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Vevo and Yahoo Extend Content Partnership
A detail of the Vevo page on Yahoo Screen
Yahoo Screen, the tech company's trending video portal, has extended its partnership with Vevo, the companies announced today. The deal brings Vevo content, including music videos, live performances and original content to the Yahoo site. Content is currently available in the U.S. and Canada on desktop computers and will open into the U.K., Germany, France, Spain, Italy and mobile apps within a few weeks.
"Yahoo has the potential to be one of our largest partners," said Vevo CEO Rio Caraeff in a statement, "and our launch across Yahoo Screen and, soon in more countries and on more platforms, is a big win for viewers who want to watch their favorite music video programming anytime and anywhere."
International Power Players: Rio Caraeff, Alexander Kisch
Justin Bieber's 'Baby' Hits 1 Billion Vevo Views
Digital Notes: Music Apps Gain Revenue, Vevo Grows Views, Frank & Oak Leverages SoundCloud
Google, VEVO, AOL Top Ranking of Online Video Destinations and Ad Servers
The portal is organized into genres -- alternative, world music, soundtrack, etc. -- as well as 'New Releases' and 'Vevo LIFT,' a section focused on rising artists sponsored by McDonald's. Late last month, Yahoo Screen was made available to Roku users, extending the platform's reach by something like 8 million-plus eyeballs, according to the company.
Vevo views were up by a third last year, with the fastest-growing mediums (smartphones, tablets, and internet-connected TVs) driving most of that expansion.
Last week we learned that Dreamworks wanted a piece of the company. Looks like they're not the only ones.


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I first learned of CFP in 2006, when The Arthur B. Schultz Foundation (ABSF) was funding "global understanding" projects that focused specifically on reconciliation and peace efforts between countries and peoples in conflict. Although we have since narrowed this aspect of our grantmaking to a very specific women's empowerment strategy, we have remained connected to this organization through scholarships and a genuine interest in their important work.
CFP prepares the next generation of female leaders and peacemakers in Israel and Palestine and is currently the only organization working with young Palestinian and Israeli women on collaborative leadership and peacemaking. Each summer, a group of young Palestinian and Israeli women come to New Mexico to participate in a program that asks them to partner together as leaders by breaking down barriers of anger and prejudice, facilitating friendships, and inspiring action to promote peace. The program continues beyond the Summer camp through a number of activities, including home country gatherings, Young Leader training and support, as well as peace advocacy throughout the US, Israel and Palestine. Please take the time to visit their website and learn more about their important work at www.creativityforpeace.com.


text:
using UnityEngine;
using System.Collections;

public class DismissSplash : MonoBehaviour {
	public float delayTime = 2;
	IEnumerator Start () {
		yield return new WaitForSeconds( delayTime );
		Application.LoadLevel( 1 );
	}
}

redpajama_set_name: RedPajamaGithub


text:
The #1 Archive for Musical Theater
Jazz-Operetta of the 1920′s
Vienna Waltz Operetta
Offenbach & Co.
Holland Mania
US-Operetta
Hungarian Operetta
Nazi Politics
Cultural Politics after 1933
The Situation after 1945
Composers in Exile
Historical articles & reviews
New articles & reviews
<Everyone's Dancing The Charleston Tonight: "Die Herzogin von Chicago" in Leipzig
Victor Herbert's Last Operetta "Orange Blossoms" Returns To New York>
"Gaiety, Glitz and Glamour — or Dispirited Historical Dregs? A Re-Evaluation of Operetta": A Conversation with Prof. Derek B. Scott
kevinon 24/10/2018 /0 comments
Operetta Research Center
From 10 to 12 January 2019 the University of Leeds is hosting an international operetta conference entitled Gaiety, Glitz and Glamour — or Dispirited Historical Dregs? A Re-Evaluation of Operetta. It's in affiliation with the project German Operetta in London, New York and Warsaw, 1906–1939 (GOLNY), funded by the European Research Council. We spoke with Prof. Derek B. Scott from the University of Leeds about who is coming to the conference and what the new topics are going to be – and what changes there have been in the English language research world of late. Fasten your seat belts, it's going to be a bumpy (but very enjoyable) ride!
The University of Leeds in North England.
You are continuing your Gaiety, Glitz and Glamour series in January at the University of Leeds. This time the subtitle is A Re-Evaluation of Operetta. What has the evaluation of operetta been in the past, from a British or English language research perspective? And why is it high time for a re-evaluation?
The most common evaluation of operetta in the past has been that it is an old-fashioned genre, which returned briefly to the stages of Broadway and the West End after the success of Lehár's The Merry Widow in 1907; it then disappeared during the First World War but came back for a few years in the 1920s. Operetta has tended to be regarded as little more than a precursor to the Broadway musical. According to this narrative, American musicals of the mid-1920s, such as No, No, Nanette and Lady Be Good transformed the appetite of theatre audiences. Yet, if we jump to 1931 we find five premieres of operettas from the German stage produced in the West End. One of them, White Horse Inn, proved to be almost as sensational a success as The Merry Widow had been in 1907, and another, Waltzes from Vienna, ran for over a year and was adapted as a film directed by none other than Alfred Hitchcock.
Waiters on parade: the grand marching scene from London, 1931.
What is more, both White horse Inn and Waltzes from Vienna – under the new title, The Great Waltz – were just as successful on Broadway in the 1930s. It is now time to correct the misguided idea that operetta was of minor interest in the UK and USA and investigate the reasons for their being over 60 productions of operetta from the German stage in the West End, and over 70 on Broadway, between 1900–1940. Until recent years, most Anglophone scholarship relating to operetta has been of a cataloguing or plot-descriptive character. What we need now is the critical evaluation of operetta.
Ernst Stern's fantasy costumes for the girl dancers in the Broadway production of "White Horse Inn."
For a long time, the standard operetta books in English were by Richard Traubner and Kurt Gänzl. In his 2003 update of Operetta: A Theatrical History, the late Mr. Traubner wrote: "Operetta! Flowing champagne, ceaseless waltzing, risqué couplets, Graustarkian uniforms and glittering ballgowns, romancing and dancing! Gaiety and lightheartness, sentiment and Schmalz." Is that definition still appropriate? (Has it ever really been appropriate? Where does such a notion come from?)
The idea that there is a serious type of music and trivial type has its origin in the growth of a commercial music industry in the mid-nineteenth century. From then on, critics contrasted "true art" with mere entertainment. It has never been right, however, to understand operetta as nothing more than escapist entertainment. Operetta shines a light on a whole variety of social tensions, desires, aspirations and anxieties. That may be most obvious in nineteenth-century satirical operetta, but it is still to be found in twentieth-century operettas, which frequently engage with modernity, cosmopolitanism, gender relations, transnational business networks, new technology, and so forth.
Cross-dressed hightlight from "New York bei Nacht": Bernhard Rank as Thusnelda Mohrrübchen (= Miss Carrot). From: John Koegel: "Music in German Immigrant Theater; New York City 1840-1940."
Certain critics believed operetta was dulling the minds of audiences or making them pre-disposed to be manipulated by those in power, but it can just as easily be argued that audience were perfectly aware of harsh social realities and needed Utopian visions as an emotional release. We should remember that prisoners in Theresienstadt, whose personal circumstances were desperate, made efforts to put on operetta performances.
Richard Traubner's "Operetta: A Theatrical History."
For anyone accustomed to the Traubner definition, it might come as a shock that you are dealing with topics such as "Sexuality & Gender," "Socialist Realism & Totalitarianism," "Transnational Influence" and "Commerce." Where will the "Gaiety, Glitz and Glamour" be in that?
The subtitle of the conference, as you have noted, is "a re-evaluation of operetta." It is hoped that speakers will re-evaluate the notion that operetta can be simply summed up as "gaiety glamour and glitz" as well as challenge the views of critics like Adorno, who saw operetta as consisting of worn-out musical devices being bolted together as if on an industrial conveyor belt. Unlike opera, operetta often had contemporary subject matter, and even when it opted for history or myth there was usually some contemporary resonance (think of the quotation of the tune of the "Marseillaise" when the gods rebel against Jupiter in Orphée aux enfers).
You had a call for papers, and researchers from across the world replied. Were you surprised by the proposals you received? Did anything strike you as new and not much heard of before?
I was surprised that there were so many scholars risking their careers by undertaking operetta research! When I received the proposals for the conference, what did not surprise me was how many different countries were represented. I have always argued that operetta is a transcultural and cosmopolitan genre that crossed national borders with ease. I am really looking forward to the papers that discuss operetta in the context of authoritarian regimes but there are also some papers that seem to break new ground in investigating the business of operetta and the transnational influences on operetta.
The concentration camp registration card of Fritz Löhner-Beda from Buchenwald. Löhner-Beda wrote the famous "Buchenwald-Lied" while imprisoned there; he died at Auschwitz.
There has been a lot of new operetta research lately. What do you see as the new trends in terms of topics? And: is there a new generation of researchers who bring these topics with them, or why is there such a noticeable shift?
Operetta research has turned away from description to become interpretative and critical. A new trend is that scholars are now eager to investigate operetta productions in the context of cultural history and the social issues with which they engage. One of the most noticeable changes in their published operetta research is a concern to adopt the academic apparatus of footnotes in order to allow sources of information to be validated and verified. I do see evidence of a younger generation of scholars taking an interest in operetta. This evidence is found in recent publications, but also in the response to the call for papers for the upcoming conference in Leeds.
For the longest time it was professional suicide to specialize on operetta as an academic. You yourself had a bizarre experience in Canada in this context. Has that changed – can young researchers build a career with operetta? If so, what has caused the new situation?
You've reminded me that Canadian Opera paid for me to fly to Toronto to give a public lecture to accompany the production of Die Fledermaus. It was the first time Canadian Opera had performed an operetta, and it seems that the company had been unable to locate a Canadian musicologist who was prepared to speak about this work! I'm afraid there are still academics who would regard anyone who pays attention to entertainment genres as making a very unwise career choice. Yet, in the 1990s, pop music research suddenly took hold in academia, much to the surprise of traditionalists. Without doubt, it was the challenge to ideas of "high" and "low" art found in poststructuralist and postmodernist theory that prompted this new development. It seems to me the next move is to investigate mainstream culture of the past, and we will never properly understand what this means without studying operetta. It is frequently the cultural middle ground that is neglected in academic work, which often prefers to focus on the predilections of a cultural elite, or on working-class leisure activities.
Do the new topics your speakers will analyze go hand in hand with new operetta titles that have been re-discovered? (And why did it take so god dam long to break free from the eternal Fledermaus and Merry Widow?)
You may be prematurely optimistic in thinking companies have finally shaken off their obsession with Fledermaus and the Witwe. In Leeds, Opera North (the largest English company outside London) has just put on The Merry Widow for the second time in about five years. They have never performed any other operetta from the twentieth-century German stage. But, there again, has the Met? I've spoken to Opera North staff, and they are convinced that operetta will not sell seats. They believe the Widow attracts an audience because it is familiar or known by reputation. In other words, they are in the business of confirming taste and not challenging their audience with anything except the occasional premiere of a new opera. Hence, that audience gets older and greyer each year listening to the same things over and over again.
Whenever I mention the upcoming Leeds conference, there are always people who assume it will be largely concerned with Die Fledermaus and Gilbert & Sullivan, with perhaps some Offenbach thrown in. Not so. There are many more papers on twentieth-century operetta.
The major operetta performance impulses have come from Berlin – Barrie Kosky at Komische Oper and then the Gorki Theater with their Spoliansky rediscovery. How has this affected theaters and performers in the English speaking world? (Are conferences like yours paving the way for the stage to follow?)
I am astounded that Barrie Kosky's innovative productions of operetta have yet to have an impact on Anglophone productions. He has shown that operetta can attract a young audience. I was amazed at the number of young people I saw thoroughly enjoying Abraham's Ball im Savoy at the Komische Oper in Berlin. I do know that some of those working hard to support operetta performance, such as Ohio Light Opera, feel uneasy about following in the footsteps of the iconoclastic Kosky.
Ohio is concerned about applying Werktreue ideals to operetta, returning to original versions and removing interpolated numbers or other changes made in previous English-language versions. I remember one person I met during OLO's summer season complaining with a degree of outrage that Kosky had cast a male singer in the title role of Dostal's Clivia.
But was "truth to the work" ever a maxim that operetta directors of the past followed? There was nothing curatorial about Erik Charell's revival of Die lustige Witwe in Berlin in 1928. You may know that English National Opera has been experiencing grave financial difficulties. Why, I ask myself, do they not contemplate producing some operettas à la Kosky? The home of the ENO is the Coliseum, where White Horse Inn had its West End premiere in 1931 and played continuously to capacity audiences for over a year. I certainly hope the Leeds conference will make British theatres think more about the possibilities that operetta offers.
Prof. Derek B. Scott from the University of Leeds. (Photo: Private)
Not too long ago the V&A Museum in London presented a successful opera exhibition. Is there a comparable operetta exhibition in sight somewhere? (There were very popular shows at Theatermuseum Wien and even – of all places – at Schwules Museum Berlin.) Is it time for a British or major American based operetta exhibition? (After all, these countries were key players in operetta history.)
You may know that the London Theatre Museum closed, and much of what it contained passed to the V&A. They do have many designs for operetta costumes by famous designers such as Comelli (who also did a lot of work for the Royal Opera House). I would very much like to see an exhibition of their material related to operetta, but I'm not holding my breath!
I wish the Shubert Archive in New York would mount an operetta exhibition, given the material they have relating to the many operetta productions produced by the Shubert brothers. However, the space at the Lyric Theatre is limited.
The University of Leeds.
Can anyone come to your conference? Is there an attendance fee? Will some talks be made available as live streams? And: will you publish the talks afterwards, so that there might be a new English language book for all those who are tired of Operetta: A Theatrical History?
The conference is open to anyone who registers. The registration site will be advertised in November, and the attendance fee is £10 a day (waged) or £5 a day (unwaged, such as students, or the retired). The fee is being charged solely to help cover some of the cost of the provision of refreshments. I am asking about the possibility of live streaming, or recording of sessions, but I have not had any answer yet about whether this will or will not happen. Cambridge Scholars Press has written to me expressing an interest in publishing the conference proceedings.
Nazi star composer Rudolf Kattnigg, who wrote "Prinz von Thule" and "Balkanliebe." (Photo: Universal Music).
Your final discussion round is dedicated to "Operetta in Nazi Times: Aryan Sex and Syncopations for the Master Race 1933-1945." Politics have not exactly been at the forefront of recent operetta research in English. Even though Nazi politics/history are an eternal hot topic in the English-speaking world as well. Why have English researchers of the past turned a blind eye on this? And how do you thing a discussion about "Aryan Sex and Syncopations for the Master Race" will go down with students in Leeds? (Or your fellow professors at the university?)
This final session is a wonderful example of the unexpected re-evaluation of operetta that the conference is encouraging. English musicologists have generally shied away from music and politics, and when they do examine politics it is often in the context of a particular composer (the favourite being Shostakovich). Music of the Nazi period, in particular, has been found too awkward and embarrassing to delve into (although the work of Erik Levi is a notable exception). I'm sure that students will flock to this final conference presentation, but I'm also sure that if they come along expecting something along the lines of Springtime for Hitler they will surprised.
A pretty lady in pink holding a photo of Alberto Spadolini in the "Lustige Witwe" program book, 1940. (Photo: Atelier Alberto Spadolini)
Similarly, if any of my professorial colleagues suspect this session may contain some humour "in poor taste"—especially given the large Jewish music archive project with which some of them have been involved—then they will soon discover that laughter can be an excellent means of provoking critical thought, as Walter Benjamin pointed out.
For more information on the conference, click here.
Tagged: 1906–1939 Cross Dressing Derek B. Scott Gay & Lesbian Studies Gender Studies German Operetta in London Nazi Operetta New York and Warsaw University of Leeds
Editor's Pick><
"Frau Luna" And The Budapester Luft: The Berlin 'National' Operetta Vs. The Hungarian National Operetta
Mind the apostrophes! The recent revival of Paul Lincke's Frau Luna at Tipi am Kanzleramt is a firm reference point
Body Shaming In The Operetta World: Or The Cry For Help From Soprano Kathryn Lewek
In his novel Where Angels Fear to Tread, published in 1905, E. M. Forster describes a performance of Lucia di
"Barbe-Bleue" In Lyon: A Night Of Perfection
Observations Of A Traveling Operetta Enthusiast
How Big Is The Stretch From "Fosse/Verdon" And "Judy" To A TV-Series About Erik Charell And Fritzi Massary?
"Une danseuse à l'Opéra": Kurt Gänzl Examines The Phenomenon of Man And Mistress In The Second Empire
Charles Hayden Coffin: A 'Gay' Matinee Idol Revisited
Operetta Research Center © 2014

redpajama_set_name: RedPajamaCommonCrawl


text:
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import org.slf4j.LoggerFactory;

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			}
		} catch (HttpClientException e) {
			logger.warn("Failed to send NotificationMessage to {}. Exception was: {}", targetURL, e.getMessage());
		}
	}

}


Home > News > Darlington College will be open for students and staff as usual on Monday 5th March 2018.
Darlington College will be open for students and staff as usual on Monday 5th March 2018.
Posted on 2nd March 2018 at 1:31 pm.
If this situation were to change due to continued adverse weather conditions, then the College will post updates on the website and via social media.


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text:
Q: Loading dblink.sql in Postgres 8.4 I found good article in dblink http://www.postgresonline.com/journal/archives/44-Using-DbLink-to-access-other-PostgreSQL-Databases-and-Servers.html, but got stuck on loading dblink.sql.
Can anyone give me information on loading the dblink.sql into the database.
I am using pgAdmin III on a Postgres version 8.4.
Thank you

A: psql -d "database_name" < "dblink_location"/dblink.sql

redpajama_set_name: RedPajamaStackExchange


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text:
Das Naturschutzgebiet Nördliches Federseeried liegt auf dem Gebiet der  Gemeinden Alleshausen, Seekirch und Uttenweiler im Landkreis Biberach in Baden-Württemberg.

Das Gebiet erstreckt sich südwestlich des Kernortes Ahlen und nordöstlich des Kernortes Alleshausen. Nordöstlich verläuft die B 312.

Bedeutung
Für Alleshausen, Seekirch und Uttenweiler ist seit dem 10. April 2001 ein 170,0 ha großes Gebiet unter der Kenn-Nummer 4.301 als Naturschutzgebiet ausgewiesen. Es handelt sich um einen "für das Traufgebiet der Hohen Schwabenalb repräsentativen Hangabschnitt mit Mergelrutschhalden, Felsbildungen, reliktischen Pflanzengesellschaften und wertvollen Waldgesellschaften." Es ist ein "Lebensraum für eine Vielzahl seltener, überwiegend alpigener, z. T. stark gefährdeter Pflanzenarten, sowie seltener Tierarten mit teilweise nicht genutzten, oft nur extensiv bewirtschafteten, reich strukturierten Wäldern und reliktischen Wildgrasfluren." Das Gebiet enthält "europaweit bedeutende Fundstätten von Siedlungsresten aus der Stein- und Bronzezeit."

Siehe auch
 Liste der Naturschutzgebiete im Landkreis Biberach
 Federseeried (Vogelschutzgebiet)
 Federsee
 Westliches Federseeried/Seelenhofer Ried
 Südliches Federseeried

Weblinks
 4.301 Nördliches Federseeried auf lubw.baden-wuerttemberg.de

Einzelnachweise

Schutzgebiet (Umwelt- und Naturschutz) in Europa
Naturschutzgebiet im Landkreis Biberach
Schutzgebiet in Alleshausen
Schutzgebiet in Seekirch
Schutzgebiet in Uttenweiler

redpajama_set_name: RedPajamaWikipedia


OnePath Life Insurance previously known as ING and Mercantile Mutual was established more than 130 years ago. OnePath Life Insurance is owned by the Australian and New Zealand banking group (ANZ).
Licensed to operate as ING until 2010, all policies acquired after this date were under the OnePath Life Insurance banner.
OnePath has a reputation as one leading players in the life insurance market.
– Income Protection Insurance – The Income Secure Cover policy pays a benefit to the insured should they be unable to work due to illness or injury.
– TPD (Total and Permanent Disability) Insurance – TPD Cover pays out a sum to the insured should they be unlikely to return to work ever again due to injury or illness.
– Trauma Insurance – The Trauma Cover pays a lump sum if the insured suffer a critical illness as per the insurer's product disclosure statement.
OnePath Life Insurance offers a relatively simple application process with minimal if any medical tests and allows clients to many options in relation to waiting periods, benefit periods, premium type and how often they would like to pay for it.
Access for their products including Term Life, TPD, Income Protection and Trauma Insurance can be done online or through a qualified Life Insurance Adviser.


text:
/Residents
/Recycling & Waste
A to Z Recycling & Disposal Guide
Recycling & Trash Collection
Ramsey County Solid Waste Management Master Plan
The Ramsey County Solid Waste Management Master Plan (Master Plan) is a policy-based community "blueprint" for the solid waste system that supports healthy people, a healthy economy and a healthy environment.
The Master Plan guides how we reduce waste, increase recycling and divert waste from landfills and outlines how we work with residents, businesses and partners to meet state and county goals.
Per Minnesota statute, county master plans and revisions to the plans are submitted to the Minnesota Pollution Control Agency (MPCA) for approval in response to the MPCA's Solid Waste Management Policy Plan (Policy Plan) direction. The plans are written with a 20-year vision and updated every six years.
The Ramsey County Solid Waste Management Master Plan 2018-2038 was adopted by the Ramsey County Board of Commissioners on October 2017 and was approved by the MPCA in June 2018.
Read the plan
Focus of the plan
Reducing risk to environmental and public health.
Accountability: all people are responsible for the waste they produce.
Government as a leader in properly handling waste.
Waste as a resource that is recovered to produce energy.
Waste reduction, reuse, recycling and composting which are preferred over landfills.
Product stewardship to minimize the health, safety and environmental impacts of a product and its packaging.
Partnering with businesses to reduce waste.
Reducing greenhouse gas emissions.
Learn more about the evolution of solid waste master planning available in PDF format:
Master plan 101
Reduction and Reuse
To stay updated on the master planning process:
Sign-up for our monthly e-newsletter, Green Ramsey.
Follow us on Facebook @RamseyCountyMinnesota.
Follow us on Twitter @RamseyCounty.
Contact Environmental Health to share your thoughts, ideas and concerns.
Solid Waste Advisory Committee
Ramsey County is convening an ad hoc Solid Waste Advisory Committee (SWAC) to assist in revising its solid waste management master plan in 2017. The SWAC is appointed by the County Board, and consists of at least 14 members, including residents, industry representatives and municipal representatives. The Environmental Health Division coordinates the SWAC.
Meeting documents available in PDF format below.
Categorizing waste in Minnesota
SWAC presentation
Presentation - Food and Nutrition Commission
Presentation - Natural Resources Defense Council
Presentation - Second Harvest Heartland
Reduction and Reuse Fact Sheet
Presentation - Goodwill
Presentation - MN Pollution Control Agency
Presentation - ReUSE MN
Presentation - University of Minnesota ReUse Program
Construction and Demolition Waste Fact Sheet
Presentation - Frattalone Companies, Inc.
MPCA Metropolitan Solid Waste Management Policy Plan 2016 – 2036


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An old friend sent me a picture some years ago of an M151A2 he had acquired . It's one of those peculiar AM General A2s that show the evolution of the final design of their product.
This one has the side-drains but doesn't have the emission control canister and plumbing, so it was delivered somewhere between December 1972 and June/July 1973. It also has the body number stamped into the spare-wheel boss, and consequently it does not have the usual body-tag on the transmission tunnel.
Anyway, here it is..... a very nice-looking A2. The only thing I'd moan about is that the windshield washer system is not in place.....yet !
Great looking jeep, looks like a new one.
Restored an early AMG in the early 2000s .
Only wish I had this to reference when I did mine.
On closer examination I noticed the chain on the oil filler cap.
Was this GI? Great idea anyway! Am going to copy on mine.
This is personal but lose the bright hardware.
Would love to get a set of pics for reference.
The chain is original but I think most have lost them. If you notice your washers on the valve covers they have the hole for the retainer chain. I originally was not a fan of the bright bolts and lines but they grow on you. Not original but sure does add some contrast. I like the cad plated stuff myself.
I remember working on Bob Amons Mutt and I was afraid to put a wrench on those perfectly painted bolts! When I was done he would take a spray can and spray some paint into the cap and with a little brush go around and touch up all the bolts. Don't have to worry about that with the cad plated bolts.
Without belaboring it the bright hardware on the dash and transmission cover were the items that caught my attention.
I knew the guy who built Amon's jeep . He was the fellow who introduced me to 151s in the early 90s.
He was a nut on details.
Thus the red painted oil filler cap.
If you have an engine with those colors and you are reasonably sure it is original then I owe some people an apology.
You guys are killin' me!


This last weekend was the running of the annual AYC Lawson Reef Race - the race is from the west entrance of Guemes Channel down Rosario Strait to the Lawson Reef buoy, then across Rosario Strait to the west channel marker and return to the start. In total the race is about 19 nm - not very long!
For this event we had a lot of new crew joining us - for many of them both the boat and our systems were new. Our plan was to use this race as a training run, plus use it to test out our new 3Di J3.
Winds were SE 15-20 and very blustery close to shore. We were the start boat so we started 10 minutes after the rest of the fleet. We set the J3 & full main and beat out to the Lawson Reef buoy with a 2.00 knot ebb pushing us. At the Lawson Reef buoy we turned west and set the A3 kite. Just before the west channel marker we doused the kite and jibed onto our course to the finish. In the run to the finish we jib reached which then turned to a beat near the finish.
We completed the event in 1:54 with an average speed over 10 knots - unfortunately this was only good enough for 3 out of 4 in our class and 8th overall - somewhat predictable given the favorable currents and the short race.
In retrospect we should have kept the A3 up on the run home, peeled to the A5, and then jib reached to the finish - this would likely have saved about 10-12 minutes and considerably improved our finish position.


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Needle destruction device use as an engineering control for the Bloodbore Pathogens standard.
Standard Number:
1910.1030(d)(2)(i)
1910.1030(c)(1)(iv)
1910.1030(b)
OSHA requirements are set by statute, standards and regulations. Our interpretation letters explain these requirements and how they apply to particular circumstances, but they cannot create additional employer obligations. This letter constitutes OSHA's interpretation of the requirements discussed. Note that our enforcement guidance may be affected by changes to OSHA rules. Also, from time to time we update our guidance in response to new information. To keep apprised of such developments, you can consult OSHA's website at https://www.osha.gov.
Mr. George R. Salem
Akin, Gump, Strauss, Hauer, & Feld, LLP
Robert S. Strauss Building
1333 New Hampshire Avenue NW
Dear Mr. Salem:
Thank you for your June 24, 2002 letter to the Occupational Safety and Health Administration (OSHA) regarding the applicability of needle destruction devices as engineering controls under the scope of OSHA's Bloodborne Pathogens Standard, 29 CFR 1910.1030. Needle destruction devices (NDDs), such as SharpX (BioMedical Disposal, Inc.), are medical devices designed to incinerate a contaminated needle attached to a syringe after withdrawal from a patient. Your letter addresses several issues, which are restated below, followed by OSHA's response.
Issue #1: OSHA inspectors continue to be advised that needle destruction devices (NDDs) are "not compliant" with the Bloodborne Pathogens Standard.
OSHA Response #1: The standard defines engineering controls as "…controls (e.g., sharps disposal containers, self-sheathing needles, safer medical devices, such as sharps with engineered sharps injury protection and needleless systems) that isolate or remove the bloodborne pathogens hazard from the workplace." A device that reduces the risk to employees by destroying contaminated needles is clearly a type of engineering control, and OSHA's field staff have been so advised.
To comply with the standard, an employer must use engineering and work practice controls that will "eliminate or minimize employee exposure" (Sec. 1910.1030(d)(2)(i)). OSHA's compliance directive explains that under this requirement "the employer must use engineering and work practice controls that eliminate occupational exposure or reduce it to the lowest feasible extent" (OSHA CPL 2-2.69 §XIII, D.2.). The employer's exposure control plan is to describe the method the employer will use to meet the regulatory requirement. The plan must be reviewed and updated at least annually to reflect changes in technology that will eliminate or reduce exposure (Sec.1910.1030(c)(1)(iv)).
An NDD may be included as a component of an employer's exposure control plan to the extent it assists the employer in minimizing exposures. Use of an NDD alone will not be sufficient to meet the standard's requirements, however it is appropriate where use of a different or an additional control will reduce exposure to a lower level. In this connection, we note that a Needle Destruction Device, like a sharps disposal container, is an engineering control for the point of disposal. Because an NDD is intended to eliminate the needle after use, it may be beneficial in reducing or eliminating exposure to downstream workers. On the other hand, an NDD provides no protection while an employee is using the needle or prior to placing the needle in the device. This is where much of the employee exposure occurs. For example, according to data from EPINet at the International Health Care Worker Safety Center at the University of Virginia (which you provided in your letter of May 23, 2002), most injuries from contaminated sharps occur during use (32%), between steps (13%), during other activity after use, before disposal (18%), and when putting the item into a disposal container (7%). Approximately 90% of the injuries documented occurred while using a needle without a safety feature.
In many situations, devices are available that will reduce exposures prior to the point of disposal. Where feasible, the most effective way of removing the hazard of a contaminated needle is to eliminate the needle altogether by converting to needleless systems. In other situations, the hazard can be reduced through using a sharp with engineered sharps injury protection (SESIP), which isolates the sharp from the healthcare worker as it is withdrawn from the patient. Congress recognized the value of needleless systems and SESIPs by enacting the Needlestick Safety and Prevention Act (NSPA), P.L. 106-430, 114 Stat. 1901, which amended the bloodborne pathogen standard to include and define these terms. Section 2(7) of NSPA provides that "…the use of safer medical devices, such as needleless systems and sharps with engineered sharps injury protection, when they are part of an overall bloodborne pathogens risk-reduction program, can be extremely effective in reducing accidental sharps injuries."
The distinction between NDDs, on the one hand, and SESIPs and needleless systems, on the other hand has been recognized by Federal OSHA, the State of California Department of Industrial Relations, and the Food and Drug Administration (FDA):
OSHA has stated previously, "the most effective way of removing the hazard of a contaminated needle is to eliminate the needle completely by converting to needleless systems. If this is not possible, removal of the hazard as soon as possible after contamination is required. This is best accomplished by using a sharp with engineered sharps injury protection (SESIP)" (Letter of Interpretation to Congressman LaTourette, June 27, 2001).
Further, Cal/OSHA, in its response to a petition submitted by BioMedical for its SharpX device (Cal/OSHA, Petition File No. 416, September 11, 2000), states, "other than possibly reducing needlestick injuries during disposal related to their use or failure, alternative disposal technologies [needle destruction devices] no more provide protection from contaminated needlestick injuries at 'the point of use' than do traditional sharps boxes."
The FDA puts NDDs into the same family of protection as sharps containers. They "place sharps needle destruction devices in Class III because the technological characteristics of the sharps needle destruction devices raise new types of safety and effectiveness questions when compared to conventional sharps disposal containers. (Premarket Approval Applications (PMA) for Sharps Needle Destruction Devices; Final Guidance for Industry and FDA, March 2001)." The FDA also states that a label on an NDD may claim, "the device (NDD) serves as an alternative to or as an effective substitute for conventional sharps containers for disposal of contaminated sharps needles, if data demonstrate that the remaining needle nub is no longer a sharp."
OSHA recognizes that needleless systems and SESIPs are not available for all situations. Moreover, there is a wide variety of devices available, and the device that most effectively reduces exposure can vary with the procedure. Employers must use their judgment in selecting appropriate engineering controls, and under NSPA, must consult with affected nonmanagerial employees [NSPA Sec. 3(4)(B); 29 CFR 1910.1030(c)(1)(v)]. In selecting controls that will eliminate or minimize exposure to its employees, an employer of course must take into account the full range of exposure, including exposure prior to the point of disposal.
The legislative history of NSPA, to which you have referred, is fully consistent with this position. The Joint Statement of Legislative Intent on Substitute to H.R. 5178 states:
To the extent that specific types of devices, such as catheter securement devices or needle destruction devices can reduce the risk of needlestick injuries, such devices could be appropriate components of an employer's comprehensive exposure control plan. Nevertheless, it is impossible for this legislation to recommend any one type of engineering control (106 Cong. Rec. p. H8676 (2000)).
This language does not say that the use of NDDs is always or generally sufficient to bring employers into full compliance with the standard. It only says that to the extent that they reduce the risk of needlestick injuries, they can be appropriate components of an exposure control plan. In this regard, the selection and use of NDDs may be most appropriate for clinical procedures where SESIPS or needleless systems are either not feasible or not commercially available (for example, certain procedures in geriatrics, pediatrics, and orthopaedics). Where NDDs are used, they should be used in accordance with manufacturer's instructions. For example, the SharpX is not meant to be used in potentially explosive environments, or where flammable gases or liquids are stored or used, such as operating rooms and emergency rooms.
Finally, your letter asserts that some SESIPs are ineffective. You refer to an article describing a citation issued by the State of California. There are many types of SESIPs and needleless systems that are commercially available. The standard requires employers to implement the use of SESIPs that do not compromise worker or patient safety or the outcome of the medical procedure. To meet the definition of a SESIP in the standard, a device must have a "built-in safety feature or mechanism that effectively reduces the risk of an exposure incident." See 1910.1030(b) (emphasis supplied). If a device that causes needlesticks to occur or blood to be emitted has been chosen, the device may not have been an appropriate selection. As noted, the standard requires the employer to use engineering and work practice controls that will eliminate or minimize exposure, and to review the availability of controls at least annually as part of its exposure control plan review. Thus, the California citation alleged that the employer's device did not meet the definition of a SESIP because it did not provide effective protection, and the article describing the citation states that there are many better, safer products on the market (May 23 letter, Tab 8).
Issue #2: NDDs must submit product clearance to the FDA at a "level three" approval, which requires clinical data conclusively demonstrating the product's safety and effectiveness. "Level Three" approvals require the most stringent level of testing, and all instructions, marketing materials and labeling must be approved by the FDA. Assuming that OSHA has been given the authority to institute a "hierarchy" of engineering controls, that "hierarchy" should be based on the classification system established by the FDA, the federal agency tasked with determining a medical device's efficacy.
OSHA Response #2: The FDA, in a 1994 memorandum to manufacturers and initial distributors of sharps containers and destroyers used by health care professionals, stated that "if the type of sharps device submitted in (the) 510(k) submission is found to be not substantially equivalent (NSE) to a predicated device, your device will automatically be classified in Class III, in accordance with the requirements of section 513(f) of the Act, thereby requiring the submission of an application for premarket approval (PMA)." In short, FDA "Level Three" approval is required because NDDs are newer devices that are not substantially equivalent to a device manufactured before 1976. Level Three approval does not imply that needle destruction devices afford greater protection against bloodborne pathogens than other engineering controls, such as needleless systems or SESIPs.
Furthermore, the FDA 510(k) Submission Application allows the label for a medical device with sharps injury prevention features to state that it meets the OSHA bloodborne pathogens standard only if permitted by OSHA.
Issue #3: OSHA is only permitting Becton Dickinson to explain the use of its engineering controls; BioMed and other NDD manufacturers formally request the same opportunity.
OSHA Response #3: As we stated in our May 2002 meeting with you, we welcome BioMed or any other medical device manufacturer to educate our staff on the use of its products. We have never restricted a manufacturer of a safety product from doing so. We welcome the opportunity for our staff to meet with device manufacturers and have had the pleasure of meeting with several companies that offer several different types of medical devices, personal protective equipment, training materials, and the like.
Issue #4: OSHA is apparently advising employers that OSHA is in the process of compiling a "report" concerning NDDs.
OSHA Response #4: OSHA is not compiling a report on NDDs or any other engineering control.
In conclusion, OSHA continues to categorize NDDs, and conventional sharps containers, as engineering controls for the disposal of contaminated needles. NDDs are currently designed to be used only with standard syringes that present the risk of exposure during use and prior to disposal. The use of an NDD alone, therefore, will not be sufficient to meet the standard's requirements where a different or an additional control, such as a needleless system or a SESIP appropriate for the procedure, is commercially available and feasible and will reduce exposure to a lower level.
Thank you for your interest in occupational safety and health. We hope you find this information helpful. OSHA requirements are set by statute, standards and regulations. Our interpretation letters explain these requirements and how they apply to particular circumstances, but they cannot create additional employer obligations. This letter constitutes OSHA's interpretation of the requirements discussed. Note that our enforcement guidance may be affected by changes to OSHA rules. Also, from time to time we update our guidance in response to new information. To keep apprized of such developments, you can consult OSHA's website at http://www.osha.gov. If you have any further questions, please feel free to contact the Office of Health Enforcement at (202) 693-2190.
John L. Henshaw


text:
Listings in Team Mentoring
List Relevancy Distance Alphabetical Popular Refine
Categories : Team Mentoring
124 Type of Mentoring (One to One, Peer, etc.)
5 Team Mentoring
2 E-mentoring
25 Group Mentoring
114 One-to-One Mentoring
15 Peer Mentoring
122 Age Range (Elementary, Middle, High School, 18+)
15 College - over age 18
73 Elementary School (grades K - 5)
84 High School (grades 9 - 12)
88 Middle School (grades 6 - 8)
123 Type of Program (School-based, Community, etc.)
51 Community Based mentoring
7 Faith Based Mentoring
71 School Based Mentoring
8 Site-Based
The Light House Vocational Education Center
in One-to-One Mentoring, Group Mentoring, Peer Mentoring, Team Mentoring, School Based Mentoring, Community Based mentoring, Middle School (grades 6 - 8), High School (grades 9 - 12)
Divided into three campuses, The Light House has a broad range of programming including two state-approved private schools, residential and transitional services, and state contracted disability services.
125 Shaw St
New London, Connecticut 6320
Bookmark this |Send E-mail
in One-to-One Mentoring, Group Mentoring, Team Mentoring, School Based Mentoring, Community Based mentoring, Elementary School (grades K - 5), Middle School (grades 6 - 8), High School (grades 9 - 12)
Domus seeks non-judgmental, caring, and committed adults to become trusted friends, advisors and role models to elementary, middle or high school youth, whose social and emotional growth and academic performance have been negatively impacted by adver
83 Lockwood Avenue
Stamford, Connecticut 06902
(203) 324-4277 x 24
The RiseUP Group, Inc.
in One-to-One Mentoring, Group Mentoring, Team Mentoring, School Based Mentoring, E-mentoring, High School (grades 9 - 12), College - over age 18
RiseUp's Mission: To empower our youth to become the catalysts to UPLIFT and INSPIRE urban communities.
Hartford, Connecticut 06103
Bridgeport Public Education Fund, Inc.
in One-to-One Mentoring, Group Mentoring, Team Mentoring, School Based Mentoring, Elementary School (grades K - 5), Middle School (grades 6 - 8), High School (grades 9 - 12)
The Bridgeport Mentoring Program is a school based program that takes place on the school grounds during the school day.
Bridgeport, Connecticut 06604
The Future Project
in One-to-One Mentoring, Group Mentoring, Peer Mentoring, Team Mentoring, School Based Mentoring, High School (grades 9 - 12), College - over age 18
The Future Project is a national educational initiative to end an epidemic of disengagement in schools by cultivating inspired entrepreneurship and social action.
5-9 Union Square West, 4th Floor


text:
The Porch Room to Record Audiobook of JoEllen Notte's "In It Together"
The Porch Room is excited to announce it will produce its first ever audiobook: In It Together by JoEllen Notte, out in March from Thornapple Press. The audiobook will be recorded by J. Michael DeAngelis and read by its author.
From the publisher: Millions of people worldwide are coping with depression. Whether it's you, a family member, a friend or a partner — odds are depression affects your life. Even so, many of us don't know what to do when it hits someone we care about. JoEllen Notte challenges the preconceived ideas that keep us from showing up for each other in a meaningful way and offers strategies for supporting each other and ourselves when depression comes calling. Challenging the notions that tell us that's not my business or they probably don't want to talk about that, In It Together equips readers to navigate depression alongside the people they care about. Informed by interviews with over 200 people coping with depression and featuring practical tips and real-life examples, In it Together is an insightful and much-needed guidebook for people with depression and those who love them.
JoEllen Notte is a certified sex educator, writer, speaker, sexuality researcher, and mental health advocate. She is the author of The Monster Under the Bed: Sex, Depression, and the Conversations We Aren't Having and blogs at The Redhead Bedhead. Her work has been published by the BBC, Glamour, Bitch Media, xoJane, and Kinkly.
The Porch Room has been in the audio creation space since 2019 with the launch of its podcast, Mission: Rejected. Audiobook recordist J. Michael DeAngelis has also directed the podcasts Things (Un)Said, Oz-9, and CS Radio – The Official Podcast of University of Pennsylvania Career Services. This will be his first audiobook.
The audiobook will be available alongside the print edition on March 3, 2023. An Indigogo campaign to support the author's book tour has just launched here.
Watch the pre-release trailer, featuring familiar Porch Room voices Nazli Sarpkaya and Dave Stanger!


text:
Daniel Pedrosa Loureiro, más conocido como Dani Pedrosa, (Ribadeo, 4 de septiembre de 1996) es un futbolista español que juega de delantero en el UD Ourense.

Carrera deportiva

Formado en la cantera del Club Deportivo Lugo debutó el 16 de octubre de 2013 con el primer equipo al ser sustituido por Keko Vilariño en un partido de Copa del Rey contra el Real Club Recreativo de Huelva.

En Segunda División debutó el 31 de mayo de 2015 frente al Albacete Balompié.

El 27 de enero de 2016 fue cedido al UD Somozas de la Segunda División B. El 27 de febrero de 2016 marcó su primer gol con el Somozas, en la victoria de su equipo por 3-1 contra el Coruxo FC.

Durante la temporada 2016-17 volvió a ser cedido al Somozas. Su temporada en el Somozas no fue demasiado buena tras no marcar ni un solo gol. Aun así disputó 27 partidos.

Para la temporada 2017-18 se marchó cedido al CCD Cerceda, que disputaba su primera temporada en Segunda División B. El 3 de septiembre de 2017 marcó su primer gol con el Cerceda, dándole la victoria a su equipo contra el Pontevedra CF.

Clubes
  SD Ribadeo (2002-2008 )
  Club Deportivo Lugo (2013-2018)
  UD Somozas (2016-2017) (cedido)
  CCD Cerceda (2017-2018) (cedido)
  Real Valladolid Club de Fútbol "B" (2018-2019)
  UD Ourense (2019-2020)
  Racing Villalbés (2020- )

Referencias

Futbolistas de la provincia de Lugo
Futbolistas del Club Deportivo Lugo
Futbolistas de la Unión Deportiva Somozas
Futbolistas del Centro Cultural y Deportivo Cerceda
Futbolistas del Real Valladolid Club de Fútbol "B"
Futbolistas de la Unión Deportiva Ourense
Nacidos en Ribadeo


Naval Attaches representing 33 nations were able to get a first-hand understanding of the focus on Maritime Autonomy that Thales is developing at Turnchapel Wharf in Plymouth.
Thales showcased its work to an international audience at a Capability and Innovation event in March, clearly demonstrating the significant investment that has been made in both innovative technologies and the local maritime ecosystem.
The Naval attaches visited Turnchapel Wharf, Thales's waterfront Maritime Autonomy trials centre in Plymouth on Thursday afternoon, 28 February 2019. The event aimed at igniting interest among navies globally in establishing their own autonomous capabilities.
The representatives were taken by chartered boat into Plymouth Sound to gain an insight into the level of activity currently being undertaken at Turnchapel by both Thales and its supply chain, in support of the joint UK-French MMCM programme. The group had the opportunity to see an Unmanned Surface Vehicle (USV) being put through its paces during some of the ongoing trials activity being conducted at the facility.
During the three-hour visit, naval attaches also met representatives from Plymouth City Council, more than 15 small- to medium-sized companies and academic institutions, all working with Thales as part of the South West Maritime Ecosystem.
Thales has a well-established track record of successfully identifying and integrating SME expertise, agility and diversity in its programmes.
Since Minister for Defence Procurement Stuart Andrew officially opened Turnchapel Wharf in October 2018, Thales has been conducting trials as part of Maritime Mine Counter Measures (MMCM). Designed to keep sailors out of harm's way during mine hunting operations, MMCM is a joint UK-French programme to develop an autonomous mine hunting capability.
Maritime autonomy is set to revolutionise naval operations, and Thales will be at its cutting edge, through its ten-year investment in this capability and its involvement in MMCM. The UK and French navies are committed to MMCM and have aspirations for early exploitation of autonomy in future mine countermeasures and hydrographic capabilities.
MMCM and Turnchapel Wharf will enable the European defence ecosystem to remain at the forefront of Maritime Autonomy.
Thales will make Turnchapel Wharf, with its waterfront facilities, proximity to maritime expertise and access to varied sea trials areas, the UK's maritime autonomy centre of excellence, enabling rapid exploration and exploitation of emergent and disruptive technologies.
The company has already invested £1 million in the first phase of the site's development and stage two, a shoreside control centre, is being planned. All of this is also good news for Plymouth, with up to 100 new jobs predicted to be generated by 2025.
The future of maritime warfare is currently being tested and certified at Turnchapel Wharf, and the international naval delegates will have left the Capability and Innovation Event with the future firmly imprinted on their minds.
"We're working closely with enterprise partnerships locally. High-value manufacturing will grow the local economy and contribute to Plymouth's aspiration to become the blue-tech maritime city of the UK," said Matt Hunt, Maritime Autonomy Lead, Turnchapel Wharf.


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I hope you don't mind, I reblogged it. A lot of your writing is beautiful!


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