text:
San Pancho's Music Festival began in 2001 when village residents John & Patricia Alexander invited 12 musicians to join their informal jam sessions on their back porch. Everyone had such a good time that the following year some of those same players suggested to John that they gather again, but this time invite a few others from around the area. With time, the word spread and others asked to participate. John and Patricia were gracious hosts, and their philosophy was that anyone who wanted to play was invited to join in..
By 2006 the number of performers had grown to over 100, and this annual event was now stretched to three days in the Alexander backyard. Andy Crawford, a professional jazz bassist and educator from Illinois, began assisting in 2003 with the organization of the event, coordinating the required sound gear, working with Mexican officials, and translating when necessary. Andy continues to be a key organizer of the festival, and also performs at the festival several times each year.
The father/son combination of Beto and Carlos Gonzalez, who have been active performing since the Festival's inception, have also become integral to the organization of the Festival by working with government officials to get the required permits every year, and scheduling and working with many of the regional performers. Their family continues to perform each year, which has become one of the longest running festival traditions.
In 5 short years the event had begun evolving into a full fledged music festival, and it wasn't long until the general public and seasonal tourists began discovering the event. This evolution continued until the festival started to outgrow the intimate surroundings of the Alexander home. It was apparent that a new and larger venue would be needed for the event.
Eventually John and Patricia moved further down the coast, so they turned the organization of the festival over to Craig Schumacher, an internationally known music producer and professional musician. Craig relocated the Festival to a small stage in the Plaza del Sol in 2007, which provided attendees with more comfortable seating space for chairs and coolers. It also allowed a small group of local restaurants to offer food and beverages for sale throughout the performances so that the audience could dine without missing any of the entertainment.
Craig Schumacher hosted the Festival for several years, and as it grew he reached out for some assistance. One of the people that he approached to help was fellow musician, and San Pancho resident, Chas Eller. In addition to being the keyboardist for the internationally known jazz group, Kilimanjaro, Chas is also an award winning audio engineer who has owned five recording studios, one of which is located in San Pancho. Chas began performing at the festival in 2006, and a few years later started lending a hand with the sound mixing duties. It wasn't until 2009, however, that he began helping Craig with the booking of the acts, so when Craig decided to move back to the States after the Festival that year, he passed those duties along to Chas. He has continued to do the majority of the booking since then, with the exception of 2010 when Chas' group, Kilimanjaro, was asked to perform at the Java Jazz Festival in Jakarta, Indonesia, which unfortunately ran concurrently with the San Pancho Music Festival. Local resident, Chris Parsons, jumped in and assisted that year in his absence. Since then Chris has continued to serve as the Festival photographer and maintains the website.
After the Festival doubled in size each year, by 2011 it became necessary to move it again; this time to a newly constructed, larger stage in the Plaza del Sol. With that came the challenges of providing sufficient lighting and sound for this expanded venue and audience. While the performers have historically donated their time and talents, which is perhaps one of the more unique aspects of the Festival, it now became necessary to actively solicit donations to keep up with the growing costs, and continue to make it free to the public.
In 2013, the Festival started using two stages to present continuous music from a wide variety of genres throughout the night. The Plaza de Sol in San Pancho fills with music lovers, food and artisan vendors with between 1000 and 1500 people in attendance every night.
Today, the Festival continues, due to the generous donations from numerous "friends of the Festival", merchants, and the audience, along with the many people who volunteer their time and services. As the Festival attempts to raise the bar each year, by introducing new and exciting musical acts, the operating costs also continue to escalate, and that has required bringing even more volunteers onboard to help with the fundraising and organizing efforts. What was once a little musical gathering in someone's backyard, has now become one of the annual highlights of the San Pancho calendar, and it has undoubtedly contributed to the town being dubbed "The Cultural Heartbeat of the State of Nayarit."


text:
Command Day Secondary School (CDSS) Science and Technology Week The youth will create the future! The signs were self-evident during the Science and Technology (S&T) Week held recently i... Read more
Jidaw Systems Limited has trained Grange School students at the First Ever Information Technology Entrepreneur program for Children. Read more
African Children Cyber Safety Initiative (ACCSI). Information on ACCSI's mandate ACCI supported by Jidaw Systems Limited, apart from the advocacy it does in schools, has hosted two major chi... Read more

subset: commoncrawl


text:
October 17, 2016
The Green Note, London
"It's basically a folk song – it's got the sea and death"
Ange Hardy and Lukas Drinkwater have separately made their mark on the modern folk scene, and their respective reputations filled The Green Note for their headline set as a duo.
They essentially played their new album, Findings, in full, explaining that the title refers to "two components [that make] something bigger than the sum of their parts." It's true of the tracks, often blending traditional pieces with new surrounding verses and melodies. It's true, too, of the duo.
Both Hardy and Drinkwater are clearly comfortable on stage, both within and between songs. Not only were several performed in resounding a capella, each song was fully introduced within its historical context. That's not to say they're stuck in the past – some of their most compelling new material was inspired by contemporary new stories.
Hardy explained that their devastatingly beautiful song Invisible Child, written from the point of view of a five year old carer, came from "a little thread that was working its way through the back pages." She described the 5-7 year old carers as "unfound"; they're not officially counted or supported because they're not expected to have such responsibilities, and "they don't come and ask for help."
The song's micro focus on a macro problem echoes the duo's approach in the song, By The Tides. It's about children who were found in the most tragic way – drowned and washed ashore, just two amongst many Syrian refugees who didn't find the safety they sought.
Completing the trio of real-life tragedies was The Sailor's Farewell, inspired by a story once told by an audience member. His mother dealt with his father's absences by hanging one of two paintings, either The Sailor's Farewell or The Sailor's Return. Sadly, the father's boat was lost at sea and the painting could never be changed again: "she just waited by it."
Hardy was justifiably emotional when speaking about the enduring ramifications of this loss – the searching, open-ended uncertainty borne by lack of closure, and the impact of grief at close quarters; of having to grow up too quickly and "not knowing how to help and what to do."
Having, at the son's request, turned the intensely private tragedy into a bittersweet, beautiful song, there was a final unfortunate twist. Due to a mistake in the contact details he left, he can't be found and has never heard the powerful song.
It's increasingly common for loop pedals to be used for layering and can sometimes be overdone, leading to jarring cacophony. Hardy's use was different, leading to ethereal, otherworldly harmonies floating around the intimate space.
Hardy and Drinkwater's serious and searing performances were balanced by the warm, endearing relationship between them. We're lucky they found each other.
Ange Hardy and Lukas Drinkwater's album, Findings, is out now and sounds a little something like this.
Like what you see? There are many more photos of the show over on Flickr. Follow me there, and here:
WordPress: redrospective.com
Twitter: @redrospective
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Want more photos? Try my travel, nature and street photography website, Out To The Streets!


text: End of February 2015 R4C gave a training in the use of the RighT Guide to the Philippines Sex Workers Collective in Baguio in the Philippines. The training was conducted by Marjan Wijers and Lin Chew, who developed the RighT Guide together with Marjan. Participants were sex workers and service providers. As in India, key problems are the confusion of sex work with trafficking and police violence. Much time was spent on discussing the core human rights, especially the right to dignity and its meaning for sex workers.


text:
This article provides background for a statistical analysis of the Australian recording industry published as The Australian Recording Industry. The description is addressed to general users of the knowledge base, and the technical points appear mainly as footnotes or hyperlinks rather than in the main text — to be perused by the curious and the specially interested and skipped by others who just want the main storyline.
Technology has been such an all-pervasive influence on the recorded music product that it justifies a global perspective on what is indeed an global industry. This view is reinforced as we consider the past two decades when the traditional physically based range of products, themselves with a long history of technological change, has been affected by the advent of digital products. The industry can well be considered a case of what Joseph Schumpeter, the economist with perhaps the deepest understanding of the role of technology in a capitalist society, termed creative destruction — unsettling for participants but part of the real world.[1]
The writing of this article follows only a month after the publication of the latest annual digital report by the International Federation of the Phonographic Industry (IFPI). In a brief space it gives a comprehensive up-to-date picture of the current state of the market, which is the main subject of the third and last main section.
The industry has been shaped by technological change since it was founded a century and a quarter ago. This is evident from any timeline, starting with three major 19th century events:
The following description of events from 1900 to 1990 is based largely on Chronology: Technology and the Music Industry, by Callie Trantor (published by PBS, the US Public Broadcasting Service).
Around 1990, two momentous events set the industry on its future course: the birth of the World Wide Web and the birth of MP3 (both after considerable gestation periods). Subsequent sales of traditional physical recordings would peak in 1999 and move into a decline which has required a large amount of adaptation. Sales of digital products would skyrocket from the early years of the 21st century — as discussed in the next main section, these sales reached almost 34% of the total value of physical and digital products worldwide in 2012 (46% in Australia according to a special IFPI report).
The World Wide Web naturally had to wait for the establishment of the Internet and its associated technologies. The Advanced Research Projects Agency Network (ARPANET) was initially funded by the US Department of Defense for use by its projects at universities and research laboratories. It was the world's first operational packet-switching[5] network, the first to develop the necessary communications protocols (TCP/IP),[6], and the progenitor of the global Internet. ARPANET began in 1969 as a network of computers based at four American universities but had expanded to 213 host computers by 1981, when the National Science Foundation (NSF) developed its network to enable access for computer science departments at academic and research institutions that couldn't join ARPANET for various reasons. In 1983, ARPANET was split into civil and military sections. It was decommissioned in 1990.
Internet service providers (ISPs) began to emerge as businesses in the late 1980s and early 1990s, another requirement in the commercialisation process. The last restrictions on the use of the Internet to carry commercial traffic were removed in 1995 when the NSFNET was decommissioned.
The World Wide Web depends on the existence of an open Internet to work. On 12 November 1990, Tim Berners-Lee and Robert Cailliau working at CERN, the European Organisation for Nuclear Research, wrote WorldWideWeb: Proposal for a HyperText Project, which was adopted the following month.[7] This became the final link in a development process that would last a decade and enabled use of the web to grow between 1992 and 1995, with most early adopters being university-based science departments and physics laboratories. The only large hurdle left to jump was the lack of a suitable graphical browser. Mosaic was launched in 1993 and is the browser credited with popularising the World Wide Web.
The genesis of MP3[8] was the work of a German electrical engineer, Karlheinz Brandenburg (born 1954), who gained his PhD in 1989. His research became the basis of MP3 and other modern audio-compression schemes.
MP3 is the common format for consumer audio storage, and the de facto standard of digital audio compression for the transfer and playback of music on most digital audio players. Its algorithm is designed to greatly reduce the amount of data required to represent the recording while ensuring that the result still sounds like a faithful reproduction of the uncompressed original for most listeners.
MP3 was officially released in 1995, the same year the Internet and World Wide Web could function freely, following the withdrawal of the NSF Network. Between them they would act as the catalysts for much of the structural change the international recorded music industry would have to go through over the ensuing 15 years and more.[9]
The illegal aspects of file sharing (relating to copyrighted content) remain one of the main concerns of recording companies, and their organisations, everywhere.
File sharing has been around for decades but until fairly recently largely concerned physical products (punched cards and tapes, magnetic data tape storage, cassette tapes). In 1971, however, IBM introduced the original floppy disc which became a frequently used form of data storage and exchange. It was the predecessor of the CD-ROM and today's flash media which are used in a wide range of portable devices including smartphones and tablets — not to mention USB drives which make it easy to share files. First marketed in 2000, USB drives are smaller, faster, have thousands of times more capacity (increasingly so as capacities reach new heights unimaginable a few years ago), and are more durable and reliable than the CD-ROM because they have no moving parts.[10]
These devices are not themselves primarily associated with the Web, though they can be used to transmit and copy files. The major problem for the recording industry began in 1999 when a company called Napster set up a pioneering peer-to-peer (P2P) music file-sharing service on the Internet. It promoted the sharing of audio files encoded in MP3 format. The original Napster company peaked at 26.4 million users in February 2001 but was sued by A&M Records in a landmark case, which found that Napster could be held liable for infringing the plaintiff's copyright. Napster shut down its entire network in July to comply with the injunction, and in 2002 lost its appeal to have the verdict overturned.[11]
Second-generation P2P companies (exemplified by Gnutella) used a different model, connecting users remotely to each other rather than through a centralised service like Napster. The current third generation BitTorrent model allows users to create an index of the files they want to share, and uploads them to dedicated websites where they can be downloaded.
The current situation, as reported, is that file sharing remains a serious issue for the music industry and for policy makers. The BitTorrent protocol is said to have created more technical stability, using the lightweight User Datagram Protocol (UDP).[12] So far no other file sharing protocols have been introduced, only patches to the existing protocol.
Much of the basis for increased legal action against file-sharing services was created when the Digital Millennium Copyright Act (DCMA) was passed unanimously by the US Senate in October 1998, implementing two World Intellectual Property Organisation (WIPO) treaties. The DCMA criminalised production and dissemination of technology, devices, or services that allows users to circumvent technical copy-restriction methods used to control access to copyrighted works (known as digital rights management or DRM). It also criminalised the act of circumventing an access control, whether or not there is actual infringement on the Internet.[13]
In March 2003, an Open Music Model was published, advocating an alternative business model for the recording industry. Described as an economic and technological framework for the recording industry based on research conducted at the Massachusetts Institute of Technology (MIT), it predicted that the playback of pre-recorded music will be regarded as a service rather than individually sold products, and that the only system for the digital distribution of music that will be viable against piracy is a subscription-based system supporting file sharing and free of digital rights management. The research also suggested a price point of five US dollars per month subscription for unlimited downloads as the market clearing point. The Open Music Model lists five necessary requirements for a viable commercial digital music distribution network.
Criticism of the model included that it wouldn't eliminate piracy. Others countered that it was the most viable solution, since piracy was inevitable anyway. Supporters argued that it offered a better alternative to the current law-enforcement based approach by the recording industry.
There may be a trend towards reduced reliance on digital rights management (DRM), the class of access control technologies used by hardware manufacturers, publishers, copyright holders and others to limit the use of digital content and devices after sale. DRM is or has been used by Amazon, AT&T, AOL, Apple, Microsoft, and Sony among others. It has been alleged that the DMCA may have been largely ineffective in protecting DRM systems, as software allowing users to circumvent DRM apparently remains widely available.
Since the Open Music Model was published, some of its principles have been adopted by the recording industry. While abolition of DRM would be a major shift for the industry, as long as IFPI is adamant about supporting it, aided by the major legislation — convincing the industry of any advantages of an "open music" business model would at least depend on significant recovery of the recorded music market. However, Apple CEO Steve Jobs called for an end to DRM in music in 2007, and iTunes which had been launched with full DRM provisions in May 2003 abolished it on most of its music in 2008. There have also been a number of variations on the Open Music Model's suggested $5 monthly subscription price, including Yahoo! Music and the prominent music streaming service founded in Sweden in October 2008, Spotify.
Mary Madden, a senior researcher with the respected Pew Internet and American Life Project, wrote a paper in 2009 on what media analysts have called "Napsterization"[14] "to refer to a massive shift in a given industry where networked consumers armed with technology and high-speed connectivity disrupt traditional institutions, hierarchies and distribution systems". Her final section is headed, "Done Restricting Music: The end of DRM and the future of music online." Apple's decision prompted the following comment, "And now that iTunes and many other legitimate digital music offerings are DRM-free, the labels have effectively set a new industry standard in freedom and flexibility for consumers." She concludes: "Looking ahead, as users' engagement with cloud computing activities becomes more pervasive and seamless, there may come a time when the difference between downloading and streaming music files becomes moot. At the moment [in 2009], Pew Internet Project data shows that 69% of online Americans have already taken advantage of some form of cloud computing such as using webmail services, storing data online, or using other applications whose functionality is located on the web."
Madden's paper has a large number of references to other work on the subject and is recommended reading.
The industry will undoubtedly continue to protect its labels and artists as it should, but it is getting through much of the transition, and new strategies may emerge as the market settles down following the "creative destruction" that Napster was instrumental in putting into top gear. Ensuring that the industry is viable and its artists receive their due rewards is essential, but the business model may be changing.
Mary Madden notes that the music industry had been in the front line to "convert freeloaders to become paying customers", and it goes without saying that it is being watched closely by other industries that are undergoing digitization, including newspapers, book publishers, movies and videos.
The purpose of the remainder of the article is twofold: to present current total trends in retail value globally and in individual countries, and in the concluding sections idenfify some main factors driving the global music industry in its future course.Digital Music Report, published in February 2013, confirms the more cautious optimism that was expressed in the preceding report — a sign that the situation is stabilising further with a growing digital market and steadying sales of physical records and other items. Referring to the developing music technology, the latest IFPI report is subtitled "Engine of a digital world" with the total retail value of physical and digital products edging up if only by a marginal 0.3% in 2012, compared with 2011.
The general picture can be considered from available statistics. Though there are no published global retail value figures going back into the 1990s, it is known from the press release announcing the annual IFPI report that sales of physical recordings peaked in 1999. In 2003, the first year shown on Chart 1 when the digital market was in its infancy, the global total remained as high as $34 billion, followed in 2005 by $33 billion including digital sales hitting their first billion dollars.
Physical sales then fell into something resembling free fall from 2005 to 2010, after which the decline has been gentler. By 2012, sales of digital music product have grown to a level that for the first time resulted in a (tiny) total market increase. In fact, digital channels now account for the majority of total income in markets including India, Norway, Sweden and the US (IFPI report p 6). Australia, according to a special press release experienced its first increase since 2009. "This growth can be attributed to the growing demand and consumption of digital music products, which made up 46.3% of the industry's dollar value in 2012, compared to 36.7% in 2011 and 27.2% in 2010." These are impressive changes in market share for digital products, over just two years.
The published IFPI data do not allow strict comparison of the sales value from year to year because the statistics are adjusted each year and we don't see the revised statistics for previous years. For example, global sales were reported at $16.15 billion for 2010 in the most recently available global table, but the latest IFPI report estimated global production at 16.5 billion in 2012. Applying the 2011 decline of 3.0% and the 2012 increase of 0.3%, a revised global retail value works out at about $16.9 billion for 2010. The annual rates of change quoted in the IFPI report would be based on the comprehensive long-term database available for industry specialists.[15] The statistics in Chart 1 represent the estimated trends which we are confident present a reasonably true picture.[16]
It is hard, however, not to be struck by the difference in magnitude of the two segments making up the global recorded music market. It really seems to be a case of Schumpeter's "creative destruction", which has left the consumer considerably better off at the expense of those supplying the traditional product range of physical albums, singles and DVDs. The most extraordinary thing about the physical versus digital market forces over the period since the rapid decline began in 2005 is that by 2012 physical sales had declined from $33 billion to $11 billion (by $22 billion) while digital sales of what would be substitutes to physical recordings rose by only $4.4 billion, from $1.2 billion to $5.6 billion. In other words, the value of physical sales decreased by almost five times more than digital sales rose over those seven years. Today, physical sales are still falling (by 7% in 2011 and an estimated 4% in 2012), though for the first time the (9%) increase in digital sales was ever so slightly higher than the fall in physical sales, generating the net increase of 0.3% in the global retail value.
The above comparison of the physical and digital sales trends and relative magnitudes is based on the assumption that the total market would have remained static in the absence of the digital boom. It is hard to imagine, in any case, that total industry sales would have been halved in seven years without any available digital substitutes, just because people suddenly got tired of buying albums and listening to recorded music generally.[17]
Looking forward, time will show whether one swallow will make the summer in this case and the industry's optimism, as expressed in the IFPI report, is justified. The concluding sections of this article will go some way towards sharing the optimism in view of the extraordinary expansion of innovative activities, both in product range and geographically, which is currently taking place. We may also be reaching a stage where the market for physical products (albums, singles, and DVDs) is reaching a plateau (or even start trending up again as is happening in a few countries already).[18]
It is difficult to imagine, however, how the global market could once again grow to the size it achieved at the end of the 20th century. The composition of the market has changed too much, digital products have proven to be of equal or superior quality and less expensive for what consumers want, and the rapid expansion into new markets which is happening is likely to follow similar trends towards digital sales. The news that more than half of the Indian market is now digital is a case in point.
The left half of Table 1 shows that the physical market is dominated by albums supplemented by singles and DVDs. The largest single market measured by number of physical units was the US followed by Japan, Germany and the UK. The ranking was approximately similar for total retail value which includes digital products.The right-hand column shows that by far the highest consumption per head of population in 2010 was in Japan, and Italy and Brazil spent much less per head than the other eight nations (which at least in Brazil's case would be due to a dual economy with some rich but many more poor). Australia, on these per capita data, was in an intermediate position together with Britain and the two Western European countries in the table.
It is unclear whether there is a connection between the extent to which the digital market has taken over, the extent to which recordings are bought by all population segments, and whether price levels for particular products vary among countries. The left-hand box shows that total sales per head in 2005 were considerably higher in all the countries included in Table 1. Britain topped the list at over $55 per head followed by Japan and the US around $38, Australia and France around $32, and the two Western European countries around $26. This suggests that the digital factor has been influential in all these countries, including Italy and Brazil where total sales per head remain relatively low.
The greatest decline in per capita sales over the seven years was in America (69%), compared with 60% in the UK and 40% in Australia. The smallest declines were in Germany (20%) and Japan (16%), suggesting a higher degree of loyalty towards traditional recordings.[19]Published annual statistics exist for sales of physical units (albums, singles, DVDs, previously also VHS cassettes). These physical entities cannot be compared with the total retail value in Table 1 which includes a growing component of digital products. They can, however, be used to provide an approximation of national market trends.
The first part of this section describes the main message of the IFPI digital music report presenting the situation at the end of 2012 when the CEO, Frances Moore, concluded that the tide may have finally turned for the global industry after years of considerable havoc. It then provides a brief explanation of how the global recording market, driven by digital products, is becoming highly diversified, as well as having expanded strongly across countries and continents in the past two years. The third subsection presents the main findings of a survey into music consumers' attitudes, centred on the piracy issue, before discussing this issue verbally in the final part.
Frances Moore, IFPI's chief executive, notes in her executive summary in the digital music report that the previous report did express cautious optimism, based on "Expanding choice, going global", which was the subtitle of the 2012 report. She comments, "One year on, the optimism does not seem to have been misplaced."[21]
The main events underpinning the present feeling of increasing optimism come under the following headings in the executive summary:
"These are hard-won successes for an industry that has innovated, battled and transformed itself over a decade. They show the music industry has adapted to the internet world, learned how to meet the needs of consumers and monetised the digital marketplace." Moreover: "Music has not only adapted to the Internet — it is at the very heart of this development, driving technology, helping sell services, fuelling economic growth … ."
The main challenge is that the industry remains "rigged by illegal free music." Cooperation is sought from advertisers, search engines, Internet service providers, payment providers (credit cards, PayPal), and other intermediaries. Some of these gain from having customers among the illegal operators. Moore notes that some "commitment" was expressed in 2012 to give priority to legal music sites but "in 2013 we look for tangible results in this area."
The CEO also questions current views on copyright reform in government circles. "Copyright rules have provided the foundation for our industry to reinvent itself in a digital world. Any suggestion of change should be based on rigorous evidence that there is in fact a problem. A weakening of copyright rules would set back the music industry at the very moment when it is on the path to recovery. The real priority, in our view, should be to make sure existing copyright rules are properly enforced."
Downloads: Download stores continue to grow steadily and spread globally. They represent around 70% of global digital revenues and sales increased by 12% in 2012 — digital albums enjoyed twice the growth rate of digital tracks (17% compared with 8%).
The major players, Amazon, Apple, Google and Microsoft, have all joined the market and upgraded their services. Download stores would also be major contributors to, and beneficiaries from, the globalisation that has seen national markets growing from 23 two years ago to more than 100 at the end of 2012. Record companies are able to reach customers where there was little retailing infrastructure until recently — there are now more than 500 licensed digital music services worldwide, offering some 30 million tracks to consumers.
The four major players have expanded their services by offering cloud-based features which provide customers with access to their entire music collections wherever they are and on whatever their devices. Consumers research in the UK suggests this is a key feature for music fans.[22]
The IFPI report refer to these services saying that download services have received "a boost from the cloud." The companies are going about the cloud development in different ways, with a typical annual payment of $US24.99 (the most recent cloud-based service, Google Music, is free at least in the form in which it was introduced). These services use a "scan and match" system in which a customer's local music collection is compared with the main database of music. When it finds a match, a copy of that song is placed in the local library and it then uploads any remaining songs that it can't match. Once the songs are stored in the central database they become available for streaming through apps.
Some services, such as Apple which holds some 26 million songs in its iTunes Store, do not charge if a song is bought from that store, but charges a fee if the song is from a CD track or otherwise not part of iTunes. In a rapidly developing market, it is probably inevitable that grey areas develop, in this case when the boundary between download and subscription services seems to be blurring.
Subscription services are now an integral part of the recorded music market with 20 million paying subscribers in 2012, an increase of 44% on 2011. These services probably crossed the 10% market share of total digital music revenue in 2012 for the first time. The share is higher in Europe, helped by fast growth in Scandinavia. The market survey quoted in the next section illustrates the competitive situation relative to downloading (see Chart 4).
As noted above, there are some grey areas in what are included as subscription services. Some operators such as the Swedish-based Spotify offer a choice between free services and subscriptions, others offer subscriptions only. Spotify has increased its user base to 20 million, of whom about 25% pay a monthly subscription of either $4.99 or $9.99 (over one-third in Sweden itself). These services are limited to music provided by the service, in contrast to the cloud-based services which can expand their central libraries from users' collections.
Advertising-supported services: This seems to be another overlapping concept. The IFPI report makes a great show of advertisers earning money from unlicensed services. However, the legitimate services would also be highly dependent on advertising revenue. In the report, the main examples of these services refer to music videos. Ole Obermann, a senior Sony executive, comments (p 16) that "some advertising-supported video streaming services are performing well and demonstrating significant growth rates, improving revenues and a more compelling customer experience."
The IFPI report also notes that YouTube is the most popular video streaming device in the world, with more than 800 million active users per month, and nine in ten of the most watched videos have music-related content. Vevo is the most viewed channel on YouTube with four billion music videos streamed per month, and is a music-video platform in its own right. Mobile is the fastest growing area, with 21 million mobile and tablet apps downloaded at the end of 2012. Having launched in seven new national markets including Australia in 2012, the service is now live in 11 countries. "Vevo also invests in its own programming, improving and broadening its content offer to appeal to the global TV advertising market, valued at US$ 197 billion".[23]
Music videos have just been mentioned in connection with advertising, including the size and influence of YouTube and the presence of Vevo, one of the two main specialist music video services. It and the other specialist, Warner Music Sound, are two of the top three channels on YouTube.
Performance rights income — "revenues generated from the use of music in TV and radio broadcasts, and public performance in venues such as bars, nightclubs, restaurants and shops — continues to increase. The sector grew by 9.3 per cent in 2012, and accounts for 6% of total industry revenues globally and as much as 10% in Europe and Latin America. A glaring anomaly exists in this market, however, due to the lack of a broadcast right in the US. This deprives performers and producers in the US of income they are entitled to in virtually every other country of the world." (p 9)
Internet radio is increasingly popular with leading service Pandora accounting for 8% of all radio listening in the US (up from 5.6% in 2011), or 66 million active listeners. Pandora expanded to Australia and New Zealand in 2012. Slacker is another Internet radio service, available in Canada and the US. It offers three service tiers from free "Basic Radio" supported by advertising (another example of that) to "Premium Radio" at $9.99 per month. Most customers (60%) belong to the latter tier typified by male 25-34 year olds — slightly older than those using the basic service.
Synchronisation rights are licences granted by a holder of the copyright for a composition allowing the licensee to "sync" the music with a visual medium like film or TV. These rights were first included in the IFPI 2012 report, referring to 2011 when it amounted to $342 million. The IFPI 2013 report noted that it grew in 2012.
Use of social media: The IFPI report includes case studies of musical groups who have expanded their market through Facebook and other social media. This is another important development which can only be based on anecdotal evidence for now, as far as impact on the music industry is concerned. The report quotes surveys that clearly demonstrate the importance of these media, including:
Physical records and DVDs: The IFPI report includes a reminder that the this market still represented 58% of the global value. While the share has been declining, the level may be reaching a plateau or may even start to recover.
Geographical expansion: The expansion of national digital markets from 23 countries in 2010 to more than a hundred in 2012 is among the most dramatic in terms of potential growth. It should be possible to demonstrate statistically when local data are compiled but for now is just noted as another important factor.
A survey by IPSOS MediaCT, a large specialist research firm ("media, content and technology"), was published on the IFPI website in February 2013 as background for the IFPI digital music report. The survey was conducted online with 7,502 Internet users aged 16 to 64 years in nine countries, chosen to be part of what would be a representative global average. The countries were USA, Brazil, the United Kingdom, France, Germany and Japan, each with 1,000 respondents, and Mexico, Sweden and South Korea (500 each).
The Internet penetration in each country except Brazil and Mexico was about 80%. Internet users in the two Latin American countries (penetration about 40%) are considered to be early adopters and not typical of the wider population.
The survey focuses on licensed versus unlicensed digital services. To encourage respondents to be honest about their use of pirate services, the term "unlicensed" was used rather than "illegal". However, the company notes that some people may still not admit using such services. "Therefore piracy usage levels should be treated as the minimum levels within each country." (p 2)
Charts 3 to 5 below have been redrawn from the survey.
Chart 3 compares Internet usage in the seven countries surveyed where it has reached a "mature" stage. The emphasis is on people using the Internet generally but having specifically used legal digital music services in the past six months. The question was, "When, if at all, did you personally last do each of the following?" — download services, music subscription services (paid/free), music video streaming services, internet radio or mobile products (e.g. ringtones).
The proportion of the total sample of 16-64 year olds is noted on Chart 3, ranging from 70% in South Korea to 53% in Japan (global average 62%). Usage was uniformly higher among the 16-24 year group, and varied less. Four countries showing 80-82% were close to the global average of 81%; in Britain, Germany and Japan the ratio was 74-75%. In Mexico, assumed to be dominated by early adapters, 90% used the Internet for legal digital music services (93% of 16-24 year olds). The corresponding figures in Brazil were 84% and 90%.
Music subscription services in 2012 according to the IFPI report experienced the fastest growth of all those on offer (by 44% to a level estimated to be above 10% of global digital music revenue). It has been competing successfully with download stores in Europe (Sweden, France) and also in South Korea according to Chart 4. In these three countries, at least, subscription services have now surpassed download services. This is not the case in America, Britain and Germany, nor in Japan where the general digital market remains relatively weak.
Chart 5 shows awareness of six major digital services, expressed as averages of the total sample across those countries where a particular service was available in 2012.[25] The note in the body of Chart 5 suggests (not surprisingly) that services enjoy greater than average awareness in the country where they originated: iTunes in America, Spotify in Sweden, and Deezer in France. But awareness of these services was indeed high globally, including recently introduced services such as Vevo (December 2009). Deezer seems to have had a difficult start in 2007 and ran into financial difficulties — it introduced a rejuvenated service model in November 2009.
The remainder of the Ipsos presentation presents key points; for full information refer to the document:
Different models appeal to different consumer needs (proportion of the 64% of the total sample who used legal music services):
Even those who use unlicensed services agreed that the standard of legal music services is good. The following list shows the proportion of pirate users (P) and legal digital users (L) who agreed with each statement:
An average of 77% of legal services users agreed these services are either excellent, very good or fairly good. The proportion varies from 85% in Mexico and 82% in the US to 68% in Japan and 65% in South Korea.
Finally, more should be done to tackle piracy. Even many pirate users agreed (percentage of pirate users and legal digital users, P and L):
As an illustration of the continued serious threat, IFPI estimates … that as many as 32% still regularly access unlicensed sites (IFPI p 28).[26]
The threat from illegal online services is part and parcel of what IFPI, and national recording institutions, focus on. This is understandable in view of the turmoil the industry has been through, and on recent indications successfully fought against. Whether alternative models will have a look-in later when the turmoil has faded from memory will need to be seen at the time.
Meanwhile we note some encouraging effects of the increasing market sophistication from the IFPI report:
"Today's legitimate services are a compelling alternative to piracy — not just for the industry, but for the consumer too." (p 5) The statement is backed by the positive attitude revealed by the survey. "Even those who admitted that they use pirate services believe that there are good services available for legally access digital music." (p 9)
A senior executive of Universal Music Group, Bob Wells, stated (p 14): "Pirate services are clunky and old-fashioned compared to the legal services available. They are being usurped by mass consumer migration to smartphones and access to millions of tracks from legitimate subscription networks. Consumers can also tap into their social network and see what their friends and family are listening to. The pirate option just cannot offer that complete consumer experience." (p 14)
"We need to challenge the notion that piracy hurts no one and explain to consumers that there are plenty of ways to get content legally." Jill Lesser, Center for Copyright Information. (p 30)
The chairman of IFPI, Plácido Domingo, has the last word (p 4):
"I believe passionately in the right of artists to earn a living from their craft. It is only if artists, and those that invest in them, have their rights promoted in the digital environment that they can continue to make the music we all love. Copyright is the key ingredient to ensure this. Policymakers around the world are now debating how best to protect artists' rights in the digital age. It is important they are able to ensure that copyright is respected in the digital environment, so that musicians can continue to develop as artists and the recording industry can grow and be able to invest in their careers."
The recording industry in its physical and digital manifestations is truly global and during 2012 appeared to have turned the corner after having reshaped itself following a decade of traumatic developments. The indication as this article nears its completion in late March 2013 is that the global music industry is restructuring itself successfully for the digital age.
Hans Hoegh-Guldberg. Entered 27 March 2013. Some revisions and additions 31 March and 4 April 2013.


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AULOS The latest news about our artists, productions and management office.
We look forward to working with Tolo and Marc!
Are you willing to support the release of their 1st cd 'Contrastes'?
As from today, AULOS is proud to partner with Per Poc puppet company.
She will perform 4 concerts in Australia.
He will be on stage on April 18, 2018 at Carnegie Hall.
Performing a creation written specially for the festival: Tableaux de Casablanca.
We really look forward to create wonderful projects together.
We are proud to announce the collaboration of AULOS and saxophonist Kurt Bertels.
AULOS is delighted to announce a new collaboration with Kacper Nowak, cellist.
From now on BOHO Players will use the name boho strings.
Expected: new top production in collaboration with Wilfried Van den Brande and Elise Caluwaerts
AULOS will be present at the sixth edition of Classical:Next!
AULOS and Wilfried look forward to a great cooperation.
As from today Mosa Trio is a guest at the European ChamberMusic Academy (ECMA)
Radio broadcaster Ernst Daniël Smid asks Elise to appear as a guest on his radio show.
This week conductor David Ramael will make his debut with the Orchestre Philharmonique Royal de Liège (OPRL).
Concerts on February 22, 23 and 24.
February 28th.
Roeland Hendrikx leads a master class at Northwestern University, Chicago.
AULOS is delighted to announce an exciting new collaboration with conductor David Ramael.
"Woesten" is a concert monologue based on the popular and acclaimed war novel by Kris Van Steenberge. It is a musical theater with literary performance and live classical music.


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100 Reasons to Date.. Me.. A Geek
Last time I checked my date activities, it's countless. No, really. I've dated many till I can't remember how much was that. But, yeah.. not the real one. Before you say it, it has nothing to do with my 'nerdy' geek.
Some people said that geeks (especially the nerd one) aren't people you want to date with. Reasons? They love their computers. You cannot draw him away from his computer for, let's say, 5 minutes. And so on, and so forth. Let me tell you, those are not true. Nah. Neih!
In fact, there are 100 reasons why you should date me, a geek. Some of 'em:
- We are loyal.
- We are creative. Look at those apps you use everyday.
- Have problems? We are the problem solver. We don't make problems. We solve it.
- We know you love movies. And we know what best movies are.
Need more? Of course you do. And you should date female geeks too.
Can I buy you a drink?
image credit: globalgeeknews.com thumbnail: madhulikha.deviantart.com
Read other posts


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THE estate of Ralph Ellison had never allowed his classic 1952 novel "Invisible Man" to be adapted for another medium, until Oren Jacoby came along. And even after Mr. Jacoby turned the 439-page book into a play — with not a word of new dialogue, as part of the agreement — many theaters passed on staging it, calling it unwieldy or wrong for their audiences.
That has changed in the last year, with sold-out productions of "Invisible Man" in Chicago and Washington. This week a version, with newly introduced tweaks, begins performances at its biggest stage yet, the Huntington Theater Company's 800-seat main stage in Boston.
"I don't want to jinx it, but I think there's a great life ahead for this piece, " said Peter DuBois, the Huntington's artistic director.
Mr. Jacoby, a documentary maker for most of his career, dreamed up the project 10 years ago when he directed "The Shakespeare Sessions," a movie in which film stars re-enacted scenes from Shakespeare plays. The film prompted him to think about Ellison's big American themes — racial oppression, identity, social protest — and the Shakespearean quality of his language.
Christopher McElroen, a founder of the award-winning Classical Theater of Harlem, is the director of the three-act, three-hour play, which stars Teagle F. Bougere, who appeared on Broadway in "A Raisin in the Sun" and "The Tempest."
"It's such a difficult story to tell in the theater," Mr. McElroen said of the adaptation. "Time is never specific in the piece, but it takes place over a 20-year period. We go to the South, we go to the North, at the same time we never actually leave his memory."
Mr. Jacoby added: "It is the whole African-American experience encapsulated in one guy's story."
Mr. McElroen is familiar with bold programming. During his tenure as its executive director, Classical Theater presented an audacious mix of Shakespeare, black classics like "Funnyhouse of a Negro," even a "Waiting for Godot" set in a post-Katrina landscape.
"Invisible Man" was developed over a year in workshops around the country. It had its premiere in a 250-seat house at the University of Chicago's Court Theater. The six-week run, starting last January, sold more tickets than any other nonmusical in the theater's 52-year history. It went on to a sold-out, twice-extended run this fall in a 230-seat house at the Studio Theater in Washington, a coproduction with the Huntington. Peter Marks of The Washington Post called it "painstakingly faithful and ravishingly composed."
The book is the only novel Ellison, who died in 1994, published during his lifetime. John F. Callahan, a writer and editor who serves as his literary executor, said that Quincy Jones had once asked permission to make a movie version, but that serious proposals to stage it had not come his way before Mr. Jacoby approached him. The estate's trustees approved the project in 2009, though insisting that every word in the script belong to Ellison and that it follow the novel's sequence and be true to the author's intent, Mr. Callahan said.
"It's a long, sprawling, picturesque novel, and it depends on language," he added, "You've got to pick and choose carefully. You can't do the novel. You have to do a version of the novel."
Mr. Callahan took an active role in helping with what finally appears onstage, with the creative team often poring over a highlighted copy of the book. But Mr. Jacoby said he did not feel creatively limited by the boundaries.
"You didn't want to reinvent the wheel," he said. "From my background in documentary films, you do the best with what you have. That's the artistic challenge: to take the material that's there and transform it on its own terms."
The estate did allow tense changes in some verbs. And while at one point Mr. Jacoby didn't want to open the play with the prologue that opens the novel, that's how it now begins.
"Invisible Man" places Mr. Bougere onstage for its entirety, supported by an ensemble of 10 actors who each play multiple roles. The set captures the basement "hole" in New York City the novel describes, filled with junk that's used as props and illuminated by dozens of bare light bulbs overhead.
Throughout the space are scrims on which are projected titles, photographs and other images, creating a Romare Bearden-like collage of scenes that suggest real settings as well as the Invisible Man's memories. Jazz, spirituals and other music move along the action.
Describing himself as "born to play this part," Mr. Bougere said the protagonist's search for identity resonated with him. And, he said, the play remains fresh in a society that is decidedly not post-racial. He noted that many audience members were visibly unsettled by the monologues his character addresses to them during the play.
"There is a discomfort among people, particularly white people, on being called on the history of this country," he said.
In his review Mr. Marks praised Mr. Bougere's "commanding performance" and the production design, but he wondered whether the play adhered too closely to the source material. "The tale does not so much rise and fall as flat-line," he wrote.
The show's creators have streamlined it in places and restaged aspects for the bigger Huntington house. Clearly they and the Ellison estate hope Boston is not its last stop.
"I think it's a good play, veering toward very good and potentially outstanding," Mr. Callahan said. "We want to dig down as deeply as we can and take it to New York."
He's got his own ideas about what will help — more soliloquies is one suggestion — but he could not say what Ellison's verdict would have been.
"I think he would have liked much of Teagle's performance," Mr. Callahan said. "I think he would have liked seeing the black vernacular onstage, Beyond that I don't know. Ralph Ellison had the most defiant mind of anyone I've ever met."


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Link to this page: http://forum.huntervalleyprotectionalliance.com/viewtopic.php?f=5&t=613
Link to Twitter page: [urlhttps://twitter.com/HVPA_NoCSG/status/275028194824970240[/url]
HUNTER VALLEY PROTECTION ALLIANCE Campaign
Sunday 2 December, 2012. Gas Watch 178. Tell the State Government to protect agricultural land from coal and gas mining.
The O'Farrell State Government has released its final public consultation draft of its Strategic Land Use Policies (http://huntervalleyprotectionalliance.com/pdf/SEPP_Mining_Petroleum_Production_and_Extractive_Industries_Amendment_20121129.pdf) in the form of an amendment to the State Environmental Planning Policy (SEPP), and its not good news at all for the food bowls and the fresh water of Australia.
Overall there is still no adequate protection of Strategic Agricultural Land (SAL), and there is no certainty for landholders or business operators within those areas. As a result, there is no incentive for sustainable growth of the agricultural industry within SAL. The SEPP must be expanded to enable the new "Gateway Panel", appointed to examine applications to mine coal seam methane, to refuse an application if there are circumstances which could not be addressed by conditions attached to an approval.
Further the SEPP must be expanded to enable the Gateway Panel to take into account impacts of the proposed coal seam methane development on commercial operations, productivity, value, reputation and growth of critical industry clusters within the agricultural community, in addition to the scientific and environmental risks.
Further, the Gateway process is not triggered until after exploration. Exploration for unconventional coal seam methane involves drilling through fresh water aquifers to the contaminated coal seams beneath. Not only is there the risk of contamination or reduction of the fresh water aquifers, the exploration process also involves the fracking of coal seams with its many attendant environmental risks. These risks are particularly "significant" (Dr. Gavin Mudd, Monash University) when undertaken in proximity to underground long wall coal mining ( see more in Gas Watch 178: http://huntervalleyprotectionalliance.com/pdf/gaswatch178.pdf ).
Please lodge a submission outlining your objections to the SEPP in its current form. You can do this very simply by clicking on:
http://tinyurl.com/cvafw6j or http://huntervalleyprotectionalliance.good.do/hvpa-changes-to-nsw-sepp-amendment-2012-/support-proposed-hvpa-changes-to-the-nsw-sepp-amendment-2012/
and following the prompts. You can also preview,download or print the campaign letter at this address
Web: http://huntervalleyprotectionalliance.com/
Email: email@example.com


text:
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SAN DIEGO – December 19, 2015 – In the last major American boxing card of the year in Verona, New York, several competitive undercard fights offered entertaining action and the opportunity for the winners to start 2016 on the upswing in their careers.
Ukrainian light heavyweight Vyacheslav Shabranskyy (15-0, 12 KOs) remained undefeated with a solid majority decision victory over Yunieski Gonzalez (16-2, 12 KOs) of Cuba. Scores were 98-92, 97-93 and 95-95. It was a tough, competitive fight and thoroughly entertained the fans, who gave both boxers a standing ovation at the end of 10 rounds.
"This fight was the most important and most exciting fight of my career," said Shabranskyy. I did feel a lot of Gonzalez' punches but I also feel like I hurt him, especially in the last round, he was beginning to sway. If I had a little more time I feel I would have knocked him out."
"I knew that this was going to be a war and that is what we delivered tonight," Gonzalez said. "We both gave it our all and didn't let up. I knew that I needed to knock him out to win this fight but he was more resilient than I thought and didn't open up enough for the knockout to happen. I did know the fight was very close and should have been a draw in my opinion. I would like the opportunity to fight him again and prove that I am the better fighter."
READ MORE: Early Xmas present from HBO Boxing: Ortiz gets TKO win over Jennings
Gabriel Rosado (22-9, 13 KOs) got back in the winning column pounding out his own majority decision against Joshua Clottey 39-5, 22 KOs) in a junior middleweight bout. Scores were 97-93, 97-93, and 96-94. Rosado started off slow, which he blamed on a bit of ring rust after being out due to injury for a year.
"It has been more than a year since I have been in the ring so I did feel a little I the rust but I feel like this fight really helped me shake it off," Rosado said. "Clottey is a tough opponent, former world champion, definitely a challenge for me in my first fight back. I delivered an entertaining fight tonight and I was happy with my performance."
"Gabriel gave everyone a great performance today," said Fernando Vargas, Rosado's trainer. This was our first training camp together and I think we are going to keep growing and make great fights together."
"This was an off night for me," Clottey said. "I do think that the fans enjoyed the fight. We are both fighters that do not like to back down. However, I don't feel comfortable at this weight class, I want to go back down to 154 and continue to fight at junior middleweight."
Rosado said he'd like a shot at Canelo Alvarez, and he just might get one while Canelo works his way toward a bout in late 2016 with Gennady Golovkin. Rosado gave GGG a significant test two years ago and he'll be a good test for Alvarez. Make it happen, Oscar.
Cuban lightweight Yuriorkis Gamboa (25-1, 17 KOs) won a solid unanimous decision against Hylon Williams Jr. (16-2-1, 3 KOs). Scores were 98-92 twice and 96-94. Gamboa showed more power although he engaged in too much clinching. It was his first fight in a year.
"It feels good to be back in the ring," Gamboa said. "I trained in Cuba, and I feel that all the hard paid off. I was faster and stronger in the ring. I know I dominated the action tonight, I made sure he knew I was in control from the first round."
"I felt good about the pace of the fight, I know I hurt him a few times," Williams said. "This fight should have gone my way."
Gamboa, who is promoted by 50 Cent's SMS Promotions, is 34 years old and the clock is ticking. He needs to get busy to stay relevant at 135 pounds.
Gayle Lynn Falkenthal, APR, is President/Owner of the Falcon Valley Group in San Diego, California. She is also a serious boxing fan covering the Sweet Science for Communities. Read more Ringside Seat in Communities Digital News. Follow Gayle on Facebook and on Twitter @PRProSanDiego.
Please credit "Gayle Falkenthal for Communities Digital News" when quoting from or linking to this story.
Copyright © 2015 by Falcon Valley Group


text: The TranZed Alliance seeks to share then inspire the use of experiential learning environments that support diverse teaching and learning styles and foster a sense of community among students. We provide designs that transform classrooms, cafeterias, libraries, hallways, gymnasiums, conference rooms, and all other educational and support spaces into three dimensional, multi-sensory environments that focus on interactive learning. Our professional artists and designers provide colorful and creative interiors for educational settings, which nurture the natural curiosity in children of all ages, and encourage them to explore and interact with their surroundings. We provide friendly and welcoming entryways, special comforting spaces, and age appropriate classrooms that reinforce a positive attitude. For over fifteen years, our artistic team has successfully completed projects that change mundane settings into unique and imaginative spaces with one-of-kind designs that allow self expression and promote school pride and ownership.


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New Medical Devices market report from Markets and Markets: "Radiotherapy Devices Market By Technology, Applications & Products (2011 - 2016)"
Boston, MA -- (SBWIRE) -- 07/20/2012 -- "Radiotherapy Devices Market By Technology, Applications & Products (2011 - 2016) (Cyberknife, Gammaknife, Linac, Tomotherapy, Proton Therapy Systems, Seeds, Afterloaders, Iodine-131, IMRT, IGRT, Volumetric Modulated Arc Therapy & Stereotactic Technology) - Global Trends & Competitive Analysis"
Radiotherapy refers to the therapeutic procedures using high energy electromagnetic waves or radioactive particulates to thwart abnormal cell growths within our body system and repair different physiological abnormalities. This report analyzes the market potential for devices used in radiotherapies for different body systems. This device market encompasses devices for external beam radiation therapy (CyberKnife, Gamma Knife, electron emitting high energy linear accelerators, proton therapy machines etc), brachytherapy (seeds, applicators-afterloaders, and electronic brachytherapy) and systemic radiation therapy (Iodine-131, Samarium-153, Rhenium-186, Erbium-169, etc.).
View Full Report Details and Table of Contents
The global radiotherapy devices market, consisting of devices used in both systemic and blood-borne oncology treatment procedures, was valued at $4.4 billion in 2011 and is expected to reach $5.8 billion by 2016, at a CAGR of 5.3% from 2011 to 2016. External beam therapy devices contribute the maximum share (81.5%) to the global radiotherapy devices market, followed by internal radiotherapy devices (9.6%) and systemic radiotherapy devices (8.9%).
The major driving factor for these markets involves reimbursement support to the radiotherapy procedures in the developed countries over conventional therapeutic procedures. As the incidence cases of cancer diseases continue to rise in the coming years, along with increasing trends in accurate diagnosis and precise treatment planning system, the radiotherapy devices market for treating these diseases would show significant growth in the forecast period.
The external beam radiation therapy in radio-oncology represents the largest segment of the market. In the global radiotherapy market, the linear accelerator devices market contributed the largest share (65%) of the total market with $2.8 billion in 2011 and is expected to reach $3.7 billion by 2016. The key driving factor for this market would be the increased usage of these devices due to significant technological revolution and its capability to provide better and precise treatment services.
North America is the biggest market for vascular interventional devices, followed by Europe. However, Asian countries represent the most promising and fastest growing markets as low procedural and infrastructural costs have led to an increased drive of patients from developed regions towards Asian countries such as India and China.
About Fast Market Research
Fast Market Research is an online aggregator and distributor of market research and business information. Representing the world's top research publishers and analysts, we provide quick and easy access to the best competitive intelligence available. Our unbiased, expert staff will help you find the right research to fit your requirements and your budget. For more information about these or related research reports, please visit our website at http://www.fastmr.com or call us at 1.800.844.8156.
Browse all Medical Devices research reports at Fast Market Research
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What you need: dish soap and toothpaste. What you buy: $55 worth of nail polish, cards, and trail mix that somehow leapt into your basket. Here are the tricky traps most drugstores have set up for you.
1. The sheer size of the place
As soon as you walk in, you're overwhelmed by how big and bright the space is, and the expanded inventories: food like sushi, fruit salad, wine, and gourmet chocolate, never mind the books and pool toys. How convenient! However, these items are usually more expensive than they would be at a supermarket, book or sporting goods store.
TIP: Compare toiletry prices at the drugstore chains with smaller shops. If mouthwash and cough drops ring up around the same at both places, shop where there is less temptation. Or buy online: Soap.com offers free delivery with a minimum purchase and 20% off your first order.
2. The in-your-face entrance
Seasonal items you didn't come in to buy, like toys and holiday decor, are up front so you'll get excited for Halloween or Christmas and drop dollars. It works: 76% of purchasing decisions are made in the store.
TIP: Instead of lingering at the display, look for a coupon kiosk, which Rite Aid and CVS stores often have at the front. Scan your loyalty card to get an instant printout of coupons, deals and freebies.
3. The alluring "power aisle"
Some chains now employ salespeople in lab coats to entice you with sparkly or sweet-smelling cosmetics that may not be what you came in to buy.
TIP: If you're there for sunscreen, dandruff shampoo or hair regrowth products, try the less-expensive store brands, which usually contain the same active ingredient. Or if you want to treat yourself, look for a pampering product that offers loyalty points. At Walgreens, 5,000 points means $5 off.
RELATED: The 8 Best Age Fighters You Can Buy at the Drugstore
4. Circular layout
Many stores are set up to encourage you to walk the perimeter (picking up "must-haves" as you go).
TIP: Head straight to what's on your list. It's fine to scan for sales on staples — especially if they'll earn you loyalty program rewards — but the heavier your basket gets with what you need, the less impulse buying you'll do.
5. Shelf games
Stores place product lines together on the shelf so you wind up buying not just duster refills, but the new sweeper, handles and attachments.
TIP: Focus instead on shelf cards that offer reward dollars or points, such as "1,000 points if you buy two tubes of toothpaste X." If you also use coupons, you may even earn more money in the form of in-store credits than you spent on toothpaste. You can always donate extra toiletries to charity and take a tax deduction.
6. Loss leaders
Stores sell certain items, such as a $2 gallon of milk, for cheap, in hopes that you'll buy things with a bigger profit margin on impulse. Loss leaders are often kept by the fancy nuts or the cold 20-ounce sodas (which cost more than the 2-liter bottles!).
TIP: Drugstores usually offer deals on cereal (if you don't mind switching it up, different cereals tend to go on sale each week). Other well-priced kitchen staples include eggs, spices, storage bags and plastic wrap.
RELATED: 6 Things You Should Always Buy at Drugstores
7. Freestanding displays
See that special backdrop and shelf displaying the hay fever medicine — just when you need it? Not so fast: A flashy setup doesn't necessarily indicate that the product isa good deal.
TIP: Look for specific savings signs ("save $2" or "1/2 off") or tear-off coupons on a pad attached to the display. These things usually do mean savings.
8. The rear pharmacy
This location helps deter drug theft, and makes it easier to keep a clean workspace. But it also means you must trek through goodie-filled aisles for your Rx.
TIP: Visit a drive-through pharmacy. Or leave the credit at home and shop only with your HSA (health savings account) debit card, which will limit you to buying health-related items.
9. The checkout counter ploy
Snacks and small impulse grabs (that hand sanitizer keychain!) are in big bins that make you want to reach in.
TIP: If you're also picking up a prescription, pay at the pharmacy, which generally has fewer easy-to-grab goodies.
This story originally appeared on WomansDay.com
Photo: Kristian Sekulic / Getty Images
From: Woman's Day US


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Human Resources Manager
Co-Ser 350
The Human Resources Manager service offers the participating districts assistance and support with Human Resources/Personnel operations. The scope of the assistance and support will be developed by the district in consultation with the Ulster BOCES Office of Personnel. Areas of assistance and support include:
- Resource Center
- Development of Best Practices
- Human Resources/Personnel Audit Assistance
- Guidance to Support Compliance with Personnel Requirements
- Provide Workshops/Presentations to Human Resource/Personnel Staff
- Assistance with Job Description Development
Evelyn Lafontaine
Personnel Supervisor
175 Route 32 North
New Paltz, NY 12561
phone: 845.255.1400 x1272
fax: (845) 255-3571


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My new love of the moment - Stephanie Williams Photography.
The ceremony space was just gorgeous. Light and fresh yet simplistic. My favorite!
These wedding photos are just phenom-they really are.
The major reason I love this wedding is because the details are so cohesive throughout the space that you don't need too much else. I love that she used lanterns as an alternative to flowers and still made it look just as good.
The numbers throughout the space are just adorable. They solve a functional problem with a chic way of doing it. That is what the detail is really there for, and she did a fantastic job figuring out how to make it all work.
As for the colors, well that's my favorite part! Yellow and gray are so incredible together and do well creating the fresh and fun atmosphere while still maintaining that sense of chic style. To die for!


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Fairytale endings do exist! Complete with a frog prince, magic mirror and glass slipper, this bracelet is enchanting. Featuring: Your Pad or Mine? slide charm, February: Secret Admirer slide charm,...
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Daydream Believer Pendant On 18" Chain
Blow everyone away with this nautical bracelet accented with mini Bonn Bons.
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'Three Card Trick Man' laid to rest in Limerick
Thousands from Travelling community head to Limerick to pay respects to late 81-year-old
Three Card Trick Man Charlie Clarke plies his trade during Ladies Day at the Galway Races in 2011. Photograph: Brenda Fitzsimons/The Irish Times
Charlie "The Great" Clarke stopped traffic in his hometown of Limerick for the final time as seven horse-drawn carriages and a dozen sulkies escorted his coffin to his final resting place.
Thousands from the Travelling community, from home and abroad, journeyed to Limerick to pay their respects to the 81-year-old sometimes known as the "King of the Travellers".
His niece, Joanne Clarke remarked: "It's a sad time for all the family, but we are also remembering Charlie as a great character. He was known for causing traffic jams when he was on the road with his horses, and he did it one last time on his final journey; we all smiled at that."
Mr Clarke will be fondly remembered as the Three Card Trick Man who annually wowed crowds at the Galway Races and festivals the length and breath of Ireland with his card skills.
Dozens of men took it in turns to carry the gold-plated casket carrying his remains from St Patricks Church, Dublin Road to Mount St Oliver Cemetery.
"We laid a huge wreath at the grave which said, 'Charlie Clarke lived and died everybody's friend," added his niece.
"His family won't forget him and neither will the Travelling and settled communities that knew him. We had a tremendous celebration of his life. He got a great send-off. There were definitely more than a thousand people here. They came from England and all over Ireland," she added.
Charlie's roulette wheel, which he was never without when travelling to and from festivals, was laid at his graveside, as were other symbols of his life including floral tributes of a horse and trap.
"He was also known as 'Charlie The Legend' and he was respected by everyone. He loved horses and people. He'd a great sense of humour; he would always tell me, whenever I asked him his age, that he was 63," Ms Clarke said.
Born in Nenagh, Co Tipperary, Charlie settled in a house in Rhebogue, Limerick, about 30 years ago.
According to his niece, Mr Clarke was buried just a day before the 20th anniversary of the death of his son Mikey, who drowned in the Canal Bank, Limerick.
He was laid to rest alongside his late wife Winnie and their son.


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01 of 09
8 Rainbow Crafts for St. Paddy's Day
St. Patrick's Day is just a couple weeks away! Start your holiday crafting by making a few rainbow crafts with your kids. We've found some easy, inexpensive, and awesome projects for you all to try. Use these crafts as gifts for friends and family or display them in your home for spring decor! Rainbows are so beautiful and these colorful creations are no exception.Continue to 2 of 9 below.
02 of 09
Painting a Few Rainbows for Spring
Spring is here! Which means there are a lot of rainy days ahead of us. After the rain comes beautiful rainbows. Paint a few of these pretty rainbows with this cute craft tutorial.Continue to 3 of 9 below.
03 of 09
Puffy Paint Rainbow Cards
Puffy paints are super fun to craft with. I love all of the different colors they come in. Try these rainbow cards with your kiddos for some St. Patrick's Day crafting.Continue to 4 of 9 below.
04 of 09
3D Paper Rainbow Kids Craft
You'll need red, orange, yellow, blue, purple, and white paper to create this 3D paper rainbow. It's a super easy project.Continue to 5 of 9 below.
05 of 09
Rainbow Mobile Craft for Kids
Use pasta, cotton balls, and yarn to make a pretty rainbow mobile. Your kids can hang these around the house for St. Patrick's Day decorations.Continue to 6 of 9 below.
06 of 09
St. Patrick's Day Paper Tube Stamping
Use old toilet paper rolls to do some craft stamping for St. Patty's Day. Cut the tubes to stamp colorful rainbows.Continue to 7 of 9 below.
07 of 09
Rainbow Mason Jar Treats
Who doesn't love holiday candy? Fill mason jars with rainbow colored candy to make these cheap and easy mason jar treats. These are perfect for St. Patrick's Day. Hand them out to friends and family.Continue to 8 of 9 below.
08 of 09
Rainbow Friendship Bracelets
Your little ones can make all of their friends one of these rainbow friendship bracelets for a little St. Patty's Day gift. These are really easy to craft during an afternoon of down time.Continue to 9 of 9 below.
09 of 09
Rainbow Tissue Paper Windsocks
These rainbow tissue paper windsocks are perfect for the stormy spring weather. Put together a bunch of these with your kids and watch them go!


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9442 230 Street, Edmonton
Courtesy Of David Pipella Of Century 21 Masters.
WELCOME to the Kitchener Model by City Homes Master Builder located in Stewart Greens West Edmonton! This exceptional 1/2 Duplex could be your start to home ownership! This Unique Floorplan is Wide Open from Front to Back giving you a feeling of Space and Comfort! The Foyer w/ Walk In Closet leads to an Open Modern Concept with Laminate & Tile Floors & Tons of Light. The Front Facing Living Room is Equipped with a Modern Electric Wall-Mount Fireplace that is open to the kitchen. A Gorgeous Kitchen w/ Central Island, Quartz Counter-tops, SS Appliances incl. Fridge w/water & ice, Built in Microwave, Chimney Hood Fan, Beautiful tile Backsplash extended to the Ceiling & Extended Upper Cabinets w/Crown Mouldings. A Tiled Mudroom w/Coat Closet is ample size to handle your busy comings and goings. Upstairs Your Master Suite is equipped with a HUGE WIC and 4pc. Ensuite w/ Double Sinks!! 2 Additional Beds, 4pc Main Bath, Linen Closet & Upper Laundry w/ Stacking Laundry Pair round off the 2nd floor.
Ceiling 9 ft., Closet Organizers, Detectors Smoke, Exterior Walls- 2x6', Hot Water Electric, No Animal Home, No Smoking Home, Programmable Thermostat, Vinyl Windows, Vacuum System-Roughed-In
Parking Pad Cement or Paved, Rear Drive Access
Carpet, Ceramic Tile, Laminate Flooring
Dishwasher-Built-In, Dryer, Garage Control, Garage Opener, Hood Fan, Humidifier-Power (Furnace), Oven-Microwave, Refrigerator, Stove-Electric, Washer, Window Coverings
Golf Nearby, Not Fenced, Not Landscaped, Paved Lane, Playground Nearby, Public Transportation, Schools, Shopping Nearby, Stream/Pond
Listing information last updated on November 20th, 2019 at 4:46am MST.


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Practice Focus:
Vocational-wage loss consultation, examination and or testimony for defense or plaintiff referrals. Determining the loss of earning capacity and ability to work due to a birth defect, personal injury or divorce. Read more
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Dr. Ken Manges, PhD, Forensic Psychologist The most frequent response after introducing myself as a forensic psychologist is – WOW. Followed by the statement….that's a really interesting career, followed immediately with the question… What is a Forensic Psych…
A Traumatic Brain Injury, also known as a TBI or intracranial injury, is generally the result of a sudden, violent blow or jolt to the head. This jolt to the head launches the brain into a collision course with the inside of the skull, resulting in possible br…
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Dr. Manges is the consummate expert: confident, thorough and eminently qualified. His work is extremely well-researched and he has a wealth of scientific and experienced-based support for his opinions. He effectively communicated to me the strengths and weaknesses of our position and gave me valuable insight into my case's credibility, the opponent's best arguments and the likely interplay between the two at trial. Dr. Manges certainly knows his area of expertise, but what is more important in a litigation setting, he can communicate it in a way that jurors can understand. He is not shy about presenting his position and stands up to heated scrutiny on cross-examination with tremendous poise, credibility and confidence. Dr. Manges is an outstanding expert. I just hope my opponents don't discover him! E.P., Lorain County, Ohio


text: I spent the entire weekend completely reorganizing my studio. What a mess. Each box exploded with choices: to keep or not? to sort or not? to hide forever or not? The good thing about reorganizing is that long lost (and previously organized) items float up to the top again. I found many little experiments that I need to try again, pieces that were shoved into anonymity by frustration, and scraps. Lots of scraps. These selvedges were particularly intriguing to me. Why did I save them? What should I do with them? For now they are up on the design wall along with a set of eyes that I stitched for my long delayed eyeball quilt. I'll show those in another post. For now I want to rush right in to do some work on these newly neatened scraps.


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- Published in issue 12/1996 on page 32
Remote control
The article describes a remote control (send/receive) system that does not use infra-red light, but visible light. It is particularly suitable for use with a door opener or alarm system. The use of visible light is not only original, but has other advantages as well.
Downloading of this magazine article is reserved for registered users only.
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Spoiler Warning
Season seven of Game of Thrones may still be little under a year away but the spoilers are coming through like wildfire.
GOT community site Watchers On The Wall is prophesying that season seven will feature one of the largest battles to date, plus two previously unseen strongholds will make it to screen.
Yes, after six long seasons viewers will finally set their gaze upon Casterly Rock and Highgarden, home turf for the Lannisters and Tyrells respectively.
Rumours of a massive battle scene were seemingly confirmed by the Watchers, who revealed a massive number of extras are currently in rehearsals with a good number of horses thrown into the mix.
They said:
As for the much-awaited ambush battle at Malpartida, in Cáceres, we believed Las Breñas was its location, yet we just learnt the shoot is too short for that to be true. Nonetheless, this may be the largest action sequence in season seven, with a whopping 100 horses brought into the set and 500 extras who are not only required to be available for more than a month but will also undergo military training.
That sounds pretty damn promising!
And fans should expect to see Lord Randyll Tarly – the cold fucker Samuel Tarly calls 'dad' played by James Faulkner- in the thick of the action.
This has been confirmed by Faulkner himself tweeting teasers from set…
Randyll on the razzle…..preparing to mount his zebra. #GameofThrones #downtonabbey #DaVincisDemons pic.twitter.com/xM9GTJPu00
— James Faulkner (@jamessfaulkner) November 9, 2016
The crew is also reported to have tested smoke machines at Los Barruecos – a mainstay of any battle worth its salt on the HBO hit.
And now we wait…


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https://www.1001modelkits.com/die-cast-cars/327503-gt-spirit-gtspirit131-ford-gt40-mki-white.html 327503 FORD GT40 MKI WHITE https://www.1001modelkits.com/1229284/gt-spirit-gtspirit131-ford-gt40-mki-white.jpg 187.99 187.99 USD InStock DIE-CAST MODELS/ DIE-CAST MODELS/Miniatures by type/Die-cast cars/ DIE-CAST MODELS/Die-cast models by scale/1:18 scale models/ DIE-CAST MODELS/Die-cast models by scale/ DIE-CAST MODELS/Die-cast models by manufacturer/ DIE-CAST MODELS/Die-cast models by manufacturer/Die-cast models: all manufacturers/ DIE-CAST MODELS/Die-cast models by scale/Die-cast models: all scales/ DIE-CAST MODELS/Miniatures by type/ Die cast
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Scale : 1:18
The 1:18 scale is mainly used for automotive miniatures (cars, trucks, fire engines, motorcycles, etc.). Typically, a miniature car in the 1:18 scale is 18 times smaller than the actual car. For example, if the car is 4 m long, then the miniature will measure 9 inches / 22.22 cm in length (400/18 = 22.2).

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Design is Work
Design is Work uses humour to campaign for an end to unpaid internships and help students and graduates take a stand against exploitation.
Web store designiswork.org stocks items that can be used to shame employers who refuse to pay staff or reward those who are treating interns fairly. Products are delivered anonymously and include minimum wage buttons, a pay me brick, and a digital shame rat, which is delivered via email with the message 'Pay your interns!' There's also an ethics trophy for bosses who are paying staff and a t-shirt which reads: 'I paid my interns and all I got was a more diverse group of talent who felt valued and invested in my business'.
Creative team: Andrew Diemer, Niccolo Debole, John Fracchiolla
Tutor: Duncan Hamilton
College: Pratt Institute
all. is an inclusive beauty brand that defies gender stereotypes – packaging and adverts promote a message of equality, challenging brands who use body-shaming tactics and sexist messaging. The brand's logo echoes its tagline, We Are All Equal, and creators Harry Burgess and Kristian Shepherd say the brand encourages consumers "to take off their masks and celebrate their true colours."
Creative team: Harry Burgess, Kristian Shepherd
Tutors: Andy Bainbridge, Peter Thompson
College: University of Central Lancashire
Eats the same
Eats the same promotes healthy eating with a range of 'edible cosmetics'. Foodstuffs from cucumber to salmon are packaged as beauty products to highlight their health benefits – natural astringent cucumber is described as a deodorant, brown rice as an anti-ageing cream and salmon as an eye energiser. As well as encouraging consumers to eat better, the campaign aims to offer an alternative to expensive toiletries which are often targeted at particular genders or age groups.
Creative team: Ines Ortiz Estefanell, Aida Iamrissi
College: Miami Ad School, Madrid
Fluhks offers a more environmentally friendly alternative to plastic packaging for products that contain no water, with 100% water soluble PVA bags.
Bags of shower gel are packaged in recycled cardboard boxes and each one contains a single dose of product. A reusable dispenser can be used to protect bags from getting wet and holds up to seven bags at a time:
Creative team: Lewis Morgan
Tutors: Marion Morrison, Phil Jones
College: Arts University Bournemouth
Get Poached
Get Poached is a partnership between LinkedIn and WWF that encourages job seekers to do charity work in return for professional endorsements.
The proposed membership scheme allows LinkedIn users to select from skills they'd like to learn – such as fundraising or leading a team – and choose from a list of activities that can help them practice those skills while assisting the charity. In return, they receive an endorsement that can be displayed at the top of their profile, demonstrating those skills and helping them stand out to potential employers:
Creative team: Ethan Bennett, Alicia Cliffe, Owen Hunter Jenkins, Katy Edelsten
Tutors: Marc Lewis, Ian Hands
College: Oaklands College, School of Communication Arts 2.0
See all of this year's winning entries here.
Read more here:: D&AD New Blood: Product & Service Design


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Double 9 Dominoes
Made from an exclusive blended resin, Puremco custom dominoes are the worlds finest. Double 9 sets include 55 domino tiles available in Professional size of approximately 1"x 2" x ½". For 2 to 6 players.
Slam these durable dominoes & play the popular ChickenFoot for hours of fun.
Find more games and rules at DominoRules.com.
Professional Size Double 9 Dominoes
Professional Size Double 9 Dominoes with Black Dots
Professional Size Numeral 9 Dominoes
Showing 1 to 3 of 3 (1 Pages)


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Ever thought there was a team that beat your team, and they were exactly who you thought they were, but your team let them off the hook?
There are many ways of dealing with this dilemma besides crowning their ass. One would be taking out your frustration in Madden, but if you're on the go, the iPhone one is a bit…lacking. So what's a frustrated fan to do?
Sure the interface is clunky at best so it's kind of annoying, but it's worth it cause there's nothing else out there like it, at least right now. It's basically turned based strategy…BUT FOR FOOTBALL. And it plays out in 16-bit looking glory and vaguely NFL Films-y music.1
And look at this realism:
…even if it's not the Raiders. There's no NFL license so there's no NFL teams, but the cities and team colors are there, although I haven't checked to see if they're all there.2 And as you probably guessed, there's no NFL Players Association license either, so instead of say, Janikowski kicking 60 yard field goals, you have "PLAYER".
What else is missing? Online play, but that's coming! If the dev can fix up the interface, and even if they don't to be honest, just being able to play against another human will be huge for this game. Graphically it has the old school feel down I think, sure as hell doesn't have high res graphics, but it could use some cleaning up of the artwork or scaling, it all looks a bit blurry.
For now it's only free with ads, a pay version/ad removal option isn't available yet. I wish there was cause damn, I want to give this guy money:
Pro Strategy Football on Facebook
On a personal note, November 7th will mark the one-year anniversary of the day that our oldest son was in a horrific accident and suffered traumatic brain injury, beginning an amazing adventure in all our lives. His fight to come back (which is still ongoing), along with the faith of my family, was a big factor in my deciding to stretch myself and write this app. Life is sure interesting.
See, there's even an inspiring story behind it too!
Pro Strategy Football, Free:
Rating system guide
- Check out the top song, OH YEAH!
- As in, I only played with the
RaidersOakland team.


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$5.49/sf for 1,000 sf order 7.484" Natural color
Call us today 646-322-1911
Veterans Day Sale, While supplies Last
When you want a floor to set the tone, create a mood or make an impression, nothing can compare with hardwood. The endless design options available with hardwood flooring make it easy for you to create a truly unique living space.
Solidfloor ensures you a quality hardwood floor with gracious elegance and a uniquely comforting warmth of character.
SolidFloor Pre-finished, Engineered Oak Hardwood Floor
Feature Highlighted:
3 mm top Layer, Rustic Grade, Brushed, Smoked Natural Oiled Finish, Each Board 74"
Manufacture: Solidfloor - Made in Holland
Collection: Original Runner Calista
Item#: 1190765
Species: Oak
Construction: Engineered hardwood, Tongue & groove
Color: Oak Rustic Brushed Natural Oiled
Width: 7.484"
Thickness: 14 mm ( 3 mm Top Layer )
Length: 74.797 ( Each board is in this length )
Edge Design: Micro-Beveled Edge / Square End
Guarantee: 25 Years
Category: Good
Installation Type: Nail/Staple, Glue down
Finish Type: Prefinished,
Finish: Oiled
Installation Level: Below / On / Above Ground
Carton Coverage: 30.26 sq. ft.
Inventory: Call for the stock info