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Livestock needs a social media battle plan11 months, 1 week ago
Livestock needs a social media battle plan
Shan Goodwin@shangoodwinbeef 11 Feb 2019, 7 p.m.
Social media experts weigh in on 'futile' internet arguing.
THE disintegration of debate on the live sheep trade, and animal production in general, has hit uncharted territory even for the beast that is modern-day social media, according to experts in the field.
Social media consultants say the way the animal welfare conversation has spiralled into tit-for-tat abuse and threats is extreme.
Encouraging people to trespass on farming operations and calls to 'scare the children' of farmers to 'show them how animals feel' is unprecedented, they say.
Since Christmas, the cash for cruelty claims, where animal rights group were accused of paying for footage and the furore over the Aussie Farms website, where the addresses of farms and livestock businesses were listed and people encouraged to collect photographs of them, have set off an avalanche of social media attacks.
Much of the effort on the part of producers to defend and explain their businesses were proving futile, experts said.
Livestock industries are in desperate need of comprehensive social media strategies but given the new ground these issues are breaking, fail-safe plans are unlikely to be on offer.
In the live export arena, industry leaders are now working furiously to implement proactive social media strategies, with the launch of projects such as The Sheep Collective which aim to provide transparency about the sheep industry and highlight the care provided at every step of the journey.
Max Doyle, from Australia's largest independent social media agency Hello Social, said wars on social media were not unusual but the animal activist versus livestock producer battle had "really gotten out of hand."
"We haven't seen bullying to this extent over a political issue in Australia," he said.
Social media policies for companies were common and tended to skew towards "don't say anything, let the official voice come from the organisation itself," Mr Doyle said.
But with an industry involving many players in a supply chain, it was far more complex, he acknowledged.
"I believe what we've seen on the part of the industry is a fear of being left out of the conversation," Mr Doyle said.
"There is a need to find a way to give yourself a voice but it is essential to find the right channel.
"It has to be unified and likely it will have to come with a budget to pay for an expert, as opposed to Bill the farmer whose best intentions might end up bringing down the cause."
Western Australia's Hedland Export Depot owner and former Nationals MP Paul Brown has been one of the most outspoken live trade advocates on social media in the wake of the "cash for cruelty" claims.
He has dealt with plenty of threats and abuse as a result but says he is willing to wear that because the industry needs people willing to stand up for it on social media.
"If we don't have a voice, theirs is only one that gets listened to," he said.
"It's up to people like myself who are invested in the industry to have a voice and to put forward the real facts.
"Unfortunately, so much of what we try to say hits a brick wall. It is a tough battle but it's a fight worth having."
According to Hello Social, arguing endlessly online seldom influences anything and can take an enormous toll on on an individual.
Generally speaking, wider audiences are not watching, Mr Doyle pointed out.
Mr Brown said he knows full well the information he is putting forward on social media won't change the views of those diametrically opposed to the live animal trade but his idea is to encourage others who are also engaged in this industry to tell their stories.
"We have to get out there and tell the good stories about our industry and we have to do it continuously, in both the good and bad times," he said.
"What I want to show others in the industry is these stones that are being thrown at me don't sting, they are just words from people who don't know about our industry."
The story Livestock needs a social media battle plan first appeared on Farm Online.
PTIC heifers reach $2300 in solid Naracoorte female sale
LOCAL producers buying replacement PTIC heifers underpinned a solid female sale at Naracoorte on Thursday.
Should KI ferry travel be subsidised? | POLL
In the wake of Kangaroo Island's devastating bushfires, Labor wants to see KI ferry travel subsidised by 30pc, while the government has said it will consider all options to encourage tourism.
KI rallies for its farmers
THE immediate assistance for the Kangaroo Island community has been swift and "overwhelming", but helpers on the island say the recovery effort will take many months and ongoing support will be needed.
Bee industry reeling after major hive losses
The bee industry has been left reeling after the loss of about 2000 hives in recent SA fires.
Mixed bag of results for SA harvest
Croppers across SA have seen a mixed bag of harvest results this season, with some regions prospering while others had a tough year, leading to below-average yields.
Flashback Friday: October 1966 | PHOTOS
Stock Journal looks back at October 1966, when South Australians travelled to the United States to learn about feed mill technology, "best ever" prices were achieved at the Peterborough market, the Saddleworth and Balaklava shows attracted a crowd, and the Pinnaroo Show celebrated its fiftieth year.
Randall wine empire moves into the Riverland
Wine baron Warren Randall has purchased his first vineyard in the Riverland.
Bushfire Appeal funds made available
Fire-affected South Australians are encouraged to apply for a share of the SA Bushfire Appeal.


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#PlaybyPlay: Foot Locker (NYSE: $FL) Appoints New Senior VP and Chief HR Officer and Skechers (NYSE: $SKX) a 'Stock to Watch' as Subject of a New Research Report
Temperature at US Open Prompts 'Extreme Heat Policy', Aaron Rodgers Signs $130 Million Extension with Packers and Unified Korea to Face China for Women's Basketball Gold at Asian Games
Point Roberts, WA and Delta, BC - August 30, 2018 (Investorideas.com Newswire) Investorideas.com, a leader in investor news and research issues today's edition of Play by Play covering what's new in sports headlines and recent news from publicly traded companies in the sector.
Foot Locker Appoints New Senior VP and Chief HR Officer and Skechers a 'Stock to Watch' as Subject of a New Research Report
Stocks discussed: (NYSE:FL) (NYSE:SKX)
Foot Locker (NYSE:FL) has appointed Elizabeth S. Norberg as Senior Vice President and Chief Human Resources Officer, effective September 7, 2018. Norberg was previously Executive Vice President and Chief Human Resources Officer for Loews Hotels & Co.
"I'm very excited to be joining the team at Foot Locker, which is known as a dynamic leader in the the retail industry, as well as one of the best and most diverse companies for which to work," said Elizabeth Norberg. I look forward to bringing my knowledge and experience to lead the global HR organization that acts as stewards of the Foot Locker culture, and engage a diverse workforce to enhance a world-class work environment for the Foot Locker team around the globe."
SKECHERS USA, Inc. (NYSE:SKX) is the subject of a research report from RDI and is designated as a 'stock to watch' via AccessWire.
The U.S. Open continues amid a heatwave in New York, where the tournament is being held, leading officials to keep an 'extreme heat policy' in effect, according to the Associated Press. This involves the allowing of a 10-minute break between the second and third sets for the women's singles matches, and between the third and fourth set for the men's singles matches. Highlights from yesterday include Rafael Nadal's 6-3, 6-4, 6-2 win over Canadian Vasek Pospisil, Kevin Anderson's 6-2, 6-4, 6-4 win over France's Jérémy Chardy, Sloane Stephens 4-6, 7-5, 6-2 win over Ukraine's Anhelina Kalinina and both Venus and Serena Williams advancing to the next round. The two Williams sisters will play each other on Saturday.
ESPN reports that two-time NFL MVP Aaron Rodgers has signed a four-year $134 million extension with the Green Bay Packers. The deal involves incentives based on helping the team reach the playoffs and Rodgers finishing in the top three of quarterback ratings, which could see him earning between $176 million and $180 million.
The unified North and South Korean women's basketball team is playing against China for the gold medal at the Asian Games, The Jakarta Post reports. The two teams play Saturday after China beat Japan 86-74 today, and Korea beat Chinese Taipei 89-66. Last Sunday, the unified women's Korean canoeing team won the gold medal in the 500 metre event after beating China.
Investorideas.com is a recognized news source publishing third party news and press releases plus we create original financial content. Learn about investing in stocks and sector trends from Investorideas.com with our news alerts, articles, podcasts and videos talking about cannabis, crypto, technology including AI and IoT, mining, sports biotech, water, renewable energy and more. Investorideas.com original branded content includes the daily Crypto Corner and Podcast, Play by Play sports and stock news column, Investor Ideas #Potcasts #Cannabis News and Stocks on the Move podcast and column, Cleantech and Climate Change Podcast and the Stock Guru daily podcast on Support and Resistance Trading.

redpajama_set_name: RedPajamaCommonCrawl


We had just moved to Jersey City and were both missing our dogs from home. We had been thinking of adopting, but wanted to give it a little more time. After discovering See Spot Rescued and seeing that these adoptable dogs were going to be right around the corner from us at a community event the following week, we decided to check them out and thank good ness we did! We were interested in Piper from the minute we saw her profile on the SSR website. It broke our hearts to see that Piper and many of the other dogs came from high kill shelters in the south and wanted to do something quickly. After meeting her at the event, we knew we just had to add this little girl to our family(it was so hard to not take all of the dogs with us)!
Piper has been an absolute joy to say the least. She is so wonderful and loving. She is the biggest snuggle bunny and just wants to be friends with everyone she meets. She is quite the popular one around our building and neighborhood. We have never experienced one ounce of anger or unhappiness from her in the 7 months since we brought her home. She is so easy going, but once you get her worked up, she could play for hours! She has taught us so much over these past few months as well-especially patience. Our days are that much better knowing that we have her adorable little face waiting for us at home – I couldn't imagine life without her!


The La Grande High School Booster Hall of Fame was created in partnership between La Grande High School and the Tiger Booster Club. The Hall of Fame is an annual event to celebrate great accomplishments of alumni and service within our community. If you would like to nominate an individual, team, or community supporter to the Hall of Fame, please contact Scott Carpenter at La Grande School District Offices at (541) 663-3203. If you would like to purchase tickets and support our inductees, please contact Patty O'Reilly at (541) 663-3301. Tickets are $25 per person and already on sale!
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Brit winner Tom has sinking feeling
Brit Award winner Tom Odell suffered a sinking sensation when he made a triumphant return to Los Angeles.
The 22-year-old singer-songwriter played to a sold-out house at the historic Troubadour in West Hollywood, but had to interrupt his set before his show-stopping finale of Another Love because of his sinking piano stool.
"I don't know if you noticed, but I was gradually getting smaller through that last song," he joked to the crowd, which included Revenge star Nick Wechsler.
After a suitable alternative was provided, the Critics' Choice Award winner completed his set to rapturous whoops and cheering.
He opened the hour-long show with a cover of Randy Newman's I Love L.A, before moving on to tracks from his debut EP Songs From Another Love, which was only released in America last week.
During a performance of Supposed To Be he abandoned his usual piano to pick up a guitar, confessing: "I'm going to try playing the guitar. I'm not very good because I've not been doing it that long but I will give it a go."
His tour of North America has included stops in New York, Philadelphia and Chicago, as well as a swing by the David Letterman set to perform on the late night talk show.
He will move on to San Francisco, Seattle, Portland and Vancouver before returning to London to support the Rolling Stones in Hyde Park this summer.
Dame Shirley Bassey will perform at a celebrity Aids fundraiser at this year's Cannes Film Festival.
Ludacris has revealed he would like to work with Eminem.
A custom-made guitar used by both John Lennon and his Beatles' bandmate George Harrison has been given a rare public outing ahead of its auction for upwards of £130,000.
Tyrese Gibson has revealed how he has been left to perform solo on stage, after recording with other stars.
David Bowie's controversial new music video is back online after YouTube reverted its ban.
The Spice Girls have finally decided to retire, according to reports.
Indie rockers Reverend And The Makers are hoping to score a hit after their track Shine The Light was chosen as the official anthem of the FA Cup.
Blur are set to record a new album, according to reports.
Carly Rae Jepsen has revealed Nicki Minaj's rap performance on the remix of her single Tonight I'm Getting Over You has got the thumbs up from her grandmother.
11 12 13 14 15 16 all


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License: The text of "How to calibrate the accuracy of CNC wood router?" by STYLECNC is licensed under a Creative Commons Attribution 4.0 International License.
• Next: How to improve CNC wood router work efficiency?


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Browse: Home » 2019 » July » Comments on Sen. Hawley's "[Ending] Support for Internet Censorship Act"
Comments on Sen. Hawley's "[Ending] Support for Internet Censorship Act"
July 10, 2019 · by Eric Goldman · in Content Regulation, Derivative Liability
Sen. Josh Hawley's "[Ending] Support for Internet Censorship Act" (S. 1914) would require large(ish) Internet companies to prove to the Federal Trade Commission (FTC) that they publish user content in a politically neutral way–or categorically lose Section 230 immunity. In other words, a government censorship board could legally penalize a major Internet service for exhibiting any sort of political bias.
[Note: I've bracketed the word "Ending" because the title "Support for Internet Censorship Act" is more accurate.]
The bill has no redeeming features; no interesting policy ideas to consider for future proposals; no meritorious conversation-starters. Some of the bill's worst aspects:
Political Bias Isn't Measurable. The bill defines political bias:
The moderation practices of a provider of an interactive computer service are politically biased if—
''(I) the provider moderates information provided by other information content providers in a manner that—
''(aa) is designed to negatively affect a political party, political candidate, or political viewpoint; or
''(bb) disproportionately restricts or promotes access to, or the availability of, information from a political party, political candidate, or political viewpoint; or
''(II) an officer or employee of the provider makes a decision about moderating information provided by other information content providers that is motivated by an intent to negatively affect a political party, political candidate, or political viewpoint.
There are several major problems with this approach:
First, the bill promotes false equivalencies. Not all political parties and viewpoints are equally legitimate. For example, I don't think the Republican Party and the American Nazi Party are equally legitimate (please, no "jokes" about how their views are converging); and I think most people would expect Internet services to treat American Nazi Party candidates and party platforms less favorably than the Republican Party's candidates/platforms. Yet, the bill would prevent Internet services from doing that.
Second, the term "political viewpoint" is broad. Pretty much every topic people care about has partisan dimensions–e.g., Russia, voting, evolution, even vaccines. If being anti-vax is a political viewpoint, the bill says Internet services must treat pro-vaccine and anti-vaxxer content equally.
Even limiting the bill to political parties and their platforms wouldn't solve the problem. Imagine the Pastafarians form a political party. They'd need to be treated the same as the Republican Party. Or as I mentioned previously (only partially in jest), perhaps scatologicalists will claim they have a political viewpoint and sue Internet services for discriminating against pissing videos.
Because it's impossible to distinguish between "political viewpoints" and other viewpoints, the bill's anti-discrimination provisions would make it impossible for any Internet service to moderate content at all (including both leave-up and removal decisions) without risking allegations of non-neutrality. In light of how much bad content is online despite the Internet services' current best efforts, that prospect should terrify everyone.
Third, the "disproportionate" standard assumes a baseline for comparison. What is that baseline? Proportions could be measured across Internet services, e.g., Service X removes 40% of anti-vaxxer content and Service Y removes 45% of anti-vaxxer content. But which is the right baseline? If they disagree, both of them are allegedly biased, one more tolerant of anti-vaxxers and the other less tolerant, meaning neither is neutral. Or perhaps the formula would measure the number of removed/promoted pro- and anti- content on a topic divided by the total content on that topic. If the percentages aren't identical, then there is bias. Apply that formula to thousands of political "viewpoints," and the online service must have identical pro- vs. anti- percentages for each and every topic. How likely is that?
Fourth, a service also would be biased if any Internet service's employee intends to negatively affect a party/candidate/viewpoint. Facebook has 30,000 people (a mix of employees and contractors, if that matters) working on Safety & Security. If any one of them acts with an intent to discriminate politically, then the entire company would categorically lose Section 230 immunity–unless the company makes a public disclosure and fires/disciplines the employee after learning of the discriminatory act (I'm not sure how this obligation interacts with employment law). There might be smoking gun evidence of impermissible intent. More likely, discriminatory intent is shown statistically, i.e., crunch each employee's decisions on political topics and find the outliers. With a large enough workforce, there will be statistical "proof" that at least one employee intended to favor or punish some party/candidate/viewpoint.
Neutral Publishing Is an Oxymoron. UGC services are content publishers. The publication process inherently involves prioritizing some content over others. That's not bias or discrimination, it's "editorial discretion"–and it's what we want and expect from every publisher. The bill contemplates that Internet services will publish user content "neutrally," but the very act of publishing content is never neutral. By punishing publishers for acting like publishers, the bill ensures that every Internet service will fail the legal standard.
Taking Away Section 230 Is a Nuclear Option. The bill would categorically remove Section 230, across the full range of circumstances it applies, for violating a single pre-condition (the lack of political neutrality). Section 230 squelches a wide range of unmeritorious lawsuits. Without its protection, the litigation floodgates against Internet services would open up in a truly unprecedented manner. The law would be a nuclear remedy for a single type of problem.
The FTC Isn't Well-Positioned to Be a Censorship Board. I imagine the FTC is unenthusiastic about this bill. Nothing about the bill plays to its strengths. The FTC is strongest at policing deviant marketplace behavior. They are lousy at policing editorial content (e.g., they struggle with distinguishing editorial content from covert advertising). The non-partisan FTC has no experience evaluating the legitimacy of political content. Further, users could "submit complaints or evidence [to the FTC] that they have been subject to politically biased content moderation by a provider of an interactive computer service." Can you imagine the complaint volume, and associated workload, when every user aggrieved about a content moderation decision complains to the FTC? The bill's requirements would swallow up massive amounts of the FTC's capacity and mindshare, reducing their ability to do the essential work they're best at.
The FTC Approval Standards Are Impossible to Satisfy. The FTC would let an Internet service retain Section 230's immunity only if the Internet service proves "by clear and convincing evidence that the provider does not (and, during the 2-year period preceding the date on which the provider submits the application for certification, did not) moderate information provided by other information content providers in a politically biased manner." The Internet service must prove the negative–that they didn't discriminate–by "clear and convincing evidence," and convince 4 of 5 commissioners (which necessitates at least 1 vote from appointees from each political party) that the Internet service satisfied this high evidentiary standard. Due to the "political neutrality" oxymoron and the statistical impossibility of showing that every political viewpoint was treated identically, no Internet service will successfully obtain the FTC's approval.
The Bills Reaches Too Many, and the Wrong Kinds of, Services. The law would apply to "providers of interactive computer services" with 30M US monthly average users (MAUs), 300M worldwide MAUs, or $500M/yr global revenue. The law targets Google/YouTube, Facebook/Instagram/WhatsApp, and Twitter, but dozens of other services meet these thresholds. Apple, Microsoft (including LinkedIn and GitHub), Oath (including AOL, Yahoo, and Tumblr), Amazon (including Twitch), and eBay all surpass the revenue threshold, as would any major company with a UGC sideline (e.g., the New York Times with its reader comments). Some other services that meet the thresholds: Pinterest ($1B projected in 2019), Snap ($1.2B revenue in 2018), TripAdvisor ($1.6B in 2018 revenue), Yelp ($1B in 2018 revenue), Etsy ($600M in 2018 revenue), Dropbox ($1.4B in 2018 revenue), Box.com ($500M in 2018 revenue), WeChat (1.1B global MAU), TikTok (500M global MAU), Weibo (460M global MAU), Reddit (330M global MAU), Baidu (300M global MAU), and possibly Vimeo, Craigslist, Imgur, and Discord (ha ha). (Statista is my source of global MAU stats). This is clearly not a complete list. Please email me suggestions of other companies that clear the thresholds. Note: Wikimedia is a 501(c)(3), which the bill excludes.
Remember, ALL of these companies would automatically lose Section 230 protection unless they obtain the FTC's license, which I just said none of them can do.
The law doesn't distinguish between content hosts and other types of services. How would the FTC certify political neutrality for e-commerce services like Amazon, eBay, or Etsy? If the marketplaces remove the sale of Nazi paraphernalia, does that count against them for neutrality purposes? Similarly, what does political neutrality look like for consumer review sites? Yelp doesn't allow political comments by non-customers (remember the Red Hen restaurant imbroglio?), but customers can submit political comments that might be irrelevant or defamatory. What should Yelp do? And how could a traditional media outlet like the New York Times or Fox News that enables UGC qualify as politically neutral? Political neutrality is nonsensical, but it's especially nonsensical when applied outside the law's paradigmatic target of mass-market global social media services.
Constitutional Problems. The bill conditions an exceptionally valuable legal immunity on political neutrality. Stated differently, any Internet service that has any political slant (intentionally or not) will be treated legally worse than a politically neutral service. Thus, for example, a service that started out with a political slant and rode it to success would need to immediately change its editorial standards upon reaching the law's quantitative thresholds or the FTC will deny its Section 230 license. Framed this way, the bill engages in viewpoint-based discrimination, i.e., if an Internet service has any political viewpoint, then the law discriminates against it compared to those without a political viewpoint. This ought to trigger strict scrutiny, and I don't see how the bill could survive that. In a similar situation, the Supreme Court in Iancu v. Brunetti struck down a law that conditioned a government privilege (trademark registration) on the speaker's viewpoint.
In effect, the bill creates a licensing scheme for Internet publishers–a broadcasting-style regulation of the Internet. In 1997, the Supreme Court (in Reno v. ACLU) said the Internet wasn't like broadcasting. As Justice Stevens eloquently said, "our cases provide no basis for qualifying the level of First Amendment scrutiny that should be applied to this medium." That precedent reinforce the bill's unconstitutionality.
This bill reminded me of my reaction to FOSTA's introduction. Both times, I felt the drafters didn't understand Section 230's "hydraulics" and sought to destroy Section 230 for some unrelated political objective.
Unlike FOSTA, the bill has been universally panned publicly. Only a few outliers have publicly supported this bill (a move that permanently costs them any credibility with me). I don't see how this bill can advance.
Here's my puzzle: why didn't Sen. Hawley propose to categorically end Section 230 when companies reach the numerical thresholds? [To state the obvious, I would vigorously oppose such a proposal.] After all, if companies have little chance actually getting the FTC license to keep Section 230, the net result would be the same; and a categorical exclusion would save everyone time and money and avoid the worst constitutional angles. As far as I can tell, "political neutrality" was essential to the bill's messaging. However, seeing the negative reaction from communities I'd have expected to sympathize, I can't tell if Sen. Hawley misjudged the audience, decided to appeal only to a tiny niche, or is playing some super-strategic 4-dimensional chess that I don't understand.
Sen. Hawley's bill reminds us that DC regulators are gunning for Section 230. To guide regulators through the inevitable craziness, a coalition will soon release a statement offering some guide-rails for those considerations. I will categorically oppose virtually all Section 230 reforms, but I hope we can fruitfully channel the discussions away from the worst reforms. Though we began working on our statement before Sen. Hawley dropped his bill, it won't surprise you that Sen. Hawley's "Support for Internet Censorship" bill violates several of the guide-rails we identify.
Additional Coverage
Thanks to Ashkhen Kazaryan and Sasha Moss for preparing this roundup of coverage, which I've supplemented a little:
Academics/Legal Experts
Prof. Eric Goldman's Linkwrap 6/19/19
Daphne Keller's Twitter Thread 6/19/19
Prof. Jeff Kosseff Twitter Thread 6/19/19
Raffi Melkonian Twitter Thread 6/19/19
Jess Miers on Medium
Prof. Blake Reid Twitter Thread 6/19/19
Daisy Soderberg-Rivkin in Washington Times
Adam Thierer's Blogpost 6/19/19
Ken White's Twitter Thread 6/19/19
Prof. Joshua Wright (former FTC Commissioner) Twitter Thread 6/19/19
Sen. Wyden's Twitter Thread 6/19/19 and in Reason 6/25/19
Former Rep. Chris Cox WSJ Op-ed 6/23/19
American Action Forum Blogspot 6/21/19
Americans for Prosperity (AFP) Statement 6/19/19
FreedomWorks Twitter Post 6/20/19
CATO Blogpost 6/20/19
EFF Blogpost 6/19/19
Engine Statement 6/19/19 and Op-Ed
Lincoln Networks on Medium
OTI New America Statement 6/20/19
R Street Institute Blogpost 6/24/19
Public Knowledge Harold Feld Twitter Post 6/19/19 and John Bergmayer blog post
TechFreedom Press Release 6/19/19 Twitter Thread 6/19/19 Letter to Congress on the Fairness Doctrine 4/26/18
CCIA Statement 6/19/19
Internet Association Statement 6/19/19
NetChoice Statement Blogpost 6/19/19
Bloomberg article 6/19/19
CNBC article 6/19/19
Kansas City Star editorial
National Review article by David French 6/20/19
NMSU Reporter article 6/20/19
Reason article 6/19/19
Slate article 6/19/19
Techdirt article 6/19/19
The Argus Press article (CTA statement) 6/20/19
The Bipartisan Press article 6/19/19
The Daily Caller article 6/19/19
The Kansas City Star editorial board 6/20/19
The Verge article 6/20/19
The Week article 6/20/19
The Washington Post article 6/20/19 article 6/19/19
Washington Examiner op-ed by executive editor article 6/19/19
Yahoo Finance article 6/20/19
Amanda Carpenter, CNN Twitter Post 6/19/19
Alex Griswold, Free Beacon Twitter Thread 6/19/19
Jane Coaston, Vox Twitter Thread, another Twitter Thread 6/19/19
Additional Section 230 Readings
Some of my Section 230 writing that might be relevant to this bill:
* Want to Kill Facebook and Google? Preserving Section 230 Is Your Best Hope (2019)
* An Overview of the United States' Section 230 Internet Immunity (2019)
* Why Section 230 Is Better Than the First Amendment (2019)
* Of Course the First Amendment Protects Google and Facebook (and It's Not a Close Question) (2018)
2 Pingbacks/Trackbacks
11 July 2019 at 5:07am
[…] I posted a 2,300 word takedown of Sen. Hawley's anti-Section 230 bill. ...
Large and Diverse Coalition Issues a Statement of Principles to Help Evaluate UGC Liability Reform Proposals - Technology & Marketing Law Blog
22 July 2019 at 11:07am
[…] particular, this case reiterates the depravity of Sen. Hawley's ...
Russia Fucked With American Democracy, But It Can't Fuck With Section 230-Federal Agency of News v. Facebook - Technology & Marketing Law Blog
It's interesting that the Republican Party of today is the ACLU of the '70s.
Pingback: Large and Diverse Coalition Issues a Statement of Principles to Help Evaluate UGC Liability Reform Proposals - Technology & Marketing Law Blog()
Pingback: Russia Fucked With American Democracy, But It Can't Fuck With Section 230-Federal Agency of News v. Facebook - Technology & Marketing Law Blog()
jdgalt
A good analysis from the legal end of things.
From the practical end I would point out that this controversy is already causing the creation of lots of new forums with different moderation policies than those such as Facebook and Youtube that triggered the public outrage behind this bill. Gab, Bitchute, and Parler are all new, while existing services such as Pornhub now host content unrelated to their original missions.
But there still is bad news — several attempts have been made to get essential services such as domain name service denied to dissident platforms, while banking services that many online performers need to stay in business (PayPal, kickstarter, Patreon and their competitors, but also Mastercard and Chase) have started refusing service based on politics. Services in both those categories are regulated so heavily that creating competition with them won't always be practical (especially if the UN gets the idea to use its control of ICANN to deny registration to dissident sites), and it's not that long ago that the US government tried to deny banking to a long list of legal businesses through Operation Choke Point. So a law guaranteeing everyone the right to banking access and domain name service without viewpoint discrimination is necessary before the next Democratic administration can get in and try again.
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Read Sunsets Online
Authors: Robin Jones Gunn
Sunsets (4 page)
BOOK: Sunsets
Not that she thought God was always wrong and she was right, nor that she always expected to have her own way. But after all she had been through, she needed proof, evidence of his supreme power. Facts, not feelings. She had had enough feelings for one lifetime.
Whenever she tugged on God's rope, she felt the tug back. Back and forth, back and forth, struggling with no peace.
She wasn't about to let her side of the rope go slack. Because if she let go now, she was afraid she would lose God forever, the same way she had lost every other significant person in her life.
lissa took a little extra time getting ready for work the next morning. She washed and curled her hair and put on some makeup. Today she needed to drop off the papers at Genevieve's, and being around her the day before had made Alissa feel frumpy.
She also thought of Rosie's sweet face and her red lipstick. Here Alissa had chided herself for living the life of a sixty-year-old, but Rosie's life and her appearance showed that she was taking much better care of herself than Alissa was.
More than a year ago Alissa had diagnosed her lack of attention to her appearance. She had figured if she looked good, men were attracted to her. When men were in her life, she got hurt. Solution? Go plain. Gain weight. Avoid men.
Even though Alissa had perfected her male-repellent technique, it hadn't brought the contentment she had longed for. So many hurts. So little healing.
As she applied her lipstick, she thought of Rosie's slightly smeared red lips. Had they gotten that way after a big smooch from Chet? Or was it hard for her, at her age, to put on her lipstick evenly?
Alissa knew how difficult it could be for an older woman to manage her makeup. Her grandmother had asked Alissa to do her personal care tasks for her during the last eight months of her life when she had become too shaky to handle the tasks herself. Alissa had combed her grandma's long, ivory hair each night and had smoothed lotion across her wrinkled cheeks. Every morning she had washed her grandmother's face with a warm washcloth, rolled her hair on top of her head in a round twist, and told her to pucker up as Alissa applied the lipstick. Her grandmother always wanted the red lipstick. "Firecracker Red" the bottom of the tube had said.
Alissa wondered if Rosie wore firecracker red. It was obvious Rosie's lips could still start a fire in Chet.
Perhaps those subliminal thoughts were what prompted Alissa to be nice to her own lips this morning. It wasn't their fault she didn't plan to use them on men anymore. They deserved a little pampering.
Alissa felt so good as she drove across town to work she didn't even think about stopping at Starbucks. "Good morning, Cheri," she said brightly as she walked in a few minutes early.
Cheri looked up and said, "I like your hair. It looks great that way."
"Thanks." Alissa considered complimenting Cheri, but she looked the same as always, which was perfect. She had a tidy, trim figure, and she wore coordinated, jewel-toned career apparel, which she mixed and matched. Cheri's black hair was in a super short cut that allowed her to get out of the shower,
shake once, and take off. There didn't seem to be anything new to compliment her on.
"Did I tell you about that older couple yesterday?" Alissa asked, adjusting herself in her chair and putting on the phone headset. "Chet and Rosie. They're getting married a week from Saturday, and they must be in their seventies. They are so cute. I'm doing an Italian tour package for their honeymoon."
Cheri smiled. "Warms your heart, doesn't it. Did you find a new apartment?"
Before Alissa could answer, the phone rang, and she took it. "Yes, we can book group tours to the Holy Land. How many would be in your party?"
The morning sped by with nonstop calls and customers. It seemed everyone had suddenly realized it was June and time to plan a vacation. Not until Renée arrived at noon and told Alissa to take her lunch break did she realize she hadn't seen Chet and Rosie.
"If an older couple comes in asking about their itinerary for Italy, it's on top of my in-basket. But I'd like to be the one to go over it with them, if they don't mind waiting."
Renée, a large woman with red hair in a bouffant style, took her position as manager seriously. She worked part-time because she also ran a home business selling cosmetics. After managing this travel agency for seventeen years, she was looking for something more flexible. That's what the home business seemed to provide, but not enough money was coming in yet for her to quit the agency.
"I'll keep an eye out for them," Renée said. "And please try to be back in an hour today. I understand about the apartment hunting yesterday, but we've been so busy we need all hands in the office."
"I'll be back at 1:00," Alissa promised. She drove right to
Genevieve's and dropped off the papers, which she had picked up that morning on her way to work and had filled out. She also had purchased a potted yellow mum as a gift for Genevieve.
Mallory answered the door with a shy, "Hello."
Genevieve appeared at the top of the stairs, holding a pair of tennis shoes. In the entryway hung a brass chandelier with three tiers of lights covered by frosted glass domes. It made for a beautiful setting as Genevieve moved down the stairs to the polished hardwood floor where Alissa stood.
"Hi," Alissa said, wondering if she had overdone it by bringing the flowers. "I wanted to bring a little contribution for your garden."
"Thanks. It's lovely. Please, come in," Genevieve said. "Would you like something to drink?"
Alissa followed her to the spacious kitchen and pulled up a stool at the center island. Genevieve had decorated everything in flowers, not in bright or overwhelming colors, but in quiet pastels. The wallpaper was a subtle, neutral grass with a border of wildflowers midway up the wall. Cursive writing appeared on the flowered border, making it look like labeled packets of flower seeds or pages from a gardener's journal. The string of flowers from this mock diary made for a soothing border. Dried flowers hung from the ceiling over the sink, and a swag of dried flowers arched over the french doors that led to the common garden.
"This is a beautiful kitchen," Alissa said.
"Thank you. I like it here very much. Is iced tea okay?"
Genevieve handed her the tall, blue-tinted glass of tea along with a long spoon and a china sugar bowl. "I'm glad Shelly caught you last night. I'll get the credit check started right away. Is there anything unusual we should be aware of?"
"I don't expect anything unusual on the credit report itself, but I had to leave one of the questions blank and that may slow the process."
"Which one?" Genevieve asked, scanning the paper.
"Under references. They asked for a relative, but I don't have any."
"None?" Genevieve asked. Mallory had removed a boxed drink from the refrigerator and was holding it up for her mother to poke in the straw.
"None." Then, because she knew it was so unusual, Alissa hesitatingly explained. "My dad died when I was sixteen. My mother died six years ago, and my grandmother passed away four years ago. As far as I know, I have no other living relatives."
Something pinched the corner of Alissa's heart as she said the words. In a way it was a lie. She did know of one other living blood relative. But that one didn't count. Shawna wasn't hers to claim.
"Mommy?" Came a voice from the couch in the adjacent family room. "May I have something to drink?"
"Sure, honey." Genevieve reached for another boxed drink and walked over to the couch. "Poor little angel," she said. "Her last week of school, and she came down with chicken pox. Have you had them? I should have asked before inviting you in."
"Yes, I had them when I was six."
As Alissa watched, a little face framed with mussed up blond hair appeared over the edge of the blue couch. She turned shyly to spy on Alissa. Red dots speckled her forehead and cheeks.
Without warning, tears from a deep fountain surfaced in Alissa's eyes. The girl couldn't be more than eight or nine, the same age as Shawna, the baby Alissa had given up for adoption.
Alissa had kissed her baby good-bye when she was less than a week old and had placed her in the eager, grateful hands of a couple who had longed and prayed for a child. She always knew she had done the right thing, especially since Shawna's father had been killed in a surfing accident before he even knew Alissa was pregnant. It was all a long time ago. The fruit of her reckless, misguided, and painful teen years.
"This is Anna," Genevieve said. "Honey, this is Alissa."
The little patient took a lingering moment to meet Alissa's blue eyes. Even Alissa's glasses couldn't hide her glistening tears from this observant patient.
"I'm hot, Mommy," was all Anna said.
"I know, love. Try drinking this. I'll get you a washcloth." Genevieve's words were so steady and calming, they even comforted Alissa. Her tears stopped right at the brim of her eyelids.
"You have your hands full. I should go," Alissa said, taking a quick sip of the iced tea. "Oh, this is delicious tea."
"I use fresh mint from the garden. Nice isn't it?"
"When we lived in Germany, we had a neighbor who grew mint in a window box."
"Really? You lived in Germany?"
"My father was in the air force. We lived lots of places."
Genevieve retrieved a washcloth from a drawer in the kitchen and wet it with tap water. "I grew up in Zurich," she said. "Have you ever been there?"
"Yes, several times. It's a beautiful city. How long have you lived here?"
"Seventeen years. Ever since I married Steve."
"And you have two daughters?"
"Three. Fina is at school. She's fourteen."
"I had a friend in school named Fina. From Josephina, right?"
Genevieve looked up from the couch where she had
placed the cool cloth on Anna's forehead. "You're the first American I've ever met who knew that. I certainly hope everything works out. It would be delightful having a neighbor who actually knows what I mean when I say 'francs' and doesn't think I'm referring to some sort of hot dog!"
Alissa smiled. She had to agree. Genevieve and her girls would make wonderful neighbors. "Maybe I'll see you Monday, when Shelly returns."
"Good. I'll look forward to it, Alissa."
"I hope you feel better, Anna."
A soft "thank you" drifted up from the couch.
Alissa hurried to her car, thinking of how peaceful Genevieve's home felt. It wasn't just the wallpaper or the magnificence of the house. It was Genevieve. She exuded a steadiness and charm that Alissa admired. And Genevieve's girls seemed to have inherited it from her.
Driving through the nearest fast food place on her way back to work, Alissa ordered a hamburger, fries, and large Coke. But then she changed her mind. "Can you please make that a chicken salad, no dressing, and an iced tea?"
You think you're starting some kind of pointless diet?
a voice inside her chided.
No, I'm tired of hamburgers, that's all
But the truth was Alissa wanted to make a fresh start. She didn't know exactly what had caused the shift in her attitude, but she did know she was on the road toward some changes. And her eating habits were just one of them.
She arrived at the office a few minutes before one o'clock and had time to consume half her salad in the back room before returning to her desk. The duplex was much closer to work than her condo. Her hopes were getting set on moving in, and she had no idea what she would do if it didn't work out. The cave apartment with the dirty, rose-colored carpet
barely seemed feasible after picturing herself as Genevieve's neighbor.
She and Cheri went out for a bite to eat after work on Thursday. After Alissa told Cheri all about the duplex and how much she hoped it would work out, Cheri cautioned her with a phrase that stuck with Alissa. "You know," Cheri said, "you can't depend on people or houses to make you content. You have to find contentment within yourself."
Alissa knew she was right. Still, she wanted to argue by saying, "Yeah, but it makes it a lot easier to be content when the people and houses are there, too."
The next afternoon Alissa thought about leaving work a little early to pick up some packing boxes. But Mr. Brannigan called requesting that Alissa fax him a detailed list of the types of services and entertainment options available on their Alaskan cruise ship. She was just about to run the list through the fax machine when the front door opened, and Chet and Rosie shuffled in.
"Hello!" Alissa greeted them. "How are you two? Please have a seat at my desk, and I'll be right there."
They looked a little weary but none the worse for all their busy wedding plans. Alissa ran the list through the fax machine and eagerly joined her clients.
"The first thing I need is your last name. I forgot to get it the other day."
"Michaels," Chet said. "That's my name, of course. As of a week from tomorrow I'll share it with my Rosie."
Alissa felt the same warm feeling coming over her she had felt the last time they were in. She leaned forward and said, "You must tell me the rest of your story! You left with Rosie marrying Joe. Then what happened?"
MotherShip by Tony Chandler
Mr Badger and the Missing Ape by Hobbs, Leigh
The Bonding by Hansen, Victoria
The Act of Roger Murgatroyd by Gilbert Adair
Thieves World1 by Robert Asprin
The Divine Unleashed (Book 3) by Allen J. Johnston
In Blood and Worth Loving 3 Kiss Cover by Marilyn Lee
Twisted by Rebecca Zanetti
El general en su laberinto by Gabriel García Márquez
Highland Surrender by Tracy Brogan


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Experience the joy of the season with Brooklyn Symphony Orchestra in this family-friendly concert. The afternoon includes Malcolm Arnold's "Grand, Grand Overture," written for Gerard Hoffnung's Interplanetary Music Festival and featuring several unusual solo instruments; Astor Piazzolla's "Tangazo," a lively celebration of his home city of Buenos Aires; seasonal music from Rimsky-Korsakoff's opera Christmas Eve; and musical murder mystery "The Composer Is Dead," with music by Benjamin Stookey, text by Lemony Snickett, and Artistic Director Nick Armstrong heading the investigation.
Advance tickets are $10 for Museum Members; $20 for non-Members; day-of tickets are $25 at the door. Tickets are available through the Brooklyn Symphony Orchestra.


text:
KELLER ELECTED TO THE HALL
Kasey Keller is in the Hall of Fame
KENYA BROWN - Sunday, April 12, 2015
Former U.S. national team goalkeeper Kasey Keller will now be enshrined with some of the greats in American soccer.
On Wednesday, the World Cup veteran was announced as the newest member the National Soccer Hall of Fame along with coaches Sigi Schmid and Glenn "Mooch" Myernick.
"It's a great honor. You look at some of the guys that have been elected before. It's not an easy process. It's not like it's an open-door policy. It's cool to be voted in," Keller said in an interview on the U.S. Soccer website. "I really saw it firsthand when I was able to speak on (Brian) McBride's behalf of how cool it is. I don't think anybody really starts a career with that as a goal, 'I'm going to be in the Hall of Fame,' and I'd never even really thought much about it. I'm proud and thankful for the people that helped get me to that point throughout my career - teammates, coaches, friends, family. It's kind of a culmination of what you've done and how you got there and all the people that helped you get to get to that point, so I'm thankful for that."
A native of Olympia, Washington, Keller started his professional career with English side Millwall after the 1990 World Cup. He would go on to become a popular figure of supporters at the Den during his four seasons. Some of them even named their newborn children after him.
After the Lions relegation in 1996, Keller was transferred to Leicester City who were just promoted to the English Premier League. He would win his first piece of silverware with the Foxes as they would go on to win the 1997 League Cup over Middlesbrough.
The much traveled goalkeeper would also make appearances for Rayo Vallecano, Tottenham Hotspur, Southampton, Borussia Monchengladbach, Fulham and lastly with the Seattle Sounders.
On the international scene Keller made 102 appearances for the U.S. national team and represented the side at four World Cups (1990, 1995, 2002 and 2006). He also helped the team to three CONCACAF Gold Cup titles (2002, 2005, 2007).
As for individual honors, he has been named U.S. Soccer Male Athlete of the Year on three occasions (1997, 1999, 2005).


text:
The American Apartment Building is a building complex located in northwest Portland, Oregon, listed on the National Register of Historic Places.

See also
 National Register of Historic Places listings in Northwest Portland, Oregon

References

External links

1911 establishments in Oregon
Individually listed contributing properties to historic districts on the National Register in Oregon
Northwest Portland, Oregon
Portland Historic Landmarks
Residential buildings completed in 1911
Apartment buildings on the National Register of Historic Places in Portland, Oregon

redpajama_set_name: RedPajamaWikipedia


Since my last post, I've been to Kristiansand, not only missing the successful match against Sweden, but finding, along with five other cyclists, that it was the busiest night of the year - a festival. Even the campground wouldn't take us - including two children - they said it's not good for children as everyone would be drunk. So I stayed in a hotel for €160.
In the morning, I bought a ticket for Drangedal, intending to meet my climbing friends at Hægefjell. But then, in a cafe with wifi, I discovered that they were leaving Hægefjell for Oslo, so I went there instead, and did some climbing in an area near there, and had a great time.
Since then, I've ridden back through Denmark, stayed at some excellent campsites and one bad one, and crossed two major German river estuaries by boat. I'm now on the west side of the Weser river.
The picture is of a pair of trousers. I found two packets of mustard in Rensburg, and put them in a pocket. I then stuck the trousers at the bottom of a pile of clothes in a bike pannier, and forgot about them. Luckily, I remembered before the mustard packets burst.


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Here's Runnicles (or Where's Runnicles meets Runnicles)
We've used this title before, for a post six months ago following the glorious announcement that Donald Runnicles was taking over the role of Chief Conductor of the BBC Scottish Symphony Orchestra from the 2009 season. The more eagle eyed among you will remember that this post caught the attention of Stephen Duffy, the orchestra's marketing manager. Well, another pleasant surprise awaited as I returned from work on Tuesday: Stephen had e-mailed to invite us to the concert Runnicles was giving on Thursday, his first with the orchestra since the announcement. Of course, needless to say I had bought my ticket as far back as last June and unfortunately Finn was unable to attend. Better still:
At the end of the concert, we're having a "meet and greet" with Donald, the players of the BBC SSO and our audience, It'd be a pleasure to meet you both there, and introduce you to the man himself.
Of course, this sort of situation is intrinsically quite dangerous - the higher the expectations the greater the potential for disappointment. Fortunately though, I don't have to write that kind of a review. Before starting, Runnicles turned to the audience and gave a brief speech, mentioning how good it was to be in this jewel of a concert hall and playing with this jewel of an orchestra. He also drew some parallels between the two works in the programme: MacMillan's 3rd Symphony 'Silence' (receiving its Scottish premier) and Mahler's Das Lied von der Erde. In particular, he mentioned the importance of silence in both works and both composers' use of textures. This was doubly interesting for me since this is the first time I've heard Runnicles perform a programme: all the previous concerts I have attended have been of single works: Verdi's Requiem, Mahler's 3rd symphony, Bruckner's 6th and Wagner's Gotterdammerung. He mentioned that nobody quite knows why some partnerships between orchestra and conductor work and others don't, but that this one had been special and he looked forward to the future. We couldn't agree more.
I'm not sure I've heard much MacMillan before, and not least for that reason I'm hesitant in passing judgement. Like hearing any work for the first time, well, any that isn't completely awful, I wanted to go back and listen again, it's impossible to take everything in on the first pass. However, MacMillan (and doubtless Runnicles) uses pauses powerfully in the work. There is also at times a wonderful sense of cacophony mixed with order. I know that makes no sense, since the two are essentially opposite, but that is the only way I can describe the sound that several times they managed to produce. And quite something it was. Similarly the several smaller, low, throbbing climaxes in the work. Sonically this work is a showcase for an orchestra, and under Runnicles the BBC Scottish played magnificently. The work has some wonderful textures, which for me highlighted its suitability as a partner to Mahler, whose genius for orchestration is one of his key strengths. Certainly it is an interesting piece, I enjoyed it very much and I will listen to the broadcast. At the same time, I didn't quite feel swept away by it, nor in the presence of greatness as I did with the Ades violin concerto last summer. If I have one reservation, and this is splitting hairs, I have said before many times that one aspect of Runnicles' genius is his gift for instrumental placement (be it the horn in the foyer outside the Grand Circle in the Usher Hall for Mahler 3 or the brass arrayed in every nook and cranny of the Albert Hall for Gotterdammerung and even in the general orchestral layout for Bruckner 6). However, such was the scale of the orchestration that the platform was actually a little crowded and there was no room, so to speak, for his skills in this regard to shine forth. That's not to say there was anything wrong, just nothing to take one's breath away.
Following the interval came the treat. I've waxed lyrical about the 2005 performance of Mahler's 3rd symphony more times than I can count. The more so since my computer died that summer meaning I was unable to capture the broadcast. This is compounded by the absence of Mahler from Runnicles' discography. Orchestrally the performance was superb. Rich and detailed, with some of the finest playing I have yet heard from this orchestra. It was a performance that made me question why on earth this work is so often skipped when a conductor surveys the symphonies because, and let's face it, Das Lied is a symphony in all but name, had it not been for a superstition that, like so many composers before him, he would die after nine, this would surely now be known as Mahler's 9th. Runnicles and the BBC SSO provided a real orchestral tour de force, whether the playing loudly, softly, with passion, fast or slow. He also achieved a wonderful balance with the percussion. Pauses were held to magnificent effect. It was something to hear. Indeed, I am tempted to say that, orchestrally, this is the finest reading of the work I have heard, be it on CD or in the concert hall.
Tenor Simon O'Neill was appearing as a last minute stand-in for an indisposed Johan Botha. His performance should therefore be seen in this context and I will not judge too harshly. However, he did not ride over the orchestra as clearly as I would have liked and, personally, I found his voice to have a slightly harsh, nasal tone. I did wonder for a moment whether Runnicles was to blame, swamping his singer, but Karen Cargill's performance soon put paid to that. Anyone has a difficult job convincing me in this role. I am, like many others, wedded to the Kathleen Ferrier reading (with Bruno Walter and the Vienna Philharmonic), as I am to Ferrier in so much Mahler. (On a side note, those of a similar disposition will be pleased to know that a release of Mahler 3 featuring her, and conducted by Boult, is soon to appear on Testament. The link is to MDT not Testament only because their website has more detail.) Cargill isn't Ferrier, obviously, who is? And yet, she comes as close at chilling the listener as I have heard (afterwards Runnicles described it as having a direct line to the listener's heart, I can't explain it better).
Runnciles, orchestra and soloists received a rapturous reception. It must be noted that the hall wasn't quite full (as it was for Brendel in February). Quite why was a mystery to me, those who missed this missed a treat.
Afterwards, proceedings adjourned to the bar. I found myself sitting with Andrew Clark (a very nice journalist from the FT, find his review here) and a flute/picalo player from the orchestra. Gavin Reid, the orchestra's Director, interviewed Runnicles briefly. He talked about his formative years in Germany and Austria, and his consequent experience in Viennese repertoire. He had a lovely story about a recent performance of Strauss's Rosenkavalier he had given with the Vienna State Opera, with no rehearsal. So steeped are they in this music that requesting one would be a sure-fire way to never work with them again. In particular he mentioned a their playing of the waltz and how he wished he could have bottled it up to carry around with him.
Reid next asked him about another post he had taken up, in somewhere called Berlin (as the Music Director at Deutsche Oper Berlin). After a brief explanation of the three houses in Berlin (ah, for only one properly funded one in Scotland), he contrasted the main difference between this and SF Opera where he has been for over a decade. SF, the most beautiful city in the world [Edinburgh, surely. Ed.] turns over a large number of new productions meaning that once a run of seven or eight performances is over and everyone is just getting settled, that's it for a good few years. Berlin is a repertory house, so productions come back year after year. Clearly he is looking forward to this.
He then thanked both singers in effusive terms, noting just how proud Scotland should be of its artists. Take note, SNP, if you really want cultural independence, the funding to match is required. He also had a nice story about Rattle attending the Gotterdammerung rehearsals for last year's Proms as he himself was preparing the work for Aix. Indeed, Rattle was apparently so impressed with Cargill that he got on the phone to the festival and demanded they secure her.
He gave very little away about what we might expect from his first season as Chief Conductor. However, he did let slip that he would like to do something from Rosenkavalier (that will certainly get Finn's attention, if nothing else). It sounded more like exerts than a full concert performance, however, given Runnicles' pedigree in the Opera House, might I suggest going down just that path: let us have some full concert operas from the BBC Scottish in the 2009/10 season. He also talked about his commitment to new music: he did, after all, give the American premiere of Messiaen's St Francis (something we're heading to Amsterdam to see staged in June) as well as the world premier of Adams' recent opera Dr Atomic (about Dr Robert Oppenheimer and the Manhattan Project). Indeed, he talked about his links to Adams so I suspect we can expect some of his music: how about Dr Atomic in concert, I'm sure Runnicles will conduct it better than whomever brings it to ENO.
I had the chance to have a chat with Stephen Duffy. He again mentioned that they were looking to expand their season into Edinburgh, though the ongoing Usher Hall problems don't help. And even if that were not an issue, the Usher Hall isn't really ideal for them: audiences here are quite conservative and I suspect they'd have a job selling out some of their programmes (though having the local boy conducting would doubtless help). Really, we need a third concert hall in Edinburgh, a brick by brick reconstruction of the City Halls. However, given the current budgetary position, I think it more likely that I will see pigs flying past my window (a feat that would be doubly impressive since it is dark and the curtains are drawn). He talked about some future plans for the orchestra, including a possible performance of Messiaen's Des Canyons aux etoiles. A sublime and spiritual work, magnificently performed at the 2006 Festival by de Leeuw and the Netherlands Youth Orchestra, I sincerely hope this comes to pass.
Stephen then introduced me to the eponymous maestro, who answered the question first posed at the end of this post: he hasn't stumbled across our humble blog. I gave the brief explanation of the name and I think he was a little taken aback. I thanked him for a fine concert and asked him for his autograph (he signed my copy of his recording of Beethoven's 9th symphony on Telarc with the Atlanta Symphony - apparently the surround sound version is interesting, he said they had a lot of fun recording it - which will probably be the next disc to feature in our discography, not least because I don't think I did a very good job explaining to him why I like it so much). Still, if he wants to see some more cogent praise, he has only to click here. I also took the opportunity to praise the horn placement in Mahler's 3rd symphony and thank him for one of the most sublime evenings I've ever spent in the concert hall, something I have wanted to do for nearly three years.
All in all, a fantastic night. The concert is being broadcast on Monday 28th April at 7pm on BBC Radio 3. Those who can get to it, should head to the Albert Hall on Sunday 3rd August where Runnicles, Cargill, Botha and the BBC Scottish will be playing Das Lied again as part of the BBC Proms, only this time paired with Beethoven's first symphony. I can't make it, so the wireless will have to suffice. Beyond that, Runnicles isn't due back to perform in Scotland until 19th February 2009 when he will play Adams' Slonimsky's Earbox, Ravel's concerto for piano left hand and Berlioz's symphony fantastique. In the meantime it's CDs, the radio or expensive air fares (we were recently offered tickets to hear him do Berlioz's Requiem with the Berlin Philharmonic in May, sadly the combination of fares and dates couldn't be made to work).
Posted by Tam Pollard at 01:38 No comments: Links to this post
Labels: BBC SSO, City Halls, Concert Reviews, Donald Runnicles, Tam
There's Runnicles - Peter Grimes at the Met
No, the budget of our humble blog hasn't massively expanded to allow a visit to the Big Apple, even to see Donald Runnicles conducting. Fortunately though, the Metropolitan Opera now broadcasts its Live from the Met relay to cinemas as well as via Radio Three. But the price is steep and, at £25, several times what one would pay for a regular cinema ticket (and, indeed, for live opera: you can get into every opera at this year's Edinburgh festival for less, not to mention everything in the current Royal Opera House season). I don't really see how it can have been the technology that was responsible for the price tag (I assumed it was some form of internet streaming, but some Googling informs me that in fact it is a satellite relay). I did baulk somewhat when the announcer informed us that they thanked [some sponsor whose name eludes me] for making the relay possible: I refuse to believe this is not a tidy little earning for the Met. That said, the seats at the Cameo are more comfortable than in any opera house I've been in and the view of the screen was unobstructed. Better still, this seemed to be the hard-core opera audience of Edinburgh: there was no chatting, loud coughing or coming in midway through the act. Somewhat surprisingly, the 200+ seat venue was totally sold out, turning up at the last minute on a whim I was lucky to get in. Whether this is regular, or whether the crowd was bolstered by those wishing to see the local hero, I cannot say.
The picture is in high definition, and suitably impressive. The [I assume] digital projector had no noticeable flicker. Sound was good, but not great. A cinema's system is almost certainly not installed with the audiophile in mind and I think it would be possible to do better, in particular it struggles to resolve the more complex moments; to put it another way, I think the sound quality is finer in my living room. The credits rolled, rather annoyingly and not, as it turned out, to the performance but rather a pre-recorded exert. We then got some 'behind the scenes' presentation and chat from Natalie Dessay, which I could have done without, though she did a creditable job out of her mother tongue. Did we, for example, really need to see [again, I assume] the stage manager as he announced "Calling Maestro Runnicles to the pit."?
The set is imposing: a vast vertical wall that called to mind the 2006 Edinburgh festival production of Troilus and Cressida (whose overly elaborate mechanical wall failed during the interval on the opening night). Doors in it constantly open for people to sing from. At first this seemed a little silly, especially as each witness was called in turn at the inquest. And initially Anthony Dean Griffey's Grimes sounded too nice and sweet a voice. Patricia Racette's Ellen Orford was very fine, and while she may have struggled a little at the top and had more of a wobble than I care for, her acting and characterisation more than compensated. Balstrode (Anthony Michaels-More) and Ned Keene (Teddy Tahu Rhodes) sang and acted particularly well.
The downstage positioning of the wall in the first scene forces the large cast into a small space and makes for an very claustrophobic feel. The costumes are all very dark, except that Grimes seems to have a hint of colour, marking him as an outcast. As the drama progresses, Grimes becomes more and more chilling. Runnicles delivers a thrilling account of the storm into scene 2, as fine a musical depiction of the elements as I have heard since Mackerras conducted Beethoven's 6th symphony at the 2006 festival. Again the set shifts around, this time to create the pub, and again manages it well. The minor performances here, such as Auntie (Jill Grove) are superb. Then comes the round Old Joe has gone fishing which teeters on the brink of chaos, and yet is superbly controlled by Runnicles and chorus master Donald Palumbo.
As the curtain falls we are once more with Dessay, this time back stage as she pounces on Grimes and Orford for a soundbite. I can't imagine they want that, I would think as a singer herself she would know better. Interestingly, it is quite a shock that they are not English, given the quality of their accents while on stage. But Dessay has my sympathy, and amuses the audience, as she struggles to pronounce Aldeburgh while linking to a live relay just outside the cinema there. We are then treated to some archive footage of the Red House, Britten and Pears' home there. Or, at least, the interior shots (and I have been there, so I know) are accurate. The exterior shots were actually of their previous home on the sea front which they left for Red House (which is not, as the presenter suggested, a few minutes walk from the cinema but right on the edge of town).
Runnicles manages the orchestra magnificently for a beautiful dawn to act II. The wall works well as the church, and all the better as the doors close behind leaving Ellen and the young Prentice (Logan William Erickson) on the beach. The windows open to visually remind us of the congregation's presence. There is an eerie sense of voyeurism and curtain-twitching and we feel the weight of the congregation behind the wall. Grimes is grittier here, there is a shock to the violence, such as when he strikes Ellen. The set then pulls back to to give us Grimes' shack. There is a brilliant lighting effect on Grimes' face as he opens the trap door that leads onto the cliff. Runnicles closes, near silently, with chilling effect, managing to prevent premature applause (no mean feat at this house).
In the second interval we get to meet producer John Doyle and set designer Scott Pask. They've come in for criticism, in part as the set doesn't look like Aldeburgh. I've been there many times, and it's quite true, it doesn't. But if the object of every production was to perfectly recreate the town, I think that would be rather dull. We learn that the dark tar-stained look is much more in keeping with Doyle's native Hastings, also a small English fishing village. We then get a couple of trailers, one of which should carry a health warning: Deborah Voight singing Isolde (wild horses would not drag me there). Just before he returns to the stage, Dessay collars the man himself, in particular what it meant to him as a Briton to conduct Britten (which seemed to rub some of the more nationalistic members of the audience up the wrong way).
As act III opens, Mrs Sedley (superbly played by Felicity Palmer) eavesdrops wonderfully. The set then pulls apart to reveal a dark alley from which Grimes, gipped with madness, emerges. Ellen and Balstrode appear in windows above him in a wonderful use of the set which makes you question whether they're really there or only in his mind. I know that's against the text, because it's very clear they are, but somehow the idea they're not makes it the more chilling: Balstrode actually helping Grimes to kill himself never quite works for me. And then, for the close, the set pulls back completely to reveal music and lighting to match the dawn. The blue cyclorama is hugely disconcerting after the darkness of what's come before, it feels as though the town has swept everything away under the rug in a way that leaves a bitter taste. It leaves the viewer troubled, as it should.
It's a production that has been roundly criticised. Wrongly, in my view. It is straight in a world of silliness, it accentuates the key themes of voyeurism and of a community ostracising those who are different. Some reviews have painted a picture of Runnicles struggling valiantly against the horror which at every turn threatens the music. They are mistaken. Let us hope this makes it to a CD or DVD near you soon.
As always in these things, the camera is important, and I didn't always feel that my eyes were allowed to go where my ears were telling them to be. There was an awkward shot they kept doing, turning back from stage to pit, and a not particularly pleasant one that gave us a look up their nostrils (though, in part, this may have been forced upon them by the position of the set). I found the sub-titles both unnecessary and a little distracting. There was the odd picture drop-out, but the sound always remain.
All in all it was a positive experience. I'm very glad to have seen Grimes and to have seen in under the baton of Runnicles was a real treat. The cinema experience comes impressively close to capturing the live experience, but in other measures it is works away. There's an extra measure of excitement missing. And, enjoyable though it is, it would have to be something pretty special for me to pony up another £25. Let's hope Maestro Runnicles is paged to the pit next season.
The loud cheers that greeted Donald Runnicles superb performance were given a civilised echo in the Cameo.
Labels: Donald Runnicles, Opera Reviews, Tam
Where, oh where, is Runnicles?
But the danger was past, they hand landed at last
With their boxes, portmanteaus and bags
It's P-Day. Or, rather, it has been. Today has been that day of days, hour of hours, the day of the release of the Edinburgh International Festival programme (download here). A nice simple day, were it not for the fact that my family has decided just at this moment to be spread across four locations, in three countries and two continents and time zones and booking must be co-ordinated between them all, and done as soon as possible. So, it fell to your author to take his day off to do so. And now, at last, it is done, we have landed at last.
I didn't quote the next two lines from Carol's Hunting of the Snark because it would have been a little harsh, the view does not consist of "chasms and crags" and the crew is perfectly happy with the view. Certainly this does not appear to be a vintage year in the mode of 2006 or 2003, but it seems that the longer lead time and sounder financial footing has enabled Mills to put together a stronger programme for 2008. Last year there were two glaring omissions: Mackerras and Runnicles and today (or rather during the months of planing leading up to today) was his chance to correct these errors. Sadly he scores only 50%.
But I don't want to start with the negatives, so we'll lead off with praising the return of one of the world's great conductors: Sir Charles Mackerras. He comes back in partnership with the SCO and pianist Alfred Brendel as he continues his tour prior to retiring. I had hoped we might get the 9th Mozart piano concerto, with which he is ending his career in Vienna this December (again with Mackerras), as well as playing with the Philharmonia in October. We are getting the 24th instead. It's a fine work, but not one of my favourites. We also get Mozart's 40th symphony and Dvorak's 8th. These tickets will go fast. As will Brendel's solo recital the next day, August 20th, which includes Schubert's D960 sonata. I can testify to the brilliance of this concert, indeed I could right a review right now, as I heard Brendel play the exact same programme in February (the review will be posted here at some point).
The opera looks stronger too. There is a visit with two productions from Gergiev and the Mariinsky Opera. They are bringing both Szymanowski's King Roger and Shchedrin's The Enchanted Wanderer as well as a concert performance of Rachmaninov's Aleko and Act III of Prokofiev's Semyon Kotko. There is also the opening concert: Kurt Weill's The City of Mahagonny and after its absence last year, Scottish Opera returns with Smetana's The Two Widows (though given their current state, it's an open question how fine it will be). Indeed, this could be said to be the Gergiev international festival since we are also getting three concerts with the LSO where he conducts all seven of Prokofiev's symphonies.
Organist Naji Hakim comes to play some Messiaen and some of his own compositions in St Giles Cathedral, while the composer's anniversary is also celebrated by Volkov and the BBC Scottish with his final work Eclairs sur l'au-dela as well as Thomas Ades' recent composition Tevot. Not bad, but not a patch on the celebration of composer taking place at the South Bank Centre presently.
For my money, the first real orchestral highlight comes on August 14th. After his blistering performance of Bruckner's first symphony two years ago, I have no intention of missing Sakari Oramo's return with the Finnish Radio Symphony Orchestra, which will include some Janacek and Sibelius's first symphony. John Eliot Gardiner brings his Orchestre Revolutionnaire et Romantique for some Brahms (including the German Requiem), though my brother's reports indicate that his work with the composer is so dull as to not be very worth hearing.
Gustav Dudamel (who hasn't impressed me nearly as much as he has others) returns but with the Gothenburg Symphony Orchestra, so it will be interested to see how he fairs without his gimmick. Similarly, the Budapest Festival Orchestra return for a residence of about the same size as their rather disappointing one in 2006. I wonder if I'm alone in finding their partnership with Fischer to be massively overrated? Certainly I almost choked on my wine as Mills gave an effusive eulogy to them during the programme launch (at the same time as mentioning neither Mackerras, Brendel nor Runnicles).
Emmanuelle Haim joins the SCO for Handel's Israel in Egypt but my brother reports she has insufficient oomph with the composer. More promisingly, after his stunning efforts with Poulenc last year, Stephane Deneve returns with the RSNO for Honegger's Le Roi David. The excellent Dresden Staatskapelle are coming, though with conductor Fabio Luisi, or whom I've never heard, and with rather more Strauss than I would prefer.
It's worth noting that there is not much Beethoven and not the ghost of a Mahler symphony, though you could argue that this is simply a reflection that areas over visited by McMaster are being put into the shade for a while. And while, for me, that means an absence of some favourites, I am compelled to admit that it is really no bad thing.
The morning Queen's Hall chamber series looks a little below its usual standard for the second year running - might this have something to do with the fact that they seem, carelessly, to have lost the Bank of Scotland's sponsorship? The Belcea Quartet is coming to play all Bartok's quarters (though I think I might prefer a more varied programme and their recent recording of the works was much less compelling than they have been in other repertoire). There is also an appearance by the Beaux Arts Trio and another by Mischa Maisky.
What of the drama. Well, I'm not really qualified to comment, though some of it looked quite interesting from the video Mills showed. It seems to be the area where his post Berlin Wall theme of Artists Without Borders resonates most strongly. There are productions from Palestine, the former Yugoslavia and all manner of other locations requiring supertitles. There is also David Harrower's 365: One Night to Learn a Lifetime whose challenging play Blackbird was a great success a couple of years ago. There is some interesting looking ballet and dance, but once more far outside my field of expertise. The Steve Reich evening looks particularly noteworthy.
But, I started this post, in its very title, with a complaint, and I have yet to make it. When we first established this blog the name was selected, in part for poetic reasons, somehow Where's Runnicles sounds better than Where's Gardiner, partly because he's a local, but in large part because we wanted to make a tongue in cheek dig at his omission. Not least because last year was at short notice, hampered by unbalance books and it has since been announced that he will take over at the BBC Scottish Symphony Orchestra, an orchestra from whom he gets a finer sound than anyone, I had hoped that Mills would correct this oversight and our name would become an anachronism. That he has not done so is puzzling to say the least. On the off chance that he's reading this: GET RUNNICLES BACK NEXT YEAR. It's really quite simple. The rest of us will just have to hope he appears at the Proms and that the date is doable.
I don't want to seem overly negative, though. Overall, I feel very positive about this year's festival and the event's future.
Labels: Donald Runnicles, Edinburgh Festival, EIF 2008, Mackerras, Tam
Here's Runnicles (or Where's Runnicles meets Runni...


text:
Le flux de trésorerie disponible (Free cash flow en anglais) est la capacité d'une entreprise à générer des ressources supplémentaires. Il correspond à la portion liquide de la capacité d'autofinancement obtenue dans l'année et qui n'est pas affectée à l'achat de nouveaux éléments d'actif (investissements).

Le flux de trésorerie disponible peut être utilisé dans les calculs actuariels d'évaluation de l'entreprise, comme la méthode DCF (Discounted Cash Flow).

Les calculs relatifs au flux de trésorerie disponible

Flux de trésorerie disponible de l'entreprise consolidée

Le flux de trésorerie disponible de l'entreprise consolidée (free cash flow to firm en anglais) se calcule ainsi :

 Résultat opérationnel
 + Dotation nette aux amortissements
 − Variations du besoin en fonds de roulement
 + Variations des provisions
 + Variations des engagements de retraite
 − Décaissements liés aux acquisitions d'immobilisations, nets de cessions
 - Loyers décaissés (hors intérêts)
 - Impôts sur les sociétés versé
 = Flux de trésorerie disponible de l'entreprise consolidée

Ce flux de trésorerie ne prend pas en compte ni le résultat financier, ni les entreprises associées, ni les intérêts minoritaires.

Dans les calculs actuariels d'évaluation de l'entreprise, comme la méthode DCF (Discounted Cash Flow), l'impôt sur les sociétés versé est ajusté de l'effet de intérêts financiers. Dans ce cas, le calcul est :

 Résultat opérationnel x (1 - Taux d'imposition)
 + Dotation nette aux amortissements
 − Variations du besoin en fonds de roulement
 + Variations des provisions
 + Variations des engagements de retraite
 − Décaissements liés aux acquisitions d'immobilisations, nets de cessions
 - Loyers décaissés (hors intérêts)
 = Flux de trésorerie disponible de l'entreprise consolidée

Flux de trésorerie disponible des capitaux propres

Le flux de trésorerie disponible des capitaux propres (free cash flow to equity en anglais) se calcule ainsi :

 Résultat opérationnel
 + Dotation nette aux amortissements
 − Variations du besoin en fonds de roulement
 + Variations des provisions
 + Variations des engagements de retraite
 − Décaissements liés aux acquisitions d'immobilisations, nets de cessions
 - Loyers décaissés (hors intérêts)
 - Impôts sur les sociétés versé
 + Dividendes reçus des entreprises associée
 + Intérêts financiers versés, y compris sur les loyers, et net des intérêts reçus
 - Dividendes versés aux minoritaires des sociétés intégrées
 = Flux de trésorerie disponible des capitaux propres

Voir aussi
 Capacité d'autofinancement
 Soldes intermédiaires de gestion
 Flux de trésorerie
 Évaluation d'entreprise
 Valeur actuelle nette
 Évaluation du prix d'une action
 Modèle d'évaluation des actifs financiers

Notes et références

Analyse financière
Comptabilité
Solde de gestion
Évaluation d'actif


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Q: Android EditText fading out overflow text I would like to achieve an effect similar to what's shown here:
https://codepen.io/martinwolf/pen/DkKgJ
Screenshot of rendered text:

I have tried the following:
<FrameLayout
    android:id="@+id/field_container"
    android:layout_width="match_parent"
    android:layout_height="match_parent">
    <EditText
        android:id="@+id/field"
        android:layout_width="match_parent"
        android:layout_height="20dp"
        android:text="This is a very long headline, maybe even too long for this box."/>
    <View
        android:layout_gravity="right"
        android:layout_width="30dp"
        android:layout_height="match_parent"
        android:background="@drawable/bg_gradient_to_white"/>
</FrameLayout>

The bg_gradient_to_white is a gradient from transparent (#00000000) to solid white (#FFFFFFFF). However, this doesn't seem to work, and I don't notice the right edge being faded at all. Alternatively I would be also fine if the EditText would allow the ellipses being shown. For the example above, I would be "This is a very long headline, maybe ...".
Any help would be greatly appreciated!

A: If you want to do it programmatically try this:
mNameTextView.measure(0, 0);
Shader textShader=new LinearGradient(0, 0, mNameTextView.getMeasuredWidth(), 0,
new int[]{Color.BLACK, Color.WHITE},
new float[]{0, 1}, Shader.TileMode.CLAMP);
mNameTextView.getPaint().setShader(textShader);

this works for me

redpajama_set_name: RedPajamaStackExchange


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text:
Broadway Hit 'Shrek the Musical' Is Bringing Its Green-Hued Nostalgia to Australia
The production, which originally opened on Broadway in 2008, and will make its Australian premiere in 2020.
By Sarah Ward
Fancy reliving your childhood film favourites on the stage? That seems to be the current trend. Harry Potter and the Cursed Child is doing big business in Melbourne, the Charlie and the Chocolate Factory musical has been taking its golden tickets around the country, and now Shrek the Musical is bringing its all-singing, all-dancing version of the animated movie franchise to Sydney, Melbourne and Brisbane.
Expect plenty of green when this Tony and Grammy award-nominated stage show finally makes its way to our shores, after first premiering on Broadway back in 2008. Since then, everyone's favourite ogre has sung his way through theatres in the UK, Asia Europe, Canada, Latin and South America, Israel and Scandinavia. Although exact dates haven't been revealed, the character originally voiced by Mike Myers will bound across the Sydney Lyric Theatre at The Star from early January 2020, then hit up Her Majesty's Theatre, Melbourne and the Lyric Theatre, Brisbane.
You know the story, of course — unless you somehow managed to miss the original 2001 Oscar-winning film, its sequels in 2004, 2007 and 2010, and the heap of spin-offs, shorts, TV specials and series that all followed. Based on the 1990 picture book Shrek!, the tale follows the reclusive but kindly titular figure who endeavours to rescue the feisty Princess Fiona from the the fairy tale-hating Lord Farquaad, all while trekking along with a talking Donkey sidekick.
Australian cast details haven't been revealed, but Shrek lovers can expect a whopping 19 songs, an obvious colour scheme and plenty of other fairy tale references.
Check out the trailer for the production's UK run below:
Shrek the Musical will tour Australia from 2020, starting with a Sydney season at the Sydney Lyric Theatre, The Star from January. Complete dates — including for the show's seasons at Her Majesty's Theatre, Melbourne and the Lyric Theatre, Brisbane — are yet to be announced. Sydney tickets go on sale on Friday, July 5, with pre-sales from Monday, July 1. Head to ShrekTheMusical.com.au to join the waitlist, and for further details.
Image: Helen Maybanks.
Published on June 16, 2019 by Sarah Ward


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Q: Dynamically set the table name in a "has many" relation model In my database schema, I have multiple tables that hold generic data for objects, for instance I have a user table and a user_data, post table and post_data, and so. these *_data tables all hold a foreign key to the object and a pair of key-value. now in my laravel models I would like to have a single data models for these tables (rather than a model for every single one) and represent the has_many relation in a dynamic way where somehow I can define the table name according to the parent model. I think the parent model would have something like:
return $this->hasMany('data');

but I don't know how to express the inverse relation nor how to tell laravel which *_data table to use. so my question is, is it possible? and if so, how?

A: You have two options.
Either create a model for each data_* table and use the relation as stated with $this->hasMany('data'); and $this->belongsTo('User'); in the data table and the user table.
Or you can use Polymorphic relations, I personally prefer the polymorphic relations solution, more neat.


To check the condition when the drone is Reversed.
Headless mode : The reference directions is fixed in the direction of view when the drones are takeoff.
Used to increase or decrease the trim setting by step.


text:
Q: log4j 2 log.info() not giving the expected output Friends, here is my code snippet. Couldn't be simpler.
 import org.apache.logging.log4j.LogManager;
 import org.apache.logging.log4j.Logger;

 public class Log4JTest {

 private static Logger log = LogManager.getLogger("Log4JTest");
 public static void main(String args[])
 {

 log.info("Info Message!");

 }

 }

I've added the jar files in the classpath. The code compiles fine but I see nothing in the
console. Am I missing something??


text:
James Leroy Hartz (February 3, 1940 – April 17, 2022) was an American television personality, columnist and reporter during the mid- and late-1970s. At age 24, he was the youngest correspondent NBC had ever hired. Hartz became best known to a national audience for a two-year position as the co-host of the Today Show, along with Barbara Walters. Hartz replaced the deceased Frank McGee, who also hailed from Oklahoma, and at whose funeral Hartz had delivered the eulogy.

Life and career
Hartz was born on February 3, 1940, in Tulsa, Oklahoma, and graduated from Tulsa Central High School in 1958.  He then attended the University of Tulsa as a premed student, but after three years he decided to pursue journalism instead. Hartz first became a reporter for KOTV in Tulsa in 1962 and was promoted to news director in 1964, shortly before he joined NBC-owned WNBC-TV in New York. At the age of 24, he was the youngest correspondent NBC had ever hired. There, he served as the anchor of the 6 o'clock and 11 o'clock nightly newscasts, where he remained until 1974, when NBC promoted him to Today, following the death of McGee. During his tenure at the show, Hartz, along with Walters and correspondent Tom Brokaw, covered the resignation of President Richard Nixon. Hartz also covered the nation's bicentennial celebration, as well as the end of the Vietnam War in 1975. Hartz' run with Today turned out to be brief; Tom Brokaw would take over from him in 1976, when Walters left for ABC.  Hartz then went to WRC-TV in Washington, D.C., where he was an anchor until 1979. Throughout his career, Hartz earned five Emmy Awards and two Ace Awards for cable television.

After leaving NBC, Hartz succeeded Hugh Downs as co-host of the PBS series Over Easy, sharing the program with Broadway actress, Mary Martin.
He also hosted another public television program, Innovation, during the early 1980s. In the early 1990s, he co-anchored a weekly PBS-NHK joint venture news program, Asia Now, from Tokyo, Japan. Hartz traveled to and from Japan over 30 times while filming this series.

Hartz, who lived in Alexandria, Virginia, became chairman of the Will Rogers Memorial Commission in 1993 and is a member of the Oklahoma Journalism Hall of Fame. Hartz has flown in a large number of military aircraft, including the SR-71, and was regarded as an aerospace expert.

His first major assignment was co-anchoring with David Brinkley during the sudden return of Gemini VIII on March 16, 1966. Hartz covered every manned flight after that from 1966 to 1976.

Hartz died on April 17, 2022, at the age of 82, from chronic obstructive pulmonary disease (COPD).

References

External links
"Tulsa TV Memories" article on Hartz's days in Oklahoma

1940 births
2022 deaths
American television news anchors
NBC News people
Writers from Tulsa, Oklahoma
Central High School (Tulsa, Oklahoma) alumni
Deaths from emphysema


text:
Q: In Unix Shell, how can I navigate, aka move the cursor position more than one character at a time? I'm using SSH Shell to work with a Unix system and I have a really long query in the command that I would like to edit.
However the part I need to edit is way at the beginning and the only way for me to get there is to hold down the left arrow button for about a minute (each time I need to make a new edit).
Is there a faster way to navigate?

A: If you are using a ahell with emacs mode command line editing commands you can use the following movement commands (Here a complete reference):
Ctrl-a Move to the start of the line.
Ctrl-e Move to the end of the line.
Alt-f Move forward a word, where a word is composed of letters and digits.
Alt-b Move backward a word.
You may be a bit faster with these.
To get emacs mode with the different shells:
bash: you have to do nothing
ksh: invoke with ksh -o emacs
tcsh: call bindkey -e
Edit: to find out the shell currently in use:
ps -p $$

Example output:
  PID TTY          TIME CMD
 3701 pts/1    00:00:00 ksh