text:
If something could transcend space and time, what would that something be? How would it do it, but, most importantly, what would it achieve? Many productions over the years have tried to come up with what ended up being a wide variety of takes on the topic, some more successful than others. Cloud Atlas did stand out more recently, but its framework is somewhat more anchored in more tangible and linearly explicable concepts, such as reincarnation. What Aimiende Negbenebor Sela does with her project, 'Utopia', is perhaps more in line with Lynchian themes and their own sort of idiosyncratic, delicious ambiguity.
The film starts off with Angel, a beautiful blonde-haired young woman, who wakes up in her well-lit apartment in Los Angeles, US. In the scenes that follow, we get to discover the mutual feeling of deep love between her and Lillian, her partner. However, it's not all perfect there up in their penthouse overlooking an enchanting vista, as Angel prepares for a departure that troubles her lover. After an interlude that thematically connects the two halves of the film ensues, and the action subsequently jumps to Uganda, where a young girl wakes up in a hospital bed, recovering from severe burns on her body.
The dreamlike connection between the two halves of the story is what makes 'Utopia' such a unique and wonderful achievement. Even more admirable is how it resists the urge to spell out exact details for the audience, and thus offering an experience that can be tailored depending on personal interpretation, imagination and propensity to stay grounded in a sort of magical realism or instead resort to more abstract themes of transcendence and dream mechanisms. Whether one Angel dreams the other's life and context, or they both coexist, related or not, within the same universe is up for each and every one audience member to judge and conclude.
Beyond the otherwise simple story premises and the subjective manner in which they interact, there are a number of concrete aspects about 'Utopia'. While in rough terms it is an LGBT film, it also deals with other social aspects, such as racism and injustice, which it portrays in a contextually specific yet universally applicable context. It wouldn't be wrong to conclude that it somewhat represents an overarching metaphor, a conglomeration of subtle meanings stemming from a personal frame of mind.
Besides its remarkable conceptualization from a plot, character and context perspective, 'Utopia' also hits home in the technical and artistic departments. The film is a joy to look at, Aimiende Negbenebor Sela's direction is impeccable – establishing an overarching visual style for the entire project while allowing leeway for contrasts to emerge between the two different halves. This short film deeply impressed us, making us jot down ideas, link concepts and speculate on their signification – all of which are the marks of a great movie!


Outsourcing. Outsourcing, especially to low labor-cost countries, has grown substantially. What are the advantages and disadvantages of outsourcing? Include and describe a product or service of a specific low labor-cost country as an example. Include a recommendation/conclusion based on the research. Answer the question in a two to four (2-4) page in accordance with APA guidelines as outlined in the Ashford Writing Center. Provide at least two (2) scholarly sources from the Ashford Library or other external sources, excluding the textbook. Your paper should be in paragraph form (avoid the use of bullet points), and supported with the concepts outlined in your text. Do not include the original questions of the assignment in the paper.


Oliver Letwin, the MP for West Dorset, has finally published his independent review into build out rates and presented its findings to the Housing Secretary, James Brokenshire. The report is of critical importance to anyone working with planning applications and housebuilding because Letwin has essentially been allowed by the government to produce his own recommendations on how to address Britain's housing challenges.
In particular, Letwin's report aims at the poor buildout rates in the recent builds. His draft report refuted the ideas of land banking and other excuses for low build-out rates, and his new report gives his positive recommendations about how to substantially improve build-out rates today. To break down this report and make things as simple as possible, we at Martin Perry Associates explain what the report means and why it matters.
Build-out rate is the capacity of and speed at which a place can absorb development over a period of time. In layman's terms, it is how quickly buildings can be built in an approved area.
Build-out rates can be limited for a number of reasons. For one, a local authority can restrict buildout rate by saying their area is 'too full': there is not enough infrastructure, transport routes, or public service provision ready to expand a town or city. It can also be limited by individuals simply not buying or renting buildings for use – work still needs to be done after a building is constructed to make it ready for the specific needs of a retailer, or a homeowner, or as an industrial site.
What is the Current Build-Out Rate?
Letwin found that the build-out rate was 6.5% across 15 large sites. Put differently, it took around 15.5 years on average for a building site constructing at least 1,500 homes to finish building. In London, the build-out rate for over 1,000 was 3.2%. In other words, it took 30 years to complete the average London building site constructing more than 1,500 homes.
Build-out rates on smaller sites are almost always quicker than build-out rates on larger sites for a few reasons. For one, it is intuitively easier to start and finish building one house than a thousand. For another, regulations apply to bigger sites than smaller sites. Finally, as Letwin himself notes, there are accusations of 'intentional delay' and 'land banking' potentially profitable places by large firms. However, very large sites almost always deliver a higher absolute number of homes per year, by merit of the fact that they are very large sites. These excuses do not justify the unacceptably low build-out rates on larger sites in recent times.
Currently, all planning rules are the same for all kinds of new builds, with different regulations 'kicking in' the larger the project. As structural engineers in Devon and Cornwall, we often have to plan with these regulations in mind. With large builds, these regulations can delay a lot of building work, which in turn leads to lower build-out rates.
Why Do Build-Out Rates Matter?
Letwin believes that part of the problem of larger builds in areas of high demand – ones more than 1,500 units in particular – is that they only have incentive to build on specific sites and only build particular kinds of buildings. Section 106 obligations (for example) can be somewhat onerous to comply with. As such, when constructing new builds, designers focus on minimising costs and keeping things as simple as possible, changing their designs as little as they can. In other words, in larger sites, the types and tenures of homes on offer are relatively homogeneous.
If there are homogeneous offerings on the market, then there is not a diversity of choice for people who want to buy to choose from. Without that diversity, the market simply cannot sell homes to prospective homeowners or prospective construction site buyers who do not want what is being offered at the moment. Everyone attempts to buy the same few properties because they are not different enough to have different merits to appeal to different buyers, so the entire process is slower.
As a result, there end up being a large number of empty sites and half-built homes, even though people want to buy a home. This also means that in certain areas houses simply will not be built as there are other sites which are easier or more profitable to build on at that time. In a sentence, the low build-out rates mean that there is a significant gap between housing completions and the amount of land actually allocated for building in areas of high housing demand.
Letwin says that because there are so many regulations, only certain kinds of large builds are possible. Because just certain types of large builds are possible, only certain sites are profitable. Because only certain sites are possible, people only want to build on those similar sites and not others. As a result, build-out rates are artificially lower than they could otherwise be.
To put it in his words, "if either the major house builders themselves, or others, were to offer much more housing of varying types, designs and tenures (and, indeed, more distinct settings, landscapes and street-scapes) on the large sites … then the overall build-out rates could be substantially accelerated". More varied building sites is a key way to increase the number of houses built per year.
In Part Two, we will cover what changes Letwin wants to make to the NPPF and how this will affect the industry.


text:
"""Retriever script for CRC Handbook of Avian Body Masses companion CD

NOTE: This data is not publicly available. To download the data, you'll need
the CRC Avian Body Masses CD. Create a new directory at
raw_data/AvianBodyMass and copy the contents of the CD there before running
this script.

"""

import os
import xlrd
from retriever.lib.templates import Script
from retriever.lib.models import Table, Cleanup, no_cleanup
from retriever.lib.excel import Excel

VERSION = '0.5'

def sci_name(value):
    """Returns genus/species/subspecies list from a scientific name"""
    values = value.split()
    list = []
    if len(values) >= 2:
        [list.append(value) for value in values[0:2]]
    if len(values) == 3:
        list.append(values[2])
    while len(list) < 3:
        list.append('')
    return list

class main(Script):
    def __init__(self, **kwargs):
        Script.__init__(self, **kwargs)
        self.name = "CRC Avian Body Masses"
        self.shortname = "AvianBodyMass"
        self.public = False
        self.ref = "http://www.crcnetbase.com/isbn/9781420064452"
        self.citation = "Robert B. Payne, CRC Handbook of Avian Body Masses. Second Edition. The Wilson Journal of Ornithology Sep 2009 : Vol. 121, Issue 3, pg(s) 661-662 doi: 10.1676/1559-4491-121.3.661."
        self.description = "Body masses of birds of the world."
        self.tables = {"mass": Table("mass", delimiter="~")}
        self.urls = {"mass": ""}
        self.tags = ["Taxon > Birds", "Data Type > Compilation"]

    def download(self, engine=None, debug=False):
        Script.download(self, engine, debug)

        engine = self.engine

        table = self.tables["mass"]

        # Database column names and their data types. Use data type "skip" to skip the value, and
        # "combine" to merge a string value into the previous column
        table.columns=[("record_id"             ,   ("pk-auto",)    ),
                       ("family"                ,   ("char", 20)    ),
                       ("genus"                 ,   ("char", 20)    ),
                       ("species"               ,   ("char", 20)    ),
                       ("subspecies"            ,   ("char", 20)    ),
                       ("common_name"           ,   ("char", 50)    ),
                       ("sex"                   ,   ("char", 20)    ),
                       ("N"                     ,   ("double",)     ),
                       ("mean"                  ,   ("double",)     ),
                       ("std_dev"               ,   ("double",)     ),
                       ("min"                   ,   ("double",)     ),
                       ("max"                   ,   ("double",)     ),
                       ("season"                ,   ("char",2)      ),
                       ("location"              ,   ("char",50)     ),
                       ("source_num"            ,   ("char",50)     )]
        engine.table = table
        engine.create_table()

        file_list = ["broadbills - tapaculos", "cotingas - NZ wrens",
                     "HA honeycreepers - icterids", "honeyeaters - corvids",
                     "jacanas - doves", "larks - accentors",
                     "muscicapids - babblers", "ostrich - waterfowl",
                     "parrotbills - sugarbirds", "parrots - nightjars",
                     "starlings - finches", "swifts - woodpeckers",
                     "thrushes - gnatcatchers", "vultures - bustards"]

        lines = []

        for file in file_list:
            filename = file + ".xls"
            full_filename = engine.format_filename(filename)

            # Make sure file exists
            if not os.path.isfile(full_filename):
                raise Exception("Missing raw data file: " + full_filename)

            # Open excel file with xlrd
            book = xlrd.open_workbook(full_filename)
            sh = book.sheet_by_index(0)

            print "Inserting data from " + filename + " . . ."
            rows = sh.nrows
            cols = 11
            lines = []
            lastrow = None
            lastvalues = None
            family = ""
            for n in range(rows):
                row = sh.row(n)
                if len(row) == 0:
                    continue

                empty_cols = len([cell for cell in row[0:11] if Excel.empty_cell(cell)])

                # Skip this row if all cells or all cells but one are empty
                # or if it's the legend row
                if ((empty_cols == cols)
                            or Excel.cell_value(row[0]) == "Scientific Name"
                            or Excel.cell_value(row[0])[0:7] == "Species"):
                    pass
                elif empty_cols == cols - 1:
                    if "Family" in Excel.cell_value(row[0]):
                        family = Excel.cell_value(row[0]).lstrip("Family ").title()
                        continue
                    else:
                        if not Excel.empty_cell(row[0]):
                            lastvalues[3] = Excel.cell_value(row[0])
                else:
                    # Values: 0=Family 1=Genus 2=Species 3=Subspecies 4=common name 5=sex
                    # 6=N 7=Mean 8=std_dev 9=min 10=max 11=season 12=location 13=source_num
                    values = []
                    values.append(family)
                    # If the first two columns are empty, but not all of them are,
                    # use the first two columns from the previous row
                    if Excel.empty_cell(row[0]) and Excel.empty_cell(row[1]):
                        [values.append(value) for value in sci_name(Excel.cell_value(lastrow[0]))]
                        values.append(Excel.cell_value(lastrow[1]))
                    else:
                        if len(Excel.cell_value(row[0]).split()) == 1:
                            # If the scientific name is missing genus/species, fill it
                            # in from the previous row
                            values.append(lastvalues[1])
                            values.append(lastvalues[2])
                            values.append(lastvalues[3])
                            for i in range(0, 3):
                                if not values[3-i]:
                                    values[3-i] = Excel.cell_value(row[0])
                                    break
                            # Add new information to the previous scientific name
                            if lastvalues:
                                lastvalues[1:4] = values[1:4]
                        else:
                            [values.append(value) for value in sci_name(Excel.cell_value(row[0]))]
                        values.append(Excel.cell_value(row[1]))

                    if Excel.cell_value(row[2]) == "M":
                        values.append("Male")
                    elif Excel.cell_value(row[2]) == "F":
                        values.append("Female")
                    elif Excel.cell_value(row[2]) == "B":
                        values.append("Both")
                    elif Excel.cell_value(row[2]) == "U":
                        values.append("Unknown")
                    else:
                        values.append(Excel.cell_value(row[2]))

                    # Enter remaining values from cells
                    for i in range(3, cols):
                        values.append(Excel.cell_value(row[i]))

                    # If there isn't a common name or location, get it from
                    # the previous row
                    if not values[4]:
                        values[4] = lastvalues[4]
                    if not values[12]:
                        if lastvalues:
                            if lastvalues[5]:
                                if lastvalues[5] == "Male" and values[5] == "Female":
                                    values[12] = lastvalues[12]

                    # Insert the previous row into the database
                    if lastvalues:
                        lines.append('~'.join(lastvalues))

                    lastrow = row
                    lastvalues = values

            if lines:
                lines.append('~'.join(lastvalues))
                engine.add_to_table(lines)

        return engine

SCRIPT = main()

redpajama_set_name: RedPajamaGithub


Before he became Chancellor George Osborne announced that his aim was not just to eliminate the structural deficit and protect the AAA rating but to build a whole 'new economic model'.
So this is the new economic framework for monetary and fiscal policy that we need to ensure that private and public debt are sustainable in the future.
The answer is the final part of this new economic model.
The economics profession is in broad agreement that the recovery will only be sustainable if it is accompanied by an internal and external rebalancing of our economy: in other words a higher savings rate, more business investment, and rising net exports.
The problem for Osborne is that his macroeconomic mix of tight fiscal policy, easy money & weak sterling is not only failing to make progress on the deficit, it is also failing to achieve any sort of 'rebalancing'.
As Citi's UK economist Michael Saunders told the FT last month, "The rebalancing thing is just clearly not happening". An earlier TUC economic report reached the same conclusions.
Osborne, the Shadow Chancellor, argued that the recovery would 'only be sustainable' if it was driven by more 'business investment and rising net exports'. Yesterday Osborne, the Chancellor, delivered a set of growth forecasts based on what might be termed 'the old economic model'.
The chart below shows the forecast contribution of business investment and net trade to growth over the forecast period in each of the Chancellor's four budgets. So, for example, the 2010 forecast was for 2010-2015, whilst the 2013 forecast is for 2012-2017.
As can be seen, in the June 2010 Budget, the Chancellor expected 57% of all growth to come from his preferred (and 'sustainable') sources of business investment and net trade. By this time last year, that contribution had fallen to around 52%, lower but still more than half of all growth.
Yesterday's forecasts have business investment and net trade contributing only 31% of all growth to 2017.
To see how much has changed, it is useful to compare the June 2010 OBR forecast for 2015 to the one made yesterday.
Not only has the headline rate of growth for 2015 been slashed from 2.7% to 2.3% but the composition of that growth now looks very different. Three years ago the OBR expected 56% of all growth in 2015 to be from business investment and net trade, in the latest estimate that has fallen to 39%.
Three years ago George Osborne argued that "that we cannot go back to the last decade's debt-fuelled model of growth". As I listened to his housing market announcements yesterday, I thought "it sounds like he is going to try".
Extraordinarily, data released by the ONS yesterday shows that house prices are now almost back to their pre-crash levels in 2008, despite stagnation in the wider economy. Prices in London have shot up by 5.5 per cent in the last year alone. In other words, the housing bubble remains inflated, and subsidising mortgages based on the presumption of rising prices simply props it up further. The reason first-time buyers and so-called 'second steppers' are struggling to afford housing is that prices are so high because rates of new building are so low. The chancellor's announcement simply perpetuates this cycle, rather than breaking it.
High prices, such as in 1988-98 and the mid-00s were associated with households' financial deficits, and low prices with surpluses. This makes me think that encouraging mortgage lending and raising house prices will increase households' aggregate financial deficit [and hence possibly lower the government's deficit].
First, and most preferable but most unlikely, we get strong growth in real incomes as inflation falls back towards 2% and wage growth increases. If that happens consumption growth will be stronger and the economy will grow at a decent pace.
Second, and what I think is the most likely outcome – my central 'forecast' if you will – household income growth will be weak and the savings ratio will not drop by much. The result will be weak consumption growth and an economy that is growing, but growing slowly – in the order of 1-1.5% a year. In historical terms of recovery from recession this is pretty much a disaster.
Third, it is possible that we still get weak income growth but that the savings ratio drops rapidly. In this scenario we'd see faster consumption growth and hence faster overall growth. This however would be accompanied by a big increase in household debt. It might give us 3 – 4 years of decent growth, but at the risk of increasing the financial imbalances that got us into trouble in the first place.
I hope for the first outcome, expect the second and worry about the third.
My worry today is that George Osborne has essentially given up on rebalancing and is aiming for my third scenario.
4 Responses to Abandoning rebalancing?
Starting to believe that all this help to buy plan is meant to achieve is to allow middle class voters to believe that their kids can still buy homes. When in reality in large parts of the south east only a tiny percentage of people can afford it. Continuing the illusion that our economy, and distribution of wealth within it – has not totally failed.


text:
<?php

/**
 * View User Profile
 *
 * @author   Anton Shevchuk
 * @created  01.09.11 13:15
 */

namespace Application;

use Application\Users;
use Bluz\Controller\Controller;
use Bluz\Http\Exception\NotFoundException;

/**
 * Get profile of current user
 *
 * @OA\Get(
 *   path="/api/profile",
 *   tags={"users"},
 *   operationId="profile",
 *   summary="Get profile of current user",
 *   security={
 *     {"api_key": {}}
 *   },
 *   @OA\Response(@OA\JsonContent(ref="#/components/schemas/user"), response=200, description="Given user found"),
 *   @OA\Response(@OA\JsonContent(ref="#/components/schemas/error"), response=403, description="Forbidden"),
 *   @OA\Response(@OA\JsonContent(ref="#/components/schemas/error"), response=404, description="User not found")
 * )
 *
 * @accept JSON
 * @method GET
 * @privilege Users/Profile
 */
return function () {
    /**
     * @var Controller $this
     */
    $this->getData()->setFromArray(
        $this->user()->toArray()
    );
};


text:
News Health
'A simple graze could be deadly' - why antibiotic resistance is a global health emergency
The World Health Organisation warns antibiotic resistance is one of the biggest threats to global health, food security and development. Stock picture
Jane Kirby
Antimicrobial resistance (AMR) is such a threat that "we are on the cusp of a world where a simple graze could be deadly".
https://www.independent.ie/irish-news/health/a-simple-graze-could-be-deadly-why-antibiotic-resistance-is-a-global-health-emergency-37744213.html
https://www.independent.ie/incoming/article35768824.ece/23e32/AUTOCROP/h342/bact.jpg
It is as big a threat to humanity as climate change - and immediate action is needed to cut the inappropriate use of antibiotics, the World Economic Forum in Davos will be told today.
The British Health and Social Care Secretary Matt Hancock will say resistance needs to be treated as a global health emergency.
He is expected to unveil a target to cut the number of resistant infections and to reduce the use of antibiotics in humans even further.
He will say: "Imagine a world without antibiotics. Where treatable infections become untreatable, where routine surgery like a hip operation becomes too risky to carry out, and where every wound is potentially life-threatening.
"What would go through your mind if your child cut their finger and you knew there was no antibiotic left that could treat an infection?
"This was the human condition until almost a century ago. I don't want it to be the future for my children - yet it may be unless we act.
"As health secretary responsible for one of the most advanced healthcare systems in the world, I could not look my children in the eyes unless I knew I was doing all in my power to solve this great threat. When we have time to act. But the urgency is now.
"Each and every one of us benefits from antibiotics, but we all too easily take them for granted, and I shudder at the thought of a world in which their power is diminished.
"Antimicrobial resistance is as big a danger to humanity as climate change or warfare. That's why we need an urgent global response."
In Ireland, the National Action Plan on Antimicrobial Resistance was published in September 2017.
People are warned not to take antibiotics for colds and flu, because they have no impact. If you are prescribed antibiotics, finish the full course even if you are feeling better, and do not save them or share them with others.
New EU rules will see critical antibiotics set aside for human use only
Superbugs resistant to antibiotics to 'kill millions'
HSE sets up review into CervicalCheck crisis - but no mention of woman who unearthed...
Eilish O'Regan A "rapid review" of the latest CervicalCheck crisis involving delayed screening results for over 800 women will look at "all aspects of the incident," according the HSE as it published terms of reference...
CPE superbug replaces MRSA as danger to hospital patients Health
HSE keeping 'us out of loop' on smear test glitch, says activist Health
HSE boss in dark on cervical 'glitch' Health
HSE sets up review into CervicalCheck crisis - but no mention of woman who... Health
HSE orders a 'countrywide' rationing of Fair Deal places Health
The family of a Corkman that is facing deportation...
High blood pressure and cholesterol in young...
A nurse who used an intellectually disabled woman's...

redpajama_set_name: RedPajamaCommonCrawl


text:
Become Desert: Q&A with John Luther Adams
by Jonathan Zwickel February 27, 2018
Illustration by Lara Kaminoff
A world premiere from the Pulitzer-winning composer
John Luther Adams tells me I've reached him at an "undisclosed desert location," and during the course of our hour-long phone conversation the sound of thunder rumbles from his end of the line. The scenario couldn't be more on-brand for the composer who's described the idea behind his work as "ecological listening," his 40-some years of modern classical music inspired by and performed in the planet's most dramatic natural settings.
This month the Seattle Symphony Orchestra presents the world premiere of Adams' latest opus, Become Desert. The piece, which was commissioned by SSO, closes Adams' three-part series of dramatic, ambient works that began with Become Ocean in 2013 and continued later that year with Become River. He'll be present on opening night but he feels a bit ambivalent about it.
You may be the only person to win a Grammy and a Pulitzer in the same year [for Become Ocean in 2014]. How has your life changed since the accolades started coming?
Fortunately, I just turned 64 so I was old enough to know better. The love and attention is great, but it hasn't changed who I am or what I do in any way. I guess the best part is that it allows me to do whatever I want, which is what I've always done anyway, except now people will answer my phone calls.
You have more clout.
I don't know. One reason I'm hiding out in the desert is the same reason I hid out on the tundra, the boreal forest, all those years. My work comes from solitude. It's almost as though I have to be two different people or have two different lives: the introspective work of composing, and then being out in the world doing whatever I can do to help people who want to bring it to life do their work.
This will be the first time Become Desert is played in full before an audience.
What a thrill it is! To work on something like this for years and then finally hear it in the air. In time. In space. It's a very heavy experience, you know.
I generally do not enjoy performances of my own music, because I feel completely useless. [Laughs] I can only sit there with my cold, clammy hands and worry about what's gonna go wrong.
How would you describe your relationship with the Seattle Symphony, both as a commissioning institution and as a performing body?
Something very special is happening in Seattle with the Seattle Symphony. I'm grateful to be a part of it.
What is that special thing?
It's a kind of openness. This is a world-class symphony orchestra that is not tied to the traditional orthodoxies of world-class symphony orchestras. They're willing to try things, to take chances. The audience there in Seattle is the same way—they're sophisticated, they're open-eared. There will be people who come to hear the new piece and maybe they'll like it or they won't know what to make of it. But I feel that Seattle is the best possible place to launch this piece. It will be received in the spirit in which it's offered.
Classical music is not in great shape around the world. Orchestras are folding left and right with notable exceptions; there are some orchestras around the world doing terrific things, but it's a difficult time for symphony orchestras. And Seattle is thriving in these difficult times because there's creative leadership. What's the [Symphony's] motto? Maybe it's still "Listen boldly." That's what my life's work is about. And I think that kind of attitude is attracting a more diverse audience, a younger audience, because traditionally the audience for symphony orchestras is my age or older. And in Seattle young people are coming to these concerts getting excited about the music. It's a beautiful thing. I love this orchestra.
Perhaps the Pacific Northwest landscape has something to do with people's openness to your music. Seattle is hemmed in by mountains and volcanoes and the Sound, and it's very much subject to the forces of the landscape and the climate, so people here are inherently influenced by the landscape. And they're open to others who are too.
That's one of the things my life's work is all about. I'm a 40-year Alaskan. Alaska is the Pacific Northwest on steroids. Alaska has several great community orchestras, but there's not the population base, the pool of accomplished musicians you have in Seattle. It's just not possible to have an orchestra of that caliber up north. But what you're saying about the attitude is absolutely true. That served me well all my years in Alaska. The audiences there, like in Seattle, are willing to take a chance, to expand themselves and hear something they haven't heard before and come to terms with it. I can't tell you how important that was to me as a young composer. I didn't go to graduate school; I went to Alaska.
The title Become Ocean is a direct reference to a line by John Cage. Is Become Desert similarly specific in its origin or is it more of a poetic phrase?
Become Desert completes a trilogy of orchestral works that I didn't set out to write. I thought Become Ocean was gonna be one of a kind. But it turns out that there's Become River and now Become Desert. And one thing that all these works have in common is that space is a fundamental compositional element. I'm not speaking just of poetic space or metaphorical space, I'm talking about physical, acoustic, volumetric space. The space in which the ensemble plays, the space in which the music is heard. That's space and place, which as you alluded to earlier, have been lifelong obsessions for me. In this trilogy, Become Ocean, Become River, Become Desert, I've been working with that [obsession] in a new way. Become Ocean is a score for a full symphony orchestra, a large orchestra, but deployed as three different ensembles, and those ensembles should be separated as widely as possible in the performance space. Each group has its own instrumental, harmonic coloration, and each ensemble moves through the piece in its own independent tempo.
The same is true with Become Desert, only more so. The new piece encompasses an even larger musical space and physical space. There are five different ensembles moving at five different tempos and stationed all around the audience.
Wait—you mean the musicians are in the audience?
For decades now, one of the most fundamental questions I ask myself when I begin a new piece is "What's the instrumentation?" But with Become Desert, that became two questions: What are the instruments? And where are they located? And that was the primary, initial compositional decision for the piece. I pondered the floor plan if you will, the physical deployment of the instrumental and vocal choirs around the performance space for weeks before I decided what and where they would be. Only once I arrived at that layout did I begin to hear the sonic space in my mind and only then was I ready to begin composing the score.
So what does that actually look like?
The string players are dispersed all over the stage. They're not in sections as they usually are. And interspersed among them are four harps and four percussionists. The stage is filled with strings, harps and percussion. Then the other four choirs are elevated. I don't have the floor plan for Benaroya right in front of me, and I love that hall, it was very much in my mind in composing this piece—that and Disney [Concert Hall] in LA were the halls I had in mind. The strings, harps, percussion are onstage, then upstage is elevated as high as possible, like in the organ loft are a choir of 16 woodwinds and one percussionist. Then in another balcony elevated on one side of the house is a choir of eight French horns and a percussionist playing chimes, then four trumpets and four trombones with one percussionist playing chimes. And at the back of the house, elevated, is a choir of singers playing hand bells. So it's a huge sonic space.
It's not a loud piece but it's a big piece. It's a funny thing, you might wonder, why is this desert space even larger than Become Ocean, right? Laughs. I think it's because I'm a landlubber, a desert rat, a tundra guy. For me in Become Ocean where we're out on the water, maybe surfing or on a boat, we're riding the waves and they rise and fall or threaten to pull us under or loom over. But we're on the waves. In Become Desert, we're swimming. Not in water, of course, but in light. Because as the great Mexican poet Octavio Paz says of the desert, "That which is not stone is light." And Paz goes on in the same poem to say, "Close your eyes and listen to the singing of the light." That image, the light singing, made me feel this music had to include human voices. The chorus, the lyric is a single word, luz, the Spanish word for light.
What you're describing reminds me of James Turrell and his work with space and light, endlessly rich but easily overlooked mediums.
One of my pieces, "The Light Within," was inspired by one of Turrell's Sky Spaces, which is now in PS 1 in New York City. I'm honored that Turrell has used that piece around the world to inaugurate new Sky Spaces, to consecrate the house, so to speak.
His Ronen Crater project is especially incredible.
It's madness! It's pathological, it's obsessive! And I identify with it.
During an address at the Banff Centre for Arts & Creativity a few years ago, you said that art is more important than politics. I agree with you though I have a hard time articulating why. Do you still feel that way?
Politics matter less than ever. We're living in dangerous, dark times, and it's clear that politicians are not going to provide the answer. Our so-called leaders don't lead, they follow. In the present day, there are no creative thinkers on the public stage in politics. Our pants are on fire, our hair is on fire, our survival as a species is threatened. The only way out of the hole we keep digging deeper for ourselves and so many other species is creative thinking. Politics does not traffic in creative thought. That is the domain of art and science. And we need new ideas and we need them fast.
March 29 & 31 // Benaroya Hall
by Leah Baltus and Amanda Manitach and Dan Paulus and Gemma Wilson and Jonathan Zwickel
Vernox, "FLESHYFORMS"
by Jonathan Zwickel
Exit Interview: Wesley Frugé and Forward Flux
by Gemma Wilson
The Williams Project's 'A Bright Room Called Day'
by Dusty Somers
Our picks for this month
by Leah Baltus and Amanda Manitach and Dan Paulus and Gemma Wilson and Jonathan Zwickel November 8, 2018
by Jonathan Zwickel November 7, 2018
by Gemma Wilson November 6, 2018
by Dusty Somers November 6, 2018
Bounce queen Big Freedia, Clyde Petersen at BAM, 'Juan Palmieri,' SIFF's Italian film festival, 'Matilda the Musical' and more
by City Arts Staff November 5, 2018
Has social media made Mike Daisey obsolete?


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https://cmdowney-yogatherapy.com/
Betterhelp Suicidality Script 2023
So lets get to it and talk about Betterhelp Suicidality Script..in this article you will find the answer…
hi everybody so today I want to talk to you about something called which is an online treatment platform and I'm likewise going to inform you how you can get 2 weeks devoid of services however initially … 2 weeks totally free trial membership to you can try it totally run the risk of totally free no strings connected and see how you like it um so what is is an online therapy service that is type of an option to in-person therapy a membership to offers you access to a therapist basically whenever and it includes endless text audio and video messaging in addition to a weekly live session now I have actually attempted this out and my therapist said that you can kind of separate those weekly sessions nevertheless you please – so she stated you can have maybe 3 20-minute sessions or a one-hour session it's kind of whatever fits your schedule and whatever fits your requirements the very best so I myself have tried it out like I said I have a therapist through and it's truly actually easy communicating with them they have a website that's really simple to connect with as well as an app on your phone that you can send immediate messages through you can you can voice call through
you can even video chat through and it's truly truly simple to navigate so I want to speak with you a bit more about my experience with to kind of give you a concept about what it's like using it so it took me a while to discover the right therapist if I'm being sincere so um I experimented with a couple of therapists to begin with none really felt like a great fit and that's truly crucial I think even when discovering a therapist out in the real life with in-person interactions is that you require to actually operate at discovering one who's going to be a really good fit for you and there's this it's no exception for either so don't be afraid to check out different therapists if the first one you get doesn't seem like the best fit you can keep browsing till you find like you have an actually excellent rapport with the therapist.
insurance Betterhelp Suicidality Script Online
that you're compared with the service makes it actually easy to just change therapists when I seemed like I wasn't truly getting in touch with my very first couple therapists I just selected I believe it's just a choice in the app where you can try to find a various therapist you can read their BIOS and determine more about them and select which one you would like to work with so I think part of why I wasn't truly that pleased to begin with with those very first therapists was that they were initially providing me kind of canned actions which didn't really sit well
Confronted with signing up with a desperately long NHS waiting list, Joe Rackham went with online counselling instead. "I simply felt that I could not wait any longer– I was encouraged and ready to deal with my concerns and rather liked the idea of doing so in the convenience of my own house," said the 29-year-old, who resides in London. After an online search, he found a therapist whose profile fit his needs and booked a chat session for the next day.
Remote, text-based counselling is growing in popularity in the UK. The physician app Babylon uses therapy to 150,000 active users, while PlusGuidance, an online counselling service, has 10,000 users. The US-based service also has 150,000 signed up UK users (though not all are active). Talkspace, another online treatment platform, reports it has actually 500,000 signed up users worldwide, with many in the United States.
Online training recommends therapists on everything from using emojis to preventing misinterpretations. They likewise need to protect clients' personal information– a problem that has actually caused controversy in the US, where big online therapy platforms have come under the spotlight.
Buckley stated patients should check services' personal privacy policies prior to signing up. "Not all online counselling websites utilize professionally trained therapists or adhere to a principles policy, so ask your GP for a recommendation in the first circumstances. As with all kinds of services and support, what works for someone may not work for another person," he stated.
Marc Bush, chief policy consultant at Young Minds, said that while online counselling services are important, "they shouldn't change face-to-face therapy with a skilled expert. If a young person is having a hard time, we would encourage them to speak to their GP in the first circumstances, or to call a recognized service like The Mix, Childline or the Samaritans.".
For Rackham, who has actually generalised stress and anxiety disorder, online counselling wasn't the ideal fit. "I felt it was near difficult for the therapist to actually get a sense of the problems I was dealing with, as all they had to go from was my typed-out words. I believe I understood after that online session how essential interpersonal interaction was.
" I'm a huge fan of using technology in all locations of my life as an option to daily issues. I have apps for whatever, but when it concerns mental health, you have to pick how innovation plays a role in your recovery extremely thoroughly.". Betterhelp Suicidality Script
The business explains as the "largest online counseling platform worldwide," tailored toward assisting individuals handling problems "such as stress, anxiety, relationships, parenting, depression, addictions, eating, sleeping, trauma, anger, family conflicts, LGBT matters, grief, faith [or] self-confidence." The business's frequently asked question section on its website plainly mentions 's app and counselors should not be used for people handling an extreme mental illness (schizophrenia, bipolar disorder) or for individuals considering self-harm. Rather, the app prides itself on having actually certified therapists and psychological health experts available to assist people via text, call or video chat. That's what many YouTubers who have accepted sponsorships from the company typically state in their own videos, where they speak on the tensions in their personal lives and feelings bordering on anxiety or anxiety. Bobby Burns, Elle Mills, Philip DeFranco, Heath Hussar, Boogie2988, Shane Dawson and ChandlerNWilson are all creators who have Betterhelp Suicidality Script sponsors now.
Betterhelp Scandal; 2023
Betterhelp Therapy Commercial 2023
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Oh yes, I did henna+indigo. Now, I do love henna, but the jury is still out on the indigo part. My hair is darker, not super jet black, which after the fact I am kind of glad it's not. I understand that getting that super black color with indigo requires a cumulative build-up of it. Meaning, I would have to do it several times for it to "build up". Well, I don't think I will be doing this. I feel like the indigo was just a bit too messy. I may just stick to Natural Instincts which fades slightly over time, and also gives me the option of lightening it, if I get the whim.
I co-washed in the shower and detangled with a wide tooth comb. I rinsed out the conditioner and once out of the shower, I reapplied the TJ's conditioner through my hair lightly. Second, I applied coconut oil throughout my hair. Third, I applied a dab of the Eco-Styler through my hair in 4 sections. I finished off by applying a dab of castor oil to the ends. Next, I diffused my hair on medium heat (warm) for about 15 min, leaving it to airdry the rest of the way. And this is what I got. As you can see, I pinned my bangs back with 2 small clips. My bangs aren't quite at the length I want them to be for me to wear the "curly bangs" look. Also, I only used the wide-toothed comb IN THE SHOWER. I do not comb through my hair at all once out of the shower as I feel it disturbs the curls and the "clumping".
Gorgeous! your hair looks very healthy Nik!
Cute! Yes I have been on the castor oil kick cuz it's friggin cold out!


Join the cropped trend this season with the Sandra Jersey Crop Top. Featuring a high neckline and sleeveless style you will rock this trend no matter what. Team with high waist skinny jeans and sandals for spring summer chic.


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    .module('user-custom-data')
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  UserCustomDataService.$inject = ['$resource', '$log'];

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    function createOrUpdate(userCustomData) {
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        return userCustomData.$update(onSuccess, onError);
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News Animals
This May Be Why the 'Devil Worm' Can Live Where No Other Animal Can
Christian Cotroneo
Senior Social Media Editor
Christian Cotroneo is the social media editor at Treehugger. He is a founding editor at HuffPost Canada, and former writer at The Dodo and Toronto Star.
Halicephalobus mephisto, aka the devil worm, magnified 200 times. Prof. John Bracht, American University
When it comes to creatures that have been sharing this planet with us for millennia, this tiny worm is probably the devil you don't know.
That's because the aptly named "devil worm" haunts places that are difficult, if not downright impossible, for other animal life to exist.
In fact, the first of its kind wasn't discovered until 2008 — about a mile down a South African gold mine. The critter, which is a kind of nematode or roundworm, was immediately hailed as the deepest-living animal ever found. And that's a distinction the devil worm is likely to keep.
After all, who else can eke out an existence amid the intense heat and squelching pressure of such depths? And what's for dinner?
The devil worm — scientists dubbed it Halicephalobus mephisto, after the Faustian demon who presided over hell — wasn't taking questions.
Eventually, scientists did pry loose a few of the devil worm's secrets. For instance, to keep its svelte half-millimeter figure, it nibbles happily on bacteria. And, since it's likely been squirming far below our feet for thousands of years, the creature has had plenty of time to evolve into its niche habitat.
But what about its strange superpower — the ability to withstand the infernal heat and impossible pressures of its own private underworld? To find a clue, scientists had to probe much deeper. In fact, researchers at American University just gave the devil worm another title: the first subterrestrial animal ever to have its genome sequenced.
The research, published this month in the journal Nature Communications, reveals a creature that's packing a remarkable amount of Hsp70.
Known as "heat-shock" protein, Hsp70 is found in much smaller amounts in pretty much all life forms. Its job is to repair cells that are damaged from heat. And while other nematodes have Hsp70, H. mephisto boasts it in spades.
The sequencing revealed the worm's Hsp70 genes were copies of themselves, essentially giving it duplicates and triplicates and quadri — err, you get the idea — until it could endure even the most hellish of habitats.
The worm is also packing spare copies of a gene called AIG1, which is linked to cellular survival in plants and animals.
"The Devil Worm can't run away; it's underground," Bracht explains in a press release. "It has no choice but to adapt or die. We propose that when an animal cannot escape intense heat, it starts making additional copies of these two genes to survive."
Those genes suggest the devil worm took a long evolutionary road to get to the point where it can make a kind of hell its home. And just maybe it can teach us a thing or two about how to live with a devil we do know: climate change.
We may look to the humble nematode, a creature with an incredible knack for rolling with environmental change. Perhaps we may even replicate its genetic hazmat suit, replete with all those insulating Hsp70 proteins.
"[Nematodes] have a reputation as some of the toughest multicellular life forms that have colonized the most inhospitable habitats," Andreas Teske, a professor at the University of North Carolina Chapel Hill, who was not involved with the new study, tells Discover Magazine. "They have colonized every hidden corner of the planet where the most basic requirements are met — oxygen, water, bacteria as food."
And maybe H. mephisto surfaced just in time for us to steal a page from its genetic playbook.
14 Extinct Animals That Could Be Resurrected
12 Animals That Reproduce Asexually
12 Surprising Facts About Komodo Dragons
This Microscopic Parasitic Animal Doesn't Breathe, and It's the Only One We Know Of
15 Astounding Facts About Trees
Why the Tasmanian Devil Is Endangered
The Ancestor of All Known Life Was a Microbe That Ate Hydrogen From Deep-Sea Volcanoes
How Biophilia Can Improve Your Life
8 Captivating Facts About Spider Silk
Why Animals Use Bright Colors Either to Warn or Attract
Larger Animals Can Better Handle Climate Change
Tiny Worms Can Make Complicated Decisions
The Incredible Science Behind Starling Murmurations: Where and Why They Form
TreeHugger Interview: Wildlife Photographer Melissa Groo
Humpback Whales May Sing Songs to Find Other Whales


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Home › Music › See Beth Orton, The Hosts and Scroobius Pip for £10 At Essex Festival The Village Green
See Beth Orton, The Hosts and Scroobius Pip for £10 At Essex Festival The Village Green
By Every Record Tells A Story on May 9, 2014 • ( 1 )
Wilko Johnson at 2013's Village Green Festival
As summer approaches, thoughts turn to the summer season. Whilst for the landed gentry this means the quiet civility of Ascot, Henley and The Hurlingham Club, for the rest of us it can only mean the sheer joy of mud, rain, noise, plastic cups filled with various unidentified warm bodily fluids, chemical toilets and the sheer thrill of Music Festivals. Glasto? Isle of Wight? Reading / Leeds? They're a a wonderful thing…if you can get a ticket.
But there is an alternative to the scramble. For the last few years a not-for-profit arts community organisation called Metal has been quietly putting on their own music festival in Essex.
Just a 45 minute train journey from London, this annual one-day festival in Chalkwell, near Southend-on-Sea is family friendly (young kids go free) and is growing all the time. Among last year's headliners were Wilko Johnson, Ed Harcourt and Sweet Billy Pilgrim. This year features Eddi Reader (formerly from Fairground Attraction), Beth Orton, Dan Le Sac Vs Scroobius Pip, rising stars The Hosts and many others.
Intriguingly this year will also see the appearance of the mysterious "Longy". This anonymous busker released his debut EP last year which had been apparently recorded in a shed whilst he was homeless in East London, sofa-surfing and sleeping rough. The CD was picked up immediately and awarded XFM Demo of the Year, resulting in not only a swathe of celebrity fans but a string of packed-out gigs.
On the 1st April this year The Daily Telegraph reported that Longy might be headlining the main stage at Glastonbury. While this later proved (perhaps unsurprisingly) to be an April Fool's joke, that's the sort of publicity that money can't buy…
Like graffiti artist, Banksy, Longy has closely guarded his real identity. In the run up to the release of his single, Love Schizophrenia, and his new EP, the British press have been speculating wildly as to the name of the man behind the name and there is now a twitter hashtag dedicated to the mystery – #whoislongy. Tweeters have so far ventured that Longy may be a cover for Kasabian, Kanye West, Chris Helme from the Seahorses and many many more. I'm off to Twitter now to suggest he's really Liam Gallagher….
Whilst this suggests more than anything that Longy has some decent PR people behind him, he's another reason to come and see what all the fuss is about. Here's a YouTube clip – it sounds pretty good:
I mentioned the festival is family friendly, so it is interesting that, in the week that Glastonbury announced it would ban legal highs, along with the usual list of banned substances that one might come across at a family festival (illegal drugs, concealed weapons, open fires, members of parliament, Radio 1 DJs from the seventies etc etc) there are two more slightly unusual Banned Items that Village Green is cracking down on.
They are, respectively, Bouncy Castles and Face Painting.
Well done Village Green for taking a lead and stamping on these scourges of society! The last thing anyone wants to see is a kid with a butterfly painted on their face… (Actually I believe the rather laudable aim is to find more arts-led (and FREE) activities to keep the kids entertained. As such it can only be a good thing!).
The Village Green is held in Chalkwell Park, near Southend on Sea on the 12th July, and you can apply for tickets at their website.
It's just a tenner a ticket. What reason could you have for not going?
Further information from the Village Website:
Village Green is a multi-art form and music festival, produced by Metal. Sited in the picturesque grounds of a beautiful Victorian park in Chalkwell, Village Green bursts with energy. Eight different stages, green spaces, rose gardens, cricket pitches, pathways and marketplaces offer up a pot-pourri of international music acts, theatre, spoken word, poetry, lindy-hop/ fox trot lessons and displays, outdoor arts, circus and cabaret, vintage acts, musical theatre, visual arts, comedy, improvisation, film, workshops and games all set against the backdrop of the enigmatic Thames Estuary. Only six years ago Village Green was a small scale celebration of the arts and music of Southend attracting 8000 visitors. Now, it regularly attracts over 30 000 festival goers.
A key to the success of the festival is the calibre of acts and the diversity of performances. It's strength is its family centred ethos – where children, teenagers, pensioners and adults can all have fun in the same space on the same day. With something to do whatever age you are – and strictly NO face painting or bouncy castles – every activity is arts-led and once inside the festival – everything is FREE.
‹ Yeah Yeah Yeah by Bob Stanley: The Chapter-by-Chapter Spotify Playlists Page
How To Mend A Record That Skips And Jumps…With A Toothpick ›
Categories: Music
Tags: #whoislongy, Beth Orton, Chalkwell, Eddi Reader, longy, Scroobius Pip, Southend, The Hosts, Village Green
Fun Lovin' Criminals, Busted At Essex Village Green Festival
Fantastic Beats And Where To Find Them: A Guide To London's Independent Record Shops
Hard Rock's "Yesterday": The Story of Goldilox by Kings X
Check out: The Hosts « Every record tells a story


ThomasPBehrendt is using Smore newsletters to spread the word online.
The three common kinds are accredited day care units, family child care centres and preschools. These provide care for the kids when the parents are out, but in a few points they may be distinct from each other. A licensed day care centers would be the place in which a number of kids is supervised. These are working as per of an association-only just like a school or under an individual.
However, a family day care unit is a dwelling where the folks there look after other children as well as their children. A day care unit may have significantly more facilities in relation to the family day care. In an accredited day care unit, each kid can get the best consideration from your care providers. The care used to give them more tasks and fun things which make them lively and joyful throughout the day. Preschools are of children old between three and five, which should have strict permit.
Regardless of the kind is, the parents should confirm all of the things connecting the day care units are great as well as the greatest, as it concerns their small ones. Palm Beach Child Care Centres would be the best among the others as it offers the most effective for the children.


I haven't been testing it for very long–I've been using it about three months–but man, it really does work. The Dustop cover is specially designed to reduce the amount of dust which accumulates during indoor storage. Dustop is as soft as flannel but is an ultrasonically-bonded, four-layer material designed for enhanced dust protection. The Dustop fabric is made with a proprietary technology which combines the softness of polyethylene with the strength and durability of polypropylene to produce a material which is strong, cushiony and very soft.
California Car Cover told me they've had tactile test panels of people who have compared Dustop fabric with flannels and found that the softness levels are equivalent. Dustop's middle layer provides the barrier to dust that flannel does not possess and it holds out even the finest dust particles. This layer helps Dustop block four times more dust than woven flannels. Dustop is 25% lighter in weight than flannels and that make any car cover made from it is easier to handle. Dustop has better bulk for added protection against dings. It is important to note that California Car Cover recommends Dustop covers for indoor use only, with only slight outdoor exposure. In the past, I've used some other types of covers on cars stored indoors and have noted that, even thought the cars are covered, over time, they still get dusty. So far the Dustop has eliminated that problem.
Typically my reviews are longer than this but, really, there's not much more I can say about this really good car cover other than, It really does work well. I also like that it's made in the U.S.A. andf has a four-year limited warranty. It's available in Grey and Taupe but I ordered grey.


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All The Way Home
by Felicia Hsu
Finding a Forever Home
by Ms Janis L Hegle
The Mars One Incident
by Kelly Curtis
In the Name of Peace
by Paul Sande
Poetica Erotica
by Tim Cross
Unnatural Separations
by Laura Clementz
Second Earth
by Cami Murdock Jensen
Rental Secrets
by Justin Pogue
The Bully Brigade
by Tamala Floyd
By Daniela I. Norris
Recognitions by Daniela I. Norris centers on Amelia, who, under hypnosis and in dreams, sometimes encounters an intelligent French girl on the verge of choosing a future husband and sometimes an African shaman trying to save his village from sickness and slavery. As she struggles...
Rogue Warden
By Jonah K. Young
Rogue Warden by Jonah Young is a short novel based on the life of a crooked prison warden by the name of John David. The story begins with John waiting impatiently for Franklin Coleman. John is looking forward to his payment from Coleman who pays...
Random Shootings
By Frank Drury
Random Shootings is a contemporary fiction novel written by Frank Drury. John, a newspaper reporter, and his wife, Diana, were living in Jacksonville, Florida, until one evening when John almost got involved in a sexual situation with his neighbor, Diana. When her husband, Cliff, came...
Red, White & Blues
By L.V. Sage
Red, White & Blues is an epic undertaking by author L.V. Sage. It takes the reader into two divergent cultures, that of the 1960s hippie in San Francisco and that of the Vietnam war veteran. The juxtaposition of these two stories is beautifully researched and...
By Timothy Allen Smith
Regret is a contemporary fiction novel written by Timothy Allen Smith. Julie Gallagher fast-tracked through an Ivy League education and law school, and became a partner in a law firm in record time. She lost it all, however, including her marriage, and now works two...
Rogue's Son
By Darcy Flynn
Rogue's Son by Darcy Flynn is a clean romance. Kit Kendall, owner of Sage Brush, the once-thriving West Texas bed and breakfast ranch, now struggles daily to keep her business afloat. Since McCabe Lodge reopened next door as a multi-million-dollar resort, she suffers one cancellation...
Rise of November
By Mario E. Perez
Rise of November by author Mario. E. Perez is a dystopian novel about the overnight death of our world and the emptiness that follows, as seen through the eyes of the protagonist over a seven-day period. The fight for survival and the shocks caused from...
Rhidauna
The Shadow of the Revenaunt Volume 1
By Paul E. Horsman
Ghyll's life was shattered when the castle that he had called home his whole life was attacked by mysterious beings and completely destroyed, killing everyone inside, including his dear uncle, the only relative he knew. In his uncle's safe, Ghyll found documents revealing that his...
Rock & Roll, Sex, and Fools
The Slow Fade to Black of Mr. Joe Kool Jack
By Paul Bibbins
Joe Kool Jack got kicked out of his parents' home when he was 18 years old. Trying to get back on his feet, he decided to stay a while with his cousin in Memphis. To get there he would have to get a ride from...
Rules of Summer
By Joanna Philbin
Joanna Philbin's Rules of Summer is a story that could happen anywhere and her cast of characters might be found in your own community. Maybe. Rory McShane is given the opportunity to live with the very well-to-do Rule family in East Hampton. Her aunt has...


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Home Food Dining Preview Pabst Calls It a Comeback
Pabst Calls It a Comeback
How PBR rose through word-of-mouth campaign
by Emily Patti
From 1978 to 2001, PabstBlue Ribbon was a brand in decline. It wasn't hip, it hadn't yet developed thatretro cachet we all know it to possess today, and it certainly wasn't selling.That all changed when Pabst Brewing Co. launched a word-of-mouth marketingcampaign that prompted the national resurgence of the iconic American beer.
"We're going on 10 yearsnow that this trend started, and it has had unbelievable staying power," saysNeal Stewart, who worked for Pabst from 2000 to 2006. As brand manager, andlater marketing director, Stewart worked with a team of brand ambassadors todirect and create the PBR re-branding campaigna campaign that employed anunobtrusive approach to marketing that appealed to the consumers who had begunto adopt the brand in 2000 and 2001 in the Northwest.
These initial adopterswere bike messengers in Portland, Ore.a group that, according toStewart, had created a subculture that didn't include supporting mainstreambrands. It was unlikely that they had ever seen a PBR commercial, as PabstBrewing stopped advertising in the early '80s; rather, they likely had grown upbeing inundated with ads from big breweries in the '80s and '90s.
"It didn't have thebaggage and it didn't have the stigma of being this big corporation," Stewartexplains. "People thought of it as this little, tiny company trying to makeends meet."
It was important to thegrowth of the brand that consumers continue to feel that PBR was the truealternative choice to mainstream counterparts.
"I don't want toovercomplicate what we did," Stewart says. "It was mainly finding people whowere really supportive of the brand and supporting their efforts."
Pabst Blue Ribbon begansponsoring bike messenger races and scooter rallies. While bigger beer brands,like Miller (now MillerCoors) and Anheuser-Busch, were sponsoring large concertvenues and festivals, Pabst Blue Ribbon focused on smaller venues and low-levelclubs across the country, solidifying the brand as a supporter not only ofindependent live music, but of hipster culture in general. From bike messengerto bike messenger, and music fan to music fan, the buzz created by theword-of-mouth campaign generated sales in 2002, resulting in PBR's first volumeincrease since 1978.
"We tracked it state bystate, and you could literally see it start in the Northwest and then jump tothe East Coast, and then it slowly did make its way to the middle of thecountry," Stewart says. "Milwaukeewas a different market for us, though, because the brewery used to be there,and there was a huge backlash against Pabst… I wouldn't say that Milwaukee was behind thetrend, because of the late adopters. But maybe it was slightly late, becausethere was baggage with the brand back then."
The "baggage" was theclosing of Pabst's Milwaukeebrewery in 1996, after a 152-year presence in the city. According to Milwaukee historian andauthor John Gurda, the anger felt by many Milwaukeeans was directed at theirresponsible decisions made by the brewery's ownership, S&P Co.
"I had been a loyalPabst drinker for 30 years," Gurda says, "and I wouldn't touch the stuffbecause I was angry. And I don't think I was alone. I think that there were alot of people that were really miffed that this brand had been taken over byrobber barons who drove it into the ground, ruining a proud heritage."
After shutting down theremainder of its breweries nationwide, S&P Co. began contracting withMillerCoors (then Miller) to brew its portfolio in 2001. To Gurda, this softenssome of what he refers to as the "psychological reluctance" of re-embracingPBR, because "it's money, it's jobs and it's brewed here," he says.
Food Dining Preview beer Drinks Pabst Brewery
Emily Patti
Emily Patti is a librarian and freelance journalist. When she's not writing articles or reviewing books for professional journals, she enjoys films, stand-up comedy, tacos and good books.
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It might help if I included a link to the article,...
It might help if I included a link to the article, eh? http://www.searchperspective.com/2010/04/27/pabst-blue-ribbon-viral-marketing-success/
Anonymous more than 9 years ago
Great article! Just wanted to share a rece...
Great article! Just wanted to share a recent blog post I published, in which I also cited your article.


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text:
George Christensen investigated by Australian Federal Police for 12 months over Philippines travel
By political reporter Henry Belot
Updated April 05, 2019 00:02:06
Photo: George Christensen has repeatedly described the police referral as a smear campaign. (ABC News: Marco Catalano)
Related Story: PM takes veiled swipe at 'Member for Manila' George Christensen
Related Story: 'Vile and defamatory': MP George Christensen dismisses travel allegations as smear campaign
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The Australian Federal Police (AFP) has confirmed it was making enquiries about regular travel and cash transfers to the Philippines by Queensland MP George Christensen for 12 months.
George Christensen has dismissed the referral to police as an attempt to smear his reputation
AFP Commissioner Andrew Colvin told the Senate hearing that senior members of the Government were briefed
Mr Colvin said there was no evidence of any wrongdoing by Mr Christensen
The AFP told a Senate estimates hearing that inquiries began in late 2017, at least a year before Mr Christensen revealed he was the subject of a referral to police.
Mr Christensen has dismissed those referrals and suggestions he sent money to foreign bank accounts as an attempt to smear his reputation, given the country is known for prostitution and drugs.
Senior members of the Government, including former prime minister Malcolm Turnbull, former deputy prime minister Barnaby Joyce and Home Affairs Minister Peter Dutton, were all briefed by police at different times.
Nationals leader Michael McCormack was also told about the investigation when he took over leadership of the party.
"We were concerned that the information that we were evaluating was becoming known," AFP Commissioner Andrew Colvin told the hearing.
"I believe it was appropriate for [Deputy Prime Minister McCormack], because of the particular circumstances with the Deputy Prime Minister, to brief him."
The AFP told estimates that there was no evidence of wrongdoing by Mr Christensen.
Photo: Andrew Colvin told a Senate estimates hearing there was no evidence of wrongdoing. (ABC News: Matt Roberts)
Police officials also said the Nationals MP has repeatedly described allegations against him as an attempt to smear his reputation.
Last week, when News Corp Australia published his travel records in the region, Mr Christensen said it was part of a "putrid" smear campaign against him.
"This whole matter is vile and defamatory," Mr Christensen wrote.
"I've asked myself why I've been the subject of such a vile and hateful smear campaign and I can only think it is because I stood up for my electorate against the powers that be, or rather, that were, on too many occasions.
"They now want revenge and have sided with Labor in this smear campaign to try and get that revenge.
"No doubt they will still throw mud from the sidelines without putting their name to their allegations, because the people involved in this smear campaign are so gutless, in fact they are the lowest of the low to stoop to such actions as they have."
Topics: law-crime-and-justice, police, federal-government, government-and-politics, australia, qld, philippines
First posted April 04, 2019 19:58:16