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Statistics: Annual Food Price Increase Reaches 14-year High Of 10.1 Percent Statistics: Annual Food Price Increase Reaches 14-year High Of 10.1 Percent In October 2022, the annual increase was due to rises across all the broad food categories we measure. Compared with October 2021: -grocery food prices increased by 9.7 percent… More>>
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Published 12:00 am Thursday, November 10, 2022 By Chandler Inions Justin Owens, left, leads students in an a marshmallow catapult exercise at Erwin Middle School. The Erwin Middle School marshmallow catapult exercise combined math and science concepts in an engaging way for seventh graders. Justin Owens Madison Livengood GRANITE QUARRY — Presented in PowerPoint format, concepts like proportions and kinetic energy might seem distant, but two Erwin Middle School teachers took their classes outside and let those lessons fly. Students from Madison Livengood’s science classes and Justin Owens’ math classes used terms and topics they were learning about in class to create marshmallow catapults and then competed against other seventh graders. The activity combined team-building with the subjects from class in a way that both teachers said helped engage the students in proactive ways. For the science element, the project provided a real-life display of energy in various forms. “We were talking about different types of energy,” Livengood said. “They had to figure out if it had potential or kinetic energy at different stages in the catapult.” Livengood indicated that potential energy was represented as the catapult was being prepared to fire. “Potential energy is not moving,” Livengood said. “When they had it pulled back it had the potential to move, but it wasn’t moving yet.” What happened next constituted kinetic energy. “As soon as they let it go, and the marshmallow went flying, the marshmallow then had kinetic energy,” Livengood said. The catapults were crafted out of rubber bands, popsicle sticks and spoons. Leading up to the event, the seventh graders completed multi-step proportional problem-solving and earned points that they could spend on the resources to build their catapults, but proportions were hardly the only mathematical concepts the students explored. “To get to the point of being able to build the catapult, they had to answer questions about proportional relationships, while also working with percents and scale drawings,” Owens said. Once the catapults were completed, the exercise took flight. Using the catapults, the student groups aimed for a target and based on the exercise’s outcomes, they would calculate percentages of successful attempts. As the students repeated the exercise, they used the new results to calculate percentages of change. The catapult exercise didn’t stop there. “We pushed ahead to what we are doing this week which involved the types of angles that we were dealing with,” Owens said. “Those angles included where the catapult projected at, and where it was resting at.” Providing hands-on experience is important for Owens who struggled to apply mathematics during his days in middle school. “When I was at this age, I actually repeated the seventh grade,” Owens said. “It was all because of math. I absolutely hated math. It was boring … so, one of the reasons that I got into this is because I wanted to change that perception about math.” Changing that perception requires thinking outside the box, and sometimes outside of the classroom, but Owens indicated that if that mission is successful, then it can have far-reaching effects. “If we can change kids’ and parents’ perceptions about what it is like to do math, then it won’t feel so scary and overwhelming to tackle,” Owens said. “There are a lot of things we teach that kids may not use daily, but there are a lot they will. So for me it’s all about changing that perception.” It goes beyond perception for Livengood, who indicated that hands-on application is the ideal method for scientific instruction. “A lot of science you learn by doing,” Livengood said. “I can sit here all day long and go through PowerPoint after PowerPoint on what potential and kinetic energy is, but when they actually practice it and see it, it helps them understand it more.” As for the students, they seemed to enjoy it. Seventh grade student Chloe Tharp shared her thoughts about the engaging activity. “(The catapult exercise) helped us practice teamwork and helped us earn trust in our teammates,” she said. Fellow seventh grade studentKayleigh VanDeVelde took fun in the way that they garnered resources to build their catapult. “We had to solve math problems to earn Owens Bucks that we used to buy materials to make our catapults,” VanDeVelde said. “We had to make sure our problems were correct, so we had to really take our time to solve them.” The catapult exercise is just one of the ways that the teachers are working together to show the interdisciplinary nature of many math and science elements. “After Christmas, we will do an Olympics-type event where we go to the track at East Rowan (High) and they have to calculate speeds,” Livengood said. “We usually partner up to do that together because math is in the calculations and speed is a science standard for seventh graders.”
clara corcoran As electronic music takes over the Harvard party scene, student DJs are rising in popularity on campus and in the broader Boston community. Three leading Harvard DJs reveal that their success is not just a matter of hitting the right sounds or accessing the right parties. Rather, their ability to seamlessly guide an audience through a series of emotions and beats suggests that on Harvard’s campus, the art of mixing is also an art of storytelling. Fabrizio Serafini ’24 — “DJ Fabrizio” When Fabrizio Serafini ’24 arrived at Harvard from Palermo, Italy, he assumed that in “coming to the states, on campus there would have already been DJs.” He said, “I expected the music genre would have been different, so I didn’t necessarily think that I would have DJed as much.” However, Serafini quickly found this was not the case. During his first year at Harvard, most parties he attended depended on Spotify playlists. “The music quality, most importantly, was very, very low. People had no taste and were not aware of what it means to actually have a good experience with music,” Serafini said. With that realization, Serafini’s experience as a Harvard DJ began. His first show freshman year at Lowell’s annual rave-themed party, Glowell, earned him enthusiastic reviews. “It was a good feeling,” Serafini said. “I liked it because I was like, wow, it means I can play also here in the states, and there was interest for the music I played.” Soon, Serafini found himself consistently DJing at sports team mixers and parties at The Hasty Pudding Club. As a sophomore, Serafini began playing at final clubs and as a junior, at The Grand nightclub in Boston. “People think that DJing is something easy and that it’s something where you can go be up there on stage, press some buttons, and somehow good music will come and people will have fun,” Serafini said. “But that’s absolutely not true, and it’s all about preparation and working yourself, preparing your library… Stage presence is for sure important because you need to understand the people and what type of music they like…because every party is like a narrative.” The years of time spent developing one’s sound and learning to read a crowd lie at the crux of what it means to be a successful DJ. Serafini “needs to understand the people” to create a narrative for the specific audience at each show. The idea of storytelling and creative expression is fundamental to Serafini’s experience in the DJ world. He finds a tradeoff between responding to the audience’s wishes and incorporating his personal take on the music. “The most important thing is earning the trust of the people, so if you are able to kind of do a tradeoff between tracks that makes everyone have a good time plus your own style, that’s what I try to do,” he said, explaining that he seeks to expose his audience to new music while simultaneously sensing their enjoyment and accommodating their tastes. Serafini feels a sense of accomplishment in bringing an Italian influence into his DJ world at Harvard and a sense of pride in “changing the [musical] culture.” Serafini contends that “coming from Italy gives you a broad perspective on genres” and that he feels happy that he “can bring this to the table as well.” “It’s not the equipment that makes the player, it’s the player that makes the player,” Serafini expressed. Andrew de Souza ’23 — “de SOUZ” De Souza noticed a lack of cultural diversity in the music played at Harvard, and that “a lot of marginalized communities [did] not feel represented in the music they heard at [Harvard] parties.” For de Souza, noticing this lack of musical representation emboldened him to counteract such a discrepancy. Like Serafini, de Souza works to cater each of his sets to his audience and cites this as one of the primary challenges that DJs face. De Souza played on the rugby team during his first three years at Harvard, however, after getting injured during his senior year, was faced with more time than ever to focus on music. During the winter of 2022, de Souza began to learn how to produce music more professionally. When asked how he transitioned from music production generally into the realm of DJing, de Souza recalled how his current roommate spontaneously showed him the basics of mixing one night last spring and the enthusiasm that fostered in him for the craft. Over the following summer, de Souza participated in a Masterclass by Questlove, a musician and producer who emphasized the storytelling component of DJing, something that greatly influenced de Souza’s own approach to mixing. Then, while working at a consulting firm over the summer, de Souza DJed formally for the first time at a company event. Such an experience quickly revealed to de Souza that “every event that you DJ has a different vibe” and that gauging these differences is one of the hardest skills for beginners to master. This fall, de Souza DJed a friend’s birthday which quickly “snowballed into more and more.” de Souza now plays at a variety of events ranging from Finals Clubs to more intimate events with close friends. De Souza said, “I’m a very social person but also very introverted.” The role of a DJ allows him to be a part of these social settings while also having the platform to read people’s energies and to alter his performance accordingly. Though “People are constantly perceiving you,” said de Souza, oftentimes the audience really just wants to “feel like they’re in the know.” “Inherently you are judging your own performance based off [the audience’s] reception,” de Souza said, an effort that takes time and confidence to internalize. “There are moments when you’re DJing when everything else disappears… You’ve gotten people into a zone that is magical.” Jeff Basta ’23 — “Kotier” Half of the art of DJing is reading the crowd and making adjustments in real time,” Basta said, a fact that makes the prep work of a DJ all the more layered. For more formal events, Basta uses lengthy playlists which allow him to select the perfect song from a previously narrowed list. In contrast, his sets at Harvard parties are primarily unplanned. Basta said that he typically has a “rough idea of how I want my set to go [and an] energy arc I know I want.” He measured the success of a DJ on their ability to act spontaneously based off of the energy of the event. Basta began playing piano at a very young age and eventually became interested in DJing and electronic music during middle school. Basta started out playing small events like middle school dances after learning the technical skills required to mix from YouTube videos. After transferring from the University of Michigan at the end of his freshman year, Basta found DJs “pretty in demand” upon his arrival at Harvard, and that there was little to no DJ community on campus. Now a prominent DJ at final clubs and other private events, Basta said, “once the word is out that you’re a decent DJ, people start to reach out.” Basta has extended his performances onto public stages, playing at The Grand in Boston and at NOTO, a club in Philadelphia and the largest show he’s ever played. Remembering the packed environment and the 1,000 people in attendance, Basta said, “I didn’t even know how to be around people,” a testament to the time and practice it takes to hone one’s skills and comfort in the DJ world. There is a key component of trusting yourself during a set that is a fundamental part of performing as a DJ. “Usually once you get into the swing of [a set], muscle memory takes over, and you kind of stop thinking about it,” Basta said. Like de Souza, he finds that the real technicality of DJing is managing the social variables rather than strictly mixing beats. Basta explained the ability to sense timing and push a crowd lie at the heart of the craft. Looking past graduation, Basta plans to pursue music production full time and is currently making primarily melodic house. Check out Kotier on Spotify! *** Creating a narrative on stage is no small undertaking. Sharing a part of yourself while simultaneously recognizing the needs of your crowd takes time and interpersonal skills that are often overlooked. As these three DJs exemplify, success lies not simply in the songs that are played, but in the bond that is formed between performer and crowd. Clara Corcoran ’25 ([email protected]) is looking for recommendations for her November playlist. 11.10.22: Mid November, Arts 11.10.22: Mid November, Crosswords 11.10.22: Mid November, Forum You must log in to post a comment. Is there a topic you think we should cover? An issue students are facing that needs to be explored? We’ll find the story. We also welcome Op-Eds. Submit these to [email protected]. We’d like to store a few cookies on your computer, but you can say no. 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WANE 15 Please enter a search term. Please enter a search term. by: Clayton McMahan Posted: Updated: by: Clayton McMahan Posted: Updated: FORT WAYNE, Ind. (WANE) — The University of Saint Francis (USF) announced Wednesday it will be moving forward with a “master plan” that will attempt to enhance the university’s main campus. Among those enhancements included the development of a centralized student center, which has an anticipated completion date of two to four years. The “master plan” includes both short-term and long-term goals, and the student center is considered to be the a priority of the short-term plan. “We at the University of Saint Francis are excited about moving ahead in heightening the campus experience for our students and working toward the long-desired launch of a student center,” said USF President Eric Albert Zimmer. Other initial parts of the “master plan” include improving campus entrances, gateways and signage, as well as taking some office functions out of Trinity Hall and replacing them with student engagement spaces. Long-term plans include investments in upgrading student residence halls and athletics. “We will put forth every effort into ensuring our current and future students achieve successes, and we will not veer from taking the necessary steps to produce essential higher education,” Zimmer said. USF will also work with the City of Fort Wayne to repurpose its downtown properties, including the USF Robert Goldstine Performing Arts Center. The university is currently working on funding options. Copyright 2022 Nexstar Media Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. Thanks for signing up! Watch for us in your inbox. Subscribe Now
WATCH LIVE Elon Musk told Twitter staff during an all-hands meeting that they need to return to the office full-time, or "resignation accepted." Elon Musk told Twitter staff during an all-hands meeting Thursday that they need to return to the office full-time, or "resignation accepted," he can be heard saying in audio obtained exclusively by ABC News. "Let me be crystal clear, if people do not return to the office when they are able to return to the office — they cannot remain at the company," Musk is heard in the audio telling an employee who asked about his new plans for a 40-hour workweek at the company during an all-hands company meeting. "End of story." MORE: Twitter's chief information security officer quits amid company turmoil Audio excerpts from the meeting were obtained first by ABC News via a lawyer representing former Twitter employees in a lawsuit against the company. ABC News has verified the authenticity of the audio. "Even if people returned to the office," a Twitter employee can be heard replying to Musk, "the offices are separate offices — we won't be in person anyways." "Yes," Musk responds on the audio. "But you can still maximize the amount of in-person activity." Musk continued throughout the meeting to compare the company to Tesla. "Tesla is not one place either, but you know, it's basically if you can, if you can show up at an office and you do not show up at the office, resignation accepted — end of story," Musk is heard saying. MORE: Twitter briefly rolled out gray 'official' check marks before Elon Musk changed his mind "There are plenty of people at Tesla and SpaceX that do work remotely… but it is on an exception basis for exceptional people — and I totally understand if that doesn't work for some people," Musk is also heard saying. "But that's the new philosophy for Twitter." Twitter began layoffs on Friday that will cut roughly half of its workforce, the company announced in an email, which ABC News reviewed. The lawsuit alleges that Twitter violated federal and California laws by not giving staff proper notice before termination. The lawsuit was amended this week to include Twitter's alleged unfair severance offers. Twitter hasn't responded to the lawsuit. MORE: Here's how Twitter employees are finding out they've been laid off as nearly 50% of workforce cut The attorney representing former Twitter employees in the class-action lawsuit, Shannon Liss-Riordan, said she plans to use Musk's words against him. "The audio makes clear that Musk's elimination of remote work, with no notice, is an effort to claim employees have resigned when, in fact, they have been pushed out, so that the company can try to avoid obligations under the WARN Act and promises regarding severance," Liss-Riordan told ABC News. "This new ridiculous move is just one of the schemes Musk has come up with in an attempt to avoid paying laid off employees what they are owed." Musk has implemented the same back-to-work policy at Tesla and SpaceX. Musk closed a deal to acquire Twitter in late October. Some of Twitter's top executives were fired, including CEO Parag Agrawal, chief financial officer Ned Segal, chief legal officer Vijaya Gadde and general counsel Sam Edgett. ABC News has reached out to Twitter. South Bay food banks work to meet increased demand this holiday Election results for key races across Bay Area, California Meta, Twitter, Stripe: Tracking 2022 Bay Area tech company layoffs
Follow us on: Follow us on: Follow us on: Kitco News Share this article: Editors Note: With so much market volatility, stay on top of daily news! Get caught up in minutes with our speedy summary of todays must-read news and expert opinions. Sign up here! (Kitco News) – On Wednesday, Kinross Gold (TSX: K, NYSE: KGC), one of the world’s largest gold miners, reported that the company produced 529,155 Au eq. oz. in Q3 2022 from continuing operations, a 61% increase compared with 328,409 Au eq. oz. in Q3 2021. Kinross said that the year-over-year increase in gold production was primarily attributable to higher production at Tasiast due to the temporary suspension of milling operations as a result of the mill fire in June 2021, at Paracatu due to an increase in grade and recovery, and at La Coipa due to the restart and mill ramp-up. According to a news release, the company’s all-in sustaining costs from continuing operations per Au eq. oz. sold were $1,282 in Q3 2022, compared with $1,369 in Q3 2021. Kinross added that during the third quarter, revenue from continuing operations increased to $856.5 million, up 47% compared with $582.4 million during Q3 2021. Importantly, the company’s reported net earnings from continuing operations were $65.9 million, or $0.05 per share for Q3 2022, compared with reported net loss of $72.9 million, or $0.06 per share, for Q3 2021. The increase in reported net earnings was mainly due to the temporary suspension of milling operations at Tasiast in June 2021, it said. Adjusted net earnings from continuing operations were $68.7 million, or $0.05 per share, for Q3 2022, compared with $11.2 million, or $0.01 per share, for Q3 2021. Kinross also announced that the company’s Board of Directors has declared a dividend of US$0.03 per common share for the third quarter of 2022. The company is expecting its 2022 production to be approximately 2 million Au eq. oz., mainly due to the temporary delays in La Coipa’s mill ramp-up and commissioning related to the Tasiast 21k project. Full-year production from continuing operations for the year ended December 31, 2021 was 1,447,240 Au eq. oz. Kinross expects to be slightly above its revised 2022 production cost of sales guidance of approximately $900 per Au eq. oz. and in line with its revised all-in sustaining cost guidance of approximately $1,240 per Au eq. oz. sold. President and CEO J. Paul Rollinson commented, “During the quarter, our operations increased production and lowered costs, primarily driven by higher grades at Paracatu, enhanced seasonal recoveries from our U.S.-based heap leaches, and the ramp-up at La Coipa, which progressed well and is expected to continue trending upwards with the mill averaging throughput levels of approximately 9,500 tonnes per day in October. Tasiast is on track to significantly increase production in the fourth quarter, with higher recoveries and increased throughput, which is expected to contribute to our strongest quarter of 2022.” He added that the company has returned approximately $300 million of capital to shareholders so far this year and expects to return a total of approximately $450 million by year-end through its share repurchase and dividend programs. Kinross is a Canadian-based global senior gold mining company with operations and projects in the United States, Brazil, Mauritania, Chile and Canada. For Kitco News
“I don’t want to be at the mercy of my emotions. I want to use them, to enjoy them, and to dominate them,” said author-playwright Oscar Wilde. The term Emotional Intelligence (EI) wouldn’t be coined until 90 years after his death, but Wilde certainly had the gist of what it meant to possess it. We know what an important tool EQ (Emotional Quotient) or EI is in the workplace, but applying it to your relationships can also ensure a fulfilling personal life.
A recent study conducted by the Korn Ferry Hay Group used data from 55,000 professionals in 90 countries. The findings? Women outperform men in almost every emotional intelligence competency (11 out of 12) except for emotional self-control, where no gender differences were observed. So how do we, as women, apply these heightened competencies to our personal lives, for better relationships with our partners, children, parents, siblings and even friends?
Practice self-awareness
Delhi-based Lata S, Founder-Director – MEQ Academy, Emotional Intelligence Trainer & Assessor, EQ Educator and Life Coach says self-awareness is the key. “Most of the time we blame others for our unhappiness. This is because of our own expectations. Women never ask for help. They keep working doggedly for ages, and then they’re suddenly tired. They feel like no one loves or cares for them. If they practice self-awareness, they can first figure out what they want and need first. The idea is to give up complaining, and instead work on yourself first.”
An article in Forbes by Dr Shaw Andrews says that men and women have different EQ strengths. It goes on to state how we are bombarded with both direct and indirect messages our entire lives about how we should behave – through our parents, family members, friends, teachers, coaches, magazines, books, movies, television and even the toys we play with. The article says, “Boys are socialised very early on to be competitive, confident, assertive, decisive and even aggressive. Girls are socialised to be nurturing, care about others, show emotions, get along and be empathetic. Girls learn that the process is more important than winning and that relationships are key.”
As a result, women always prioritise themselves last and end up feeling short-changed. Change this – you’re not obliged to make anyone else happy at the cost of your own happiness.
Start a handwritten journal
“Aatmanirbhar bano,” says Aditi Surana, High performance coach and Founder of APT mental gym. “You heard me right. Most people depend on their relationships to deal with their own emotions. Set out 15 mins a day to use handwritten journaling to find emotional release and resolve. Address your small emotional issues. This simple mental workout will make your emotional baggage much lighter.”
Not only does journalling provide a safe space for you to direct your emotions, it allows you to reflect on your own strengths, weaknesses and limitations. It means you’re also taking responsibility for how you feel and express yourself, and how that in turn affects everyone around you. In addition to pouring out your emotions, also set aside some time to write about the roles you fulfil in your personal life, how you feel about them, what works for you and what doesn’t.
Be an active listener
Empathy is an important component of EI. It means trying to put yourself in someone’s shoes to understand how they may feel. And empathy begins with listening actively. Surana says, “If you’re worried, overwhelmed and preoccupied then you cannot listen to anyone. Deep listening is an art. Filmmaker, author and artist Paromita Vohra once told me that ‘most people suffer as they only listen to the words in conversations.’ Active listening is about deeply listening to the words as well as observing the gaps. You can’t do it without genuinely being interested in people.” Lata S agrees adding, “We always tend listen less and reply more – in fact we listen only to reply!”
Respond, don’t react
It is human nature to react immediately and instinctively to both positive and negative words and incidents. Don’t. Restrain yourself, no matter how hard it is and process the information first, along with what it means. You should ideally respond from a place of logic, instead of a place driven solely by emotion. “Taking a small pause for at least six seconds – because our emotions take this long to sink in – it really helps,” says Lata S. “Take a deep breath and count from 10 to 1. During this time, think about whether your reaction is justified or appropriate in this situation. Many times, situations actually don’t even need a reaction. Of course, developing this trait takes time – it doesn’t happen overnight or on day one. But take that first step towards it.”
Work out your EQ
Rome wasn’t built in a day, and neither can your control over your emotions. Developing your EQ is much like maintaining physical fitness. You first have to become optimally fit, and then maintain that. Says Surana, “EQ is a muscle. You need to build it. This one skill you cannot practise in isolation… I have created a small workout that you use in each and every conversation. Ask yourself three questions at the end of each interaction – Was I actively listening? Was I triggered? What else could I have said or done?” Answering these questions gives you clarity on what you can do differently to enhance your EQ.
Embrace conflicts
Our first response is always to defend ourselves. That’s not necessarily wrong, but when we are trying to put relationships ahead of individuals, the point might be lost. Defence is fine, as long as it is backed by actual logic. “Let’s accept it – you can’t avoid conflicts,” says Surana. “It is an essential part of being in any relationship. Most people run away from the fights. Do you do that? Stop doing it. Avoiding conflicts festers them more. Dealing with them can be painful like dressing a wound, but if done correctly, with each dressing it starts healing. The quality of your relationship is dependent on how healthy your fight is.”
Subscribe to daily business and company news across 19 industries For team members to excel, be challenged, and feel like they have a purpose in their job, leaders must foster an environment and culture that allows them to bring their best self to the table. Leaders must constantly remember that the way you lead, the things you do and say, affect how others feel on the inside. EQ (Emotional Intelligence) becomes crucial.
What do you say when a co-worker has missed a deadline three times in a row in the past week?
What should you do if the team feels unmotivated because you decided to go back to the office full-time?
Or when they are waiting for someone else to act rather than taking responsibility for improving a client’s situation.
On the other hand, do you acknowledge the team’s modest gains and not just focus on the big stuff?
One of my favourite quotes is Viktor Frankl’s words
Between stimulus and response there is a space. In that space is our power to choose our response. In our response lies our growth and our freedom.
This is sometimes easier said than done. By Michelle Moss 23 Oct 2019 We often jump to a conclusion and easily take things personally. Reframe your thinking by considering what other possible reasons may be for the person to act the way they are behaving. A level of self-awareness is also hugely beneficial. For example: ‘What is my role in this scenario? How has my behaviour impacted the other person’s view – without being aware of it?’ Never underestimate the impact of taking a few deep breaths to slow down your heartbeat and be able to evaluate what is happening and what will be the best way to respond to this situation. Ask questions to truly understand the other person’s perspective. Help me understand why do you want to achieve XYZ? What is the real issue for you? If you choose X what are you saying no to? By Julia Kerr Henkel 3 May 2021 When you are triggered, you are in fight, flight, freeze or fawn state. A chemical reaction results in our neocortex (thriving, problem-solving part of the brain) to not functioning optimally. Instead of allowing an unconscious habit to drive your reaction, reactivate the neocortex and be mindful in choosing how you want to respond. To reactivate your neocortex, ask yourself a question (such as: What is the real issue for me? What might support a different explanation? What if this was someone else behaving in this way? What is my behaviour communicating?) in order to notice what is really going on in the moment.
5. Name the emotion
It is helpful to be able to name the emotion you are experiencing and consider what is the emotion trying to tell you. Instead of being angry, perhaps you are disappointed with how your idea wasn’t taken despite you being verbally told that your idea was the best idea. Remember, an experience is made up of four elements – what am I observing, thinking, feeling and wanting. When sharing your experience, a good start is to start with the “I”. For example, when the project’s team leader did not schedule sufficient time on the agenda: “I noticed that this is the third time that we didn’t have sufficient time allocated to the brainstorming topic. I feel disappointed that my idea wasn’t heard after the request to make the research a priority. How can we ensure we have sufficient time allocated to this agenda-point moving forward?”
German dance music legend ATB returns to the USA for the continuation of his acclaimed tour in support of the recent smash single ‘Your Love (9pm)’ with Topic & A7S. This time, fans in Orlando (EDC), Costa Mesa, Seattle, and San Bernardino (Dreamstate) will experience a set that encompasses music from ATB’s 25 years on top of the game. Coinciding with the first part of the USA tour, in late 2021, ATB launched “The DJ EP Vol. 01.” This EP features emotional and modern dance vibes, where ATB combines his signature melodies with pushing basslines. The EP is the follow-up to the singles “Your Love (9pm)” and “Like That”. ATB’s collaboration with fellow German DJ Topic and Swedish singer A7S “Your Love (9pm)” reached more than 450 million Spotify streams worldwide, charted #1 on the German airplay charts, #4 on the worldwide Shazam charts, and #6 on the official German charts. ATB had his big breakthrough moment with his hit single “9pm (Till I Come)” in 1998. The track took the German producer and DJ to the top of the UK singles charts becoming the first dance song to reach number 1 in the UK. But that’s not all: ATB’s debut single also peaked in several top 10 charts worldwide, including the US Billboard charts, and opened the door for dance music on mainstream radio. His creative spirit continued to flourish with an impressive series of hits including “Don’t Stop”, “Ecstasy”, “Let U Go”, “What About Us”, “Move On” and “When It Ends It Starts Again”. A total of 10 studio albums and over 55 gold and platinum awards in numerous countries underline the German’s status. On top, ATB has been non-stop in the renowned DJ Mag Top 100 ranking for almost two decades now. ATB USA Tour Dates November 11 – Orlando, FL – EDC November 12 – Costa Mesa, CA – Time November 18 – Seattle, WA – ORA November 19 – San Bernardino, CA – Dreamstate Buy Tickets Here
Award-winning Off-Broadway theater, Urban Stages, will host several special post-show conversations following performances of Eleanor and Alice: Conversations Between Two Remarkable Roosevelts by Ellen Abrams and directed by Urban Stages Founder/Artistic Director Frances Hill. Performances begin Wednesday, November 16 in advance of its opening night on Sunday, November 20, 2022. The play will run through December 4, 2022. Tickets can be purchased by visiting urbanstages.org. Starring Tony Award-Winner Trezana Beverley (Broadway: For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf) as Eleanor Roosevelt and Drama Desk Award-Winner Mary Bacon (Public Theatre’s Coal Country) as Alice Roosevelt Longworth, Eleanor and Alice centers on two of the most influential women of the 20th century. Throughout the historical drama, Eleanor and Alice Roosevelt – friends, cousins, and rivals – meet at eight crucial moments over the course of their lives. They feud, laugh, commiserate, and argue over their husbands, children, the nature of politics and the state of the world. One a Democrat and one a Republican, throughout nearly 60 years of meetings they witness a changing world from their own unique vantage points. Through their accomplishments, Eleanor and Alice ultimately help build a foundation that benefits women in politics today. Post-Show Conversations
Thursday, November 17, 2022: Leading Presidential Historian Jonathan Alter
Jonathan Alter is a bestselling author and Emmy Award-winning television producer. He was a columnist and editor at Newsweek. His most recent book is His Very Best: Jimmy Carter, A Life, published in 2020. He has also written two books about President Obama, and a book about FDR, titled, The Defining Moment: FDR’s Hundred Days and the Triumph of Hope, a New York Times Notable Book. He is a contributing correspondent on NBC and appears frequently on NBC, MSNBC, and CNBC.
Monday, November 21, 2022: Franklin Roosevel III and his wife Grace Roosevelt
Franklin Roosevelt III is the grandson of President Roosevelt. He is a retired American economist, who taught for many years at Sarah Lawrence College and was the chair of the social sciences department. He describes himself as a “radical” or “alternative” economist. He is the author or co-author of 3 books. Grace Roosevelt taught for 20 years at New York University and was also an Associate Professor of History and Education at Metropolitan College of New York for two decades. She is a co-founder of the New York City chapter of the Living New Deal, and the author of Reading Rousseau in the Nuclear Age and a history of Metropolitan College of New York, Creating a College That Works. Steve Israel was an 8-term Democratic Congressman from the 3rd District of New York, and retired, as he likes to say, “undefeated and unindicted. ” He was chairman of the Democratic Congressional Campaign Committee. He is the inaugural director of the Institute of Politics and Global Affairs at Cornell University. He is the author of two satirical novels about politics, The Global War on Morris, and Big Guns. In 2021, he opened Theodore’s Books, an indepen-dent bookstore in Oyster Bay New York, named for famed town resident, Theodore Roosevelt.
Thursday, December 1, 2022: Eminent FDR Historian Geoffrey Ward
Geoffrey Ward is a leading American historian. He has won 7 Emmy Awards, 5 of them in the course of his almost 40-year collaboration with documentarian Ken Burns. A former editor of American Heritage magazine, he is the author of twenty books, including Roosevelts: An Intimate History and an outstanding two-volume biography of Franklin Roosevelt, Before the Trumpet and A First-Class Temperament Helen Rosenthal served as City Councilwoman for 8 years for Manhattan’s 6th District. She also served as an assistant director of the New York City Mayor’s Office of Management and Budget, where she managed the city’s healthcare budget under mayors Ed Koch, David Dinkins, and Rudy Giuliani. Elected to the City Council in 2013, Helen’s vote total in the general election was the highest of any candidate running for City Council in New York City. She was ranked first (tied with Keith Powers) as the top lawmaker on the New York City Council.
Saturday, December 3, 2022 (7:30 PM): Award-Winning Historian Brenda Wineapple
Brenda Wineapple is the author of six outstanding works on American history and literature including, most recently, The Impeachers: The Trial of Andrew Johnson and the Dream of a Just Nation and Ecstatic Nation: Confidence, Crisis, and Compromise, 1848-1877, which was a New York Times Notable Book of the Year. Other subjects have included Emily Dickinson, Gertrude Stein, Jean Genêt, Walt Whitman, and Nathaniel Hawthorne. The recipient of numerous awards and prizes, including a Guggenheim Fellowship and the Literature Award from the American Academy of Arts and Letters, Wineapple has also taught literature and writing at Columbia, the New School, and Sarah Lawrence. Ellen Abrams‘ plays have been performed in theaters throughout the East Coast and her short play, Lizzie Borden Gets Engaged, has recently been published by Smith & Kraus. Previously, Eleanor and Alice was performed as an online radio play and as a staged reading at FDR 4 Freedoms Park (Roosevelt Island) through Urban Stages’ Outreach program. The creative team includes Frank J. Oliva (Scenic Designer), John Salutz (Lighting Designer), David Margolin Lawson (Sound Designer), Kim T. Sharp (Video Designer), Fiona Misiura (Production Stage Manager), Kate Gavin (Assistant Stage Manager), Sylvia Haber, Perpetuart (Graphic Design) and more to be announced. The Urban Stages team includes Frances Hill (Artistic Director), Antoinette Mullins (Development & Literary Director), Olga Devyatisilnaya (Company Manager/Financial Administrator), Ilanna Saltzman (Outreach Director), Bara Swain (Creative Consultant), Deirdre M. Cossman (Marketing), and Disnie Sebastien (Social Media). Bios:
(Playwright) play Eleanor and Alice was presented as an hour-long reading on Roosevelt Island in June 2022 and was produced as a radio play by Urban Stages in March 2021. Her play, An Inconvenient Princess, has been workshopped twice with Urban Stages Theatre, in 2021 and 2022; Her short play Bernie and Carlo Play Canasta received an Honorable Mention from Broadway On-Demand’s first video competition in 2021. Her short plays Lizzie Borden Gets Engaged and Liars Anonymous were produced by Barrington Stage in March of 2021 and 2022, respectively. Her full-length work, Intentions, was a semi-finalist at the O’Neill Theatre Festival. Two of her short plays, Hamlet Investigations, Inc. and Lizzie Borden Gets Engaged, have been published by Smith and Kraus, and her full-length play, Giving, was published by Next Stage Press. Her play for high school students, Take a Seat, has been published by Big Dog Publishing. (Director & Urban Stages Founding/Artistic Director) began her theatrical career in California as an actress. Since 1983, Ms. Hill has overseen more than 600 staged readings/workshops and 90 productions of new works for the stage. She has directed over 30 workshops and productions. Her favorite directing credits include: Gino DiIorio’s Apostasy, Roma Greth‘s Our Summer Days, Jim Lehrer‘s Chili Queen, (directed at Urban Stages and the Kennedy Center), John Picardi’s Seven Rabbits on a Pole and The Sweepers (directed at Urban Stages and Capital Rep); Comfort Women by Chungmi Kim (Urban Stages 2004), 27 Rue De Fleurs, My Occasion of Sin, Mabel Madness and Dogs of Rwanda. Two of her plays have been produced-Our Bench and Life Lines. Under the guidance of Ms. Hill, Playwrights’ Preview Productions/Urban Stages has moved two plays into commercial Off-Broadway successes: Minor Demons opened the new Century Center Theater and Men on the Verge of His-Panic Breakdown won an Outer Critic’s Circle Award while playing to capacity audiences at the 47th Street Theater. Urban Stages’ African American Poets as Playwrights won eight Audelco Nominations, and Coyote On a Fence received two Drama Desk nominations and a Pilgrim’s Project Award. Eisa Davis‘s Bulrusher was one of three plays nominated for a Pulitzer Prize. A 2010 production of Langston in Harlem won several Drama Desk nominations, a John Calloway Award, and several Audelco nominations, including a win for best music production of the year (2010), along with several other awards. Character Man by Jim Brochu (2014) was nominated for a Drama Desk, and Outer Critic’s Circle Award and Mabel Madness by Trezana Beverley (2016) was nominated for an Audelco Award. is an award-winning, not-for-profit, Off-Broadway Theatre Company founded in 1984 by current Artistic Director Frances Hill. For over 35 years, Urban Stages has produced dozens of world, American, and N.Y. premieres, including Pulitzer Prize finalist Bulrusher (2007) by Eisa Davis. We have been honored with awards, nominations, and recognition from the Drama Desk, Obie Awards, Audelco, Outer Critics Circle, and more. Plays produced at Urban Stages also often move on to larger venues and/or publication. Charmed Life from Soul Singing to Opera Star by Lori Brown Mirabal (2021) and Bars and Measures by Idris Goodwin (2019) were critically acclaimed. Death of a Driver (2019) by Will Snider went on to a regional production at The Salt Lake Acting Company. In our 2017/18 season, A Deal by Zhu Yi (made its world premiere at Urban Stages) toured China, and Dogs of Rwanda by Sean Christopher Lewis (which made its New York premiere at Urban Stages) toured regionally. Other notable productions include the world premiere of the musical Langston In Harlem by Walter Marks (music and book) and Kent Gash (book and direction) garnered a Drama Desk nomination, a Joe A. Calloway Award, and 4 Audelco awards including Best Musical Production of 2010. Critically acclaimed hits Mabel Madness by Tony-winner Trezana Beverley (2016), Communion by Daniel MacIvor (2016), and Angry Young Man by Ben Woolf (2017), which transferred to the John Drew Theatre at Guild Hall in East Hampton, have premiered at Urban Stages. In addition, Unseamly, by Oren Safdie (2015), was a New York Times Critics’ Pick. Jim Brochu‘s Character Man (2014) was nominated for a Drama Desk, and an Outer Critics Circle award for Best Solo Performance, and Honky (2013) by Greg Kalleres saw a regional run at San Diego Rep and was televised nationally on PBS in late 2015. 1996’s Men on The Verge of A His-panic Breakdown by Guillermo Reyes and Minor Demons by Bruce Graham both moved to commercial theatres. Chili Queen, a play by newscaster Jim Lehrer, transferred to the Kennedy Center in Washington, D.C. (1989). My Occasion of Sin (2012) by Monica Bauer won critical acclaim when it moved to Detroit Rep. Bill Bowers has toured regionally and internationally with his two Urban Stages premieres, blending mime and theatre – Beyond Words (2012) and Under a Montana Moon (2002)! Some Urban Stages premieres have even been developed into film and television projects, such as Scar by Murray Mednick, Conversations with The Goddesses by Agapi Stassinopoulos, and Cotton Mary by Alexandra Viets. In addition to plays and musicals, we hold an annual music festival – Winter Rhythms – that features both famous and rising cabaret musicians, lyricists, and other music artists. In 2016, Winter Rhythms was honored with the Bistro Award for Outstanding Series, and in 2015, it received the Ruth Kurtzman Benefit Series M.A.C. Award from the Manhattan Association of Cabarets and Clubs. ¡AMERICANO! The Musical To Receive Two Awards From The Hispanic Organization of Latin Actors Lesli Margherita, Simon Pearl & More Join YOUR OWN THING Benefit Performance at Red Bull Theater Julia Mattison and Joel Waggoner’s Viral ADVENT CAROLNDAR to Have First-Ever Live Shows in December Video: First Look at the US Premiere of TROJAN WOMEN at BAM Most Popular
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The Women’s Giving Circle celebrated its 20th year of funding on Nov. 4 and awarded $100,000 to nine university programs and two endowed scholarships on the U of A campus. The U of A Women’s Giving Circle celebrated its 20th year of funding innovative projects, programs and research last week by awarding $100,000 at its annual fall voting event. This year’s funding brings the group’s total to more than $1.7 million awarded since 2002. The Women’s Giving Circle is made up of U of A alumni, faculty, staff and friends of the university and was created to encourage women as philanthropic leaders. Members of the circle make yearly contributions to generate funds for the awards, and these contributions are pooled together and awarded annually to selected recipients who complete the grant proposal process. This year’s grant recipients were chosen from 18 proposals, with 13 finalists selected through an online vote. Women’s Giving Circle members heard presentations from the finalists as part of the event and then voted to select the winning programs. The amounts of the nine grants awarded this year ranged from $6,000 to nearly $20,000. The recipients of funding this year include: No-Auditory-Um: Assessing the Acoustic and Spatial Interior Environments in University of Arkansas’ Auditorium — A proposal presented by Jennifer Webb in the Fay Jones School of Architecture and Design, Rachel Glade in the College of Education and Health Professions and alumna Jamie Zakovec, received $19,874. This research project will evaluate acoustical conditions in the university’s largest auditoriums to identify interventions enhancing the academic performance and social inclusion of students and faculty who have hearing loss. Evaluation of E.S.T.E.E.M., a Program for Improvement of Self-Esteem in Low-Income Women — A mentorship and educational program designed to help women with limited resources develop the soft skills and knowledge needed to increase confidence and thrive in life. This proposal received $11,000 and was presented by Ananda Rosa in the School of Social Work, Merry Moiseichik in the College of Education and Health Professions and Sheila Posey, who serves as the chief inspiration officer of E.S.T.E.E.M. – Empower Sisters Together to Encourage, Engage, and Move. Wander-Thirst: A Studio Album of Florence Price’s Choral Music by the Schola Cantorum — A proposal presented by Stephen Caldwell in the Fulbright College of Arts and Sciences received $10,000. The funding for this project will assist with production costs, including recording and back-end finishing, for the Schola Cantorum’s recording of choral music by Florence Price, an historical marginalized Black composer from Arkansas. Cultivating Sustainable K-12 AGRI-STEM Pathways Through CommUniversity Partnerships — A program designed to increase the number of underrepresented students pursuing agricultural degrees and expand the community of diverse agricultural leaders in Arkansas through immersive hands-on learning and mentorship opportunities. Presented by Jacquelyn Mosley in the School of Human Environmental Sciences; Katherine Dilley in the Dale Bumpers College of Agricultural, Food and Life Sciences; and Wendell Scales, who serves as the deputy director of innovation for Arkansas Lighthouse Academies. This proposal received $10,000. Making “Sense” of Sensorimotor Rehabilitation in Virtual Reality — A proposal presented by Andres Pena and doctoral fellow Aliyah Shell in the Institute for Integrative and Innovative Research received $10,000. This research project aims to advance the use of virtual reality training in sensorimotor rehabilitation for people who incur a neurological disorder resulting in greater access to rehabilitation, improving functionality, self-confidence and the quality of life. Art/Works! — An arts integration job training program for at-risk high school students who learn about the daily operations of visual and performing arts facilities from experts in the field, serve the community by mentoring elementary students and perform professional duties for performances and art exhibits at the Faulkner Performing Arts Center. This proposal received $10,000 and was presented by Nicole Leachman at the Faulkner Performing Arts Center and Martha Sandven and Hung Pham in the College of Education and Health Professions’ Center for Children and Youth. Weight Stigma Wednesday: An Educational Community Program — A proposal presented by Magdalena Arroyo, trainer facilitator for the IDEALS Institute, and Meredith Moore, mental health clinician at the Pat Walker Health Center, received $9,500. This innovative educational community program aims to reduce disordered eating, eating disorders and weight stigma resulting in the improvement of the lives of women on campus. Supporting Individuals With Neurodiversity in the Transition to Independent Living and the Workforce: Community Engagement in Program Development for EMPOWER at the University of Arkansas — A project to evaluate and create certificate programs centered around hospitality and human development giving individuals with neurodiversity the education and skills to gain paid employment upon completion of the program. The proposal presented by Kelly Way and Jennifer Becnel in the Dale Bumpers College of Agricultural, Food and Life Sciences received $7,000. Dream B.I.G. Service and Education Project — A proposal presented by Grace Martin, Dream B.I.G. (Believing In Girls) student board member, received $6,000. Dream B.I.G. matches U of A women as mentors of middle school girls at J.O. Kelly Middle School in Springdale, Arkansas. This program will allow mentors and mentees to identify a community need and lead a tangible service project cultivating collaboration, team building, problem-solving and leadership skills in all participants. The Women's Giving Circle Founders Endowed Advance Arkansas Scholarship and the Women's Giving Circle Endowed Scholarship in Nursing each received $3,313 to continue providing scholarship support to new, returning and transfer students from Arkansas who demonstrate financial need and have a record of academic success and community leadership. “The Women’s Giving Circle is celebrating the incredible accomplishment of 20 years of giving,” said Kelly Chaney, WGC president. “For 20 years, this group has made a significant impact on people in Arkansas and across the country by providing funding to 145 projects and three scholarship recipients. We are thrilled that we had so many worthy projects to support this year with our pooled resources. “I am proud to be a part of this group of philanthropic women who make such a difference in the lives of others by coming together each year to cast their vote where everyone has a voice. As we think about our next 20 years, I invite more women to join and make a difference by funding these innovative projects and research.” The Women’s Giving Circle was established in 2002, and its founding members include Sylvia Boyer (B.S.E.’63), Pat Cooper, Johnelle Hunt, Debbie King, Mary Trimble Maier (B.A.’49), Julia Peck Mobley (B.S.E.’65), Harriett Phillips (B.A.’72), Lynne Walton (B.A.’70), Margaret Whillock (B.S.E.’57), Mary Lib White and Donna Axum Whitworth (B.A.’66, M.A.’69). Lifetime members of the circle include Carol S. Adams, Nancy Bittle, Beth Carter, Kelly Chaney, Charlotte Downs, Sandra K. Edwards, Margie Pomfret Farber, Denise Garner, Martha Cornwell Haguewood, Melissa McIlroy Hawkins, Denise Henderson, Trish Brown Joyner, Ranu Jung, Debbie King, Kellie Knight, Lee Lane, Marybeth Mayfield, Judy McDonald, Julia Peck Mobley, Janet Parsch, Connie Pate, Harriett Phillips, Karen Pope, Cindy Pugh, Catherine Ross, Susan Scott Ross, Jane Shipley, Sandy Steinmetz, Mary Lib White, Dina Wood and Ann Marie Ziegler. About the University of Arkansas: As Arkansas' flagship institution, the U of A provides an internationally competitive education in more than 200 academic programs. Founded in 1871, the U of A contributes more than $2.2 billion to Arkansas’ economy through the teaching of new knowledge and skills, entrepreneurship and job development, discovery through research and creative activity while also providing training for professional disciplines. The Carnegie Foundation classifies the U of A among the few U.S. colleges and universities with the highest level of research activity. U.S. News & World Report ranks the U of A among the top public universities in the nation. See how the U of A works to build a better world at Arkansas Research News. Emily Money, managing director Women's Giving Circle 501-916-2021, [email protected] On this Veterans Day, we’d like to take a moment to honor a few veterans in our campus community that have served or are still serving our country. "Cultural Mappings of Cherokee Village, Arkansas" and "A Social Center for the Little Rock Air Force Base: The Shed" are finalists for an international design awards. Winners to be announce Nov. 17. This year's theme is "Internationality: Arkansas in the World, the World in Arkansas," recognizing the reciprocal nature of international education and its impact on Arkansas and the world around us. All benefits eligible faculty and staff need to make sure that they complete their enrollment by the deadline, Nov. 14. The marketing and communications team at the Global Campus accepted the unit's Lightbulb Award in October for organizing and leading the Razorbug Diploma Tour.
The European Space Agency this week released five minutes of haunting, crackling audio — revealing what Earth’s magnetic field sounds like. Earth’s internal magnetism, called the magnetosphere, generates a comet-shaped field around the surface of the planet that provides protection from harmful solar and cosmic particle radiation, as well as erosion of the atmosphere by the solar wind, according to NASA. Researchers from the Technical University of Denmark took magnetic signals, measured by ESA’s Swarm satellite mission dedicated to surveying the magnetic field, and converted them to sound. The resulting five-minute audio includes eerie creaks and crackling sounds, as well as deep breathing-like sounds that listeners on social media described as “petrifying” and “spine tingling freaky.” Since the discovery was revealed on October 24, loudspeakers at Solbjerg Square in Copenhagen, Denmark, have broadcasted the recording three times a day. Plans are to continue playing it each day at 8 a.m., 1 p.m., and 7 p.m. through October 30. “We gained access to a very interesting sound system consisting of over 30 loudspeakers dug into the ground at the Solbjerg Square in Copenhagen,” musician and project supporter Klaus Nielsen, from the Technical University of Denmark, told the European Space Agency about the live installation of the recording.
“The rumbling of Earth’s magnetic field is accompanied by a representation of a geomagnetic storm that resulted from a solar flare on 3 November 2011, and indeed it sounds pretty scary,” Nielsen added. Representatives of the European Space Agency and of the Technical University of Denmark did not immediately respond to Insider’s requests for comment. Read next Listen to The Refresh, Insider’s real-time news show Listen to The Refresh, Insider’s real-time news show
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