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How Oakland used data to get students online during COVID-19
Alyssa Cubello • Product Marketing Manager
Learn how Oakland Unified School District closed the digital divide, and how you can leverage good data to provide equity access in your district.
When schools closed in response to the COVID-19 pandemic, it cast a harsh light on the digital divide in our communities. For schools, providing equitable learning opportunities meant finding a way to connect every student to the internet and devices for digital learning—a task easier for some districts than others.
Equity was a particular challenge for the Oakland Unified School District, serving about 50,000 students, when switching to 100% distance learning in March 2020. Half of their students don't speak English at home and 75% qualify for the free and reduced lunch program. "COVID really exacerbated the issue of the digital divide that was already present," says Jordan Mickens, Public Policy Fellow at the Mayor's Office for the City of Oakland.
We realized we didn't want this just to be a bandaid fix, a temporary fix as a city. We really wanted to use this moment to think about how we close the digital divide for good in Oakland.
Jordan Mickens, City of Oakland
Providing equitable education for 50,000 K-12 students
Oakland Unified and the City of Oakland decided to meet this challenge by setting a lofty goal: Make sure that 100% of Oakland students have the devices, internet and tech support to learn digitally. They launched Oakland Undivided, a partnership between the school district, the Oakland Mayor's Office, Tech Exchange, the ED Fund, and Oakland Promise.
In the last nine months, Oakland Undivided has made massive gains in closing the digital divide for their students, with 96% of students currently connected and learning digitally. How did they do it? It all starts with good data.
In a recent webinar hosted by Clever, Jordan Mickens and Juan Du, Executive Director for the Department of Research, Assessment and Data at Oakland Unified, provided insight into how data usage allowed Oakland Undivided to gain traction on their goal. What they shared has vast implications for other districts, large and small. Here are three tips that could help close the digital divide in your district.
1. Cultivate your data sources
Distance learning indicators, such as surveys, provide a treasure trove of information for understanding the digital needs of students. Oakland Undivided launched a comprehensive survey which asked families about the barriers to digital learning they're facing.
The group originally estimated that about 50% of students had a difficult time connecting to school from home, but the survey revealed that number was closer to 75%. This information allowed them to get clarity on the challenge and figure out what resources would be needed to meet it.
Another way to understand if students can log in is by accessing Clever data in Clever Analytics. Teachers, tech coaches, and district administrators all have one friendly place in Clever to see how students are engaging with edtech across the district. District administrators can get started by downloading Clever participation data right from their Clever Dashboards.
2. Define data outputs and strive for clarity
Juan points out that the quality of the data should also be considered. In their initial survey, she explains, the school district only asked for yes or no answers to questions about device and internet access, which failed to extract necessary context around how many students were sharing a single device at home.
For example, ask questions like:
Do you have access to a computer at home?
Student has access to a family-owned laptop or computer at home to use for schoolwork
Student has access to a shared computer at home, but it is not always available for student to use for schoolwork
Student does not have access to a computer at home to use for schoolwork
Does each student in the family have access to their own device?
In what way are you accessing the internet?
No home internet
Internet through phone only
Internet through hotspot only
Low-cost home WiFi (under $15/month)
Standard home WiFi ($30/month – $60/month)
Do staff understand the nuances of tracking attendance?
3. Find a consistent way to track data and share broadly
It's important to organize the results to make the data easily consumable. Jordan says the trick wasn't just in collecting the data, but organizing that data to get a better picture of what online learning really looks like in the district.
To track district-owned devices sent home to students, for example, Oakland Unified relied heavily on their SIS and then pulled that data into Tableau to create a report. Smaller school districts could also accomplish this with tools like Google Sheets.
By sharing the reports publicly, districts can ensure everyone has the same working definition of what equitable access means, and to provide decision makers with the information they need to help close the gap.
Oakland created a public dashboard so the entire community could track attendance and participation data: OUSD Public Reports.
Oakland Undivided is proud that today, 96% of its students have access to the devices and internet needed for digital learning, and they remain committed to reaching their goal of 100% equity access.
To learn more about Oakland Undivided's work, and the role good data can play in closing the digital equity gap, check out Clever's webinar Advancing Digital Equity: How Oakland used data to get students online during COVID-19.
by Alyssa Cubello
3.3 million students share notes of gratitude with their teachers
by Anne Murguia • VP of Marketing


March 20 2019, 4:47 p.m.
If he were to become president, former Starbucks CEO Howard Schultz has vowed to hire staff that "truly represents America in every way." He got an early jump on that with a hire representing a particular corner of America: the corporate boardroom.
Tucker Warren, who has been running communications for Schultz's independent, not-yet-presidential campaign since January, is also a partner with Hamilton Place Strategies, a public relations firm for numerous corporate clients, including several big banks. Founded by Tony Fratto, a former press aide to George W. Bush, Hamilton Place has for years cranked out arguments favoring financial deregulation and opposing the breakup of the nation's largest financial firms.
That goal appears to be at odds with Schultz's staffing decisions, given that Warren's employer works for a multitude of special interest groups.
Warren told The Intercept in an email that he is on leave from Hamilton Place and "focused full-time on Howard Schultz." On Hamilton Place's website, Warren is still listed as a partner, and his LinkedIn page states that both jobs are current.
Hamilton Place Strategies did not return a request for comment. Currently, Warren is the only member of the PR shop who is employed by Schultz.
"My work for Howard Schultz has no bearing on HPS or the counsel it provides to clients," Warren said to The Intercept. However, given the breadth of his corporate clients, the potential for a conflict of interest is strong. Warren's Hamilton Place bio indicates that he "oversees client accounts pertaining to domestic and international finance, trade, insurance, healthcare, education, manufacturing, transportation, and technology," which describes nearly all major domestic policy that a president would need to administer.
Warren would not commit to recusing himself from working on these issues as part of the Schultz campaign. "I will absolutely and without hesitation engage on issues – the list you provided is basically the entire U.S. economy – where my career has given me understanding that can inform our team's thinking," he wrote.
He joined Hamilton Place in 2011 and was made a partner in 2014. Previously, he was the communications director for the Financial Crisis Inquiry Commission, which studied the 2008 banking industry crash. Before that, at the PR firm Edelman, he worked with corporate clients like JPMorgan Chase and AstraZeneca. Warren has largely worked behind the scenes at Hamilton Place, but the firm's positioning on key issues of financial regulation offers a window into the work he did.
Hamilton Place is most widely known for going to bat for Wall Street. Major trade associations and big banks are some of the firm's largest clients. Fratto, who was a Treasury Department spokesperson under George W. Bush, frequently pops up in financial regulation-related stories, scoffing at the need for new rules on the big banks. In 2016, Fratto was one of the biggest opponents of the 21st century Glass-Steagall Act, which would have imposed a firewall separating investment banks that engage in trading activity from commercial banks that take deposits.
Fratto also has been one of the most consistent backers of the Export-Import Bank, which facilitates cheap loans for foreign deals with U.S. multinationals. Hamilton Place created "Exporters for Ex-Im," an ad hoc group of companies seeking to turn the cheap lending spigot back on.
In 2013, Hamilton Place released a report called "Banking on our Future: The Value of Big Banks in a Global Economy," which argued that capping the size of U.S. banks would reduce American influence and competitiveness, while not making the global financial system any safer. "The truth is that the U.S. needs both large multinational banks and small community banks in order to service the needs of the U.S. and global economies," the report reads. The report also claimed that U.S. banks aren't that big compared to European counterparts, though that margin disappears when using comparative international accounting standards.
A more recent report in July 2017 pronounced big banks "safe and sound." Notably, Hamilton Place didn't reverse this pronouncement amid the significant bank deregulation put in place by the Trump administration.
In short, Hamilton Place is a full-service support staff for Wall Street banks, parroting their arguments at every turn for years. And now one of their partners is doing communication for a possible presidential candidate.


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GrammaTech, Inc
GrammaTech Announces Dramatic Improvements to CodeSonar Static-Analysis Engine
CodeSonar analyzing code up to 5 times faster.
Boston, MA, October 31, 2008 --(PR.com)-- Embedded Systems Conference–GrammaTech, Inc., a leading provider of source-code analysis tools, today announced that CodeSonar 3.3 Enterprise is dramatically faster than its predecessor. In addition to improved performance, a richer API makes it easier for users to add a wide variety of custom checkers. It is also easier to visualize trends in software quality—management-level reports and custom charting features have been refined.
"Many of our customers are analyzing projects that consist of millions of lines of code. CodeSonar's deep analysis was taking a while on these large projects. After carefully rearchitecting portions of the analysis engine, the analysis time has been reduced dramatically. For example, analysis time has been reduced by 50 percent to 67 percent on most benchmarks on Windows, Linux, and Solaris. For some customers running on Mac OS X, analysis time has been reduced by 80 percent," said Mark Zarins, vice president of products at GrammaTech.
CodeSonar is a sophisticated static-analysis tool that performs a whole-program, interprocedural analysis on code and identifies complex programming bugs that can result in system crashes, memory corruption and other serious problems.
CodeSonar has long been the software-analysis tool of choice for companies working on mission-critical applications such as satellites, avionics, industrial controls and medical devices. Increasingly, companies outside the safety-critical space that are looking to significantly improve software reliability and security are adopting CodeSonar. This includes organizations developing software for wireless devices, networking equipment and consumer electronics.
CodeSonar 3.3 Enterprise beta is currently being used by a number of customers and will be formally released in Q4 2008. CodeSonar 3.3 will have the same pricing as CodeSonar 3.2, which is available today with pricing starting at $4,000 USD for small projects. Licenses for larger projects are priced based on the size of the project. Interested parties are encouraged to visit GrammaTech's booth #418 at the Embedded Systems Conference or request a free trial of CodeSonar by contacting GrammaTech at info@grammatech.com.
GrammaTech's static-analysis tools are used worldwide by startups, Fortune 500 companies, educational institutions, and government agencies. The staff includes ten PhD-level experts in programming languages and program analysis. The company has offices in Ithaca, New York, and San Jose, California. More information about GrammaTech can be found at www.grammatech.com.
GrammaTech and CodeSonar are trademarks of GrammaTech, Inc. All other trademarks are property of their respective companies.
The URL for this release is located at:
http://www.grammatech.com/news/2008/releases/10-28-08.html
North American Sales Contact: GrammaTech, Inc., 960 Saratoga Ave., Suite 113, San Jose, CA 95129, Tel. 408-246-9100, Email: info@grammatech.com, Website: www.grammatech.com.
International Sales Contacts:
UK and Scandinavia: Scientific Computers Ltd, Jubilee House, Jubilee Walk, Three Bridges, CRAWLEY, West Sussex, RH10 1LQ, UK, Tel: +44 (0)1293 403636, Email: info@scl.com.
France: ISIT, 8 Av. Jean Mermoz, Bât. Les Diamants, 31770 Colomiers, France, Tel: +33 (0)5 61 30 69 00, Fax: +33 (0)5 61 16 50 63, Email: isit@isit.fr.
Japan: A.I. Corporation, Iijima Bldg, 2-25-2, Nishigotanda, Shinagawa-ku, Tokyo, 141-0031, Japan, Tel: +81-3-3493-7981, Fax: +81-3-3493-7993, Email: sales@aicp.co.jp.
Korea: MDS Technology Co., Ltd., 15F., Kolon Digital Tower Billant, Guro3-dong, Guro-gu, Seoul, Korea, 152-777, Tel: +82-2-2106-6000, Email: grammatech@mdstec.com.
Barbara Stewart
barbara@patterson.com
www.grammatech.com
Beverly Wykoff
beverly@patterson.com
PR.com
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Home › Science › Meet our scientists › Mr Tim Spedding - environmental remediation scientist
Mr Tim Spedding - environmental remediation scientist
Open video: Scientists of the Antarctic: Mr Tim Spedding
Scientists of the Antarctic: Mr Tim Spedding
I've spent approximately eight summers in the Antarctic, and I loved that experience.
I also really love the work because it does have real tangible environmental improvements.
So I lead a team of multidisciplinary scientists and engineers, looking at and assessing the human impacts in the Antarctic and this is primarily around contaminants, fuels and heavy metals.
Remediation in the environmental context means the improvement of soil or water back towards its original state.
The reason we need to remediate sites in Antarctica is that, as part of the Antarctic Treaty, all nations that work down there have an obligation to clean up their waste disposal sites and minimise their environmental impact.
There are lots of technologies in the world that have been used in temperate conditions but have never been applied to the Antarctic, and our role is taking these technologies, modifying these technologies, and assessing if they can work to clean up contaminated sites in the Antarctic.
One remediation technology that we are very familiar with is bioremediation, which is using the natural or the native microorganisms in the soil, in Antarctica, to degrade fuel.
Ultimately our aim for our research is to be used by other nations. They'll take our information and they'll be able to make informed decisions to remediate and clean up contaminated sites around their stations.
[end transcript]
Show video transcript
Tim Spedding: BSc (Hons), MSc
I'm involved in a mixture of research and applied science that focuses on reducing the impact that humans have on our polar regions. This involves the assessment and clean-up of legacy and contemporary contaminated sites in the arctic and Antarctic.
As part of the Australian Antarctic Program, my emphasis has been on the research and application of soil and water remediation technologies at sites in the Antarctic and sub-Antarctic affected by fuel spills and heavy metals.
I am a geologist and soil scientist by training, having studied at the University of British Columbia (Vancouver) and McGill University (Montreal) in Canada. For the first seven years of my career I worked with industry and government studying and remediating the effects of oil and gas exploration, production and mining in the Canadian arctic. Since 2008 I have had the good fortune of working with and leading a highly experienced team of chemists, engineers and remediation scientists as part of the Human Impacts and Remediation team at the Australian Antarctic Division.
This diverse team works collaboratively with university partners to determine what remediation techniques work, or don't work, in the unique and logistically challenging Antarctic environment. We then implement these techniques for the full scale remediation of selected sites.
Starting remediation is one thing, but knowing when to stop remediation is equally important. This requires an informed understanding of environmental risk, soil health and the environmental values that are trying to be protected, or improved. As such, our key areas of investigation include:
Bioremediation (supporting native Antarctic soil microbes to degrade fuel and remediate soil).
Permeable reactive barriers and water treatment to prevent migration of, and treat, contaminants in water.
Using liners and containment systems to contain waste during the remediation process.
Vapour intrusion and protection of human health.
Trialling and developing "plug and play" containerized systems for soil and water clean-up.
Using emerging remediation technologies (e.g. electrokinetics) to make remediation processes faster or more efficient.
Understanding what a healthy and functioning Antarctic soil is, the effects of contaminants and remediation processes on soil health and determining remediation end-points to allow for risk-based decisions on reusing remediated soil.
The work that the Human Impacts and Remediation team does is very applied and results in tangible environmental improvements. In addition to cleaning up contaminated sites, our team has a tremendous opportunity to positively influence the science that supports management, protection and restoration in the Antarctic for use by all Antarctic Treaty nations, and ensure that government policy and management decisions are fully informed by science.
Remediation of petroleum contaminants in the Antarctic and subantarctic (Chief Investigator, AAS #4036)
Atmospheric carbon fixation: a novel strategy driving niche development and climate adaptation in polar desert soils. (AAS #4406)
Using indigenous terrestrial micro-invertebrates to assess environmental impacts of soil pollution in Antarctica. (AAS #4450)
Key outcome areas
Committee for Environmental Protection (CEP): Scientific papers that support Australia's leadership in environmental science, remediation and risk assessment in Antarctica
Australian Antarctic Program Science Strategic Plan (Theme 2: Terrestrial and Nearshore Ecosystems: Environmental Change and Conservation, Stream 2.3: Human Impacts: prevention, mitigation and remediation.
Contributions to polar environmental assessment, remediation and management research.
Australian Antarctic Division Strategies Branch (Policy) and Support Centre (Operations)
International/national collaborations
International engagement through science (most recently through the Brazilian and Argentinian Antarctic programs, Danish Government [for remediation in Greenland] and the MASDAR Institute (UAE)
University of Melbourne, Department of Chemical and Biomolecular Engineering – Dr Kathryn Mumford and Dr Geoff Stevens
University of New South Wales, School of Biotechnology and Biomolecular Sciences – Dr Belinda Ferrari
Queens University (Canada), Faculty of Engineering and Applied Science (Civil Engineering) – Professor Kerry Rowe
Contaminants in Frozen Ground Conferences
Cleaning up fuel spills in Antarctica
Powering pollution reduction
How clean is clean enough
ResearchGate profile
McWatters, R.S, Rowe, R.K., Wilkins, D., Spedding, T., Hince, G., Richardson, J., Snape, I. (2018) Modelling of vapour intrusion into a building impacted by a fuel spill in Antarctica Journal of Environmental Management. Journal of Environmental Management. In Press.
Errington, I, King, C.K., Wilkins, D., Spedding, T., Hose, G.C. (2017) Ecosystem effects and the management of petroleum-contaminated soils on subantarctic islands. Chemosphere 194.
Freidman, B., Terry, D., Wilkins, D. Spedding, T., Gras, S., Snape, I., Stevens, G., Mumford, K.M. (2017) Permeable bio-reactive barriers to address petroleum hydrocarbon contamination at subantarctic Macquarie Island. Chemosphere 174.
McWatters, R.S., Wilkins, D., Spedding, T., Hince, G., Raymond, B., Lagerewskij, G., Terry, D., Wise, L., and I. Snape. (2016). On-site remediation of a fuel spill and soil reuse in Antarctica. Science of the Total Environment 571.
See more publications in ResearchGate.
Conservation and management
Human impacts and remediation
Frontier science
Dr Virginia Andrews-Goff - marine mammal scientist
Dr Dana Bergstrom - applied Antarctic ecologist
Dr Bruce Deagle - molecular ecologist
Dr Mike Double - Leader, Australian Marine Mammal Centre
Dr Louise Emmerson - seabird ecologist
Dr Gwen Fenton - Chief Scientist
Dr Ben Galton-Fenzi - glaciologist
Dr Glenn Johnstone - applied benthic biologist
Dr Catherine King - ecotoxicologist
Dr Andrew Klekociuk - atmospheric scientist
Dr So Kawaguchi - krill ecologist
Mr Rob King - marine research facility specialist
Dr Rob Massom - sea ice and remote sensing scientist
Dr Klaus Meiners - sea ice ecologist
Dr Brian Miller - marine mammal acoustician
Dr Andrew Moy - ice core research scientist
Dr Damian Murphy - atmospheric physicist
Dr Colin Southwell - vertebrate ecologist
Dr Jonny Stark - marine ecologist
Dr Aleks Terauds - spatial ecologist
Dr Tas van Ommen - ice core palaeoclimate scientist
Dr Dirk Welsford - fish and fisheries scientist
Information for scientists
Science strategic plan
Australian Antarctic Science Council
This page was last updated on 15 February 2019.


The chief government officer of Nasdaq, Adena Friedman, mentioned cryptocurrency and blockchain, amongst quite a few topics, in an interview with CNN. Within the interview, Mrs. Friedman expressed bullish optimism for the way forward for cryptocurrency.
Relating to blockchain, Mrs. Friedman emphasised the alternatives for effectivity within the arenas of submit-commerce and settlement.
"I feel the know-how is an interesting and really sound know-how, its only a matter of creating positive that the group is all embracing it collectively," Mrs. Friedman concluded.
In a current interview with CNBC, Mrs. Friedman said that Nasdaq is open to the prospect of providing cryptocurrency trade providers sooner or later.
Do you agree with Adena's Friedman's outlook for cryptocurrency? Share your ideas within the feedback part under!


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Q: A choice of an ultrafilter in a Rudin-Keisler equivalence class Given a Rudin-Keisler equivalence class of ultrafilters, is it possible to construct a member of this class without using axiom of choice?

A: In the case of nonprincipal ultrafilters on the natural numbers, you cannot in general define an ultrafilter in a given Rudin-Keisler equivalence class.  Specifically, suppose you begin with Solovay's model for "all sets are Lebesgue measurable" (a model that has no nonprincipal ultrafilters on the natural numbers) and adjoin an ultrafilter $U$ by forcing with the set of infinite subsets of $\mathbb N$ ordered by inclusion.  Then, using the language of set theory plus a symbol for the RK-equivalence class of $U$, it is not possible to define $U$ itself or any other member of this equivalence class.
On the other hand, there are situations where remarkably many nonprincipal ultrafilters are definable.  For example, under the assumption of the axiom of determinacy (AD), there are no nonprincipal ultrafilters on the natural numbers but there are lots of nonprincipal ultrafilters on other sets, and here there are lots of definable ultrafilters.  For example, the closed unbounded subsets of $\omega_1$ generate an ultrafilter under AD.  More generally, any RK-equivalence class contains at most one normal ultrafilter, so if an RK-equivalence class contains a normal ultrafilter then that's a canonical representative of the  equivalence class.  It is known that AD implies the existence of normal ultrafilters on many cardinals, so there are many RK-equivalence classes with canonical representatives.

redpajama_set_name: RedPajamaStackExchange


text:
description: General troubleshooting steps for extensions.
toc: true
topics:
  - extensions
  - troubleshooting
  - errors
contentType:
  - how-to
useCase:
  - extensibility-extensions
  - troubleshooting
---
# Troubleshoot Extensions

If you see issues with your [extensions](/extensions), we recommend that you begin the troubleshooting process with the following two steps:

1. Reinstalling the extension
2. Migrating to Node.js v8

## Reinstall the extension

One of the first things you can do when running into issues with an extension is to reinstall it:

1. Go to [Dashboard > Extensions](${manage_url}/#/extensions).
2. On the **Installed Extensions** tab, delete the extension.
3. Log out of the Auth0 Dashboard.
4. Log back in to the Auth0 Dashboard.
5. Reinstall and reconfigure the extension.

## Migrate to Node.js v8

Many Auth0 extensions rely on modules that use Node.js v8. If your tenant still uses Node.js v4, you may have issues running extensions or get errors such as:

```
Compilation failed: Cannot find module 'auth0-source-control-extension-tools'
```

We recommend changing your tenant's extensibility runtime from Node.js v4 to Node.js v8. Before updating, however, review the [migration guide](/migrations/guides/extensibility-node8) for full details on what will be affected by this change.

You can change the Node.js runtime version by going to the **Extensibility** section in [Tenant Settings > Advanced](https://manage.auth0.com/#/tenant/advanced).

## Contact Support

If you are still experiencing issues with your extensions, and you need to [contact support](https://support.auth0.com/), please be sure to **include errors logs and/or [real-time Webtask logs](/extensions/realtime-webtask-logs) with your support ticket**. Errors and logs can help Auth0 support troubleshoot your issue faster.

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Here at Our Mobile Health we work with the whole ecosystem in digital health and have the UK's first curated library of the 'best of the best' health and medical apps that are peer-reviewed by experts. With decades of experience in digital health, we are well aware of the growing competition in this arena, and the need for app developers to distinguish themselves in a crowded marketplace. We are therefore really pleased to be partnering with Research2Guidance for their 7th annual mHealth App Developer Economics Study and invite you to have your say too.
For those who are unaware, every year Research2Guidance (along with its entourage of loyal supporters) conducts an annual study that aims to identify hot topics and trends in the mobile and digital health industry. As a way of giving back to the community, a free-to-download report is then published based on findings from the survey. Year after year new and exciting market trends are revealed, and the survey always gives rise to excellent feedback from all over the world.
This year, pay special attention will be paid to the market surrounding digital health accelerator programs. According to research, digital health startup funding decreased over the last 12 months, yet we continue to see an increasing oversupply of programs designed to facilitate these grass-root investments. Accelerator programs and start-ups are of course mutually beneficial. But more often than not, there is a lack of clear understanding for each other's environments.
This year the survey also takes a closer look at marketing strategies, and budgets for internal and external app development.
So, now is the time to have your voice heard. If you: have previously or are currently developing or publishing mobile health apps; are involved in mobile or digital health strategy, investment, or innovation; are a healthcare professional with knowledge of or experience in mobile health, then the researchers would love to hear from you!
So join us and have your say in the 7th annual global mHealth app developer economics survey.


Hello Rani Mukerji Fans, Welcome to Indian Top Superstar Rani Mukerji Profile. Rani Mukerji is a Very Beautiful, Talented and Most popular Indian Film Actress and model. Rani Mukerji was born 21 March, 1978 (Rani Mukerji age 38 Years) in Mumbai, Maharashtra, India. Rani Mukerji is a Very Talented, beautiful and most popular Indian Film Actress. Rani Mukerji established her career as a one of the Most highest Profile Actres of India. Rani Mukerji has Received Several filmfare awards and nominations as well as Seven Film Fare awards. Rani Mukerji is a Daughter of Ram Mukherjee (Former Film Director) and Krishna Mukherjee, who is a Former Playback Singer. Rani Mukerji has elder sister Named, Raja Mukherjee, who is a film producer and Director of Indian Film Industry. Debashree Roy is her Maternal Aunt, who is also a Very Popular Bengali Film Actress.
Rani Mukerji is a Very Popular Name of Indian Bollywood film industry. Rani Mukerji was made her debut by the Bollywood Hindi film Kuch Kuch Hota Hai in 1998. Rani Mukerji has acted a lot of Hindi and Tamil, Telugu films. Rani Mukerji some popular films are Kuch Kuch Hota Hai (1998), Saathiya (2002), Hum Tum (2004), Veer-Zaara (2004), Black (2005), Bunty Aur Babli (2005), Kabhi Alvida Naa Kehna (2006), No One Killed Jessica (2011), Talaash (2012) and Mardaani (2014). Rani Mukerji Married to Aditya Chopra (m. 2014), They has one Children. Let's Read the Full overview of Rani Mukerji Height, Weight, Age, Wiki, Bio, Husband, Family, Measurements from Here. You may also read the Measurements of Rajinikanth Height, Weight, Age, Wiki.


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Battling Insecurity, Mistrust, and Disease: Are We Capable of Reining in Epidemics in Complex Environments?
« Atlanta's Role in the Global Mental Health Revolution
Investing in the Power of Nurse Leadership Webinar »
Organized by the Nuclear Threat Initiative
A reception will follow the event.
The fight to stem the rapid spread of an infectious disease is a fight against an infectious agent, as well as a struggle with the conditions that enable outbreaks to persist, such as political instability, insecurity, and economic uncertainty. Most recently, the 2018 Ebola virus disease outbreak in eastern Democratic Republic of Congo has proved to be wickedly durable for reasons beyond the outbreak itself. Health workers have been attacked and killed, limited government efforts have been stymied due to mistrust, and communities have struggled to find the confidence to mount an effective response – resulting in an outbreak that continues to this day.
Since response efforts must focus on fighting battles on multiple fronts, it is increasingly apparent that solutions must involve community perspectives and experiences in order to curtail the spread of pathogens. Dr. James' remarks will examine the role of communities in minimizing the risks, managing the hazards and defending against the threats to health and life posed by complex epidemics.
Wilmot James, Visiting Professor of Political Science and Pediatrics, Columbia University
With remarks by:
Ernest J. Moniz, NTI Co-Chair and CEO
Professor Wilmot James is a visiting professor of political science and (non-clinical) pediatrics at Columbia University in New York City. An academic by background with a Ph.D. from the University of Wisconsin at Madison, Dr. James was previously a Member of Parliament in South Africa. Professor James serves on the expert panel of the Global Health Security Index and works with the Nuclear Threat Initiative on biosecurity issues, catastrophes and emergency response.
https://www.nti.org/


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Jimmy Bralower: Web Exclusive
"Jimmy Bralower pioneered the trail of what we programmers were to become—co-creators connecting the artist with technology, while retaining the musicality and expressiveness with what the future tools of creativity offered to us. Those who worked with us as a programming team called us Killer B's. As musicians we used our skills and experience as players to collaborate with the artists in a very interactive way—offering the flexibility of live musicians that artists were used to working with, while using programming as a tool to expand their creativity and offer a kind of flexibility that had not been known before."—keyboardist, producer, & programmer Jeff Bova
Jimmy Bralower was born to make records. The drummer started playing at a very young age, and by the time he was in his early teens, his first band, the Young Ones, had signed a deal with a major label. In the ensuing years Bralower worked his way from clubs and concert halls to becoming a first-call studio drummer. In 1980 he created a new way to present drums on record, diving into the brand-new electronic technology and mixing it with acoustic kit work.
Although he didn't invent the machines, Bralower most certainly led the way in developing the way they were used. In a short period of time—and at just the right time—he skyrocketed to become a master of his game by programming and playing on records that have since sold in excess of 250 million copies. All through the '80s and '90s, if a record was made—especially at the famed Power Station in New York City—there's a very good chance Jimmy was on it.
In September of 2000, Bralower combined his skills for talent development and record making and became VP of A&R for Atlantic Records. These days Jimmy is still active, playing, writing, and producing from his state-of-the-art home studio in Long Island, New York, where an astounding collection of multiplatinum records hang on the walls. Among the artists he has worked with over the years: Kurtis Blow, Hall & Oates, Madonna, Steve Winwood, Peter Gabriel, Duran Duran, Cyndi Lauper, Meat Loaf, Celine Dion, Eric Clapton, Carly Simon, Nile Rodgers, the Bee Gees, and Britney Spears—and that's just barely scratching the surface.
Among Bralower's recent projects are the Soul Survivors' Heart Full Of Soul CD (featuring original members Charlie and Richie Ingui), which Jimmy played on and coproduced (with Johnny Gale) for his own label, 45 Records. Currently he's producing soul singer Ryan Shaw's next record, a follow-up to their previous collaboration, This Is Ryan Shaw, which earned them a Grammy nomination. Shaw's song "In Between," which Jimmy cowrote, produced, and mixed at his studio, is nominated this year for Best Traditional R&B Vocal Performance.
The February 2011 issue of MD includes two stories with Bralower—his Gimme 10! list of tips, and his unique Kit Of The Month article, where he runs down some of his classic studio gear. Here we talk more about his early years, electronic drum technology, and the projects he's working on now.
MD: Let's start by discussing the era when producers and songwriters were always asking programmer/drummers, "Can you make the machine sound real"?
Jimmy: [laughs] Well, that was the joke. It was like they wanted the real guy to sound like a machine and they wanted the machine to sound like a drummer. There was no winning. The technology was so weak for synchronizing that if somebody cut a live track and they wanted those sounds, I had to play them by hand onto the live track.
MD: Can you explain how you synched it up?
Jimmy: I've got war stories that would make your blood curdle. [laughs] A lot of times people didn't cut to clicks. For example, one time I was replacing drums on an Eric Clapton record that was cut live and I had to manufacture a click track by hand, by tapping it manually. It was insane.
MD: So if you were working on a drum track, would you play or program exactly what was played on top of what was already there?
Jimmy: I would replace stuff at times. If they didn't like the sounds or the part, I would have to get rid of the drums. It's like building a house and saying, "I'm going to take the concrete out from underneath it." That was the game. And there were no tools to do it with. I had to learn how to be really resourceful [when producers or artists were] not taking no for an answer.
Another example was when I worked with Peter Gabriel. He had this track that he'd cut in the '70s with one of the earliest drum machines, and the clock in it was random, so the tempo was wandering. I programmed it and rode the tempo knob on my machine in real time, getting it as close as I could without it drifting too much. It was that kind of stuff—whatever you had to do.
MD: You were like a mad scientist.
Jimmy: Well, I really enjoyed it, but at times it was crazy. One time this guy made a demo at home on his Teac 8-track that got him a deal. It was this amazing demo, but he had no drumkit. He had a snare drum, but he played the kick drum with a note on his ARP synthesizer, and his "hi-hat" was a cymbal that he placed on his living room couch to deaden. And he played each part one at a time with two hands. It was impossible to re-create those parts. His kick drums were doing these 16th-note skips that would have made Jim Chapin cringe. [laughs] It was like four guys playing at once, all totally random. So I was thinking like a drummer, and I'm thinking, I can't do this in real time. So I start manufacturing it one part at a time. And then, at the same time, it was the beginning of the era when everyone wanted it perfect.
Disco was when the metronome showed up in pop music. Before then I was the metronome. I would count off a song and play it. I never thought twice about being locked in time—it was all feel. Now they wanted each kick drum hit to sound exactly the same, and they're looking at the meter to see where it's peaking. Or they made you sit there and play your drums for eight hours to get a sound. My theory is that before 24-track every engineer was trying to get control of the session, because everything was leaking [into other mics]. They never had control over sound, and when they finally did they went crazy trying to isolate each drum on a separate track.
MD: I remember that on a lot of my sessions, I'd go in with my Octapad, triggering kick and snare with my hands. Then I'd go in and do live cymbals and hi-hat, and then overdub toms.
Jimmy: Exactly. If you were playing a live kit the drums used to go on four or five tracks. Now with 24-track they would suddenly go on eight or nine. So not only did they want them on separate tracks, they didn't want to hear a tom buzzing the snare. They didn't want to hear any other sound on a track but the kick drum or snare drum. So the whole rest of the kit would be isolated, and they'd use gates and tape the drums up just to separate everything. It's kind of like recording a guitar with each string on a separate track. You can screw up a drummer's feel by unbalancing those separate tracks. It was a nightmare. So the machine really gave me the control back from what I was dealing with.
And it was still all about performances. It was a real interesting time. All these technologies were converging. When I started working at the Power Station as a session drummer, it was Steve Gadd, Steve Ferrone—guys that were great—and I thought, I'm really good, but I'm not THAT guy. So this was my hook; the time was right, and I was the guy. I got on all those records because I was the drummer who knew how to use all the equipment.
Back in the day everybody was being adventurous; nobody really knew what he or she was doing. But I was fortunate that I got to do it with good, smart people. There were a lot of people who were doing it but weren't working on good songs or with good singers. I was lucky, though I worked really hard to position myself to stay working at the Power Station.
All my favorite-sounding records were coming out of that place, so I figured out a way to get in there. Dire Straits, Nile Rodgers—they all had Linn drums sitting in a box out in the main room. Nobody knew how to use it, but everyone wanted it. So I saw the way to go—it was like a fist coming at my face, it was so obvious. So I said, I'm going to learn how to do this.
MD: And they didn't want only the keyboard player or guitarist programming the drum parts.
Jimmy: That's exactly right. They knew I was a drummer, and they knew I could sit and play, so they felt that I understood what they were looking for. And I liked making records, so I wanted to be in the studio for the whole process. What started happening was I'd go in, they'd give me a cassette of a demo, and I'd program drums without any other music around. It was so antiseptic.
Around this time I also started working with a great keyboard player/programmer, Jeff Bova. The two of us were like a band with all the electronics. We would go in and actually play—I could hear a bass part and change my kick drum accordingly. So now it's more producing, playing, programming, doing the whole thing.
The drum machine actually freed me up—once I stopped thinking, What would a drummer do? and instead thought, What would a drummer do if he had three hands? In those days programmed sounds were so unnatural and in your face. Normally a drummer in a room glues it all together with a little ambience. But with the machine, the hi-hat was over here and the tom was over there…. It was so discrete and spread-out that if I stopped playing the hi-hat to do a fill, like you would as a drumset player, it sounded idiotic. So I thought, If a drummer had three hands and he could keep playing his hat while he was doing a fill, he probably would. So I just went for how it sounded. And it sounded more natural to me to do things that were unnatural. It was always about sound. Not, "What would I do if…" but, "How does this sound"? Because bottom line, at the end of the day, no listener really knows or cares. And playing with a machine, I had a whole percussion section.
The whole drum machine thing, drummers got taken aback by it. They hated the drum machine. But I loved it. I could just let it go and play on top of it. If I'm playing drums and someone is playing tambourine or shaker, I can do other stuff as opposed to feeling like I've got to do more to cover for 16ths. So it opened up a whole new world. It was pretty daunting because I would have guys, who shall remain nameless, who walked into the studio and saw my machine and wanted to throw it through the window of the control room. I had drummers crying in the corner of the control room. I was such a bad guy to some people. And then there were guys like Mickey Curry [Hall & Oates, Bryan Adams] and Jim Keltner who understood that this was just a new option, and we got along great. I always say it's just like another color, not like "either/or."
What's happened these days with some modern rock bands is that every drummer sounds the same because he's playing a million miles an hour and it's all quantized. You can't tell the difference between styles, so you lose the personality. It's just a drum part—it's not a guy playing it anymore. And at that point the machine wins, because the machine does it perfectly, and without an attitude. [laughs] It's funny because I'm not into perfect. I used to have to program imperfect things in there just to make a turnaround feel more natural. That's when you've got to use your band-guy ear as opposed to your technician's ear.
There are a lot of reasons why things are different today. I'm not saying it's better or worse. But I do think it's a problem that they've taken away the need to go out and play in a band and learn what it is to play hit songs—getting them under your belt before you start writing them, and learning what it is to perform. It's like saying, "I watch Grey's Anatomy, and I'm going to open up a practice." That's what it is with music today. There are a lot of guys who don't learn, so there's a big center missing in peoples' experience.
MD: In your Gimme 10! piece [February 2011 MD] you mention that sounds serve feel. Can you elaborate on that?
Jimmy: It's very often about attack and decay, not placement. And always make sure your samples are edited cleanly. Sometimes a sample that has a little space at the front will give you that slightly off-the-beat sound that can work for you in a hip-hop groove but could screw you up in a regular drum part. Try playing with different amounts of swing on individual elements to make your beats breathe. For me it's usually things like hi-hats and percussion that take well to subtle changes. The kick and snare are usually the anchors, and I don't mess with them too much, except for grace notes and fills.
MD: Let's go back to when you first started playing.
Jimmy: It's the old Ed Sullivan story—when Ringo and the Beatles came around. I started a band when I was thirteen, and we learned how to play together as a band by playing to Ventures records. Those guys were the studio musicians of those days. We got a record deal a year later. I was fourteen and I'm in the studio making a record. So that's what I was doing up through high school. Then I went to college and went crazy, quit school a couple of times to be in bands. In those days if you wanted to be in the music business, there was no college degree for that. The college degree for me was going out and playing in bars. So I did that for a while and had a few bands and tried to make it.
MD: Did you ever take lessons?
Jimmy: I did get a drum teacher, Johnny Blowers, who was a big-band guy. He was a very musical drummer from the Gene Krupa school, and he taught me about accompanying singers. I learned from him about playing drums in ensembles, rather than being a soloist. He taught me about timekeeping and paying attention to the singer.
MD: What else did you listen to?
Jimmy: I was into guys like Dave Clark and his records—which turned out to be someone else playing—but my influences were all the guys in those British bands. I loved that stuff. Jazz-wise it was Blakey, Max Roach—the very musical guys. I was always attracted to that type of drummer. Then later I got into Mitch Mitchell and Ginger Baker. That whole five-year period from like '64 to '69 sealed the deal for me. It was a bombardment of unbelievable music that just kept coming.
I learned to appreciate the Motown guys a little later. My next-door neighbor when I was growing up was Hal David, who was Burt Bacharach's partner. I didn't really pay much attention to it at the time, but those old Dionne Warwick records that they wrote the songs for were being written right under my nose. I would hang out in their house, and that's what was going on there. Now those are some of my favorite records from those days, but back then I was more into the guys with the Vox amps. That scene was more appealing than the R&B thing, which ironically I've been doing a lot more of now with a lot of retro soul music.
Of course, growing up on Long Island, I liked Carmine Appice and the Rascals with Dino Danelli—there was a whole scene going on around here, which was not the kind of music my band was playing. I was a total Blues Project fiend, a big Al Kooper fan. And Jim Keltner was an influence, Levon Helm too. All of those style guys really got to me. I was into their style rather than their technique, which is something I really believe in. Technique is something you have so you can play whatever you feel.
When I started doing sessions, it became clear to me that there were two kinds of session guys. One kind I call seat fillers, like, "I need a drummer," and you could put anyone in the slot. The other kind is, "I need Keltner," "I need Gadd," you know what I'm saying? You can't teach style to people. I once saw Levon, Ringo, and Keltner at a Ringo show at Jones Beach—three of the most unique drum styles ever. And it was fascinating because it wasn't just three drummers, it was three personalities. I was always more attracted to style than to how fast someone can play.
MD: Would you say that since you've always been a "song" guy, that's why you're producing and writing now?
Jimmy: Absolutely! The drummer in the music I liked was always the solid timekeeper—Al Jackson's style of playing. We didn't know who those guys were in those days because they weren't advertised. I didn't know who the Wrecking Crew was or that Hal Blaine was playing on half of the records I loved. My line is that in those days the music ran the business, and today the business runs the music. A lot of good music has gotten marginalized these days.
When I was a kid and got signed to Columbia, I would go up to the offices, and all the producers were also the A&R guys. Russ Titelman, who was part of that Warner Brothers A&R team, Gary Katz, Teddy Templeman—they were all the big producers. To me an A&R guy was a producer. I would think, When I grow up, that's what I want to be! I got hired at Atlantic as VP of A&R to do exactly that, but it was a difficult time, as it is today, to develop new talent at a big record company.
MD: When you were playing acoustic drums on sessions, were you reading charts?
Jimmy: I wasn't a good reader, but I was a quick study. I could memorize something after hearing it once. I could read, but for some reason, the way my brain works, if I'm looking at a page…I'd rather close my eyes and get inside it.
I came from playing in bands. Sometimes I don't feel like a drummer. I feel like…I don't want to say a musician who plays the drums, but I'm not just in "drummer land." To me it's part of a package. It's not an isolated thing. If I had to play a ten-minute drum solo in the studio, it wasn't really my favorite thing. My favorite thing was to find a sweet spot and get in with it, just feel the music. That's why that Al Jackson stuff is so great. To me there's nothing better than that.
Also, the thing with drumming is, when you have a chart there's a right and a wrong. If you don't play what's on the chart, then what you played is wrong. As a producer I realized that you have to leave yourself open to accidents—the best things that happen are when somebody does something "wrong" that's better than what was "right." If you're saying, "Hey, that's not what's on the chart," then you never get the kind of happy accidents that are on some of your favorite records. It's a real reactive sport to me.
I came up in an era when recording was performance. There was no technology. I remember my first recordings were on two mono machines. We'd all play, and then we'd all do mass overdubs together and ping-pong between the machines. And you had to mix on the fly—you had to make decisions on the spot. If it sounded good to you then, it still sounds the same today as it did the day you recorded it. Whereas today, you really can fix it in the mix.
MD: What are a few of your most memorable sessions?
Jimmy: Stevie Winwood's "Higher Love." Russ Titelman produced it. I came in first and did machines, and then JR Robinson came in and loosened it up with live drums. On that record there's live drums, machine drums, machine percussion, and live percussion all together. We weren't afraid to mix and match, whereas most people would say either we're using machines or we're going live. We did both. Steve is a brilliant programmer, and he had all these ideas. I spent a lot of time in a hotel room doing preproduction with him. He was an idol of mine. It was an amazing thing to watch that record come to life.
I did a lot of memorable work with Jim Steinman. Another was Eric Clapton's track "No Alibis" with Jim Keltner. I did a lot of work with Jim. He and I are really good buddies. He's unafraid and curious, and really into it. And he's just the sweetest guy—a real human being. That's when I got to work with Clapton and George Harrison. For me, you could have stopped everything right after that session!
Then there was the record I did with Cyndi Lauper, "True Colors." I played live and set up all these delays so that every time I would hit a pad it would pulse in time with the track, because the only way to cut that song was to have her sing live with the keyboard player. We had to figure out ways to do it. That was a real interesting one, and it was special.
There are so many others—Jimmy Cliff, Peter Gabriel…. Working with those guys is an adventure, just going into the creative zone. Hall & Oates was a big one for me because "Say It Isn't So" was the first really big hit that I played on. I had a huge hit with Celine Dion called "It's All Coming Back To Me Now," which is a Jim Steinman record. That was eight minutes of real-time programming. Roy Bittan played a piano part on the demo, and they used that on the track, so it was all free time. It was huge; it sold like 7 million copies.
MD: Can you explain what real-time programming is?
Jimmy: It's when you start with a live track that isn't in time. With "It's All Coming Back To Me Now," they loved Roy's performance so much that they wanted to build the record around it. They tried having a live guy play drums to it, but it was so complicated—because each section was different—that we had to really get into the dirty details of what was going on in each eight bars. So I had to create that and then figure out a way to manually synchronize to this piano, which was playing in free time. I could program the machine, but quantized to what? If the third bar slowed down, I had to play it to the piano. So I would play it out of quantized time into the machine.
When I was doing fills I would normally play them in real time on the pads, like on a Simmons pad or an Octapad. The backbeats, the basic drum part, was quantized, though I got into playing hi-hat stuff in real time just because it was much easier to play it than to program each note dynamically. And that would make it breathe.
The problem with "It's All Coming Back To Me Now"—and if you listen to the record you'll hear this—is that it changes up constantly. So we had to do it in pieces and somehow make it feel as if it actually happened live, like we were actually playing along with the piano. It was nuts.
Another memorable session was Brian Wilson's "Love And Mercy," a true highlight for me. I got to do a Beach Boys/Hal Blaine kind of thing, but once again I had to play the pads to a track that wasn't quantized. So I played the pads by hand, tapping them in real time. All the percussion was live, and I would tap the fills on my Linn drum, just like a loose, Hal Blaine–does-Ringo thing.
MD: So what are you up to these days?
Jimmy: I started making records with Ryan Shaw and Soul Survivors because I wanted to have some fun again. I was making Japanese pop records, and it was all Pro Tools, Auto-Tune, and everyone sitting around the screen watching the lines go by on the grid. At night I would go in and do old soul music, which was so much more energized and spirited.
MD: Are you playing acoustic or electronic drums?
Jimmy: Both. Recently I took out my old Ludwig kit and set it up right next to my console. The nice thing is that I can lock them up with the machine after I play. I can have it as tight or as loose as I want.
MD: Do you use any plug-ins like Drumagog, or other software?
Jimmy: Yes, I use a lot of the Toontrack stuff, the Superior Drummer thing, EZdrummer, BFD—the programming tools. I use Drumagog if I need to. Fortunately, I got to make samples back in the day with Tom Lord-Alge and Neil Dorfsman, and those samples were always better than the ones that showed up in all those packages. There was always a chunkier sound to be had than what the chips or the sample libraries were offering, because a lot of those were made by guys who weren't that good—guys who just wanted to make money.
Tony Bongiovi [Jon Bon Jovi's uncle and owner of the Power Station studio] taught me the biggest lesson in the studio: "The knob goes to the right." [laughs] It's funny, because I got to spend some time with Geoff Emerick, who engineered all those Beatles records. He was brutal. He would synch up five equalizers, cranked up to get a sound. Things that would make most engineers have a heart attack. You've got to trust your ear, man. You just turn that knob until it sounds good—that's the lesson I learned from all the good guys. They are fearless. You've got to be.
It's changed a little now in the way I can put the two together. I have a little more control over locking up, how tight I want the live drums to be next to the machines, keep the right-hand stuff loose but keep the kick and snare locked up.
MD: So the technology has made it easier.
Jimmy: Yes. One good thing is that I can use my demo as the beginning of the "for real" take. The game back then was always "Beat the demo!" The problem with that approach is that you're comparing, not reacting. And that's where the shit goes down the tubes. Demos are based on reckless abandon, and records are generally based on making it perfect. It definitely is not the same thing. But the beauty now is that I can go back to the original file and build from that, where in the past you'd have to re-create the magic from a cassette demo.
It also depends on what you want to do with the technology. I look at Pro Tools as a tape recorder that can do things a tape recorder couldn't do. Some people look at it like something to fix broken parts. But I see it as, "Hey, what if I move these drums over a 16th note? What happens if I move this fill over an 8th note"? I couldn't ever do that with a tape recorder. I like trying things and seeing what happens.
Geoff Emerick said, "There's no science to this—you just make what's coming out of the speakers please you. Whatever it takes, don't look." I worked with Jason Corsaro, and when he mixed, the meters on his tape machine were pinned in the red. The guy went, "Hey, you're overloading," and he said, "How does it sound"? The guy says, "It sounds great." Jason would get gaffer's tape and cover up the meters so nobody could see them. Maybe you like the distortion. So what? How does it sound? When people start asking how it looks instead of how it sounds…the only question you need to ask is, "Is it alright"? I love all the technology, but I've always believed you have to own it, not the other way around.
For more on Jimmy Bralower, go to www.jimmybralower.com.
Posted in Drummers, Feature StoriesTagged Auto-Tune, band, Billy Amendola, Celine Dion, Cyndi Lauper, drum, drum blog, drummer, drums, EZdrummer, Hall & Oates, In Between, It's All Coming Back To Me Now, Jimmy Bralower, Jimmy Cliff, Killer B's, Percussion, Pro Tools, programmers, This Is Ryan Shaw, True Colors, VP of A&R for Atlantic Records, Web Exclusive
Kenny Aronoff Studio Tour!
On the Beat With Ty Del Rose of Romantic Rebel: Making Dreams Come True
Rudiments On Congas by Alex Acuña Available as Download or on DVD
On The Beat with Rich Pagano of the Fab Faux: Talks Recent Projects and Upcoming Shows


Wedding cake? We're on top of it!
Love is in the air! We're loving that all over the US there are wedding cakes topped by gorgeous grooms and beautiful brides mini-fig style, with our personalised heads making those already awesome days even more special.
As Valentine's Day came round and the wedding season started to kick off, we'd already created and despatched around 40 sets of wedding cake toppers to customers across the US. As big fans of 'Say Yes To The Dress', we're thrilled to be part of your wedding celebrations and we want photos! So please do post your wedding day photos of you and your mini-me cake toppers on our Facebook page.
If you're planning your wedding now, we have a special offer for you. We'll supply two personalised mini heads and appropriately dressed LEGO mini-figure bodies for the bride and groom (or any other combination) plus a LEGO wedding arch, lanterns and flowers – see the website for full details.
We'd also love to hear any romantic stories involving mini-figures. Did mini-figures bring you together? Did you receive a wedding proposal via a mini-figure? We'd love to hear all about it!
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The holiday chalet Oreas is located in Valbella on the Sartonserstrasse in a quiet and sunny residential area. From the location of the house you can enjoy a magnificent view of the lake, forests and mountain peaks. The center of Valbella with its shops, restaurants, post office and sports bus stop can be reached within a 15-20 minute walk.
The two outdoor parking spaces belonging to the chalet are easily accessible via public and private roads. In winter we recommend attaching snow chains to the car wheels. The chalet is accessed through an access path.


$8,000 to The Abundant Table (AT) for the Rooted Futures project. Rooted Futures' goal is to engage and equip Ventura County youth – primarily youth of color and low-income youth – to become active in addressing food-related inequalities in health, nutrition and living environments. This grant will allow Rooted Futures to work in Santa Paula to support healthier school lunches and encourage the Santa Paula Elementary School District to serve meals from local farms and ranches.
$9,000 to One Step a la Vez (OSAV) for the Next Step Adelante program. This program will develop leadership skills and raise consciousness of youth and adults in Piru, Fillmore and Santa Paula to empower them to identify issues of environmental concern and social inequity – such as cleaning up the Fillmore Toxic Waste Superfund site and improving transportation in the Santa Clara Valley. The fiscal sponsor is the Boys and Girls Club of Santa Clara Valley.
$6,000 to the Cabrillo Economic Development Corporation (CEDC) for the Youth Organizing for Change in Oxnard project. It will provide a forum for youth to engage in dialogue with policymakers who are responsible for development of youth violence-prevention programs in Oxnard.
$7,500 to the Central Coast Alliance United for a Sustainable Economy (CAUSE) for the Ventura Avenue Community Organizing Project. This project will develop the leadership of Ventura Avenue residents and create the Ventura Avenue Leadership Team who will take action to influence the land-use decisions that will shape the future of the west side of Ventura for the next 30 years. Areas most likely to be addressed are: public transportation, the need for park space, affordable housing and combating gentrification of the neighborhood.
$7,500 to the Coalition for Sustainable Transportation (COAST) for the Developing a Lifeline Transit Plan project. This project is designed to help transit-dependent riders address inequalities in funding and access. The effort will produce a document by which county transit agencies will be held accountable.
$4,000 to The Multicultural Community Ventures Initiative (MCVI) for The Black and Brown Alliance for the Oxnard Plains to begin a candid dialogue and search among Latinos, African-Americans, Native Americans, Filipinos and Samoans to form a coalition that would address contentions of these communities in Greater Oxnard and Port Hueneme. Fiscal sponsor is the Foundation for Educational and Employment Resources Development Inc.
$5,000 to the Mixteco/Indígena Community Organizing Project (MICOP) for the Tequio Youth Group project. The project will mobilize indigenous immigrant youth to eliminate bullying against indigenous children and youth and to end the use of the pejorative term "Oaxaquita" to refer to indigenous children.
$8,000 for Organizacion en California de Líderes Campesinas (OCLC) for the Ventura County Campesina Policy Institute. Through the Institute, farm worker women (campesinas) will learn the hands-on skills needed to develop and put in place strategy, mobilize the community and bring the campesina voice to the public realm to help create social change to better protect farm worker women in Ventura County and beyond.


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Winning in Vegas
Aspen Autry was back to her winning ways Wednesday. The 12-year-old barrel racer from Kim, Colorado, won the first round of the Kelly Kaminski Run for Vegas junior division with a 13.911-second run. Autry is the defending world champ in the event.
"I like this because it's an average and me and my horse are really good at averages," Autry said of Jag. "Even though he's 18 and about to turn 19 he's still doing amazing."
It's even more impressive considering Jag's past. And how he and Autry came together.
"Before he was a barrel horse he was a yard ornament," Autry laughed. "This little old lady fed him apples and he would just wander around her yard. Then she sold him to a lady named Kathy who trained him and thought he was really good. And then she saw her friend Patty, who is a really good friend of my grandma's, and Patty said, 'I think we found you a barrel horse.'"
Six years later, the two are tearing up the cloverleaf pattern. It's a far cry from how their barrel racing relationship started.
"At the beginning Jag and I did not get along," Autry said. "It took about two or three years."
Was it frustrating?
"Not on my side," Autry said. "I loved Jag the whole time, but my dad was like, 'Aaaargh!' He was going crazy."
J.J. Autry, Aspen's dad, nods in agreement.
"We had a little kid and a rocket of a horse," he said. "So getting those two together was a little tough. It was one of those things where as Aspen got better the horse would push her to the next level. They just kind of continually worked together.
"The horse knew what her capabilities were and as she could do more, then they could do more together."
Working in tandem last year, Aspen and Jag won $11,000 along with a saddle, a purse "that I gave to my mom for some reason" as well as a buckle and other assorted goodies.
As for the money, Aspen put that to good use.
"Basically," she said, "I gave it to my parents so they could spend it on me."
Finishing behind Autry in the first-round standings were Maddi Billingsly of Glenpool, Oklahoma, with a 13.941; Caydence Roberts of Las Cruces, New Mexico, with a 13.944; Kendall Kirkpatrick of Rimesburg, Pennsylvania, with a 14.018; and Kami Klepac of Van Vleck, Texas, with a 14.405.
Steer Wrestling
Tuesday, Gus Franzen turned 19. Wednesday, the Kearney, Nebraska, cowboy celebrated by winning the first round of the Ote Berry Junior Steer Wrestling open division at the Junior World Finals in Las Vegas.
"That's a pretty good present," Franzen said after his 4.2-second run in the Wrangler Rodeo Arena.
Franzen has had success before at the Junior World Finals, placing in two rounds and making the short go each of the past two years. Wednesday's win aboard Sis, though, marked the first time he had won a round.
"That one felt good," Franzen said. "Hopefully I can come back and do it again."
Franzen is also hoping to compete for a national championship at the College National Finals Rodeo in Casper, Wyoming, in June. The Southeastern Oklahoma State University freshman bulldogger ended the fall season in fourth place in the Great Plains Region.
"That's my goal," Franzen said. "Make it to Casper."
Grant Soileau of Bunkie, Louisiana, was second in the round with a 4.8; Logan Baird of Simonton, Texas, was third with a 5.1; and Quade Potter of Cambridge, Nebraska, was fourth with a 5.3.
Tie-Down Roping
In the Tuf Cooper 12 & Under division, Rance Winters of Agua Dulce, California, took a commanding lead in the average. Winters, who was the only competitor with three qualified runs, takes a time of 55.1 seconds into the finals Saturday.
Rendon Powledge of Grandview, Texas, sits second in the average with a 22.07 on two runs. He also won the third round with a 9.27-second run.
Jake Holmes of Mulberry, Kansas, won the first round with a 10.52 and Ace Reese of Aquilla, Texas, won the second round with a 9.56.
Breakaway Roping/Pole Bending
The Tuf Cooper 15 & Under division wrapped up its first three rounds Wednesday and Courtney Carbajal of New Smyrna Beach, Florida, leads the average with a three-run time of 8.75 seconds. Ellie Schreck of Murphy, Texas, is second with a 9.40.
Round winners were Harley Pryor of Moore Have, Florida (2.52, first); Quincy Sullivan of Peralta, New Mexico (2.25, second); and KC Gail Churchill of Elm Mott, Texas (2.16, third).
The first round of the KK Run for Vegas junior pole bending saw Cassidy Evans of Yuma, Colorado, emerge as the winner with a 20.655. Mollie Compton of Tombstone, Arizona, was second with a 20.699 and Lexi Murer of Big Fork, Montana, was third with a 20.721.
Cassidy Evans' first trip to Las Vegas was a memorable one. Thursday, the 13-year-old cowgirl from Yuma, Colorado, went to New York New York to ride...
Friday the 13th means good luck for Kahla
Jack Kahla woke up Friday with a good feeling. "My brother (Jake) and I were talking this morning that we wanted to come out here and win some money...
The 2021 Wrangler National Finals Rodeo will take place December 2-11 at the Thomas & Mack Center in Las Vegas.
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© Copyright 2021 Wrangler National Finals Rodeo. All Rights Reserved


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Q: How to debug an XPages application in Bluemix? I have deployed an XPages app to bluemix and untill now I have not come further than an Error 500 message.
The error page does not seem to come up. I can not access log.nsf. Can I bring in openlog.nsf?
I am not sure what my options are so far?

A: When you click on your application in the Bluemix dashboard
In the left menu there will be an entry 'Logs'
There you see your log files, via dropdowns you can narrow down your log by logtype or channel,


Hey Sean could you give some detail on the limitations of this processor? You said it's meant for training purposes and not meant to run an industrial machine. Is that because it only has 600kb capacity? I'm looking for something purely for personal home training and eventually to interface with an HMI. I just don't want to outgrow it so fast. I would appreciate if you could elaborate a little more on what you CAN'T do with this and why. Thanks!
My understanding is the Experience Kit is highly discounted and therefore may only be purchased once per customer.
In other words, an OEM can't keep purchasing the Experience Kit and then put the contents into a machine.
That said, for training purposes it's a great choice even given it's limited memory and Ethernet I/O count.
You could save a little money getting an 1769-L16 and a license of Studio 5000, but I can highly recommend the newer 5380 Experience Kit.


Wow really? If they are becoming a sponsor will they have a say if their drama going to be release in iQIYI?
no I think they mainly do it to promote iQIYI, like now ZLY and WC are VIP sponsors. So I think LGX is getting added bc PA just surpassed The Mystic Nine as the drama with the highest views on their website almost 13 billion views. But it does imply that they will both win big at iQIYI awards at the end of the year, unless another drama surpasses 13 billion which is unlikely.
Woww it's a shipper thread for my fav couple.. I truly wish they both venture in a drama together.. It may be PA2 or any modern drama..
Reporting duty to captain and mates! Sailor Chii ready to fulfill the shipping task!
Yay!! Feels great to rejoice in this thread with all the LGX and ZLY lovers! Excited to see what is next for this beautiful couple we all love!!


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On July 22, 2017 February 25, 2018 By J. D. WillsIn History, Movies, Reviews, War
At the last minute I decided to go see the movie Dunkirk. The movie is based on the mass evacuation (26 May to 4 June 1940) of British and French troops from the beaches of Dunkirk, France, during the opening stages of WWII.
Before the Russians and the yanks got involved, the German army was pretty much taking whatever they wanted and crushing all resistance. They were steam rolling the continent. The French and British armies, woefully unprepared to face Hitler's military juggernaut, had been pummeled and forced to retreat to the beaches of Dunkirk and wait to be evacuated to England before the encircling German army killed or captured them.
This is a war story, so one should expect the typical motifs of war and warriors: sacrifice, endurance, honor, courage, fear. They're all here in abundance and they give to the film, as such emotions do, a raw energy, mostly dark, but with the occasional piercings of light.
The tempo of the movie is fast—rightfully so when soldiers are cornered, beaten, tired, afraid and being constantly strafed by German airplanes. The movie is told through 4 perspectives.
There's a British army private and his attempts to get off the beach anyway he can, even if it means using deceptiveness to cut in line to board a transport ship—from which he barely escapes after the ship is sunk by a German bomb just after departing. There's the British Navy admiral, played perfectly by Kenneth Branagh, standing stoically at the end of a long pier, directing the orderly loading of troops onto transport ships, and refusing to leave until all the troops, British and French, are evacuated. There's the British father and son, who join the thousands of other British civilians, using their personal boats and braving the bombs and machine guns of German planes, in order to help evacuate the British army stranded on the French beach just across the English Channel.
And then, lastly, there's the British Spitfire pilot. He was my favorite character. Alone and running out of fuel, after having his two wing men shot down, instead of turning around and returning to base, he continues to engage the enemy, fighting until the last drop of fuel is gone. Leading up to this, there's a defining scene in the movie where this British Spitfire pilot is staring at his gas gauge. He knows if he doesn't turn around now, he can't make it back to England. His face is covered by a flight helmet and mask so all you see is his eyes. And that's all you need. In those eyes you see the brief moment of struggle, the thousand yard stare as his mind hovers between two loves and two duties, and then the decision, his eyes relax, and we see a man embracing his fate. He pushes the throttle forward to chase a German bomber in the distance. He's not turning back. No. His countrymen are on that beach getting shot at and every man must do his duty.
If you're looking for complex character development this isn't your movie. At the opening of the movie you're dropped into a quickly evolving situation and you're carried along on a fast ride. The movie is more about action and scene than dialogue and personal connection. The emotional connection you get is from the pathetic spectacle of watching men fight for their lives against the odds. To survive is to win! A terrible sense of doom lingers over those beaches, and the only thing those soldiers have is their fighting spirit and the faith in their fellow countrymen to rescue them.
About 338 thousand allied troops were evacuated from Dunkirk. Over a hundred thousand by citizens coming to the rescue with their own boats. The battle was a big defeat for the allies, and yet, for the British nation it was a defeat that served the needs of the moment. The French, beaten and battered, would ultimately surrender. But the British, led by Winston Churchill, would take from this defeat the spirited determination, the fearless resolve, to fight on regardless of the odds. (Ahhh, and unlike the French, it helped—a lot—that Britain is an island nation with a channel holding back the German invasion force.)
On a scale of 1 to 5, five being the best, I'd give Dunkirk a 3.5. It lacked in a few areas in my view but overall it was a good movie and I recommend it.
If you go see it, please come back and let me know what you think.
Dunkirk MovieWWII
Heat and Light: Thomas Friedman on Opinion Writing
Twain on the Primal Source of Our Government!


Centova Technologies Forum - why after a song leggings the script? why after a song leggings the script?
Good afternoon I would like a piece of information I've gotten the script what song is playing now and what quality but after some 10 songs around the script not ananeonoun.Tha'd like a help on this matter.


The BeatBuddy is the first drum machine with the simplicity of a pedal. A live beat, hands-free!
With over 200 songs in 21 genres available right out of the box, you'll be sure to find the beat you want. All time signatures are available, from 3/4 to 5/4 and 7/8 and beyond.


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Q: Mockito mock creation inside mock creation The error I get is org.mockito.exceptions.misusing.UnfinishedStubbingException, with one of the possible reasons "you are stubbing the behaviour of another mock inside before 'thenReturn' instruction if completed".
    val mockHttpHandlerContext = mock<HttpHandlerContext>().let {
        whenever(it.request).thenReturn(mock<HttpRequest>().let {
            whenever(it.queryParameters).thenReturn(mapOf(
                    "itype" to listOf("msisdn"),
                    "uid" to listOf(inputMsisdn)
            ))
            it
        })
        whenever(it.scope()).thenReturn(ProcessingScope.of(Timings("test", 1000L)))
        it
    }

Is the only solution to get rid of nested mock creation? It would really make code harder to understand, maybe there is a known workaround?
The code snippet is Kotlin.

A: Judging by the naming, I assume you're using nhaarman/Mockito-Kotlin?
Mockito is stateful, you must create mocks sequentially, but there are some ways of flipping the order of evaluation. For example,
val mockHttpHandlerContext2 = mock<HttpHandlerContext>() {
    mock<HttpRequest>() {
        on { queryParameters }.thenReturn(mapOf(
                "itype" to listOf("msisdn"),
                "uid" to listOf(inputMsisdn)
        ))
    }.let { on { request }.thenReturn(it) }
    on { scope() }.thenReturn(ProcessingScope.of(Timings("test", 1000L)))
}

I'm taking advantage of the mock() overload with a KStubbing<T> receiver, but the important bit is creating the inner mock first before using .let to set it on the stub.
Another option would be to use .thenAnswer to defer creation of the inner mock until the time when stubbed method is called.
val mockHttpHandlerContext = mock<HttpHandlerContext>() {
    on { request }.thenAnswer {
        mock<HttpRequest>() {
            on { queryParameters }.thenReturn(mapOf(
                    "itype" to listOf("msisdn"),
                    "uid" to listOf(inputMsisdn)
            ))
        }
    }
    on { scope() }.thenReturn((ProcessingScope.of(Timings("test", 1000L)))
}

Note that this will create a new mock every time the stubbed method is called. It might not be desirable in some situations, such as if you want to perform verification on the inner mock.


Due to the increased amount of consumers turning to the Internet before they make a purchase decision, companies need to give some extra attention to search engine optimization to help drive sales.
Does your site directly sell a product?
If you're using your website to sell a product or service, such as dog toys or law services, then you need SEO. Plain and simple. The only way you're going increase sales and generate more interest is if consumers can find your site over the rest who offer the same products. SEO will help move your site closer to the top of the list, making it readily available to consumers.
Do you use your site as a channel?
If you're active on social media outlets like Facebook and Twitter, you will benefit from SEO. It's hard to gain "likes" and "followers" without driving consumers to your social media pages. By using SEO, you can drive more consumers to your website and then give them the opportunity to "like" your company's page or become a "follower." Not only does this help your company's social status, it also will help with staying in touch with consumers and give you an easy point of contact. It's also possible to optimize your content for social media sites specifically.
Overall…are you struggling to drive customers/prospects to your business?
This is a very simple question and answer. If you find that you aren't getting the amount of calls, orders, etc., that you would like, then there is probably an issue with your site or at least when finding your site. This is where SEO comes in handy and helps bring your site to the forefront and into the view of your prospective consumer. There are close to 400 million websites worldwide and you need to use SEO in order to give your site the best chance to stand out.
Insivia can help you with many of your needs including SEO, so check out our services and give us a call.
Also remember where the best place to hide a dead body is.
So you decided to start an SEO Campaign and have no idea where to start? Join us for our Search Optimization Redefined Seminar on July 8th.


Be it a shining Ruby next to a rusty iron nail or a smashed piece of paper next to a 22K gold plate; Agas & Tamar's creative territory is full of surprises. Each material has its own unique voice, and they are all combined together by the inventive vision of the designers. Out of true honor to the raw nature of materials, Einat and Tamar explore the lack of completeness, phrase their private vocabulary of shapes & colors and establish their perspective on contemporary jewelry-making.


DeGrow & Hunkins are among the areas oldest names in the business. Dating back to the 1930's. The agency has been at the current location since 1979. Our staff and owner have many years experience to help you get the best value for your dollar.


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alabama polytechnic institute (1899-1959) (68)
alabama polytechnic institute, agricultural club (46)
alabama polytechnic institute, engineering societies (27)
alabama polytechnic institute, extension service (21)
design alabama, inc.; alabama state council on the arts auburn university (18)
auburn, ala. : alabama polytechnic institute, engineering societies (10)
manufacturers' review co. (7)
agricultural and mechnical college of alabama (1872-1898) (6)
alabama polytechnic institute, extension service alabama polytechnic institute, agricultural experiment station alabama polytechnica institute, college of agriculture (5)
newsletters -- alabama -- auburn (111)
alabama polytechnic institute -- students (85)
alabama polytechnic institute -- alumni and alumnae (84)
agriculture -- alabama -- history (74)
alabama polytechnic institute -- curricula -- catalogs (68)
alabama polytechnic institute -- faculty (68)
history -- 1875-1929: the new south era (56)
All fields: grading
Save to favorites 1933-05: Report to the Honorable Board of Trustees of the Alabama Polytechnic Institute.
Save to favorites 1877-10-06: Journal of Progress, Mobile, Alabama, Volume 3, Issue 8
Save to favorites 1884-05: Planter's Journal, Vicksburg, Mississippi, Volume 9, Issue 5
Save to favorites 1889-12: Alliance Journal, Montgomery, Alabama, Volume 1, Issue 5
Save to favorites 1890: Report of the Agricultural and Mechanical College of Alabama for the Years 1888-89 and...
Save to favorites 1892 [pdf for printing]: Board Minutes of the Agricultural and Mechanical College of Alabama
Save to favorites 1894-11-21 Orange and Blue
Save to favorites 1896: Report of the Agricultural and Mechanical College of Alabama (Alabama Polytechnic Institute)...
Save to favorites 1897 Glomerata: Vol. 1 [Individual pdfs for printing]
Save to favorites 1899-10-28: Manufacturers' Review, Birmingham, Alabama, Volume 1, Issue 2


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European football's biggest Buzz movers for December 2021
BLOG | by YouGov Sport ... As football entered the Christmas holiday, Manchester United saw the biggest increase in brand score among adults in a few European markets.
European football's biggest Buzz movers for December 2021FT-YGS2022-01-17T17:33:30+00:00
European football's biggest Buzz movers for November 2021
BLOG | by YouGov Sport ... As we near the halfway point in pro football in Europe, many clubs are seeing an increase in brand health, particularly in Spain.
European football's biggest Buzz movers for November 2021FT-YGS2021-11-29T11:25:49+00:00
Who are the favourite footballers in key Euro markets?
BLOG | by YouGov Sport ... Ahead of the award of the 2021 Ballon D'Or, we tap into data from YouGov Global Fan Profiles to uncover the most loved male footballers in five key markets – Great Britain, France, Spain, Germany and Italy.
Who are the favourite footballers in key Euro markets?FT-YGS2021-11-24T10:28:53+00:00
European football's biggest Buzz movers for October 2021
BLOG | by YouGov Sport ... One team has been to the playoffs six times in seven years. The other captured 88 wins this season. Now, the Houston Astros and the Atlanta Braves are meeting at the World Series. International data from YouGov Sport shows how popular these two teams are around the world.
European football's biggest Buzz movers for October 2021FT-YGS2021-11-17T11:32:21+00:00
What's driving the increasing interest in women's sport
BLOG | by YouGov Sport ... Women's sport has made massive strides in reaching new fans lately. This is evidenced by the sharp spike in consumption figures of major women's events across various sporting codes.
What's driving the increasing interest in women's sportFT-YGS2021-11-17T11:40:46+00:00
Which NHL teams are getting the most Buzz compared to last year?
BLOG | by YouGov Sport ... As the 2021-22 NHL season inches closer, YouGov Sport data reveals which teams are enjoying the biggest hikes in Buzz in the United States. To uncover the noisiest teams, we compared the daily Buzz score average of each NHL team over the last three months compared to the three months leading up to the start of last season
Which NHL teams are getting the most Buzz compared to last year?FT-YGS2021-09-24T14:20:09+01:00
Opposition to a 2-year FIFA World Cup is strong, but how much would it affect viewership?
BLOG | by YouGov Sport ... Opposition to a biennial FIFA World Cup tournament is strong, according to a YouGov Direct poll of football fans in the United Kingdom, but a plurality says such a change won't change whether they'll tune in.
Opposition to a 2-year FIFA World Cup is strong, but how much would it affect viewership?FT-YGS2021-09-13T17:44:23+01:00


text:
KFF Daily Global Health Policy Report
International, Domestic Investment To Support Health Care Transportation, Emergency Care Needed In LMICs, Medical Student Writes
Global Health NOW: When You Live Close to the Hospital, But Can't Reach It in Time
Anudari Zorigtbaatar, medical student at McGill University
"…In fact, 5.8 million people die each year as a result of injuries — more than the fatalities associated with malaria, tuberculosis, and HIV/AIDS combined. Not to mention those who can't even seek help and go uncounted. A country may have the best-trained doctors in the world, the most equipped facilities possible, but it is meaningless if patients can't get to the hospital in time — which happens all too frequently in many developing countries. … [H]ealth systems should provide support at every point of access to health services, including prehospital care. Otherwise, LMICs will continue to lose 24 million lives annually due to conditions sensitive to emergency care. … The global community needs to support nations committed to establishing such frontline care. It is the foundation for an accessible health system that all other sectors can build upon…" (9/30).
The KFF Daily Global Health Policy Report summarized news and information on global health policy from hundreds of sources, from May 2009 through December 2020. All summaries are archived and available via search.
Access to Health Services
Programs, Funding & Financing
Health System Performance
Search News Summaries For:
Related Summaries
Global Health Funding in the FY 2021 Omnibus
More COVID-19 & Global Health News


text:
FashionInteresting
The Reason Cherries Are the Go-to Retro Pattern
A quick search online for retro dresses or even kitchenware and you're bound to have at least a few results that are covered in cherries, often with polka dots in the background. Sometimes the heaps of cherry dresses can outshine other, potentially more accurate, reproductions. And, it's not just dresses.
So, what is it about cherries that says "vintage" to the world? And why do reproductions nearly always have polka dots behind them? Was this symbol used in decades past as much as its prevalence now would have us believe? To understand where this trend comes from we have to back to a time when symbols on clothing were rife with meaning.
Via/ eBay
Cherries have long been a part of women's clothing trends. Gowns from the turn of the century onward featured cherry motifs, though not in huge number. These were sometimes embroidered on -not cheap to have done- to be a kitschy fashion statement long before the genre was widely known. At the time cherries symbolized innocence. This is said to be particularly true when the cherry leaves also feature prominently. Along these lines it is said that when no leaves are present it means something far more scandalous and symbolizes raw female sexuality, but that might be a stretch.
House of Worth printed cherry dress bodice from 1898. Via/ Met Museum
For decades the cherry in women's clothing signaled innocence above all else. For the generations that found women's shins to be a threatening sight, they certainly would not have taken well to any overtly sexual symbols. For the average woman cherries did stand for purity and youth, two things which women held tightly to at the time.
Cherries began to appear more frequently on ladies clothing, such as a 1932 Parisian fashion show which featured a black dress emblazoned with cherries and leaves. Simple cotton dresses with prints were favored during the decade like the French example below.
Front and back of a 1930s cherry dress that's more leaves than cherries. Via/ Met Museum
Cherries also began to appear on home goods like tablecloths, alongside flowers and other kinds of fruits. In the 1940s and 1950s this trend would continue with cherry brooches and jewelry, like the 1940s Bakelite brooch below.
The trend also continued in home decor (as in 1950s kitchen canister below).
Cherry printed kitchen canister from the 1950s. Via/ eBay
Let's also not forget that pies, including cherry, were an increasingly popular dish at the time. Between the late 1800s and 1947 the number of known sweet pies went from 8 to 65. The diner culture of the 1930s thrived on slices of pie and cherry was always in the line up. Cherry pie might not be as American as apple pie, but it's certainly up there.
But, where did the polka dots come from? Back in the 1930s polka dots were a huge trend in women's clothing. One need only to look at extant examples of dresses or look at a fashion show of the era to see just how en vogue they were at the time. Here is a silent film of a fashion show from 1932 where multiple examples of polka dots are prominent, from delicate to hefty in size.
The combination of both polka dots and cherries wasn't something that was popular in the 1930s-50s as they were two separate trends. But, adding one to the other is sort of a mishmash which is intended to capitalize on multiple fashion statements at once.
Via/ Rose Heichelbech
Today, the combination has been used so much that it's become its own code. When you see something printed with cherries and polka dots, you instantly know that the look they're going for is vintage. t's so common that some people think of it as a cliché these days.
The trend for retro cherry prints first appeared in the early 2000s and has been going strong ever since. It does reference the clothing and style of bygone eras, but not in the way that people back then would have used them.
How do you feel about the modern cherry trend? Is is better for clothing or home wares?


text:
Anna's Column: Arendelle's Knightly Orders
The Arendelle Guardian	Anna's Column, Lore	 February 12, 2020 February 11, 2020 3 Minutes
By HM Queen Anna
Her Majesty's personal column is published exclusively by The AG.
When she visited the palace last weekend, Elsa told me that she'd decided to reconstitute her former "Order of Rime." You can imagine my excitement at this, so I sent a press release about this to The AG. But even this paper's journalists, some of who interview me all the time, asked me: "What in the spirits are you talking about?" What was the Order of Rime? Was Elsa suddenly assembling some league of extraordinary gentlemen?
Fair enough – I was too excited and maybe you aren't sure what I'm yammering on about either. So I thought I'd use my column today to explain myself.
I'm not here to write a history of our kingdom's knightly honours, but suffice to say that in Viking times, way, way before Arendelle was even called Arendelle, the top jarl would be protected by a kind of comitatus: elite berserkers or lords who would share everything with their commander and commit ritual suicide if he died.
Obviously, this tradition fell out of fashion once nobles got comfortable living in big halls and castles!
Artist unknown, link inactive: http://imgfave.com/shuttingdown?sredirect=1
Over the centuries this comitatus evolved into chivalric orders, given to aristocrats who had done some kind of important service to a royal. When I was born, there was already a tradition of each member of our family having their own order. Elsa's was called the Order of Rime. It was formed shortly after the Great Thawing, and some of our most prominent citizens were initiated into its membership, sworn to protect the queen. She dissolved the order after she abdicated and crowned me your servant-queen.
But now, Elsa seems to be bringing back her old gang. What she told me was that she wants it to be a much looser and freer order – "Companions," she calls it. They won't be bound by any vows except one, which is to help her protect Northuldra's fragile ecosystem and pristine natural environment. Kind of like a warden or sheriff, I guess, but for nature. These Companions obviously would have to be on good terms with Yelena's tribe, too. Anyone can join, Elsa emphasised to me. I like that.
That reminds me: I should get around to sending Elsa's open appeal to The AG's evening edition. It's inspired me to make a few changes too.
My own knightly order was called the Order of the Autumn Leaf. But after our Northuldran adventure and my coronation, I think it's the right time to change its name to reflect the first year of my reign as well as the more egalitarian approach Elsa and I prefer.
My Order of the Wheat Stalk is now open to all people, not just people of aristocratic birth. I sincerely believe that this doesn't cheapen anything: in fact, I can now choose members from a stronger pool of nominees. I don't really care about personal loyalty. So the oath I want members to take is simply to protect the kingdom from the unprecedented challenges we face – from far larger nations with overseas empires, rapidly accelerating technology in steam and steel, ever more violent warfare…
The Order of the Wheat Stalk will always be kept at twelve members. As it happens, four new spaces were just filled up by friends whom I trust deeply, among them a Sir Alan and Sir Siegfried. But another two have opened thanks to their holders' retirement.
My door is wide open. So… if that wasn't a strong enough hint, dear reader: I hope you'll consider submitting your name or someone else's to my letterbox. The Order of the Wheat Stalk is the land's highest honour. If you love Arendelle, which I'm sure you do, I'd love to see your name on my honours list. You even get a shiny badge!
Signing off, your friend and servant.
Love, Anna
Previous Post Elsa's Guest Column: Northuldra Joins the Family of Nations
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2 thoughts on "Anna's Column: Arendelle's Knightly Orders"
Alan Nadeau III says:
Queen Anna, I thank you for mentioning me in your article, that means a lot. To be honored in that way, its special. Supporting you and Arendelle as well as Elsa and Northuldra are my biggest priorities, my focus is upon serving you both in the best way I can. Like you two, I'm young, a full life ahead of me, and I want to live my life fulfilling my commitment to you both. You guys mean everything to me.
The Arendelle Guardian says:
Hi Alan! Of course I wanted to mention you in my piece. You're not just one of the Order's new members, but among the first whom I've knighted as your servant-queen. That's very special to me.
I'm so thrilled that you're my friend and helping me fulfill my vision. I hope you like warm hugs from me!
I think Elsa would also be quite delighted to know that you want to serve her.
Your dear friend,