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When he first saw the data, Patrick Bellgowan figured he had made a mistake. How else to explain it? A scientist at the University of Tulsa's Laureate Institute for Brain Research, Bellgowan had been scanning the brains of college football players, comparing the results to scans of non-players. His focus was on the hippocampus, a seahorse-shaped area deep inside the brain that plays an important role in emotional control and memory formation.
Bellgowan knew that the hippocampus was sensitive to traumatic brain injury. That shrinkage of the region was a hallmark of Alzheimer's disease. That a similar reduction in hippocampal volume also corresponded with chronic traumatic encephalopathy (CTE), a neurodegenerative disease linked to football, boxing and other contact sports. Still, he expected to see little difference in hippocampal size between a group of 50 college players and 25 non-players, mostly because everyone in the study was relatively healthy and young.
And then Rashimi Singh, a fellow researcher at the Laureate Institute, brought a set of initial results to Bellgowan's office.
"Are you sure?" he said. "That can't be right."
The numbers were stark. A group of 25 players with no history of reported concussions had hippocampuses that were, on average, 14 percent smaller than those of a control group of 25 males of similar age and health who didn't play contact sports.
Moreover, the same brain region in a second group of 25 players who had suffered at least one clinically-diagnosed concussion was, on average, 25 percent smaller than the control group -- a larger difference in volume, Bellgowan says, than the variations scientists have observed between the brains of healthy people and patients suffering from Alzheimer's or severe depression.
"I can't tell you how many times we checked this over," Bellgowan says. "The effect size was really large. It was really surprising."
Published this week in the Journal of the American Medical Association, the results of Bellgowan and Singh's research may be unexpected, but they also reflect a larger scientific trend. While much of the health and safety debate over football and other contact sports focuses on the risk of developing severe, headline-grabbing neurodegenerative diseases like amyotrophic lateral sclerosis (ALS) and CTE, a growing body of evidence suggests that both concussions and subconcussive blows can alter mood, cognition and behavior while causing damage and structural changes to the brain.
In other words, contact sports may be worse for your cognitive health than previously assumed, even if you don't ultimately end up in a dementia ward. Consider:
- Bellgowan and his co-authors also found that the longer an athlete had played football, the smaller their left hippocampal region was (on average). Football players also scored lower than non-players on tests of cognitive processing speed -- and again, football career length had an inverse relationship with test results.
- An international research team detected micro-structural brain damage in concussed male and female college hockey players -- damage that can't be seen with standard hospital-based MRI scans.
- Purdue University researchers studying high school football players over the course of two seasons found: (a) changes in brain activity that significantly correlated to the number and distribution of hits those players took; (b) changes in regions of the brain that have been associated with CTE, results which suggest that detrimental effects of hits to the head may be cumulative and compounding.
- A Dartmouth University study found "small but significant" changes to the brains of college hockey and football players over the course of a season when compared to non-contact sport athletes, even though none of the hockey and football players sustained a reported concussion. In addition, the contact sport athletes who performed worse than expected on cognition tests at the end of the season had greater brain changes.
- An ongoing Cleveland Clinic study of nearly 400 active and retired boxers and mixed martial arts fighters already has detected changes in the volume of specific brain regions and found that higher exposure to head trauma correlates with lower brain volume and reduced performance on cognitive testing.
- A study of 13 retired NFL players found major, previously unobserved abnormalities in brain activity in their frontal lobes, the area of the brain responsible for executive functions like planning ahead -- a result that suggests that even players who perform relatively well on standard neuropsychological tests may have brain damage that causes them to struggle in everyday life.
- A study of retired NFL players published in the Journal of Neurotrauma linked repeated concussions and head trauma to pituitary dysfunction and reduced levels of growth hormone and testosterone, which can result in metabolic syndrome -- a group of risk factors that raise the risk of heart disease and diabetes -- as well as erectile dysfunction and a reduced quality of life.
- A National Institutes of Health-funded study found that the brains of concussion patients continue to show physical abnormalities and signs of injury months after symptoms such as dizziness, headaches and memory loss ease or resolve -- which could mean that current return-to-play guidelines aren't conservative enough.
- Similar to the above, a National Football League Charities-funded study of college football players who were not diagnosed with concussions over the course of a season found that physical changes to their brains occurred after as few as 10 to 15 hard hits and that six months following the end of football season, imaging scans still "showed changes consistent with mild brain injury in about half of the players."
- A study published in Pediatrics found that in children and teenagers who have suffered a concussion, physical symptoms such as headache, nausea and fatigue tend to appear immediately, while emotional symptoms such as frustration, irritability and restlessness may take days or weeks to manifest themselves.
- Teenagers with a history of concussions are more than three times as likely to suffer from depression as teens who have never had a concussion, while some research indicates that children who have a history of concussion are more likely to develop attention-deficit/hyperactivity disorder (ADHD) and have difficulties controlling their moods.
- Teenagers who have suffered a traumatic brain injury such as a concussion have a significantly higher risk of attempting suicide, being bullied, becoming bullies themselves, using alcohol or marijuana, engaging in antisocial behavior, being prescribed anxiety and/or depression medication and seeking help for mental health issues from crisis help lines.
Of course, the above studies come with serious caveats: small sample sizes, a need for replication, a focus on correlation instead of causation. Much remains unknown. While scientists agree that getting hit in the head can result in both brain changes and damage, they don't always know if the former indicates the latter -- and even when it does, the extent of the harm remains unclear. Likewise, researchers are still sussing out the exact mechanisms by which changes and damage affect behavior and cognition, as well as the brain's ability to compensate for injury and/or heal itself.
Take Bellgowan's study. The authors acknowledge that absorbing repeated blows to the head while playing football may not be the cause of hippocampal differences. Genetic variations, environment and high levels of stress hormones may all play a role. Bellgowan suspects that football-induced head trauma is a key factor, mostly because the difference between players and non-players is so pronounced. He also says that the inverse relationship between reaction time and hippocampal volume and years played points toward a cumulative effect -- more hits producing greater damage over time.
If Bellgowan can secure funding for a follow-up study, he wants to study younger players, use more sensitive neuropsychological tests to screen for subtle cognitive impairment and test his hypothesis that the body's inflammatory markers may be crossing the blood-brain barrier and causing or influencing hippocampal changes. Looking forward, he'd like to study NFL retirees, too, the better to get a cross-sectional picture of how brain changes develop -- or don't develop -- over time.
In diseases like Parkinson's and Alzheimer's, hippocampal shrinkage can take place years before symptoms emerge. Do the differences observed by Bellgowan in college football players presage long-term disease? Or permanent structural harm?
Without more data, no one knows.
"The hippocampus can grow new cells," Bellgowan says. "These guys are young. So they might recover and come back once they stop playing if it's football-related. That's something we are going to try to answer. It's challenging one to pursue.
"In more severe types of TBI, you see hippocampus dysfunction and volume reduction. And with mild TBI, you've also seen that in older [football] players. What separates this study is that there are average 20-year-old males, still in the process of neurodevelopment. That is where we are driving. We think the key is to get at the developmental stage. This must be intersecting with neurodevelopment."
What does this uncertainty mean for contact sports? It means leagues such as the NFL have a choice. As do athletes and their families. And the rest of us. We can look at "League of Denial," stories of athletes whose lives have been ruined by brain damage, Bellgowan's study and others like it, a growing body of suggestive but inconclusive evidence, and conclude that, well, we just don't know enough. Not yet. So let's not panic or do anything hasty. Make a few adjustments, but keep on keepin' on. Alternately, we can evaluate the exact same set of incomplete facts and conclude that, well, we just don't know enough. Not yet. So let's slow down or stop until we know what's happening. Better safe than sorry.
So far, we've seen more of the former than the latter. Particularly from the NFL. On one hand, the league has warned its players about concussions, taken steps to better identify and remove concussed players from the field, publicly acknowledged -- one time, and only one time, but still -- the link between football-induced brain trauma and long-term harm. On the other, commissioner Roger Goodell continues to make noise about expanded playoffs and an 18-game regular season, both of which would expose players to more hits to the head. The NFL supports a proposed concussion lawsuit settlement containing brain damage evaluation and compensation provisions that do not account for future scientific advances nor offer relief to former players suffering from impairment that fails to rise to the level of neurodegenerative disease. It also endorses tackle football for children through a league-funded "Heads Up" program that purports to make the sport safer through altered tackling technique, never mind a lack of evidence showing that the program works.
During a London visit last year, Goodell told reporters that "the game isn't bad for you -- there are injuries and you need to recover from them, it's like anything" -- a dubious proposition -- while NFL Head, Neck and Spine committee co-chair Richard Ellenbogen recently told an International Olympic Committee injury prevention conference that "media is not the place to debate the science on concussions." (An even more dubious proposition, given that public debate is what pressured the league to do anything beyond denying and dissembling about concussions in the first place, and that Ellenbogen likely wouldn't have his current gig without media exposes of his predecessors, Ira Casson and Elliot Pellman).
The other week, Bellgowan says, one of his son's lacrosse teammates suffered an obvious concussion. The boy had trouble balancing. Could barely walk. Concerned, Bellgowan approached the boy's father.
You really need to see a doctor, Bellgowan said. Gotta hold him out. Go see a specialist.
Yeah, yeah, yeah, the father replied dismissively.
"I can't tell you that head hits caused the [hippocampal volume differences] seen in our study," Bellgowan says. "But certainly, the correlation suggests that it may be one of the reasons. And because these guys are young and in the neurodevelopmental stage, instead of being mature adults, you should treat things conservatively. I always tell parents, 'if you miss a game but save a brain injury, that's good.'"
Is society willing to make that trade? To err on the side of caution in a way that protects people more than the games they play? Without more data, no one knows. But as disturbing research keeps piling up -- as the hits keep accumulating -- change seems inevitable. Shrinkage, too. Just this week, the New York Times reported that an East Texas town scuttled its seventh-grade tackle football program in favor of flag. Parents were worried about the safety of their children, and as a town lawyer told the newspaper, "there's too much evidence now." The next time a study indicates that contact sports may be worse for the brain than previously believed, nobody should be surprised.


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C-tvmck Senior Wednesday 19/12/2012, 00:21
This is a brand new guild looking for low ranked players to build up a guild from the bottom as they go up levels. If you plan on playing this game for a long time and want to be part of watching a guild develop then join here! Any advanced players who want to join to give advice to lower ranked players and help this young guild grow are welcome to join aswell.
join here: http://www.urban-rivals.com/guilds/guild/?id=0
-Wicer- Titan Harbingers of Ares Wednesday 19/12/2012, 00:58
Good luck!

subset: commoncrawl


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Our first article is now published on Big Lead Sports! Check it out!
Each time we submit one of our articles to them, they will put it up on that page. This will generate some great traffic for us and get the SA name out there even more than it is now. BLS is one of the top 10 sports sites on the internet, period, so we are excited to be affiliated with them. They don't just take anybody, and we're excited about the future with them.
Check out their site, some of the biggest and most popular sites on the web affiliate with BLS, including KFFL and many top notch sports blog sites.
To make sure there is no misunderstanding, SteelerAddicts is not, was not, nor will it ever be sold to another party. BLS does not own SA, I will continue in that role. We are affiliates together supporting the common cause of generating traffic for each other and promoting great content on both sites.


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I just received this article by Bill Federer I first met BIll in 1997 when he published, America's God and Country. He is a great source of American History from a Biblical perspective. To contact William J. Federer: firstname.lastname@example.com or call 1-888-USA-WORD www.AmericanMinute.com
In reading this report of the connection between Cuba, and the slave trade, I was struck with the idea that this is connected to Personhood. The notion that some humans are less than persons is the root of all the injustices the slaves suffered. Indigenous peoples of the Americas were first enslaved by their own people and later by the Spanish because they were considered less than persons. Later, Muslim traders captured and sold their African neighbors to slavers because people of a different religion were considered less than fully persons. [Slaves from Africa taken to Cuba to work sugar plantations – sugar made into Rum and shipped to England – slave ships leave England for the Muslim trade market in Africa]
When we, as a culture, entertain the horrific notion that some people are less human, less persons, than ourselves it opens the flood gates of unspeakable abuse. Whatever the lame excuse- different tribe, different race or color, different language, less education, too young (unborn,) disabled, or too old (elderly) – the result is the same, unspeakable cruelty! All men (and women of course) are created equal; all are fully human; all are fully persons!
We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness… U.S. Declaration Of Independence – July 4.1776
The Personhood movement, that is now sweeping the United States and has been so maligned by those who promote abortion, is simply an attempt to codify what we have known all along – All humans are persons and have the right to Life, Liberty & Happiness! Of these rights Life is the first and most important. Without Life, Liberty and Happiness become irrelevant.
Slavery in the Americas existed in the pre-Columbian Inca Empire's system of mandatory public service, known as mita, and the Aztec system, known as tlacotin,
Spain conquered the New World in the early 1500's and set up a system called encomienda or repartimiento, which was similar to feudal France's Corvée "unfree labour," traceable back through Roman and Egyptian history to state-imposed forced labor of peasants who were in debt to the government.
Slavery in Cuba began earlier and lasted longer than anywhere else in the Americas. When indigenous Indians died from harsh treatment and lack of immunity, Spain replaced them with Africans bought from Muslim slave markets. Priests like Bartolomé de las Casas, Franciscan Friars, Papal Bulls, and Christian missionaries, such as the Moravians, were a voice of conscience against slavery, but Colonial governments largely ignored them.
A notorious trade triangle developed with Havana, Cuba, at its center: SLAVES from Africa to SUGAR from the Caribbean to RUM in England.
Importation of slaves to the United States ended in 1807, but in 1839, an international incident occurred. A Portuguese ship from Sierra Leone sold 53 slaves to Spanish Planters on the Cuban ship Amistad. On July 1, 1839, the Africans seized the ship and demanded to be sailed back to Africa. Instead, the captain misdirected the ship to Long Island, NY, where the slaves were arrested.
The Amistad Case went to the Supreme Court, with 74-year-old former President, John Quincy Adams, defending the Africans. Adams agreed, saying: "By the blessing of God, I will argue the case before the Supreme Court," and writing in his journal, October 1840: "I implore the mercy of God to control my temper, to enlighten my soul, and to give me utterance, that I may prove myself in every respect equal to the task."
Francis Scott Key offered Adams advice. Adams shook hands with Africans Cinque and Grabeau, saying: "God willing, we will make you free." Wining the case, JQA, known as "Old Man Eloquent," had argued: "The moment you come to the Declaration of Independence, that every man has a right to life and liberty, an inalienable right, this case is decided. I ask nothing more in behalf of these unfortunate men than this Declaration."
In Cuba, a Creole farmer began a revolt in 1868 for racial equality, freedom of speech and freedom of association. Spain killed thousands putting it down in the Ten Years War. A Royal decree finally ended slavery in Cuba in 1886.
In 1895, another rebellion began and Spain sent 200,000 soldiers to Cuba. Tens of thousands were put into concentration camps where they suffered from starvation, disease and exposure.
Yellow Press journalism excited the American public, who demanded President William McKinley intervene.
The U.S.S. Maine was sent to Havana, and on FEBRUARY 15, 1898, it blew up in the harbor under suspicious conditions, beginning the Spanish-American War. President McKinley approved the Resolution of Congress:
"Whereas the abhorrent conditions which have existed for more than three years in the island of Cuba, so near our own borders, have shocked the moral sense of the people of the United States, have been a disgrace to Christian civilization, culminating, as they have, in the destruction of a United States battle ship, with 266 of its officers and crew, while on a friendly visit in the harbor of Havana, and cannot longer be endured… Resolved by the Senate and House of Representatives… that the people of the island of Cuba are and of right ought to be free." WJ Federer 2/15/2012


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Atmospheric Sciences & Global Change
Research Highlights
November 2004
A "Little" Respect: Droplet Nucleation Finally Included in Global Climate Model
Figure caption: Reflection of sunlight by clouds simulated with predicted droplet number with (dark blue) and without (green) the autoconversion feedback agrees remarkably well with the reflection simulated with prescribed droplet number (red). Satellite observations (light blue) are shown for comparison. Full Image
Tiny aerosol particles, whether in solid (smoke, dust) or liquid (seasalt, sulfuric acid) form, are continually present in Earth's atmosphere as the result of either natural or manmade processes. These particles affect Earth's climate in two ways: directly, through scattering and absorption of solar and infrared radiation, and indirectly, by influencing the creation (or nucleation) of cloud droplets, leading to increased surface area and reflectivity of clouds. To what extent these different aerosol effects impact the Earth's energy balance is a subject under much investigation by the climate research community. However, until now, the treatment of droplet nucleation has been largely ignored by one of the most widely used computer models for simulating climate change. Without such a treatment, affects from manmade aerosols on droplet number and hence, climate, cannot be determined.
Funded by the Department of Energy's Atmospheric Radiation Measurement Program, researchers at PNNL developed a treatment of droplet nucleation and applied it to the Community Atmosphere Model (CAM) from the National Center for Atmospheric Research. In coupling the droplet nucleation scheme with aerosols in CAM, the simulated energy balance of the climate—a critical measure of model performance—is very close to the energy balance simulated with droplet number prescribed at a distribution of highly tuned values. This agreement also holds when the dependence of droplet "autoconversion" (merging of droplets - a key process for precipitation formation) on droplet number is treated.
Previously published research* in this area identified the importance of improvements to a number of factors when simulating droplet nucleation, particularly with respect to the relationship between aerosol, cloud updraft velocity, and droplet number concentration. These findings led to the current effort to fine tune the associated droplet nucleation parameters within CAM. In particular, the lower boundary of updraft vertical velocity was adjusted to improve the agreement of droplet prediction for current aerosol emissions. Thus, CAM can now use the predicted droplet number to treat indirect effects of aerosols, an important climate forcing mechanism that has been neglected in all previous climate simulations by CAM.
* Ghan SJ, LR Leung, RC Easter, and H Abdul-Razzak. 1997. "Prediction of Droplet Number in a General Circulation Model." Journal of Geophysical Research 102(D18):21,777-21,794. DOI:10.1029/97JD01810.
* Ghan SJ, RC Easter, E Chapman, H Abdul-Razzak, Y Zhang, R Leung, N Laulainen, R Saylor, and R Zaveri. 2001. "A Physically-Based Estimate of Radiative Forcing by Anthropogenic Sulfate Aerosol." Journal of Geophysical Research 106(D6):5279-5294. DOI:10.1029/2000JD900503.


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Samuel Prout
The artist's lithographic reproduction of his watercolor
This work appeared originally in Facsimiles of Sketches made in Flanders and Germany
Title inscribed lower right.
Source: Sketches by Samuel Prout, Plate XXXIV
[Click on image to enlarge it.]
Formatting by George P. Landow.
You may use these images without prior permission for any scholarly or educational purpose as long as you (1) credit Cornell University and the Internet Archive and (2) link your document to this URL in a web document or cite the Victorian Web in a print one. ]


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Electric shock hazards, including electrocution, have been studied since the introduction of electricity. More recently, however, the dangers of arc flash have come to the forefront of electrical safety programs and procedures. This is because arc flash hazards pose an everyday risk in plants across the world, possessing the potential to destroy equipment and seriously injure, or kill, employees.
In order to accurately determine the arc flash hazard at each electrical assembly in an industrial or commercial facility — and thus determine how best to protect people and equipment — it is first necessary to conduct a short-circuit study, coordination study, and then an arc flash hazard analysis of the entire power distribution system. Let's take a closer look at what's involved in this process.
Arc flash hazard analysis
Collection of data is the first task at hand. The data collected includes the arrangement of components on a one-line drawing with nameplate specifications of every device. Also required are details of the lengths and cross-sectional area of all cables. The electric utility should be contacted for information, including the minimum and maximum fault currents that can be expected at the electrical service entrance to the facility.
Once the data has been collected, a short-circuit analysis followed by a coordination study should be performed. The resultant data can then be fed into the equations described by either NFPA 70E-2004 or IEEE Standard 1584-2002 (see Arc Flash Regulations and Standards). These equations produce the necessary flash protection boundary distances and incident energy levels expected at various points on the system. Such boundary distances and incident energy levels are then used to determine the minimum personal protective equipment (PPE) required to maintain personnel safety.
These equations or tables will most likely yield a requirement for Hazard Risk Category 2 PPE while working in downstream electrical panels. Category 2 PPE is designed to protect workers from the onset of a second-degree burn for exposures up to 8 calories per centimeter-squared. As a reference point, the heat exposure to the skin of 1 calorie per centimeter squared is roughly equivalent to holding a lighted match 1 inch from your finger for 1 second. Typically, Category 4 PPE (40 calories per centimeter-squared) is required only at the main cubicle of a 480V unit substation and for medium-voltage circuits.
Category 4 PPE is very unwieldy and can be costly in terms of time taken to perform work. It can also introduce added safety risks, such as heat stress. In addition, personnel are more prone to make mistakes working in restrictive safety clothing. For these reasons, successful completion of an arc flash hazard study represents only the beginning of the work.
The initial data collected and calculated results can then be used to perform a sensitivity study to obtain breaker/fuse characteristics, which lower the PPE requirement. To achieve this goal, existing circuit protective devices may need to be replaced, generally by more modern counterparts. It is expected that the outcome of this sensitivity study, when implemented, will result in many Category 4 PPE requirements being decreased to Category 1 or 2.
Let's take a look at a case study to gain a more specific understanding of the steps involved in implementing an arc flash hazard compliance program.
Case in point
Founded in 1900 and currently employing approximately 41,000 people, Weyerhaeuser is an international forest products business with annual sales of approximately $20 billion. A few years back, the company began implementing an arc flash compliance program for all packaging facilities in the United States and Mexico. These facilities are some of Weyerhaeuser's smaller manufacturing sites, with electrical distribution systems typically rated at 480V, 3-phase with 1,500kVA to 2,500kVA total load.
Weyerhauser looked to Eaton for assistance in developing a strategic approach to arc flash safety. The objective of the program focused on several areas: to first identify the hazard by modeling every packaging plant; complete the required coordination, short-circuit, and arc flash studies; label existing electrical equipment to identify the hazard/required PPE; and implement a process to reduce or eliminate the need for Category 4 PPE mentioned above. In most cases, the company's goal was to identify areas where its plants could upgrade fuses, circuit breakers, and other electrical components to reduce the potential arc flash energy to a level in the lower energy category, thus eliminating the need for Category 4 PPE.
Four pilot sites were selected for the initial effort — Pulaski, Tenn., Memphis, Tenn., Bowling Green North, Ky., and Bowling Green South, Ky. In many cases, current information of the existing electrical systems was either incomplete or not available, so the first step involved identifying the location of each electrical panel. Data from circuit breaker nameplates, including existing settings, fuses, and conductor sizes/lengths, was collected for the entire facility. Standard templates were used to record the data, and each plant required a two- to three-day period for all data collection. Because collection of data required opening all electrical panels and exposing personnel to potential arc flash hazards, the field engineer assigned to gather the data was deployed with the appropriate PPE. Much of the data gathering effort was completed during an electrical outage to assure the safety of all involved.
Following the data-gathering effort, a power systems engineer conducted short-circuit, coordination, and arc flash studies. The company established a common electronic file for all site studies, including existing calculated hazards and system documentation for all completed work. This information needed to be kept current after system enhancements designed to reduce the hazard were implemented, as well as any time other electrical system changes were made.
Completed studies were delivered to the pilot plants including arc flash warning labels unique to each electrical panel in the facility. These labels clearly identified the electrocution (shock) hazard, arc flash hazard, and the appropriate PPE necessary before personnel could work within the energized panel.
A final visit to each site was made to deliver the labels, review the new facility one-line diagram and system studies with plant personnel, and outline the recommendations for system changes necessary to reduce arc flash hazards to a lower level. The pilot site efforts were completed in the fall of 2004 and continued with the balance of just more than 100 packaging plants completed in late 2005.
Weyerhaeuser's technical education center in Bowling Green, Ky., was used to complete a two-day structured training course for selected facility personnel in conjunction with this project. Two facility champions were selected from each packaging plant that traveled to the facility to learn more about NFPA 70E requirements and arc flash hazards. Training experts were on-hand to deliver the course, which was followed by a hands-on session required by OSHA for qualified personnel. The champions then returned to their local facilities and used the training materials, including instructor-led presentations, video, and Web-based tools, to educate other personnel in the facilities on the new safety initiatives within Weyerhaeuser Packaging.
Wilhite is equipment support lead for Weyerhaeuser in Bowling Green, Ky., and Durocher is forest products industry director for Eaton Corp. in Wilsonville, Ore.
Sidebar: Arc Flash Regulations and Standards
The National Fire Protection Association (NFPA), Institute of Electrical and Electronics Engineers (IEEE), and Occupational Safety and Health Administration (OSHA) work together to develop regulations and standards that best protect personnel and equipment against electrical hazards, including arc flash. Four separate industry standards focus on the prevention of arc flash incidents:
- NFPA 70-2005, National Electrical Code (NEC)
- NFPA 70E-2004, Standard for Electrical Safety in the Workplace
- IEEE Standard 1584-2002, Guide for Performing Arc Flash Hazard Calculations
- OSHA 29 Code of Federal Regulations (CFR) Part 1910 Subpart S
Recently, NFPA standard 70E has had an increased profile, thanks to changes in the NEC and OSHA. Both organizations are now referring to it in their documents. Companies not complying with these standards will most likely be cited and fined for any arc flash-related incident.


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Double Wire End Tool 700 Series
Developed by Sculpture House craftsmen to serve a multitude of purposes for the sculptor and ceramist. Tool no. 711 serves the artist's need for cutting and scraping, but is also used extensively by potters for trimming and footing. These tools are handmade by Sculpture House craftsman from domestic hardwood. Lacquered handles, brass ferrules, waterproof glue, and watch spring steel ends. 7 1/2 in. long.
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Crochet Star Stitch Hat Cap
StarStitch Video Tutorial
Crochet Abbreviations:
CH = Chain
HDC = Half=Double Crochet
SL ST = Slip Stitch
LP= Loop
BEG = Beginning
INC = Increase
EA = Each
4-Ply Worsted Weight Yarn - I used Red Heart for this tutorial. There are many types of yarn brands that will work with this pattern.
NOTE*: All half double crochet stitches will be done in the center joining loop of the stitch in the previous row.


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Finnegans Chirp
Labels: Ars Poetica, Haiku, In Memoriam, Text Messages
2 comments:
Thanks so much for visiting my site, I'm grateful you've taken the time to read. If you liked this selection, you can download a sampler of (or buy!) my books at the following links...
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Key Details
Key Details
The Brief
SBS is issuing an invitation to Australian filmmakers to create a promotional clip summed up in 2 words: "Join in". This project is a call to all Australians to "Join in", by exploring and celebrating what it is to be an Australian in all our richness and diversity.
As well as AUD $30,000 in payments, this is a great opportunity to get your work in front of SBS Marketing and be part of SBS's latest promotional campaign.
The brief for filmmakers is to creatively interpret SBS's Join in Invitation and create engaging films highlighting what it is to be Australian. You can use this Invitation in your films in part, in full or just as inspiration.
All of us…
Especially together, are better.
Not because we're the same.
But because we're all different.
And our differences are everything.
They inspire us.
Challenge us.
They influence and improve us.
They make each and every one of us beautiful, rich and rare.
So why sit on the sidelines?
Get out there and embrace our differences.
Discover them
Enjoy them.
Taste them.
We're not asking you to join a revolution.
Just join in.
For without our differences, we wouldn't be the same.
Your films should be 60 seconds or less and need to be produced in Australia. Feel free to have fun with your film!
Please note that this is not open to SBS staff or their families.
Deadline for submissions is August 01, 2014, 23:59 GMT time.
You have access to a library of licensed music to use in your film via Extreme Music. You can listen to any of the tracks on Extreme Music and find one you want to use in your film. Then just email firstname.lastname@example.com, providing the catalog # and track name, and we will send you the track along with an APRA cue sheet, which you will need to upload with your release forms after uploading your film. You can also download the APRA cue sheet here.
If you choose to use other music, you must provide a release form from the copyright owner(s) granting Genero, SBS and their licensees non-exclusive all media, perpetual rights to use the music (including the sound recording and performances) as part of the clip subject only to rights vested in APRA.
Please note: The music cannot be used for any other purpose than this SBS project and you will need to remove the music and re-upload your film post the Project announcement if you want them to remain on Genero.
Awards & Judging
Winners will be awarded payment in exchange for granting promotional and marketing rights to SBS. 4 winning films will be awarded payments of AUD $5000 and 5 films will be awarded payments of AUD $2000.
SBS will own the winning films and may edit winning films and insert SBS Join in branding as part of the Join in campaign on sbs.com.au, SBS's social media channels and potentially on SBS television.
About SBS
What's the story?
SBS was founded on the belief that all Australians, regardless of geography, age, cultural background or language skills should have access to high quality, independent, culturally-relevant Australian media. Read more.
About SBS
What's the story?
SBS was founded on the belief that all Australians, regardless of geography, age, cultural background or language skills should have access to high quality, independent, culturally-relevant Australian media.
The multiple language programs available through SBS Television, Radio and Online ensure that all Australians, including the estimated three million Australians who speak a language other than English in their homes, are able to share in the experiences of others, and participate in public life. The quality of our programs and the multiplicity of our viewpoints come from the freedom we have to draw on the best of all cultures for our programming.
Working at SBS we are bound together by a vision for programs that have meaning and make a difference; we share a passion for what we do and a set of principles that guide our progress.
Being brave, being committed to life-changing programming, makes each of our jobs at SBS harder in some ways, but it also makes the rewards (and the awards) so much sweeter.
Nobody else does it like we do.
The Special Broadcasting Service (SBS) is a rare beast: inclusive, courageous, interested in individuals and trusted by Australians.
Through SBS Radio, SBS Television and SBS Online, we tell the stories of humankind in more languages than any other broadcaster in the world; at last count, 74 languages on radio, more than 60 on television and more than 50 online.
Australia's cultural and creative identity is expansive, shaped by all Australians regardless of their origin or language. SBS is driven by a Charter that demands we "provide multilingual and multicultural radio and television services that inform, educate and entertain all Australians and, in doing so, reflect Australia's multicultural society".
Our charter ensures a commitment to our audience and to making a difference; beyond that, our passion and our drive, our curiosity and creativity force us to think past the mundane into ground-breaking ideas, and quality programs.
"Multicultural" - the new definition
In the 21st century, multiculturalism means more than bringing the cultures of other worlds into your home. It is reflecting back to us the increasingly multicultural spirit of our own community. SBS celebrates diversity and contributes to the social inclusion and cross-cultural understanding of all Australians - linguistically, sociologically and culturally.
Welcome to Genero.tv. Your use of or participation in the Genero Music Pty Ltd. ("Genero," "we," "our," "us") Website, Video Projects ("Projects"), Video Marketplace ("Marketplace") and/or Director Briefs ("Briefs") (collectively, the "Genero Services") is subject at all times to these Terms of Service ("Terms") and all applicable laws, rules and regulations. Please read these Terms and the Genero Privacy Policy carefully before using any of the Genero Services.
By creating an Account, accessing, using or participating in the Genero Services, in any manner whatsoever, you agree to be bound by these Terms, as well as by the other applicable documents specified in Clause 3 below, and by all other applicable operating rules, policies and/or procedures that may be published by Genero from time to time anywhere on the Website including the Project Page, each of which is incorporated by reference and each which may be updated by us from time to time without notice to you. If you do not agree to any of these Terms, do not access or use the Genero Services. You agree that your use of the Genero Services after any such change will be subject to, and you will comply with, the revised Terms subsequent to that change. Please be sure to check the Terms regularly for updates.
In addition, from time to time a Project may include certain additional material terms and conditions ("Additional Terms") that are unique to that Project and which may supplement these Terms. In such an instance, the relevant Project Additional Terms will be made available on the Project Page for the Project to which they pertain and participation in that Project will be subject to accepting those Additional Terms. By participating in the Project you will be bound by both the Additional Terms and these Terms. If any of the terms in the Additional Terms conflict with these Terms, the terms in the Additional Terms will govern.
In these Terms "User" or "you" or "your" means any person accessing or using the Website or any of the Genero Services. Any User who submits a Video in a Project may also be referred to as "Filmmaker". Any Filmmaker who makes a Video available in the Marketplace may also be known as a "Seller", any User who purchases a Video through the Marketplace may also be referred to as a "Buyer", and any User who runs a Project or makes a Brief available may also be referred to as a "Client". You acknowledge that you have obtained legal advice or have knowingly declined to do so.
Additional Terms - SBS
1. The promoter of this competition is Genero Media Pty Ltd [ABN ]. All enquiries should be directed to Genero at email@example.com. This is a competition of skill not chance. After review of all entries by Genero the selection of winners will be made by SBS Marketing and is final. No correspondence will be entered into.
2. The open date for the competition is 14 June 2014. Entries close at 23.59 GMT on 1 August 2014. No late or incomplete entries will be accepted. Genero and SBS reserve the right to reject any entry which in our opinion does not comply with the competition terms or is incomplete.
3. You hereby consent to Genero providing your name and contact details to SBS for the purposes of administration of this competition. SBS may contact finalists and winners directly. SBS may also publish your name and bio and any accompanying material provided by you in all media throughout the world for the purposes of the competition.
4. Entry is open to Australian resident filmmakers. You will be required to provide proof of residence (current Australian drivers licence or recent utility bill addressed to you) with your entry form.
5. SBS, Genero Media, or Switch Digital employees and their families are ineligible to enter.
6. Entrants must be over 18.
7. You may enter as many times as you like.
8. All expenses of entering this competition must be borne by you.
9. You will be given the opportunity to use a library of music licensed for this promotion. After the competition you must remove this music if you wish to use the clip elsewhere.
10. You do not have to use the licensed music provided for this competition, but if you choose to use other music, you must provide a release form from the copyright owner(s) granting Genero, SBS and their licensees non-exclusive all media, perpetual rights to use the music (including the sound recording and performances) as part of the clip subject only to rights vested in APRA.
11. Any music used must be recorded in an APRA cue sheet (provided on the Project page) submitted with your entry
12. Do not use any third party copyright material or show any identifiable trademarks in your clip.
13. Each person shown in the clip must sign an unconditional, royalty free all media, worldwide perpetual release for the benefit of you, SBS and its licensees for the use of their appearance or performance in the clip.
14. You must provide a worldwide, all media all rights location release for the benefit of you, SBS and its licensees for any material filmed on private property or in any public area where permits are required (such as by local councils) for commercial purposes.
15. If your entry is selected as a finalist, you hereby permit SBS to upload it online together with your name and any bio and other material you provide, and to distribute these on social media during the judging period and for a post competition period of up to 6 months on a non-exclusive basis.
16. If your entry is not a winning entry, you retain ownership of your clip and, subject to removal of any licensed music provided by Genero for this competition, you may distribute and exploit it as you wish.
17. If you are judged to be a winner or runner up, you will be entitled to payment by Genero Media Pty Ltd of a prize of $5,000 (winner) or $2,000 (runner up) in exchange for granting all rights in your entry to SBS for use in marketing campaigns for the Project. In order to claim your payment you must provide Genero Media Pty Ltd with a valid tax invoice and your bank account details within 14 days of receiving notification from Genero.
18. SBS may edit any winning entry for use in SBS promotional campaigns in all media throughout the world in perpetuity. If SBS wishes to use your entry for broadcast promotional purposes, we will contact you to obtain raw audio and vision files for editing or may advise you on editing the entry to SBS branding and technical standards yourself.
19. SBS reserves the right not to award all winners and may in its discretion choose not to publicise, use or distribute any entry. This competition does not guarantee that any entry will be broadcast on SBS.
Genero Services
Genero offers a range of Services to help Filmmakers grow their careers, whilst generating amazing video content for our Clients. These Terms set out the terms and conditions by which Users, Filmmakers, Sellers, Clients and Buyers may access and utilise the Videos and Genero Services.
Genero Projects allow Filmmakers to produce and upload their own Videos to the Website (as part of the Project). Once uploaded by a Filmmaker, the Videos may be accessed and viewed by Users (in most cases).
At the conclusion of each Project, the Videos not chosen as a Winning Video for that Project shall be made available, without modification, in the Marketplace for viewing and purchase (such Video made available in the Marketplace hereinafter referred to as a "Marketplace Video"). The purchase of a Marketplace Video shall be in accordance with these Terms and pursuant to any additional terms agreed upon between the Filmmaker offering the Marketplace Video (the "Seller") and the Buyer. When a Marketplace Video is purchased, all Project Assets included in such Marketplace Video must be removed by the Seller as part of the re-editing process and prior to transferring the finished Purchased Video to the Buyer. Your use of the Marketplace and all transactions carried out on the Marketplace are subject to these Terms and the terms of any Video Sales Agreement, and/or any other policy or procedure communicated by Genero to the User from time to time.
Genero Clients can also post Director Briefs on the Website, inviting Filmmakers to submit Treatments in response, in order that the Client may select a Filmmaker for that Brief. Participation in a Director Brief shall be in accordance with these Terms and pursuant to any additional terms agreed upon between the Filmmaker and the Client, and/or any other policy or procedure communicated by Genero to the User from time to time.
1. Definitions
Account means an online account with Genero which enables a User to access the Website and Genero Services, and contains certain personal information and registration data provided via the registration page on the Website, which must be kept accurate and up to date as and when necessary.
Additional Video(s) means any Video(s) other than the Winning Video(s) which is purchased from the Filmmaker by Genero for a fee.
Additional Terms means certain terms and conditions that are specific to a particular Project and which are disclosed on the Project Page for that Project and which shall govern if any of the terms in the Additional Terms conflict with these Terms.
Applicable Taxes means any value-added tax, sales tax, goods and services tax or other tax or duty imposed on any transaction entered into through any Genero Services that by local law must be added to any fees charged for the participation, use or purchase related to any Genero Services that must be collected by Genero or by the Seller or Client.
Assets means any information, content, material or property published on the Website or otherwise made available to Filmmakers for the sole purpose of use in their Videos as part of any Genero Services.
Brief means the video requirements set out by a Client on the Website or in a Director Brief, inviting Filmmakers to respond with Treatments.
Buyer means a User that proposes to purchase a Marketplace Video through the Marketplace.
Buyer Offer Amount means the amount offered by the Buyer for purchase of the Marketplace Video.
Buyer Project means the project for which the Buyer wishes to use the Purchased Video.
Buyer Proposal means the details provided by the Buyer to the Seller concerning the Buyer Project.
Client means the brand, agency, artist, record label, management or other entity that is running the Project or Director Brief through Genero.
Contributor means any person other than the Filmmaker who has been involved in the creation of the Video.
Filmmaker means the creator and owner of the Video uploaded to the Website, or otherwise made available, as part of the Project or Director Brief.
Genero means the party who is the owner of the Genero.tv domain, and the Website and Genero Services, and shall include any other party in the future who takes legal transfer of same.
Genero Content means any information, image, sound, data, coding or material published by Genero on or as part of the Genero Services.
Genero Fee means the amount to be deducted from the Video Sale Amount, plus any Applicable Taxes payable, under a Marketplace Video Sales Agreement that is payable to Genero, as specified by Genero from time to time.
Genero Services means the Genero Website, Genero Video Projects, Genero Video Marketplace, Genero Director Briefs, and any other services provided by Genero.
Marketplace Video means a Project Video that has been made available in the Marketplace for sale to Users.
Payment means a cash payment (or non-cash compensation) that is offered to a Filmmaker for participation in Genero Services, including for Projects as set out on the Project Page which sometimes include runner-up and finalist Videos.
Performer means a performer, group or person who appears, either directly or through reference to name or likeness, in a Video.
Privacy Policy means the privacy policy of Genero available at http://genero.tv/privacy, which forms part of these Terms.
Project means a project conducted on the Website or as otherwise determined by Genero for its own purposes or for the purposes of another party, under which a Filmmaker may submit a Video.
Project Page means the page published on the Website, or otherwise delivered to a Filmmaker, that sets out the Project particulars, and Project Additional Terms, if any.
Purchased Video means a Marketplace Video that has been purchased and has been re-edited to remove, at a minimum, any and all Project Assets and any other content for which Seller has no rights, and that is satisfactorily completed to the specifications set forth in the Buyer Proposal, so that the video may be used by the Buyer.
Release Form means one or more documents made available by Genero to Filmmakers, and which shall be required to evidence permission and rights to all performers included in the Video, as well as, if applicable, any third-party intellectual property included in a Video, including, but not limited to, any third-party copyrights or trademarks.
Seller means a Filmmaker that created the Marketplace Video available for purchase.
Seller Fee means an amount that is payable to the Seller by Genero which equals the Video Sale Amount after deduction of the Genero Fee (plus any Applicable Taxes).
Seller Initial Price means the amount set by the Seller at the time of making available the Marketplace Video in the Marketplace.
Seller Terms means specific conditions set upon the license or sale of a Marketplace Video by a Seller.
Terms of Service means these Terms.
Treatment means the response submitted by a Filmmaker to a Client's Brief, using any combination of (but not limited to) words, images, audio and/or video.
Territory means worldwide, unless specified otherwise on the Project Page, the Video License Agreement or the Brief.
User Content means any information, images, comments, or other material or content submitted by a User to the Genero Services.
User, you or your means the party entering into this Agreement by accessing or using the Website and/or Genero Services.
Video means a cinematograph film submitted by a Filmmaker to the Website or otherwise in relation to the Project or any Genero Services.
Video Player means the video player used on the Website and other websites via the embeddable video player.
Video Sales Agreement means a contract entered into by a Buyer with a Seller under which the Seller sells the Purchased Video to the Buyer, on the terms and subject to the conditions set out in the Video Sales Agreement, in return for payment of an agreed upon Video Sale Amount.
Video Sale Amount means the amount agreed upon by the Seller and Buyer to be paid by the Buyer for the Purchased Video, which, along with any Applicable Taxes payable, must be paid to Genero at the time the Buyer Project is accepted.
Website means the Genero website located at http://Genero.tv.
Winning Video(s) means the Video(s) that are selected to receive a Payment in accordance with the Project Page and these Terms.
2. Interpretation
The following rules of interpretation apply to these Terms, the Website and the Genero Services:
(a) the singular includes the plural and vice versa;
(b) a reference to USD$ is to the currency of the United States (which is the default currency for Payments unless otherwise stated), GBP£ to the currency of Great Britain, EUR€ to the currency of the Eurozone, and AUD$ to the currency of Australia;
(c) headings to clauses are included for the sake of convenience only and shall not affect the interpretation of these Terms;
(d) the word person means and includes a natural person, a company, a firm or any other legal entity including where that person is acting as a trustee;
(e) when a Filmmaker, Seller, Buyer and/or Client comprises two or more persons the rights and obligations of such persons pursuant to these Terms shall inure for the benefit of and bind all of them jointly and severally.
3. Priority of Terms
The terms and conditions associated with the use of the Website and/or the participation in or purchase of any Genero Services, and other related activities, are governed by a number of separate documents which work in isolation or in combination as required, and include, in order of priority, the following:
(a) The Additional Terms (relevant to Projects);
(b) The Project Page (relevant to Projects);
(c) These Terms;
(d) The Release Forms;
(e) The Video Sales Agreement (relevant to the Marketplace);
(f) The Brief (relevant to Briefs); and
(g) Any other commercial agreement entered into by Genero with a party other than a Filmmaker necessary to facilitate and conduct any Genero Services.
4. Registration
4.1 In order to fully utilise and participate in any Genero Services, User will be required to open an Account with Genero. User must notify Genero immediately if they believe their registration details, Account details, or Account password has been compromised. Genero will not be liable for losses User incurs as a result of any security breach on a User's Account, however, if User becomes aware of such breach and does not notify Genero, Genero may hold user liable for losses Genero incur as a result of such security breaches.
Any breach of these Terms by Users, including any attempt to circumvent any payment or security measures of the Website, or providing false information, may lead to User's Account being terminated at the discretion of Genero.
Genero reserve the right to introduce Account fees without notice.
5. User Content
5.1 Users may only submit User Content to the Genero Services for which User has full rights, and only in accordance with these Terms.
5.2 User shall have sole and complete responsibility for any User Content that they submit, including any and all liability that may result from such User Content.
5.3 Genero does not endorse or support any User Content, including, but not limited to, any opinion, recommendation, or advice expressed in any User Content, and expressly disclaims any and all liability in connection with such User Content.
5.4 Genero may remove any User Content, in whole or in part, if Genero suspects that such User Content infringes or may infringe a party's intellectual property rights or any other rights, including personal rights. In addition Genero reserves the right to remove any User Content upon receiving notice that such User Content is or may be infringing the notifying party's intellectual property and/or personal rights.
6. Warranties by User
6.1 User hereby understands, represents and warrants that User:
(a) will not copy or distribute any content accessed via the Website or Genero Services to which User does not have rights, including Genero Content, any third party User Content, Assets and/or Videos, in any medium whatsoever without Genero's express prior written consent;
(b) will not copy, reproduce, distribute, transmit, sell, alter or modify any part or technology of the Website or Genero Services, including visual elements or code;
(c) will not access or use any part of the Website or Genero Services through any means or technology not expressly provided to you by Genero;
(d) will not use the Website or Genero Services for any use at all other than expressly specified herein without the express written consent of Genero; and
(e) is 18 years of age or older, or possesses legal parent or guardian consent if either aged 13 or over or otherwise considered a minor in Your jurisdiction of legal residence.
6.2 Certain information submitted by the User when creating a Genero Account may be made available to other Users or Clients in the ordinary course of provision of the Genero Services, such as the identification of Buyers to Sellers, Clients to Filmmakers, etc., notwithstanding any privacy or other laws or telecommunications regulations which would otherwise restrict Genero from making a disclosure of the identity of the User.
7. Warranties by Filmmaker
7.1 Genero has the right to request and obtain copies of any Release Forms, authorities, permissions, transfers, assignments, waivers, licenses, proof of ownership, or other documents required under these Terms.
7.2 Genero takes no responsibility for lost, damaged, misdirected, unusable or unreadable submissions, or technical issues with the Website.
7.3 Filmmaker hereby understands, represents and warrants that Filmmaker:
(a) may be required to participate in a photo call, media interviews, as well as general promotional and publicity activity of Genero or its Client;
(b) may be required to provide identification and proof of age;
(c) is responsible for all and any Applicable Taxes, third party costs, charges and expenses in relation to Your Video and Your obligations under these Terms;
(d) acknowledges that many ideas or stories submitted or created by other Filmmakers, Genero or Client may be competitive with, similar or identical to Your Video in theme, idea, plot, format or other respects. You acknowledge and agree that You will not be entitled to any compensation as a result of any use of any such similar or identical material, and You hereby release Genero and Client from any and all claims relating thereto;
(e) at no time will disparage or make any action or statement that harms Genero's or Client's reputation or business;
(f) is not permitted to represent yourself at any time as an agent, employee, lessee, sub-lessee, partner or joint-venture partner of Genero or Client, and no employer-employee relationship exists between You and Genero or Client;
(g) is the creator and copyright owner of the Video and entitled to submit the Video on your own behalf and on behalf of each Contributor and each other joint owner of the Video;
(h) possesses all executed Release Forms necessary to authorize Genero to use the Video as contemplated herein, including from each Performer, artist, location, musician, prop, model, IP owner, or other necessary rights clearances as required in these Terms, and if requested, You shall supply original fully executed physical copies of all Release Forms within three (3) days of receiving such notification, with you bearing sole responsibility for the form and adequacy/accuracy of the releases, assignments, permissions and also identification collected (Release Forms must be used as supplied at http://genero.tv/faq-checklist-release-forms). For clarity, you are not required to provide a Release Form for the Assets appearing on the Website for the Project;
(i) has all necessary licenses, rights, consents and Release Forms, each of which are irrevocable and transferrable to Genero, and you hereby authorise Genero to use all trade mark, trade secret, copyright or other proprietary rights in and to each Video submitted by you;
(j) is entitled to grant Genero each of the rights relating to the transfer, use and treatment of the Video submitted by you, and Genero's use of those rights will not violate the rights of any third party (including copyrights, trademark and trade dress rights, database rights, trade secrets, moral rights, intellectual-property rights, industrial rights, and any other proprietary rights arising under the laws of any jurisdiction), and if requested you shall provide to Genero a written confirmation of such rights;
(k) is 18 years of age or older and entitled to enter into this agreement with Genero;
(l) is entitled to be the sole recipient of any Payment due hereunder in relation to the Video or of any other payment flowing from the Genero Services, and that Genero shall have no additional liability to you or to any other party relating to the Payment or other award, if any, after remittance of same to you; and
(m) is solely responsible for each Video that You submit and the consequences of posting or publishing such Video on the Website including, but not limited to, any copyright infringement.
7.4 Filmmaker hereby understands, represents and warrants that their Video:
(a) and Your performance of these Terms are not subject to the requirements or obligations of any union, guild, or similar association;
(b) may be the subject of review, by the public, and as such may be the subject of comments or other reactions posted on the Website or elsewhere and that Genero is not responsible for any such review or comment or any consequences relating thereto;
(c) does not impersonate any person or entity (including by using any celebrity look-a-likes or sound-a-likes), or falsely state or misrepresent any affiliation with any person or entity;
(d) does not contain any content that could be considered deceptive, misleading, false, fraudulent, scandalous, indecent, obscene, sexually explicit, defamatory, libellous, threatening, harassing, hateful, degrading, intimidating, graphically violent or otherwise unlawful, tortious or objectionable;
(e) does not depict, encourage, promote or induce conduct that could violate any law or give rise to criminal or civil liability, or that could be considered risky, violent, discriminatory or otherwise inappropriate;
(f) does not advertise or promote alcohol, tobacco, firearms, gambling or feminine hygiene products (unless the Genero Services instruct you to);
(g) does not endorse any religious or political cause or candidate;
(h) does not contain any personally identifying or other personal information about you or any other person;
(i) does not contain any confidential information, or any material, non-public information about any company;
(j) does not contain gang signs or symbols;
(k) is factually accurate to the extent the Video purports to represent facts;
(l) does not contain any information or instruction that might be injurious to any person's physical well being; and
(m) does not contain any unlawful, obscene, scandalous, or inappropriate picture, gesture, statement or language, or material of any kind.
Genero Video Projects
8. General Project Terms
8.1 Genero does not permit, encourage or condone intellectual property infringement, and will remove any Videos found to be infringing on another's intellectual property rights. Unless provided as a free download on the Website as part of the Project or you have approval to use it on the Project Page or as part of the Project terms herein, You must own all copyright, trademark or other intellectual property rights within the Video (other than the Assets) including, without limitation any song, music, soundtrack, lyrics, image (moving or still), logo or brand, and artwork, or must have legally acquired a valid and current license to any copyright, trademark or other intellectual property incorporated in your Video that includes the unrestricted right for you, and any future owner, to use and transfer or license such copyright, including commercial use, in perpetuity, and without any fee. Because the intention for a selected Video is to be used commercially, and the ownership rights to the selected Video are to be transferred to the Client, we generally do not accept the use of stock or public domain footage, although we do reserve the right to apply discretion. We require that your Video footage is original, created and owned by you, and rights able to be transferred in full to the Client in the event your Video is selected.
8.2 Genero may, in its absolute discretion, edit, postpone, or cancel a Project without any liability to You; including not selecting winners or finalists (including but not limited to where no Videos were of sufficient quality), not fulfilling Payments, and not publishing or judging Videos.
8.3 Nothing in these Terms obliges Genero or Client to:
(a) publish the Video;
(b) publish the Video for any particular amount of time;
(c) not remove the Video at any time as it sees fit; or
(d) use the Video in any commercial or official capacity.
8.4 Genero may or may not publish Your Video at its absolute discretion. Reasons for Genero not publishing your Video include but are not limited to:
(a) the Video being of insufficient technical, creative or production quality;
(b) because Genero deems, in its sole discretion, that it contains: explicit content, illegal content, offensive content, inappropriate content, infringing content on another party's intellectual property rights, or is otherwise contrary to law; or
(c) because You have not met Your obligations under these Terms, the Project Page, or any Project guidelines as published on the Website, or otherwise made available, from time to time. No responsibility is taken for lost, damaged, misdirected, unusable or unreadable submissions, or technical issues with the Genero Services.
8.5 The opening and closing dates/times for each Project shall be listed on the relevant Project Page on the Website. Genero reserves the right to alter the Project opening & closing dates/times in its absolute discretion. All dates/times are Greenwich Mean Time (GMT) unless stated otherwise. It is Your responsibility to translate back to Your local time zone. Your Video will not be accepted if it is not submitted by the closing date/time. Genero reserves the right, at its discretion, to accept late submissions, eg. where a Filmmaker has had technical problems and not been able to submit by the deadline.
8.6 All winning and some finalist Filmmakers will be required to supply a high resolution file of Your Video on physical media via mail, or uploaded electronically (at our discretion) within 5 days of finalist/winner announcement. Failure to do so may result in Your Video being withdrawn by us as a finalist or winner and no Payment awarded. For broadcast specification guidelines, please refer to this URL, which is subject to each Client's individual requirements - http://genero.tv/faq-videos/#2196.
8.7 Non-cash Payments awarded under a Project are not transferrable, exchangeable or redeemable for cash, and unless expressly stated otherwise on the Project Page, non-cash Payments are as described and do not include or imply anything else including (but not limited to) flights, travel, accommodation, transfers, spending money, insurance, Applicable Taxes or shipping.
8.8 Genero may charge any postage, handling or transfer fee to deliver Payments (including all transfer fees or charges for cash Payments), or arrange for a similar Payment (determined at Genero's sole discretion) that is closer to your residence in lieu of what You may have received.
8.9 Unless stated otherwise, Genero will pay cash Payments (at Genero's discretion) to your PayPal or Payoneer account. All cash Payments are subject to any applicable fees, charges or currency exchange fees. Genero reserves the right to make cash Payments via alternate methods, at its complete discretion.
9. Assets
9.1 To the extent that Assets are available on the Website to be downloaded for the Project, You are only entitled to reproduce and exploit the underlying copyright works in the Assets for the sole purpose of creating and submitting Your Video for that Project.
9.2 You hereby acknowledge and agree that there is no transfer, license or other grant of rights to You in respect of such Assets other than as specifically provided for in these Terms.
9.3 Other than as relates to any further use as part of the Genero Services, You must immediately cease all use of Assets and return or destroy all copies of Assets at the Project close date mentioned on the Project Page.
9.4 Unless provided as a free download on the Website as part of the Project, You must have legally purchased any Assets (including songs) for use in Your Video, and they must be cleared for commercial use without any fees, limitations or restrictions.
10. Rights in Relation to Each Video
10.1 By submitting or uploading Videos on the Website, You hereby grant to Genero in perpetuity and throughout the Territory, a non-exclusive, irrevocable, assignable, sub-licensable, royalty-free license:
(a) To host, post, stream, upload or otherwise on the Website and any website; and
(b) the right to use, re-produce, alter, adapt, monetise, broadcast, publish and communicate the Videos to the public, in all media now known or hereafter devised.
10.2 Upon submitting a Video You also grant Genero the right to:
(a) submit the Video for inclusion in events which may or may not charge fees for entry tickets;
(b) include Your Video, or any part thereof, as part of any media (physical, electronic or otherwise) which may or may not be sold by Genero, or a third party;
(c) edit or modify such Video at any time and in any way at its sole discretion, including but not limited to broadcasting the Video in different formats for mobile devices, television, cinema, festivals or other reasons as Genero sees fit; and
(d) earn advertising, sponsorship and other forms of revenue from Your Videos on the Website and other websites, which may be displayed and not limited to, before or after Your Video plays, and superimposed over Your Video.
10.3 Upon submitting Your Video, in the event that Your Video is selected as a Winning Video or Additional Video and in consideration of the Payment(s), You hereby irrevocably agree to assign all rights, title, and interest in the Video to Genero or its nominee or Client (at Genero's discretion). This includes all things associated with ownership of personal property, which without limitation includes granting Genero or its nominee or Client the exclusive rights throughout the world in perpetuity to manufacture, distribute, promote, advertise, sell, lease, license or otherwise exploit commercially the Video in all media and technologies now or hereafter known, including the right to communicate the Video to the public and to license all such rights to third parties in its absolute discretion.
10.4 Upon submitting Your Video, you must not post, publish, upload, transmit or otherwise disclose the Video to any other party, or any work incorporated into the Video, until the Project has ended and the Winning Video has been announced. You may however embed Your Video using the Genero embed code from the Video Player or use the direct URL link or sharing tools provided to the Video on the Website once Your Video has been published.
10.5 Notwithstanding the clause immediately above, you are permitted to use your Video for self-promotional purposes (i.e. your showreel). For avoidance of doubt, You are not permitted to use your Video for any commercial or monetising purposes. If your Video was not approved and published on Genero, you are not permitted to post your Video to any other websites, or deal with it in any way.
10.6 Upon submitting Your Video, you must not deal with (including license, assign, transfer or sell), or post, publish, upload, transmit (or otherwise disclose to any other party) the Video or any work incorporated into the Video, until each of the following have occurred:
(a) The Project has ended; and
(b) The Winning Video has been announced; and
(c) 14 days after the Winning Video has been announced You have not been notified that Your Video is the Winning Video or an Additional Video.
10.7 Subject to any restrictions herein, for all Videos other than the Winning Video and any Additional Videos, Filmmakers retain the rights to their original video footage to the exclusion of any Assets or other copyright or non-original material, which must be removed prior to using or dealing with the Video for any further purpose other than those expressly granted herein.
11. Judging
Genero and Client have the right to:
(a) select a Filmmaker and their Video as finalists or winners;
(b) disqualify a finalist or winning Filmmaker and their Video if the Filmmaker has not complied with these Terms, and set aside the relevant Video from the Project;
(c) disqualify a Filmmaker if their Video collects views, comments, votes or any other activity using automated tools or disposable email addresses, or any similar method;
(d) supplement a finalist or winner with any other Filmmaker and their Video in place of a disqualified Filmmaker and their Video; and
(e) purchase any non-Winning Video for a fee not exceeding 20% of the cash Payment awarded to the Winning Video, each an Additional Video.
11.2 Genero will announce finalists and winners on the Website and attempt to make contact via email using the details provided in Your Account. Finalists and winners must respond to Genero's contact attempts within 2 days of notification. Genero accepts no responsibility for being unable to reach You if these attempts are unsuccessful, and reserve the right to withdraw Your finalist or winner position and select alternative finalists or winners.
Genero Video Marketplace
12. Warranties and Acknowledgement
12.1 User hereby acknowledges, warrants and represents that:
(a) User will not use the Marketplace, User's Genero Account, the Marketplace Videos, or any content in the Marketplace Videos or in the Marketplace, dishonestly, fraudulently, for illegal purposes or for any use at all other than expressly specified herein without the express written consent of Genero.
(b) User will not complete, or attempt to complete any commercial transaction between Users outside of the Marketplace, including but not limited to the offer or supply of Marketplace Videos or any other User creative content, current or historical, made through the Marketplace.
(c) User will not distribute any part of content accessible via the Marketplace (other than User's Marketplace Video) in any medium whatsoever without Genero's express written consent.
12.2 User hereby acknowledges that access to the Marketplace is intended solely for viewing and/or purchasing Marketplace Videos in accordance with these Terms, and that the Marketplace Videos or other information stored in the Marketplace is provided "as is" and may not be downloaded (unless explicitly allowed for under these Terms), copied, reproduced, distributed, transmitted, broadcast, displayed, sold, licensed, or otherwise exploited for any other purposes whatsoever without the prior written consent of Genero.
13. Marketplace Video Representations
13.1 Sellers shall make available Marketplace Videos pursuant to the instructions found on the Marketplace homepage and in accordance with these Terms.
13.2 Any Marketplace Video that includes Project Assets must have all such Project Assets removed in their entirety before the Marketplace Video may be sold, re-edited and transferred to Buyer as a Purchased Video, or otherwise used outside the Marketplace in any way.
13.3 Seller is solely responsible for any and all content included in their Marketplace Video, and for removing all Project Assets from the Marketplace Video before it is sold, re-edited and transferred to a Buyer or otherwise used by a Buyer as a Purchased Video.
13.4 By making a Marketplace Video available in the Marketplace, Seller represents and warrants that, other than as to any Project Assets included therein (which will subsequently be removed as per above clauses), the Marketplace Video does not contain content that violates the rights of any third-party, including any third party copyright, trademark, or patent, or a person's right of privacy/publicity, or other personal or proprietary rights of any third party, and that Seller has all necessary rights and permissions from any Contributors and/or Performers in order for Seller to grant the rights to Genero and Buyer as contemplated hereunder.
13.5 Genero does not endorse any Marketplace Video, and content, opinion, recommendation, or advice expressed in any Marketplace Video uploaded by Seller, and, expressly disclaims any and all liability in connection with such Marketplace Video.
14. Purchasing a Marketplace Video
14.1 Obligations of Seller
(a) When making available a Marketplace Video to the Marketplace, a Seller shall specify: (i) the Seller Offer Amount; and (ii) any Seller Terms. Such Seller Offer Amount and Seller Terms may be changed by the Seller at any time prior to a valid offer being accepted for the Marketplace Video.
(b) The Seller Terms may include, but shall not be limited to, the following: (i) the permissible uses of the Marketplace Video, including territory of use, and/or restrictions on usage set by the Seller; (ii) whether the Seller requires any special conditions to be agreed by the Buyer.
(c) A Seller must not include in any Marketplace Video any material which is or may be defamatory, racially, religiously or sexually discriminatory or vilifying, offensive, in breach of a duty of confidentiality or privacy owed to anyone, in breach of the moral rights of an author of the image, in breach of any contract or otherwise unlawful.
14.2 Obligations of Buyer
(a) Buyer shall offer to purchase a Marketplace Video by issuing a Proposal for the use of the Purchased Video to Seller.
(b) The Proposal may include, but need not be limited to, the following: (i) the proposed uses of the Purchased Video, including territory; (ii) whether the Buyer requires any special conditions to be agreed by the Seller, such as exclusivity or specific limitations on re-use of the Marketplace Video or Purchased Video; (iii) the deadline for the satisfactory completion and delivery of the Purchased Video; and (iv) whether the Buyer requires the Proposal to be treated as confidential by the Seller.
14.3 Acceptance of the Proposal / Counter-Offer
(a) The Seller shall have the option to accept or decline the Proposal. In the alternative, the Seller may issue new Seller Terms under which the Marketplace Video may be purchased.
(b) If the Seller accepts the Proposal, the Buyer will be asked to agree to the terms of a Video Sales Agreement, entered into between the Seller and the Buyer, and which shall specify the following: (i) the agreed Video Sale Amount; (ii) the Buyer Project details; (iii) the proposed usage, exclusivity, etc.; and (iv) other conditions required before a Marketplace Video may become a Purchased Video.
(c) If the Buyer has required the Proposal or Buyer Project to be treated as confidential, the Seller shall agree to the terms of any Non-Disclosure Agreement accompanying the Proposal.
(d) Seller and Buyer understand and agree that the Video Sales Agreement shall be deemed to have been entered into as between only the Buyer and Seller and shall be apart from these Terms or the supply of the Marketplace Video in the Marketplace. Each of the Seller and Buyer acknowledges and agrees to be bound by the terms of the Video Sales Agreement into which they have been entered, including to the terms as to usage and other special conditions to which both the Seller and the Buyer have agreed.
(e) Unless otherwise separately agreed to in writing by Genero, Genero is not and will not be a party to the Video Sales Agreement between the Buyer and Seller and shall bear no liability whatsoever to either the Seller or the Buyer in relation to any aspect of the sale of the Marketplace Video or Purchased Video.
(f) Both the Seller and Buyer are obliged to work together in good faith to complete the Marketplace Video for use in the Buyer Project.
(g) Under no circumstances will a Buyer or a Seller seek to make any direct approach to one another outside of the Marketplace with respect to the Marketplace Video or other similar video, for the purposes of avoiding operation of these Terms or payment of the Genero Fee. This provision shall not prevent Buyer and Seller from directly communicating for purposes of finalizing any sale initiated through the Marketplace, and/or finalizing any Buyer Project.
15. Marketplace Fees and Charges
15.1 The Buyer acknowledges, confirms and agrees that the costs to be incurred by the Buyer for the Marketplace Video are as follows: (a) upon the Seller agreeing to participate in the Buyer's Project, the aggregate Video Sales Amount for all Marketplace Videos purchased, plus any Applicable Taxes payable, will be payable by the Buyer to Genero via the designated payment method.
15.2 If the Buyer reasonably rejects the final Purchased Video, and does not allow the Seller an opportunity to cure, then the Video Sales Amount minus Genero's Fee will be refunded to the Buyer via a payment form of Genero's discretion. Genero's Fee shall not be refundable.
15.3 The Seller acknowledges, confirms and agrees that: (i) within a period of 30 days after Buyer marks the Buyer Project as "complete", Genero will credit the Seller whose Purchased Video has been accepted by the Buyer an amount equivalent to the Video Sale Amount less the Genero Fee and any Applicable Taxes; (ii) that any Applicable Taxes Seller is required by law to collect will be included in any price or offer amount.
15.4 Seller agrees that Genero will be paid the Genero Fee and is entitled to deduct the Genero Fee prior to issuing payment to the Seller.
15.5 Each of the Seller and the Buyer acknowledge, confirm and agree that: (i) Genero may, in the sole and absolute discretion of Genero, increase, decrease, modify, alter, introduce or remove any fee charged by Genero, either permanently or temporarily; (ii) Genero will provide 30 days notice to existing Sellers for any prospective change of the Genero Fee or any other fees charged by Genero, and these changes will only affect transactions that take place after the 30 day notice period has elapsed; (iii) unless otherwise stated all fees are in United States dollars.
Genero Director Briefs
16. General Director Brief Terms
16.1 Genero provides Briefs to facilitate the connection of Filmmakers with Clients and vice versa. After a Client has chosen a Filmmaker to work with via the Brief, Genero does not get involved in the ongoing communication or video production, and has no liability for any element of these activities, or the use of or participation in the Brief.
16.2 Genero highly recommends that the Parties agree all detail via a formal contract before proceeding, including (but not limited to) budget (refer to 16.5), location, timing, talent, insurance, video specifications and all other deliverables. Whilst Genero will endeavour to help where it can, Genero does not and will not mitigate or arbitrate in the case of any dispute between the Parties.
16.3 Genero may remove a Brief, at its sole discretion, if it believes it is fraudulent, or the Filmmaker is at risk of not being paid.
16.4 Genero reserves the right to promote completed Briefs and their Videos on the Website.
16.5 The total budget for a Director Brief must be paid in full by Client to Genero on selection of a Filmmaker's treatment. Genero will then pay the selected Filmmaker once the final video is completed to the Client's satisfaction, minus Genero's management fee.
17. Client Warranties
17.1 Client hereby acknowledges, warrants and represents that:
(a) You have the total budget to pay Genero as specified when creating a Brief;
(b) The Brief describes the video requirements as accurately as possible and in enough detail so the Filmmaker can determine if the payment they will receive is sufficient (payment a Filmmaker will receive is displayed on the create brief page, which is the total budget minus Genero's management fee);
(c) The Brief will not be substantially modified, once agreement with the Filmmaker has been reached, unless the Filmmaker agrees to such modifications;
(d) Client owns or obtained all permissions to any music or Assets provided to Genero or Filmmaker as part of the Brief;
(e) Reference checks, and any due diligence pertaining to Filmmaker have been requested and checked prior to selecting them;
(f) All Treatments (including other communication and responses, including emails) are confidential, and may only be shared within the Client's team;
(g) All Treatments are protected by Copyright and owned by the Filmmaker. A treatment and a resulting Video will only be transferred to the Client if it is paid for in full to Genero.
(h) No Filmmaker will be commissioned until the deadline contained in the Brief has passed; and
(i) It is the Client's responsibility to request Release Forms of the filmmaker and check them to the Client's satisfaction.
18. Filmmaker Warranties
18.1 Filmmaker hereby acknowledges, warrants and represents that:
(a) All information contained within your Genero Account and Treatment response is true and correct, and does not mislead any person or entity in any way;
(b) By submitting a Treatment you will complete the Video in accordance with the Client's requirements and within the Filmmaker payment amount specified;
(c) Filmmaker, Performers and Contributors (including director and producer team members) named in the Treatment or any communication that forms part of your response, are the persons that shall be used, unless otherwise agreed with Client;
(d) Reference checks and any due diligence requests by Client have been satisfied before proceeding; and
(e) Release Form requirements as per these Terms and any other release form requirements of the Client have been met.
19. Indemnity
19.1 User, Filmmaker, Seller and Buyer hereby indemnify Genero and Client upon; (i) any use, participation or purchase related to any Genero Services including submission of each and every Video, and (ii) submission of each and every piece of Content, and will keep Genero and Client indemnified against any and all actions, suits, claims, demands, proceedings, losses, damages, special damages compensation, sums of money, costs (including solicitor and client costs), charges and expenses arising out of or relating to your breach of any terms governed by these Terms, or use of the Video by Genero, Client or Buyer. You hereby irrevocably waive any right to seek or obtain an injunction, rescission or termination of these Terms, or any rights hereunder.
19.2 User hereby indemnifies Genero against any loss or damage suffered in the event that any Video, Content or information submitted by User and provided on the Website is incorrect or in any way misleading.
19.3 User hereby indemnifies Genero against any loss or damage suffered in the event that any aspect of the Website or Genero Services does not function as intended for any reason beyond the reasonable control of Genero and particularly in connection with: service interruptions caused by an internet service provider; an internet connection; any fault or deficiency in computer hardware or software; any fault or deficiency in audio/visual hardware; any fault or deficiency in website code.
19.4 Should Genero in its sole discretion, determine that User has breached these Terms, then nothing herein shall prevent or in any way restrict its right to pursue any of its legal and/or other remedies, including, without limitation, court action.
20. Exclusion, and Limitation of Liability
20.1 The Website and Genero Services are provided "as is" and without representations or warranties of any kind to User, whether express or implied, including without limitation:
(a) the quality and/or fitness of the Website or Genero Services for a particular use;
(b) as to accessibility or warranties that access or use of the Website or Genero Services will be uninterrupted or error-free;
(c) that the Website, Genero Services, and/or the Content will be secure or free of viruses or other harmful material or elements; or
(d) that any of the Content will be correct, accurate, timely, complete, or free of any third party claims.
20.2 Genero expressly disclaims any responsibility for the Videos displayed on the Website or made available as part of any Genero Services, and by using the Website or any Genero Services, Users agree that Genero shall have no responsibility for any Video (including any content in any Video) that infringes the copyright or other intellectual property rights of any third party or for any Video that is deemed to be offensive, discriminatory or misleading to Users in any way whatsoever.
20.3 Where Genero provides links to other websites, it does so for information and convenience purposes only. Genero has no control over, and shall not be responsible for any such website and/or the content thereof.
20.4 Genero reserve the right to discontinue or remove any part, Content, Video or functionality of the Website or Genero Services at any time and without notice.
20.5 Genero reserves the right to alter, modify, add to or change in any way, any provision of these Terms and may, in its absolute discretion, limit or expand the Genero Services available via the Website without giving prior notice to User.
21. Copyright Infringement - US Notice and Take Down Procedures
The United States Digital Millennium Copyright Act of 1998 (the "DMCA") provides recourse for copyright owners who believe that material appearing on the Internet infringes their rights under U.S. copyright law. If you believe that any materials in the Website or found in a Video infringe your copyright, you may request that they be removed. This request must bear a signature (or electronic equivalent) of the copyright holder or an authorized representative, and must: (a) identify the allegedly infringing materials; (b) indicate where on the Website the infringing materials are located; (c) provide your name and contact information; (d) state that you have a good faith belief that the materials are infringing; (e) state that the information in your claim is accurate; and (f) indicate that "under penalty of perjury" you are the lawful copyright owner or are authorized to act on the owner's behalf. If you believe that someone has wrongly filed a notice of copyright infringement against you, the DMCA permits you to send this Website a counter-notice. Notices and counter-notices must meet the then-current statutory requirements imposed by the DMCA. See http://www.copyright.gov for further information. Our contact for copyright issues relating to this Website (including the notices and counter-notices) is firstname.lastname@example.com. Please note that there are penalties for false claims under the DMCA.
22. Assignment of Rights
22.1 Genero may transfer, assign, novate or otherwise deal with any of its rights under these Terms to another party without notice to You.
22.2 You are not permitted to assign any part of these Terms without Genero's prior written consent.
23. Governing Law and Jurisdiction
23.1 These Terms and use of the Website and Genero Services are governed by the laws of Victoria, Australia.
23.2 By accessing or using the Website or Genero Services, User submits to the exclusive jurisdiction of the Victorian Courts in Australia for any dispute that relates to the Website, Genero Services, or these Terms.
23.3 Users are solely responsible for compliance with any applicable laws of the country from which they access the Website or Genero Services.
Last Updated 14th March 2014,
© 2014 Genero, all rights reserved.
Filmmakers, Cast & Crew
Project Results
Official Selections
Karen McPherson, Ivana Legin
Director of Photography
Director of Photography
Director & Cinematographer at Ninja
Matthew Jenkin
Writer & Director at Ninja Milk
Oscar Partridge
Camera Operator
Daniel Cartisano
Alexander Leeway
Director of Photography
Alexander Leeway


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With over 350 events, 2200 DJs and more than 115 clubs and venues, the Amsterdam Dance Event (ADE) is without a doubt the world's largest electronic dance festival. From 14 to 18 October inclusive, Amsterdam will be all about dance.
In addition to a comprehensive night-time programme, ADE has plenty to offer during the day: from lectures and workshops to film screenings and exhibits. You will find all this and more at ADE. This year marks a unique occasion: ADE's 20th anniversary.
ADE covers every aspect of electronic music. Admire your musical heroes up close during conferences, workshops and interview sessions. This year's ADE will feature the first edition of 'ADE Dance & Brands': an event that will show how brands can work together with artists, festivals and events. Steven Appleyard, business director of the Boiler Room, Andrew Goldstone, manager of Tiësto, and world-famous DJ Martin Garrix, will share their experiences and answer all your questions. Another new feature is 'ADE Beats': a conference on hip-hop, bass and beats. Always been a fan of beats? Then make sure to visit the Melkweg on 16 October. Famous names from the 'beats' scene, such as Matt Black, co-founder of Ninja Tune, dance hall superstar Mr. Vegas, and hip-hop manager Steve Lobel, will make an appearance.
Every year, the world's most popular DJs travel to Amsterdam to present their music. Big names such as Carl Cox, Jeff Mills, Kraak & Smaak, Dave Clarke, David Guetta and The Gaslamp Killer, will staff the turntables at ADE. Of course, all home-grown Dutch superstars will be there as well. Hardwell, winner of last year's DJ Top 100, will host his own musical evening at the Heineken Music Hall. He will also perform with Armin van Buuren and Tiësto at the Amsterdam Music festival.
This year's edition of ADE features a record-breaking number of 115 venues! There will be parties at traditional clubs, such as Paradiso and the Escape, but DJs will also be spinning their tunes at unique, industrial locations. Doka is one of the most edgy party venues. This temporary club is housed in the basement of the former Volkskrant building, once the home of one of the biggest Dutch newspapers. On 15 October, partygoers can dance to acid and techno, while 16 October is reserved for fans of jungle and dubstep.
Another unique location is Amsterdam Roest. During ADE, this former factory will host various parties in 2 storehouses, both decorated with graffiti and art. The evenings at Roest will offer much more than house, techno and dance. On 17 October, Roest's electronic music programme will make room for an odd duckling: Klassiek in de Loods (classical music in the storehouse). For this evening, one of the storehouses will be transformed into a concert venue with lie-down spots. Recharge your batteries in a relaxed setting. Looking for more information on the coolest ADE parties and the most unique performances? Go tomusic.klm.com
or check outthe video