3 as a senior on a large amount of attempts, don't have the exact number.
I'm sure Alabama pays more, but I feel like Buffalo is the better program right now.
Agree, but Oats made it so. He's sure got an interesting resume, with playing and coaching roots at Maranatha Baptist.
Not to mention he may get paid twice as much.
Avery Johnson made almost 3 million a year at Alabama.
The new coach may be making three times as much as he did before.
It is hard to imagine that a MAC school was able to pay even close to 1 million.
Buffalo is taking the news a bit hard. Apparently the Oats' bought a million dollar waterfront house in Buffalo in the fall.
He was making $837,000 there. I'm sure he's getting a pretty nice pay raise.
2019 G Samuel Meerstein (6-4) of Green Bay NEW Lutheran has committed to UW-Platteville. Meerstein scored 1,986 points during his four-year prep career. Ranked 48th in the wissports senior rankings, good get for the Pioneer program.
Former Oshkosh Lourdes and Ripon High School standout Eddie Muench (6-5) has decided to transfer from NCAA Division II Rockhurst University to UWO. Muench averaged 9.3 ppg as a freshman at Rockhurst.


text:
Q: self close tag issue xstream when null I have an class like below and I use xSteam to convert Edge to xml.
@XStreamAlias("edge")
class Edge{

     @XStreamAsAttribute
     @XStreamAlias("source")
     private String source;

     @XStreamAsAttribute
     @XStreamAlias("target")
     private String target;

     @XStreamAlias("data")
     private Data data;
     .....
}

When I set data=null, i can get
  <edge source="8" target="10" />

but I want to get below when data =null
  <edge source="8" target="10" ></edge>

Some one can help for this?

A: you can use Dom4JDriver driver. in that case you can format your xml output
like this code:

OutputFormat outPutFormat = new OutputFormat();
outPutFormat.setLineSeparator("");
outPutFormat.setExpandEmptyElements(true);
outPutFormat.setEncoding("UTF-8");

Dom4JDriver d4j = new Dom4JDriver(new XmlFriendlyNameCoder("_", "_"));
d4j.setOutputFormat(outPutFormat);
XStream xstream = new XStream(d4j);
xstream.autodetectAnnotations(true);

A: There is nothing you can do on the XML level, as on that level, both forms are completely identical. If you really really require one form instead of the other, you have to either provide your own XML serializer, or use the default serializer and post-process its output stream. i cannot give you more details without knowing how you currently serialize your data.


In any attempt to understand the Bible, there is no substitute for a knowledge of ancient Jewish custom and practice. For example, the name "Jehovah," which is found in many Christian translations of the Bible, originated due to Christian lack of awareness of Jewish custom.
In Hebrew Scripture the personal name of God is written with four Hebrew letters—yod, heh, vav, heh (YHWH) —and therefore called the tetragrammaton. The name YHWH appears 6,829 times in the Hebrew Scriptures.
By linguistic comparisons with other ancient Semitic languages, scholars can be almost certain that the divine name was originally pronounced YaHWeH. The pronunciation of the first syllable of the tetragrammaton is confirmed by the abbreviated form of God's name יָהּ (yah, transcribed "Jah" in the King James Version), which is sometimes used in biblical poetry (e.g., Ps. 68:4). It is also confirmed by the יָה (yah) that is attached as a suffix to many Hebrew names such as אֵלִיָּה (eliyah, Elijah) and עֹבַדְיָה (ovadyah, Obadiah).


JPAC Theatre in Cicero, Ill. presents the hit comedy, "Moon Over Buffalo"
Jedlicka Performing Arts Center (JPAC) in Cicero, Ill. continues its season with the hilarious farce, Moon Over Buffalo. The outrageous comedy centers on George and Charlotte Hay, fading Theatre actors of the 1950's starring in a production of Cyrano de Bergerac in Buffalo, NY. On the brink of a splitting up thanks to George's affair with a young ingénue, they receive word that they might just have one last shot at stardom: famed movie director, Frank Capra is coming to town to see their matinee, and if he likes it, he just might cast them in his movie remake of The Scarlet Pimpernel. Unfortunately for George and Charlotte, everything that could go wrong, does go wrong.
Moon Over Buffalo is written by Ken Ludwig, the Tony Award winning playwright of Lend Me A Tenor and Crazy For You. It was first produced in 1995 and was nominated for two Tony Awards. The original production starred Carol Burnett and marked her return to Broadway after 30 years.
Directed by JPAC's Managing Director, Steve Calzaretta, the show stars Jim Heatherly and Anne Marie Lewis as George and Charlotte Hay. Rounding out the cast are Tyler Dickerson, Mary Doctor, Martha Hansen, Josh Mattingly, James Spangler and Jennifer Vance.
The JPAC Theatre is located conveniently off the Central Ave. (north) exit of 1-55 just minutes from downtown Chicago on the campus of Morton Grove College. There is ample free parking available.
Steven Calzaretta (Director) previously directed JPAC's The Good Doctor and Dial M for Murder and has performed on the JPAC stage. He toured nationally with country music legend, Kenny Rogers as assistant tour manager and featured vocalist and with the Paul Chapman Project (former lead guitarist for multi-platinum band UFO) as tour manager and vocalist. As an actor, Steve has performed in regional theatres throughout the U.S. including the Marriott Theatre and Drury Lane Oak Brook, as well as spending four great months on Broadway. Steve has done many voice-overs and appeared in several television shows and movies. Most recently he was the Company Manager and Casting Director at the historic Fulton Theatre in Lancaster, PA. He recently joined JPAC as Managing Director.
The Jedlicka Performing Arts Center is a professional, non-equity, 346-seat theatre on the campus of Morton College in Cicero, IL. JPAC produces 6 shows a season and is now in its 32nd year. To date, the acclaimed JPAC Theatre has presented more than 150 productions to an estimated quarter of a million people and is one of the busiest non-equity theaters in the Chicago area.
JPAC's national reputation grew over the years due to its lavish and daring productions on its intimate stage that caught the attention of producers from London to Broadway. In 1990, Academy Award winner, Joseph Brooks launched the North American Premiere of his West End musical Metropolis at the JPAC. After that many other Broadway and West End musicals have had their Premiere Chicago production at the theater including: The Baker's Wife, Blood Brothers, The Who's Tommy, Jekyll & Hyde, Aspects of Love, We Will Rock You, Phantom of the Opera and most recently, Big Fish. World Premiere productions include Nefertiti - The Musical, Danger Will Robinson! and the Liberace musical, Mr. Showbiz.
JPAC has also made a similar commitment to non-musical plays. Some of the world's most successful and acclaimed playwrights have made Chicago-area debuts of their work on the JPAC stage including Ray Cooney, Rupert Holmes, Neil Simon, Steven Dietz and Matthew Barber.


text:
Savingnut
We go nuts with savings
www.kinneykares.com Kinney Drugs Customer Survey $2 off of Your Next $20 Purchase
Free Stuff: $2 off of your next $20 purchase
Provider: Kinney Drugs
Kinney Drugs Customer Survey Requirement
A valid Kinney Drugs receipt
Read these tips before you enter Kinney Drugs Customer Survey
Visit www.kinneykares.com to take Kinney Drugs Customer Survey
Survey access code is only valid for one time access
You should have a computer with internet access and full function web browser support. Download the latest version of Internet Explorer, Google Chrome or Mozilla Firefox
Do not use "Back" and "Forward" button on your browser navigation bar, only use the navigation buttons on survey page, or else you may lose your survey data and cannot finish the survey
Posted under: Free Stuff
Toggle Comments
Marina Longfellow on April 17, 2020 at 7:53 am said:
Everyone was so nice and practiced safe distancing. The store had what I needed.
Muriel Majarian on March 15, 2020 at 10:36 am said:
I took your survey today 3/15/20 which was detailed and took my time. I did not receive a Redemption code: My invitation code: 0107 002 1130.
Michelle Doyon on March 9, 2020 at 4:57 pm said:
All the clerks know me and its nice to see a friendly face.
Albert Nivison on February 27, 2020 at 3:22 pm said:
very friendly and helpful staff!
edie on February 23, 2020 at 6:12 am said:
the girls are always happy to see you
RC on February 19, 2020 at 3:50 pm said:
Great place to shop and friendly people.
SamConant on February 5, 2020 at 1:17 pm said:
I-Enjoy-The-Consistence-of-product-placement-and-courtesy-of-staff-in-Milton–Vermont
Anne Hedberg herzog on January 25, 2020 at 1:44 pm said:
Everyone is friendly at kinneys
Everyone is always friendly at kinneys
Joann Smith on January 17, 2020 at 1:49 pm said:
The store is well stocked and the clerk was pleasant.
LouisLobdell on January 13, 2020 at 11:00 am said:
Kinney's service is always friendly and well done.
Sandra Lewandrowski on January 1, 2020 at 6:04 pm said:
Service today was good. Prices where fair.
Service today was good.
RC on December 29, 2019 at 11:01 am said:
Nice and clean. Clerks are very helpful.
Jeanne K Carroll on August 1, 2019 at 12:36 pm said:
Very helpful, usually find what I want with no problem.
Elizabeth Mayo on July 12, 2019 at 6:28 pm said:
They are all very helpful and friendly each time I go into the store and the pharmacy.
James Conley on June 20, 2019 at 9:46 am said:
Very pleased with RX unit, as well as employees of the store. Good prices and very clean. A pleaseure to shop there!
Donna Gencarelli on June 5, 2019 at 11:51 am said:
Kinney store in my area is clean and always have what I'm looking for. Staff are always friendly and someone always asks if I want any assistance in what I am looking for.
Karen Borden on May 31, 2019 at 3:59 am said:
Nice place to shop. Comfortable environment.
Diane Kull on May 1, 2019 at 2:48 pm said:
Debbie at our local store is always smiling & helpful. All of the employees are friendly and willing to help find the sale items.
joseph h walters on March 5, 2019 at 6:14 pm said:
The store in my town is always well stocked and the associates are always friendly and helpful. A very nice place tom shop.
John Walsh on February 14, 2019 at 11:46 am said:
Fast, friendly service. It was 2/13/19 so I asked if/when Hallmark Valentine products would be discounted but sales associate did not know. It was just prior to store closing and was among last customers but associate was very nice. I shop frequently at Kinney Drugs and am building my THRIVE points weekly. Thank you.
Jolene L Steria on February 5, 2019 at 9:01 am said:
I have always had wonderful service at Kinney's !! Very nice workers and always a joy to shop there!!
Angel on December 24, 2018 at 10:51 am said:
I always have a good experience at Kenny's the staff is exceptional and remember my name that means a lot to me and makes me feel right at home
Debbie Hicks on December 7, 2018 at 4:36 am said:
The staff at Kinney's took their time looking for something I wanted. I was very impressed.
harold w kellogg on December 1, 2018 at 6:17 am said:
service at our ilion location very good
Sharon Everts on October 29, 2018 at 4:29 pm said:
Very satisfied with courtesy and checkout at Kinney Drugs.
Need code for $2 coupon.
Maria Porz on October 21, 2018 at 6:07 am said:
great consistent service on all counts!!
Sandy on October 13, 2018 at 10:37 am said:
Great store. They are always helpful. Helen and John are wonderful.
Jeanne Crouse on October 6, 2018 at 5:52 pm said:
keep your survey !!!!
I am not downloading anything !!!
Dawn Young on September 16, 2018 at 9:28 am said:
Helen was very polite and conscientious of scanning correctly and engaging with me. Must keep her!!! Store and pharmacy techs and druggist are always helpful. LOVE this Kinney's!!!
Todd Austin on August 30, 2018 at 7:45 am said:
Enjoy this store.
accessories for clocks on May 26, 2018 at 12:19 am said:
locate the best clock making kit that are available and in stock and reasonably priced get it now only!
Chris Britton on March 11, 2018 at 8:55 am said:
Always have received great service.
I have always received great service.
X-Customer on February 17, 2018 at 12:53 pm said:
I had to return soda that had out dated I had my receipt and was treated very rudely!! I know shop at another store, I have been shopping at Kinney Drugs for many years and have never felt so embarrassed .I was treated as though I had stole the soda. The man who was called to help with my return said I couldn't have got the soda at the store because they have a good turn over in this soda. It had dust on the bottles and I am NOT a thief or liar!! I have chose to shop at another store because of this. I was shopping at this Kinney drugs for years, more than once a week.I had my receipt but, still the experience was uncalled for. The other customers got to hear the comments and two people walked out GREAT JOB!!!
Cindy on February 17, 2018 at 12:36 pm said:
Great service by most
Maria Christou on February 15, 2018 at 1:40 pm said:
Mary on February 6, 2018 at 1:45 pm said:
Good service. The store was busy and they called two more people up to check out.
Ray Lasch-Quinn on February 3, 2018 at 11:00 am said:
Elianis at Kinney Drug store was very helpful, professional.
tess on January 22, 2018 at 9:58 am said:
extreme hassle to fill out survey
not worth the two bucks
Leland Cota on January 7, 2018 at 11:16 am said:
Very happy and pleased with your service
Paula Landeche on December 17, 2017 at 8:19 am said:
Very friendly and helpful. Small town service! Love it!
Dale Jennison on November 29, 2017 at 2:23 pm said:
If Kinney wants me to do a survey, that is fine.
But not if I have to sign up for a bunch of stuff I don't need/want. Therefore I will NOT do your survey for the mighty sum of $2.00 or any other amount. I thought Kinneys was a reputable business. Well I have to think again, and maybe even quit Kinneys altogether. There are other drug stores you know, that also have surveys that make sense. It was nice knowing when Kinneys appreciated their customers. One more thing in our life that has died because of greed and yes even stupidity.
carol brown on November 20, 2017 at 1:02 pm said:
Good pharmacy!!
Roderick J Pryce on November 15, 2017 at 6:14 am said:
Always very friendly hometown service at Kinney's.
Alberta yerdon on November 7, 2017 at 7:56 am said:
I thought my visit was very nice. I enjoyed it very much.
Amy Grismore on October 26, 2017 at 10:44 am said:
The woman that took care of me was incredibly kind, professional, had a great sense of humor, and it was very nice.
susan on October 26, 2017 at 3:46 am said:
Store and employees have what we need
Anne Carter on October 19, 2017 at 8:41 am said:
Kinney Drugs in Hinesburg, VT is always helpful and pleasant and I am very grateful for that!
Hilde on September 22, 2017 at 8:05 am said:
Impressive accomplishing on the crank out up! I hope in opposition to test out transfer throughout further inside competitors in the direction of your self!
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Jamal on August 9, 2017 at 2:44 pm said:
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Nancy Austin on July 20, 2017 at 3:55 pm said:
Love your store
Barbara B. Sullivan on July 5, 2017 at 7:56 am said:
I enjoy going to Kinney Drugs…..always browse and come away with something!! I like the product, and the staff is always helpful!
George Ackley on July 1, 2017 at 1:29 am said:
I go to Kinnyes at least twice a week always deal with Dustin at Weedsport he's always helpful and happy to help.
Barb Rood on June 24, 2017 at 5:55 pm said:
Always a friendly experience at Kinneys in Cortland, NY.
Ed Wilson on June 7, 2017 at 5:37 am said:
Sharon checked me cheerfully and helpfully in Morrisville. Always a pleasure.
Martha Norfolk on June 4, 2017 at 12:13 pm said:
I had Alicia check me out at the Kinneys in Elbridge and she is the best very friendly and helpful always
Joe Black on June 2, 2017 at 6:08 pm said:
this survey was way to confusing to waste my time
Bill Gerrish on May 11, 2017 at 12:26 pm said:
What a great pharmacy crew
paul tomasini on May 4, 2017 at 3:30 pm said:
always can find what I need at Kinney Drug
Judith Toner on April 5, 2017 at 7:29 am said:
Download had alert on my computer that it might damage my computer so I couldn't do the survey.
John Garceau on March 21, 2017 at 3:01 pm said:
Tried but no success.. Don't know it I had the right site? So I didn't take survey for $2.00 off code.
Michael Rewkowski on March 16, 2017 at 8:17 am said:
My visit was fine
Ken on February 22, 2017 at 1:15 pm said:
Always good service.
margaret mousaw on January 30, 2017 at 11:57 am said:
prompt service
lynne connolly on January 12, 2017 at 12:50 pm said:
Always great deals and service
Roger Stormes on November 15, 2016 at 5:52 am said:
Already did.
Myrtle at Baldwinsville store has been there for years, so pleasant. When she's not there, I ask if she's okay. Good for the store, prompt and people person.
Mary Perreault on November 7, 2016 at 11:46 am said:
Very happy with service, polite and helpful!
Margaret Camara on November 6, 2016 at 8:40 am said:
I always have a pleasant experience at Kinney; the pharmacist is helpful and the staff friendly and more than willing to help.
margaret mousaw on October 13, 2016 at 4:40 am said:
yes I was happy with the service
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In the early 90s Master Yang moved to Australia, and while here, decided to privately teach his unique martial arts system. It was during this time that Master Yang had a "realization" in connection to sports; and how to apply his power and reflex methods to them. Not long after this, he started training his power techniques to rugby teams, swimmers, tennis players and cricketers with great success. By the turn of the century, Master Yang was getting more involved with other areas of movement and power, outside the martial arts. He was getting interest from practicing yogi's as well as elite athletes wishing to enhance their explosive power and life force energy.
By 2008 he started putting together the foundations for Calligraphy Health, through his Calligraphy Yoga system. These foundations were based on a 3-dimensional model, incorporating three main circulations within the human body; blood circulation, mental/nervous circulation and digestive circulation. Master Yang considers these circulations to be"the pillar" of longevity and good health which is why they are points of focus. Additionally, his yoga system has been in development for sixteen years and is a direct result of reflex mind combined with his knowledge of 3-D movement (based on unbroken, Chinese calligraphy writing), energy production and yogic postures. His belief is that all yoga should be alive, with Qi energy powering every movement. Moreover, that this energy can be held and controlled within us, by us, for our own well-being or can be transmitted to others for the purpose of healing.


1. Do cardio first. Researchers found that while all exercisers experienced a strong "after burn" (a higher rate of calories burned when at rest after exercise) for the two hours after working out, the strength training and run/strength training groups had the highest exercise after burn of all.
2. Try plyometrics. These high-intensity, explosive exercises such as jumping and hopping, get your heart rate up quickly, which equals a higher rate of calories.
3. Use your whole body. Most cardio exercises focus on the lower body (biking, walking, elliptical, stair climbing, etc.), but if you want to burn more calories, one easy tip is to incorporate your upper body. The more muscles you move, the more calories you will burn.
4. Get intense. To increase the burn, you need to get out of your cardio comfort zone. And when you do, the benefits can be big.
5. Listen to fast music. If you seem to have trouble pumping yourself up for a workout, try popping in those earbuds! So listen to music you love and get your cardio on!
6. Use proper form. Not only does proper form keep you from getting injured, it also ups your calorie burn since your core is engaged. Bonus!
7. Speed up. The simplest advice of all for upping your calorie burn? Increase your pace even if it's just a little bit. The tortoise may have won the race, but the hare burned more calories!
8. Add some intervals. By varying your intensity through different intervals (think one minute running then two minutes walking), you can actually improve your fitness more quickly than by steady state cardio, and you can burn more calories. The bonus? Time seems to fly when you add interval training!


text:
Macao urged to cooperate more with lusophone countries
| Angola | Brazil | Cabo Verde | China | Guinea-Bissau | Macau | Mozambique | Portugal | São Tomé and Príncipe | Timor-Leste
A senior official of the Chinese National Development and Reform Commission (NDRC) has called for Macao to cooperate more closely with Portuguese-speaking parts of the world that join China in its Belt and Road initiative, the Macao SAR Government says.
The government issued on Wednesday a written statement quoting NDRC Vice-chairman Ning Jizhe as remarking in a videoconference the day before that the Chinese 14th Five-Year Plan (2021-2025) envisages Macao contributing to the construction of a modern economy in China and the full opening of the country to the world outside.
Mr Ning was speaking at the third meeting of officials of the NDRC and the Macao SAR Government held to discuss the Belt and Road initiative, according to the official statement.
The statement quotes Macao Secretary for the Economy and Finance Lei Wai Nong as telling the meeting that the ambition of Macao is to be a meeting place for the cultures of China and lusophone countries.
(Source) Permanent Secretariat to the Forum for Economic and Trade Co-operation between China and Portuguese-speaking Countries (Macao):
https://www.forumchinaplp.org.mo/macao-urged-to-cooperate-more-with-lusophone-countries/
Trade between China and Portuguese-speaking countries exceeds US$134 billion from January to November 2018
Macao Polytechnic Institute invites all interested participants to participate in "The Greater Bay Area Portuguese Language and Sino-Portuguese Academic Cooperation" online Forum
Guangxi seeks Macao help to engage with lusophone countries
Entrepreneurs from CPLP and China meet in Cabo Verde in June
Delegation of Guinea-Bissau is first to arrive in Macau


text:
Product Updates + Strategy
Apple News: Getting Started
Ana Santopinto
Apple News collects all the stories you want to read so that you no longer need to move from app to app to stay informed. It's the perfect news feed — customizable, easy to read, and addictive.
In this article, we're going to do a breakdown on how to treat content once you are in Apple News. If you want information on how to get accepted to Apple News, please take a look at this guide and this News Publisher sign up page.
What Is the Apple News Format?
Apple's News format is a custom JavaScript Object Notation (JSON) document format that lets you create signature content for Apple News publishing. The most fascinating element of Apple News is how it structures the feed for each user into a personalized stream where the user can pick which topics they'd like to see and media publishers fill it.
What Layout Do I Have Out of the Box From RebelMouse?
We do our Apple News format using HTML markup (not markdown syntax, which is also an option), and this is roughly how the out-of-the-box version looks like:
If you'd like a more personalized version, please contact your account manager so we can discuss an implementation.
How Do I Start Publishing to Apple News?
1) Sign in to News Publisher
You can do so by going to http://www.icloud.com/newspublisher.
2) Provide publisher and channel information
You'll also need to provide additional information to set up your channel. When you're finished, click Next.
3) Upload a logo
You now have the option to upload a channel logo and cover image. (Note: You can skip this step.) Make sure your logo is a PNG file with a minimum size of 256 pixels square. The file size limit is 2 MB. Click here for more details about logo specifications.
The cover image appears in the Discover view in Apple News. You can find it in the Apple News Settings menu:
You can update your channel logo in the same Settings interface:
4) Choose a publishing format
Next, you can choose from two different publishing methods: RSS feed (there's no change in user experience, which means you can't use Apple's article format) or the Apple News format, which optimizes your content for iOS devices.
Please choose Apple News Format.
To use Apple's News format for your content, all you have to do is to click Sign Up for Apple News Format. Once you click the button, your application will automatically be sent in for review.
5) Submit articles for approval
After you're approved as a publisher, you're required to submit some articles for review. To do this, you can either create an article in News Publisher or use your existing content management system (CMS).
In RebelMouse, you can choose any of the articles you have already created and choose to submit them to Apple News. See below for more details.
In each case, Apple reviews your articles and notifies you as soon as your content is approved. After that, you can publish without further review.
6) Enter Apple News information into RebelMouse's Global Settings
You will need to insert Apple News API key, Apple News API secret, and Apple News channel id in your site's back end. You can find this information in your News Publisher account.
To do this, first navigate to our Layout & Design Tool, then go to Global Settings. Scroll down and enter the information:
How to Enable Apple News per Post From Entry Editor
When you add a new post or edit an existing one, you can choose whether to publish it to Apple News or not.
In Entry Editor, you'll find a tab on the right-hand side of the interface that says Social Copy. This is where you can find the toggle for Apple News.
If it's the first time you're publishing to Apple News, the content you choose to toggle on in Entry Editor will be sent for review. All articles will appear in your iCloud account and Apple will notify you once they are approved and good to go.
Guidelines for Content: What Is Okay to Publish in Apple News and What Isn't
Not all embeds are supported in Apple News. Here's a breakdown:
Facebook video embeds are not supported.
Facebook post embeds are supported.
YouTube embeds are supported, but please bear in mind that they are not included in Apple News's native analytics tracking.
Twitter embeds are supported.
Instagram post embeds are supported.
JW Player is partially supported. If you use our native integration, we can output it properly and track stats within Apple News for those videos. If you do not have it connected through our platform, it's possible it won't be supported by Apple's News format.
Ads in your articles that you may have added via our Ad Manager arenot supported. (For more information on ads, please see below.)
Apple News's Native Stats
Please bear in mind that native stats in Apple News do not count video plays from third-party providers.
When you click on the videos section in the JW Player Admin Dashboard and scroll to the very bottom of the page, they say that " These metrics do not include videos hosted on third-party websites such as YouTube and Vimeo."
How to Monetize Apple News
Apple has their own ad campaign management tool called Workbench. For more information, please check out their guide here. After you've set up your ads in Workbench, please contact your account manager or support@rebelmouse.com so that we can make an update on our end. We can set ads frequency from 0–10 (with 0 being no ads, and 10 being the highest amount of ads). Please let us know what frequency you prefer.
After that, if you are new to Apple News, you should be all set to go. If you've been publishing to Apple News for a while and need to make sure this change takes effect on older posts, please let your account manager know. We will need to run a script, which may take about two hours of developer work for our team, to refresh the ads frequency on those already-published posts. Please note that RebelMouse does not have control over ad placements in Apple News.
rebelmouse.comlearning.rebelmouse.com
Introducing RebelMouse Performance Monitoring
Multivariate Testing: An Introduction to Data-Driven Site Design
How to Set a Canonical URL
RebelMouse Matches Google's Best Practices for Images
Structured Data for FAQs
Make Sure Your Article Is SEO-Friendly
Filtering Posts in Layout & Design Tool
Calendar View in RebelMouse Dashboard
subscription model for publishers
Users are ready to pay for content that delivers
The Rise of the Mature User
It's been a long and winding path, but in 2023 the subscription model continues its upward trajectory as a top revenue strategy for publishers of all sizes. The tug of war between platforms and publishers reached its peak in the last few years of the previous decade, leaving users desperate for a modern user experience that's clear of any clutter from the duopoly that is Google and Facebook. This is why intelligent paywall models are a top choice for users looking to consume content right from the source. When done correctly, the strategy can work for any type of media. The New York Times, a frequent showpiece example of the power of paywalls, is constantly reporting record-busting subscription numbers, with 7.6 million digital subscriptions in 2021.
And it all makes perfect sense. The subscription model eliminates the middleman — such as the platforms — so readers get the experience and content they want, and publishers get the cash they need.
RebelMouse's Subscription Features
As a creative agency powered by modern technology, we know how to build a subscription experience that's designed for both the modern user who wants an optimized site experience and the modern publisher who relies on paywall revenue to survive.
RebelMouse's subscription features are customizable and easily support:
Free Trials: Create one-day, weekly, or monthly subscription plans.
Coupon Codes: Use promotional codes to give access to strategic partners and complement B2B deals.
B2B Subscriptions: Use email matching to sell access to companies.
Testing Powered by Data: We have a sophisticated suite of A/B testing tools — complete with Google Analytics integrations — that give you the ability to test what works, what doesn't, and how to better cater to your readers' needs.
RebelMouse's Paywall API is available to developers to make it easy to manage subscriptions. Access to paid content is managed via subscriptions attached to email qualifiers. Click here for more information on our Paywall API.
The Success of Our Subscription Model
Sites powered by RebelMouse are experiencing enormous success thanks to our subscription strategies, including the Italian newspaper La Verità. While publishers on other platforms typically see a decrease in audience when they implement a paywall, in their time leveraging RebelMouse's paywall strategy, La Verità has experienced continued, unprecedented growth. They are now one of the highest-growth media properties in Italy, and they've enjoyed significant revenue growth thanks to our paywall tools.
La Verità's superior site performance using RebelMouse's paywall tools.
Is a Subscription Model Right for You?
In the past, there was a stigma around paywalls that signaled they were only sustainable for large publishers with massive audiences already in place. But with today's users maturing, subscription models are more attainable for a variety of emerging media properties and legacy names alike.
It's important to strike the right balance between free content, subscriber revenue, and ad strategy. This is a lot to juggle for publishers who are already maxed out trying to create quality content worth reading.
At RebelMouse, we can help you determine if a subscription model will benefit you, and then build a custom, easy-to-use paywall system that works for your site. If you're not publishing on RebelMouse, we also operate as a world-class creative agency that can help you navigate the subscription business and any other content strategy you may be building toward. Either way, request a proposal today and let's start working together.
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