Two years before Star Wars: Episode IV – A New Hopeby Steven Spielberg Jaws broke box office records around the world and launched the blockbuster era. The story of a great white shark terrorizing a seaside resort town became a phenomenon and topped the box office charts for a brief period until A new hope dethroned two years later. It did so after a difficult development process that became Hollywood legend.
Jaws‘Magic relied on several fortuitous circumstances. This included things like the film’s mechanical shark breakdown – forcing Spielberg to rely on a much more effective Hitchcockian suggestion – and, of course, John Williams’ score. This also included the movie poster, which was so iconic on its own that it never needed to be updated. Turns out he wasn’t made for the movie. Spielberg inherited it from the source material.
RELATED: Jaw’s Real-Life Inspiration Is Much Less Terrifying Than You Think
Bantam Publishing published Peter Benchley’s novel Jaws in 1974, and it became an instant hit, prompting Hollywood to grab the rights. The book differs from the film in many ways – containing several continental subplots involving the town’s corrupt mayor and a love triangle between Matt Hooper and the Brodys – none of which were the story’s main selling point. The cover promised a killer shark, and the visual it used was impossible to resist.
The hardcover copy of the book featured a protean version of the iconic image, with artist Paul Bacon using gray images on a black background to frame the scene. But it’s the paperback cover that really struck a chord, shifting from black to white and hinting at some terrifying detail. Artist Roger Kastel was commissioned to create the image, according to a 2015 New York Post article.
RELATED: Steven Spielberg Used His Own Money To Do Jaw’s Scariest Scene
Kastel leafed through the first pages of the novel and quickly found her scene: the shark attack on swimmer Christine Watkins that opens the story. He used model Allison Maher to serve as Watkins, swimming happily along the surface of the ocean as an impossibly large shark rises unseen from the depths toward her. It was a terrifying image that, among other things, helped the novel overcome its usual lack of focus.
Spielberg and Universal Pictures recognized the true selling point of the story and stripped the novel of superfluous subplots. With the shark now in the foreground, the novel’s cover became all the more compelling. Bantam let Universal use the image for the poster, rightly considering it free publicity. It became an instant hook for Spielberg’s blockbuster, and it remains one of the greatest promotional artworks of all time.
Unfortunately, Kastel’s original painting has been lost to time, with the artist unaware of its exact location and the Post article reporting its whereabouts unknown. This is shocking given his heritage and instantly recognizable status. Much like Williams’ score, the poster came to sum up the film. The Library of Congress has selected Jaws for the National Film Registry in 2001. We hope the poster was there.
Darya fans recently received good news about the project from MTV Entertainment Studios Jodie spin off. While it certainly took a while to get there, the project apparently took on its final form as an animated film after being developed into a series. The movie still doesn’t have a release date, but considering it’s already got a full voice cast in place, it seems safe to say that Jodie will come sooner rather than later. That would make it the first Darya spin-off to see the light of day – but not the first to be attempted.
Around the period Darya wrapped up its first run 20 years ago, there were plans for a spin-off series focusing on Mystik Spiral, the local grunge band fronted by Trent Lane – the older brother of Daria Morgendorffer’s best friend Jane Lane, and Daria’s crush. However, MTV mystical spiral was ultimately not produced…although a pilot script was eventually released to the public.
RELATED: Daria: Jodie’s Planned Spin-Off May Be a Big Revival – Here’s Why
Created by Glenn Eichler and Susie Lewis Lynn, Darya premiered on MTV in March 1997 and ran for five seasons until 2001. The show ended with its second TV movie Is it still college?which first aired in January 2002. Considering what a drastic departure it was from its source material, you’d be forgiven for forgetting that Darya was a Beavis and Butthead spin-off, coming a few years after Mike Judge introduced the world to the world’s two dumbest teenagers.
Darya followed the title character and his family after they moved from Beavis and Butt-Head’s hometown of Highland to the more upscale suburb of Lawndale. Thanks to this change of scenery, Daria met a slew of new people including Jodie Landon, Brittany Taylor, Kevin Thompson and, of course, Jane and Trent. Introduced in Season 1, Episode 2, “The Invitation,” Trent is best described as the personification of the 90s grunge craze.
RELATED: Will a King of the Hill Revival Force Bobby to Grow Up?
In his twenties and out of work, Trent dreamed of becoming a great musician – although he never seemed particularly motivated to make those dreams a reality. In his very first appearance, he claimed that sleeping with a guitar in your hands counts as practice, as long as you don’t drop it. Similar terse claims followed.
During the show, viewers were introduced to Trent’s band Mystik Spiral, who often thought about changing their name, but also failed to do so. The group has never been described as particularly great, with Trent himself once joking that he would have dropped out of one of Mystik Spiral’s shows if he hadn’t been a member. They still managed to book gigs fairly regularly, which must count for something.
RELATED: That Time Superman Was Trapped On…MTV?!
Based on mystical spiral pilot script – which was published on the Daria: The Complete Animated Series DVD set in 2010 – spin-off reportedly broke with Darya almost the same way Darya diverged from Beavis and Butthead. The pilot opens with the eponymous band performing their new song “Incontinent Love” for a crowd of seven. In an attempt to breathe new life into their careers, they leave Lawndale in their backsight and move to the town of Mirage. Moreover, just like how Darya never directly mentioned the characters of Beavis and Butt-Head, Daria and Jane are conspicuously absent from the mystical spiral pilot.
In addition to sharing the script itself, Eichler provided background information on the abandoned spinoff. The screenplay was actually the third draft he had written. Eichler remembers giving this draft to MTV around March 2002 — about two months later. Darya ended. Shortly after, MTV Animation shut down and the spin-off was never made. According to Darya co-creator, “Proofreading [the script] today, my only regret is that I never got to hear ‘Incontinent Love’ set to music.” But if Beavis and Butt-Head can get another movie, which contains a Daria reference, maybe it will have another chance one day.
There is a moment of hesitation when I ask Aingeala Flannery if she would prefer to sit inside or outside. We meet at the Coastguard Cultural Center cafe in Tramore, Co Waterford. Outside, picnic tables overlook the choppy, choppy Atlantic and the shore that curves like an accusing finger. Clouds are sliding across the sky and there is an imminent threat of rain.
The interior offers guaranteed warmth and no chance of the tape recorder getting wet. But the tables are close together and the café is crowded. The people sitting with pots of tea and scones don’t look like tourists, which means they’re probably residents of the town that inspired Flannery’s first novel, The Amusements. She looks around for a second and decides we’ll risk staying inside.
She seems a little more concerned with how the novel is received by locals than how it will be received by literary critics. “I hope if people here read it, they will see it as a loving portrait. And it is fiction. It’s not a travelogue,” she says once seated.
The people of Tramore need not worry. The Amusements is a deliciously delicious and warmly empathetic jaunt through low-stakes scandals, bitter heartbreaks, rude awakenings and redeeming moments in the lives of the inhabitants of a place that could be anywhere, and that is both quite particular to this Victorian seaside town. .
Flannery was born in the city of Waterford and spent her early childhood on an estate near the glassworks, before moving first to rural Kilkenny aged eight and then to Clondalkin. She never returned to Tramore except for the occasional holiday, but the place impressed itself on her in her early childhood. She seems to have absorbed the town’s dialect and eccentricities almost by osmosis, listening to the conversations of her mother and aunts. “That’s what I grew up listening to. I knew their accents. I knew their attitudes and opinions. It’s not based on my family, but I could hear their voices,” she says.
As a journalist with private ambitions to write fiction, Flannery is not unique. But a few things set it apart. The first are the efforts she made to get there. Five years ago, she quit her 16-year job as editor and producer with Today FM, a role she loved. She gave up several freelance gigs, including a column at a restaurant, and took a part-time job in the arts to allow her to pursue fiction while her son, then 10, was away. school. “This [got] at the stage where I was well into my 40s and I thought to myself, am I really going to do this one day? I’m not until I do it,” she says.
“It was a really big financial decision. And it didn’t really work out. I realized in the summer that we didn’t have any money. So I Airbnbed my house, and we did some surfing with friends for the summer. My son was quite young so it was a bit of an adventure for him, and luckily I have friends who have much nicer homes than me. And they all have pets and they were on vacation” and needed someone to take care of the house.
She insists it was less stressful than it looks. “I don’t worry much. I don’t care about money. I have a very old car. I don’t care about clothes. I don’t care about vacations. I care about having a roof over my head and loving what I do every day. And my son is fine. And, listen, we have to stay in very nice houses. I had to move out of my house, but I was able to go back in September. I mean, I wasn’t homeless.
It’s just a shame, she laughs, “I wasn’t better at math and personal finance.”
She texts me later to add that an Arts Council Literature Fellowship she got in 2020 and 2021 kept her afloat. “I don’t believe I would be able to juggle and make ends meet going into book two without it.”
Taking such a big leap of faith meant “I needed to make it work. There was no faffing around. I was quitting a job where people would cut their arm off, so it had to work.
The second thing that sets her apart is that she actually finished a novel and got it published. The third is that it’s wonderful. Her writing has been compared to William Trevor – by no less a writer than Anne Enright – and, more than once, to Elizabeth Strout.
Both comparisons delight her. Strout is one of her favorite novelists and in the thanks she writes The Amusements owes thanks to William Trevor’s devastating short story, Honeymoon in Tramore. Flannery had worked on an earlier novel which was shortlisted for the 2018 Irish Writers Center Novel Fair and eventually got it into the much sought after MFA in Creative Writing at University College Dublin, “but it didn’t work out. J I really struggled with that.
She came across the news about Trevor. “I had never read anything that happened in Tramore, which surprised me. It’s so generous to writers, there’s so much color here, so much history. And I just thought, wow, the writers really missed that. I will try to do it; I’m going to write a Tramore story.
His first “Tramore story” was Court Order which won the Bath Short Story Award. Another Tramore story followed, Visiting Hours, about a little girl called Helen Grant who goes to visit her father in hospital in the weeks before Christmas, which won the 2019 Harper’s Bazaar short story contest. She tried to go back to the novel she was working on, “but Helen wouldn’t get out of my head.”
Another story followed – Kamikaze, this one up for the Francis MacManus Award – “and I found myself thinking, is that Helen in this story? And then I realized, it’s not Helen, it’s Helen’s friend. At this point she realized, “It was no longer a collection of short stories, it was a composite novel.”
Eventually she started to sew all the threads together. What emerged was a rich tapestry of stories with a cast of interconnected characters snaking through the pages, showing up in places that surprised even Flannery. “It was like knitting an Aran sweater and dropping a stitch somewhere here and having to go back,” she says. “I had all the post-its. I had Venn diagrams, which was ridiculous because I suck at math. In the end, I got chalkboard paint and painted a wall in my kitchen. It was pretty ugly, but it really worked.
Flannery did not have a book education. “My parents weren’t readers. There were only two books in our house, Brown Lord of the Mountain by Walter Macken and Light a Penny Candle by Maeve Binchy.
But there were always newspapers and the radio was always on. As a child, she dreamed of being a journalist. “I thought I would be John Pilger or someone like that. I wanted to go on a crusade and save the world, but I ended up on the radio.
On the side, she was constantly writing. Her bylines included a restaurant column she wrote for the Irish Independent for several years – a clue to her future credentials as a novelist may have been the fact that she wrote almost as much about the people she dined with as on the food itself. “If you had put them all together, you could have followed the life stories of these people. In retrospect, it all makes sense,” she says.
She also had a sports column in the Evening Herald and wrote essays for Image magazine. But it wasn’t until she won an award for her writing in a magazine that she realized that if she wanted to try fiction, she had to retire from “all-consuming” journalism.
Flannery is a “very slow” writer, editing and re-editing every paragraph before she can move on. The very idea of hammering out an ugly first draft isn’t for her. “I couldn’t stand it.”
The process can be torturous at times, but she relishes it. “When I gave myself the time to do it, it was so rewarding to be able to enter at the level of words.”
Doing the Masters in Creative Writing under Anne Enright was “incredible. Being able to sit there with your work and have Anne Enright perusing your work. It was really special.
Unlike other novelists, who insist they never read anything written about them, she plans to read all the reviews. “I want to improve. I want to do the best job that I can do. Anyway, I’ve been a critic for years, it would be a bit rich to say that I don’t want to know what other people think of my work.
The Amusements by Aingeala Flannery is published by Sandycove
This is the time when rumors, conjectures and outright lies fill the air in the NBA. We have the infamous smokescreens thrown down to distract people from draft picking and the smells of dealing. The espionage is exquisite, and something that should be celebrated.
There will be at least one trade or selection (or both!) on draft day/night that will shock the basketball world and knock everything off its axis as people realize what this means for the landscape of the NBA.
Before the project, I find that people are constantly asking questions. Fans, media, managers, players, agents, everyone. I thought I’d try to answer some of the questions I get asked the most, hear the most, and the ones I heard the most during the information gathering process before the Thursday’s big night.
For further reading, Sam Vecenie just posted his latest fictional draft, and we also have my fictional draft from Monday to peruse, in addition to our NBA 2022 draft guide.
Here are five big questions and a bonus pseudo-question for the 2022 draft. We’ll also be diving into what I like to call “Scuttlebutt SZN” for all upcoming trades and free agent signings/pursuits that are announced about of the league.
We will try to figure out what is real and what could be bait.
When Anthony Bourdain returned to New York from Japan, the story goes that he already had a contract to write a restaurant-themed non-fiction book. And he had already found a title for it: “Kitchen Confidential” (by The Kitchn).
During this time, he had already written a gripping and revealing expose of life behind the scenes of New York’s restaurant world that would eventually find its way into the pages of The New Yorker (“Don’t Eat Before Reading This”). The now-famous opening lines of the essay read: “Good food, good nutrition, is about blood and organs, about cruelty and decay. It’s about fat from sodium-laden pork, stinky triple cream cheeses, tender thymus and distended livers of young animals.
When Bourdain killed himself in 2018, The New York Times recommended reading (or re-reading) “the best of Anthony Bourdain,” including the New Yorker essay and “Kitchen Confidential,” the book that changed Bourdain’s life and changed the way many of us look at restaurants and life behind the kitchen door.
“Bourdain clearly works with all six burners on, and the result keeps the reader excited,” USA Today enthused in a review.
If you or someone you know is having suicidal thoughts, please call the National Suicide Prevention Lifeline at 1-800-273-TALK (8255).
Riverdale series creator Roberto Aguirre-Sacasa reveals that news of the show’s cancellation didn’t surprise him when he heard it.
Riverdale Creator and showrunner Roberto Aguirre-Sacasa revealed that The CW’s announcement of the series’ cancellation came as no surprise to him.
“He came out of conversations with the studio and The CW and [CEO] Mark Pedowitz,” Aguirre-Sacasa said in an interview with TVLine regarding the decision to terminate Riverdale after Season 7. “When we were renewed for Season 7, although we weren’t told at the time that it would be our last season, I think we all thought it might be. When Mark and I talked about it…it was bittersweet.” Despite this, Aguirre-Sacasa added that the cast and crew are proud of how the show has turned out and that the call informing them of its cancellation came just as they were working on the upcoming Season 6 finale.
RELATED: Riverdale Diary of a Wimpy Kid Actor Reportedly Plans to Kill Justin Trudeau
Riverdale is currently in its sixth season. It was reported in March that the Archie-Comics-inspired show would be renewed for Season 7 along with several other shows on The CW, including all american, the flash, Kung Fu, Nancy Drew, Superman and Lois and Walker. However, it was revealed in May that RiverdaleThe seventh season of would be its last and land on The CW in early 2023.
As it concerns Riverdale end, Pedowitz commented, “I’m a big proponent of giving streaks that have long streaks a proper send off. We want to make sure [Riverdale] comes out in a good way.” As Aguirre-Sacasa said, the cast and crew suspected Season 7 would be the finale of Riverdale. In December 2021, Betty Cooper actress Lili Reinhart said that while there was hope the drama would be renewed for another season, it would likely be the show’s last.
RELATED: Roberto Aguirre-Sacasa Presents Riverdale Musical Episode and Season Finale
In April this year, Jughead Jones actor Cole Sprouse said he and the majority of his castmates were ready to “buck up [the series] with a bow” and work on new projects. “I’m not a creative force behind [Riverdale]. I actually have no creative control,” Sprouse said. “We show up, get the scripts often the same day and get asked to shoot.”
Riverdale joined a long list of comic book-based shows that were recently canceled on The CW, including the Arrowverse series Legends of tomorrow and batmanplus a non-Arrowverse show and a newcomer to The CW Noemiewhich was canceled after just one season. Legends had been the longest running of the three with seven seasons alone, while Batwoman only aired for three. However, despite those cancellations, Pedowitz insisted that The CW “remains in the superhero business.”
Riverdale airs Sundays at 8 p.m. EST on The CW.
UK children’s publishers have defended the use of sensitivity readers following criticism from some quarters of alleged interference in the creative process, arguing that the intention is to make books more inclusive and that this should be “applauded”.
Speaking at the Hay Festival last month, author Anthony Horowitz made headlines by saying ‘children’s publishers are scared more than anyone’ when it comes to so-called ‘cancel culture’. claiming he was shocked when he received the notes for his new work.
Series author Alex Rider said he “suffered” from the edits to his latest book for young people, Where Seagulls Dare: A Diamond Brothers Affairwhich is due to be published next month by Walker Books, and claimed that “what is happening to writers is extremely dangerous”.
Horowitz did not single out sensitive readers, but the author seemed to echo national press concerns about their use. “I believe that writers shouldn’t be intimidated, that we shouldn’t be made to do things because we’re so afraid of starting a storm on Twitter,” he said, though he declined. to clarify the publisher’s scruples.
Bloomsbury, Bonnier and Quarto says it all The bookstore they had employed sensitive readers, saying the move was “important for inclusive and forward-thinking publishing” while rejecting any suggestion that the authors were being pressured into making changes they didn’t want to make. None of the Big Four editors responded to requests for comment.
Helen Wicks, Managing Director of Children’s Commerce at Bonnier, said: “We recognize that it is a delicate balance and that the voice of the author must be respected. However, we believe that sensitivity readings can play an important role in an inclusive and forward-thinking publication. We have been using them for many years, selecting our partners very carefully and positioning them as peers. Above all, we believe our teams have both the knowledge and skills to work with our writers and advisors to deliver the best possible stories to the widest possible audience.
Rebecca McNally, Publishing Director of Bloomsbury Children’s Books, confirmed: “We think they are very useful on some projects as many authors really appreciate the insight of a specialist editorial perspective as part of the process. We see it as another kind of expert reading that raises questions that a generalist writer, no matter how rigorous, either doesn’t think of or doesn’t know how to ask. Most of the time, they give the author the opportunity to review their text through a particular (relevant) lens and make subtle changes, or not. We don’t expect them to make bulletproof books, and we don’t expect authors to implement every sensitivity reader’s recommendations – it’s intelligent, informed dialogue.
Shannon Cullen, group publishing director for Quarto Kids, also confirmed that the publisher has used “a variety of editorial consultants” for some of its books “to ensure they are naturally inclusive and accurate in their content. representation, especially when exploring subjects such as history or geography, or in books that represent multiple experiences”.
She added, “We encourage our creative partners to consider the potential impact of their work on children and families, regardless of their intention to produce it, when reviewing any editorial commentary or illustration. . We don’t think you can make children’s books ‘too inclusive’ if the outcome is also to make every child feel seen or safe within its pages, or to develop empathy through reading.”
Silvia Molteni, head of children’s and YA books at PFD, said the agency had seen “an increasing number of UK publishers employing sensitive readers recently, whereas in the past it was something a lot more common with American publishers”.
“It’s a process that we as an agent are distanced from when working with our writers and it’s the editor who decides whether or not and how to perform a sensitivity reading. Generally speaking, the intention to make children’s books more inclusive, without affecting creativity in the process, certainly deserves applause,” she said.
However, national media reports of reader sensibilities tend to focus on authors who are less receptive to the idea. In February this year, author Kate Clanchy, whose title won the Orwell Prize Some Children I Taught and What They Taught Me has been criticized for its portrayal of young people, including accusations of racial stereotyping, wrote an article on Detachment sensitive readers who complained “defiled” his memoirs.
She said her original editor, Picador, whom she has since parted ways with, asked for “several” reports from sensitive readers and criticized how they seemed to “freely contradict each other, even praising and disparaging the same passages. “.
Clanchy noted the origins of sensibility reading in children’s and young adult fiction, and said “there are good reasons for regulating children’s reading: it is fundamental and formative and can be imposed by the choice of school or be read aloud”, adding “it’s really important here, to avoid oppressive stereotypes”. Nevertheless, she argued some children was not written for children. “Adults are capable of putting books down if they get in their way, so their books can safely contain difficult ideas,” she said.
“I thought carefully about all the ratings given to me and ultimately did not adopt any of the readers’ suggestions.”
Sensitive readers, like author Eva Wong Nava, are keen to explain what their role really entails. Wong Nava says the term “sensitivity reader” is a “misnomer.” She said The bookstore“What a sensibility reader does is really editorial. This isn’t to cancel anyone out, it’s really to add a recommendation or suggestion. She explained how sensitivity readers read through the lens of their own lived experience, or professional and research experience, to provide feedback on authenticity. Wong Nava reads for the representation of the experience, identity and culture of Southeast Asia and China, for example, as she is originally from Singapore and Malaysia. She also reads for the lived experience of British Chinese while living in Britain.
She pointed out, “I understand writers feeling defensive, but the thing to note about sensitivity editing isn’t to undo, it’s to improve your manuscript, like n any publisher would want to do that.”
Responding to Horowitz’s remarks, she stressed the “advisory” nature of sensitive reading, where the author has the right to accept or reject suggestions, but also the need for children to feel safe.
“I would say that authors should not be afraid to write, but should be aware when writing who their audience is today. Ultimately, the irony remains that children’s books are written by adults and often by adults who had very different childhoods than the children they write for,” she said.
“The world needs books, all kinds of books, but especially books that empower the child, written with empathy, care and sensitivity.”
Alexandra Strick, author and co-founder of Inclusive Minds, an initiative supporting authentic inclusion in children’s books, agrees. “I still have reservations about the concept of sensitivity reading, which can risk being a case of ‘cutting out’ anything that might be controversial. By its very name, it also implies that it’s about people who are sensitive to something, which I think is problematic. Inclusive Minds does not provide “sensitivity reading”, but rather links to Inclusion Ambassadors who can work with book creators by sharing a specific lived experience to help ensure authentic representation from the outset. We continue to believe that thorough research is essential and that the involvement of lived experience should begin as early as possible in the design of a book” .
Ambassador Christy Ku explained, “’Sensitive reading’ reduces people like us to angry weirdoes telling artists what they can and can’t do. People from marginalized backgrounds can provide much more than simple checkboxes of do’s and don’ts. We are real humans with full lives that can enrich the research and development stages. To believe that one’s worldview and imagination can provide enough, or even better, source material than someone’s actual lived experience would be delusional arrogance.
Fans across the Bay Area are expected to take to the streets on Monday for a Warriors Championship Parade on Market Street in San Francisco, celebrating Golden State’s dramatic win over the Boston Celtics for the NBA title on Thursday night.
If the post-game celebrations were any indication, Monday’s parade will likely be big.
One thing that hasn’t changed is the process of selling a cookbook to a publisher, a business that’s often best done with the advice of an agent. This person will help an author develop a proposal that will be presented to publishers at publishing houses with the goal of securing an offer for a book contract. According to Kim Lindman, unlike fiction books, the manuscript is not written until the author contracts with a publisher, in which case the recipes, photographs and associated content will be developed.
To grab a publisher’s attention, “it’s essential to have a proposal with a defined concept and a solid table of contents,” says Lindman. “Yes, it will help sell the book, but it’s also a blueprint for writing the book, once you’ve partnered with a publisher.”
Virginia Willis says recipe testing can be the hardest part of creating a cookbook. “A lot of people outsource their testing, but I don’t,” she says. “I can have other people try my recipes, but if it’s in my book, I cooked it, I tasted it, and I’m sure I tasted the final version.”
According to Janis Donnaud, the secret sauce for authors is to do their homework: “Go into business with the right agents, writers, and publishers, and produce the work they love.”
[co-author: Prashant Dubey and Steve Harmon]
I recently had the opportunity to sit down with Elevate General Counsel and COO Steve Harmon to discuss his new role, overall philosophy and approach to executing his mission. I was especially excited about this because of a book I co-wrote a few years ago called The general lawyer (Oxford University Press). I drew on themes from the book to frame our conversation. Essentially, Steve is the quintessential generalist lawyer.
Prashant: Steve, congratulations to you and Elevate on your appointment as General Counsel and Chief Operating Officer. How do you feel about this?
Steve: Prashant, I am excited about this role for several reasons. First, I continue to lead our legal team, where I believe we have been able to execute our role “at the speed of business”. As an extremely fast-growing company, our legal function must allow Elevate to grow as quickly as our market and infrastructure allow. Additionally, now that I lead all of our core operational activities, I can apply my philosophies of speed and balance while fulfilling the mission of our legal department. The mission to “enable the company to design, build and sell its products and services in a legally appropriate manner” is part of the fabric of our organization.
Prashant: While writing The general lawyer, I’ve had the good fortune to get to know some of the executives who are reshaping the way legal departments execute their charter. One of my favorite people is Marla Persky. I knew her when we were both at Baxter and contacted her again for my book when she was Executive Vice President, General Counsel and Corporate Secretary of Boehringer Ingelheim USA. When I asked Marla how she thought a General Counsel should fulfill her role, she replied: “A General Counsel should be a businessman first and a lawyer second – not a lawyer who understands the business, but a businessman who happens to be a lawyer”. .’ Steve, what do you think of Marla’s description?
Steve: Marla’s description resonates with my perspective and aspirations as a GC. Mark Chandler (most recently Executive Vice President and Chief Legal Officer of Cisco) has been a tremendous mentor to me and shaped my vision and approach to the position. Very early in my tenure at Cisco, at a global “Law Department All Hands” meeting, he invited our engineering and product manager and our sales manager to present their priorities to the department. At the end of the presentation, someone asked if the time spent should focus on a specific topic or legal risk, etc. Mark responded that being an expert in our areas of legal practice was a challenge for us as lawyers. Part of the reason most corporations (at least at this time in 2002) only hired law firms was to make sure the lawyers had legal experience and skills. He then observed that the company’s ability to pay our salaries was entirely dependent on the ability of our engineers to design market-leading products and the ability of our salespeople to get those products into the hands of our customers. Legal service is a tax on business, and one of the key roles of a GC is to find a way to reduce that tax. Over time, Mark and I have distilled this philosophy into a mission statement for the Department:
“The mission of our department is to enable the company to design, build and sell its products in a legally proper manner.”
I brought the same mission statement to Elevate, and that’s our governance mission within our department. To carry out this mission, we must, as lawyers, go far beyond traditional legal advice. As we say in our department, there are no “legal issues”; instead, there are only business issues with legal implications.
Prashant: When I interviewed the senior executives featured in The general lawyer, I realized they all took slightly different paths to get to their place, but there were common themes. I was able to characterize them on a personality matrix. One axis is creative tendencies, the ability to create opportunities. On the other, there is a tendency to respond, the willingness to respond to the opportunities presented. Both are appropriate routes, and some generalists had both creator and responder tendencies. Here is the matrix. Where would you say you fit on this matrix?
Steve: From my early days as a transactional IP licensing attorney looking for ways to optimize context and non-critical activities at Cisco, I freed myself to focus on more interesting work (Indirect Procurement). This naturally translated into a role where Mark (Chandler) asked me to apply my technical knowledge (combining EE with information systems) in new ways within the Department. Fundamentally, in the trade-off between “revolutionary” and “evolutionary” change, I am an “incrementalist”. Given the affinity of the law with respect for precedent, the approach is very compatible. My approach has always recognized the structural challenges of achieving significant and transformative milestones in legal practice. Intuitively, my approach is to evaluate systems for optimization opportunities. As optimizations accumulate, opportunities for big strategic changes naturally arise – and the process doesn’t need to be forced. Recently, I became aware that this approach had a fancy name, “marginal gains aggregation” (see James Clear’s book, Atomic Habits). In this regard, I would say that I am both a creator and a responder. I created an environment where opportunities came my way, but I also wasn’t shy about taking risks and accepting the opportunities that came my way. I also adhere to the notions of a “legal and economic” approach to law and risk from the Chicago School of Economics and formalized by Judge Learned Hand. Simplified, the idea is to assess the duty of care in cases of negligence — B˂P*L where B = duty to act, P = likelihood and L = magnitude of loss. There’s no reason not to treat other legal issues in the same way, absent strict liability (like compliance). This philosophy, combined with the aggregation of marginal gains, has allowed me to demonstrate impact and recognize opportunities to further impact the business.
Prashant: Steve, given that UChicago is my alma mater (where I studied economics), I love the invocation of “The Chicago School”. Can you give a concrete example of “marginal gains aggregation?”
Steve: Sure thing. One of my favorite stories is how the British cycling team went from being no world leader in cycling to longtime dominance. Here is an excerpt from James Clear’s Atomic Habits (pp. 14-15), Penguin Publishing Group.
Just five years after Brailsford took over, the British cycling team dominated the road and track cycling events at the 2008 Olympics in Beijing. They won an incredible 60 percent of the gold medals available. Four years later, when the Olympic Games were held in London, the British raised the bar by setting nine Olympic records and seven world records.
That same year, Bradley Wiggins became the first British cyclist to win the Tour de France. The following year, teammate Chris Froome won the race, and he would win again in 2015, 2016 and 2017, giving the British team five Tour de France victories in six years.
From 2007 to 2017, British cyclists won 178 world championships and 66 Olympic or Paralympic gold medals over the ten-year period. They have won five Tour de France victories in what is widely regarded as the most successful race in cycling history.
This achievement is a great example of how each victory builds on another and ultimately leads to long-lasting success.
Prashant: Steve, “the businessman who happens to be a lawyer” is a pervasive theme in many of your anecdotes. I’d love to hear one more that can get things going – something our readers would appreciate as well.
Steve: Sure. Remember, you asked! When I joined Cisco, we were at around $50 billion a year. With about 200 days of work per year, that’s about $250 million a day! It was easy for me to identify initiatives that accelerated the cycle time for closing sales deals and justify the investment. Imagine if I reduced that cycle time by one day! My “incrementalist” approach to these initiatives appropriately internalized change management by those involved, and the business case for gaining management support was clear. This approach really opened my eyes to the concept you describe in your book, The general lawyer. By the way, I’m still waiting for an autograph!
GREENVILLE, SC (FOX Caroline) – Voters have in mind the state education superintendent’s run to the polls in the 2022 primaries.
When we asked voters what issues motivated them, this was what kept coming up.
Turnout was slow at the Augusta Road Baptist Church location in Greenville. Tim Pouyer showed up this morning with a few different issues in mind.
“The gas prices, the economy, just the way the country is run,” Pouyer said.
That, along with the race for superintendent and Congress. Frances Hartley says she is concerned about what is being taught in schools.
“I would like them to be really protective of our kids, not promote things that aren’t age-appropriate,” Hartley said, “and just teach them how to read and write and count. And that they are young.
Pouyer said his children once had to go through the education system with dyslexia. He seeks better help for students with learning disabilities. And he has high expectations for the next superintendent.
“Transparency; be upfront,” Poyer said, “Tell us exactly what you teach our kids. And I think there are issues that are best left out of the school system.
Smith says the turnout was a disappointment.
“I was very surprised to be the only one there when I walked in. Of course a few more have arrived since then, but I expected there to be more queues of waiting here,” Smith said.
“It makes me feel like people think the system isn’t working,” Pouyer said.
Nonetheless, whoever electors are appointed to the education office, they uphold their standards.
“Be transparent about what you’re actually trying to tell our kids at school so that we as parents decide whether it’s right for us or not,” Pouyer said.
Copyright 2022 WHNS. All rights reserved.
Content Writing Services Market Report Coverage: Key Growth Drivers and Challenges, Regional Segmentation and Outlook, Key Industry Trends and Opportunities, Competitive Analysis, COVID-19 Impact Analysis and Projected Recovery, and Market Sizing and Forecast.
Latest research launched on Global Content Writing Services Market, it provides a detailed analysis with presentable graphs, charts and tables. This report covers an in-depth study of the Content Writing Services Market size, growth and share, trends, consumption, segments, application and forecast 2030. With qualitative analysis and quantitative, we help you to carry out an in-depth and comprehensive research of the global content writing market. Service market. This report has been prepared by experienced and knowledgeable market analysts and researchers. Each section of the research study is specially prepared to explore key aspects of the global Content Writing Services Market. Buyers of the report will gain access to accurate PESTLE, SWOT, and other type analysis on the global content writing services market. Moreover, it offers highly accurate estimations on CAGR, market share, and market size of key regions and countries.
Major Key Players profiled in the report include:
SmartSites, Cactus, InboundLabs, Six & Flow, WebiMax, Ignite Digital, Godot Media, ContentWriters, Antianti, Blog Hands, Clickworker, ContentFly, Express Writers, Textworkers, 160over90, Virtual Employee, Upwork Global
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The report categorized the global content writing services market into segments comprising product type and application. Each segment is assessed based on its share and growth rate. Additionally, analysts have studied the potential regions that could prove rewarding for content writing service makers in the coming years. The regional analysis includes reliable forecasts about value and volume, helping market players to gain in-depth insights about the overall Content Writing Services industry.
Market is split by Type, can be split into:
Online service, offline service.
The market is split by Application, can be split into:
Large Companies, SMEs
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The report authors have analyzed the developing and developed regions considered for research and analysis of the global Content Writing Services Market. The regional analysis section of the report provides in-depth research study on different regional and country-level Content Writing Services industries to help players plan effective expansion strategies.
Regions Covered in Global Content Writing Services Market:
• North America (US, Canada)
• Europe (UK, Germany, France, Italy)
• Asia Pacific (China, India, Japan, Singapore, Malaysia)
• Latin America (Brazil, Mexico)
• Middle East and Africa (Kuwait, Saudi Arabia, Egypt)
Years Considered to Estimate Market Size:
Historical year: 2019-2020
Base year: 2021
Estimated year: 2022
Forecast year: 2022-2030
What market dynamics does this report cover?
The report shares key information on:
It helps companies make strategic decisions
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Who can you believe these days?
Unfortunately, a combination of high-tech algorithms capable of predicting the way you think and the motivation to say anything in the pursuit of political power has sown confusion on how to separate truth from fiction, the left from the right, the conservatives from the liberals.
Unfortunately, we live in a time when political, social and public health issues are tearing apart our sense of community.
Accurate information strengthens our democracy, and we must fight vigorously to ensure that everyone knows which media platforms publish credible information and which simply do not care about accuracy. I believe most of them don’t care.
Trust in the media has declined sharply in recent years as users do not trust the accuracy of journalism. Good journalism is seen as content that is ethical, accurate, independent and often critical of the public interest.
Strong and accurate logs are key to strengthening our democracy. Between 2004 and today, 2,200 newspapers have closed and another 80 have closed since the start of the pandemic. The country now has 50% fewer newspapers and journalists than in 2008.
The Pew Research Center concluded that eight out of 10 Americans now get news from their cellphones.
The more rushed news is online, the more inaccurate it is likely to be.
People grew accustomed to getting most of their news from radio, newspapers and television before the internet became so ubiquitous.
It is important to recognize this basic truth: many people today do not understand the difference between news sources and news platforms.
The platforms were meant to serve as a town hall bulletin board for anyone to post almost anything, be it misinformation (the poster doesn’t know if the news is true or false, but the still publishes) or disinformation (the poster knows that his news is false, but publishes it anyway).
Popular consumer platforms include Facebook (Meta), Google (Alphabet), Instagram, LinkedIn, NextDoor, Reddit, SnapChat, TikTok, Twitter, and YouTube. They don’t have to worry about accuracy and can’t be held responsible for what they post. Why? Because they are not the source of their news content.
Congress unwittingly shielded bad actors from disseminating information by passing the Communication Decency Act – specifically Section 230 – in 1996. As the Internet grew, Congress thought that this would improve communication if news platforms were not treated as publishers and would therefore not be liable for defamation. or defamation.
These 26 words from Section 230 helped create the internet but also led to the birth of large-scale misinformation:
“No provider or user of an interactive computer service should be considered the publisher or speaker of information provided by another information content provider.”
This means that Facebook and other platforms cannot be held responsible for what they post. And after posting, they are not responsible for removing it.
An example of the latter came in July 2005, when the US Congress passed the Stolen Valor Act, introduced by Colorado Rep. John Salazar, to address the problem of people falsely claiming online that they were heroes of war.
The Supreme Court ruled 6 to 3 that the federal government would not regulate free speech even if the publisher knew what it was publishing was false.
Good journalists and news outlets don’t publish one-sided stories, try to be fair to all sides of a story, and try to present enough information so readers can decide for themselves who they’re into. believe. When they fail to meet these standards, they often issue a correction or retraction as soon as possible.
Many people deliberately distribute inaccurate information and try to change the way people think as they go to the polls.
People are turning away from confusing things like government recommendations for COVID-19 vaccinations. When many social media platforms were telling us that vaccines and COVID-19 were hoaxes, it led to mass confusion.
Why is good journalism important? Provide citizens with the information they need to make the best possible decisions about their lives, their communities, their societies and their governments. For democracy to work, we need informed citizens.
Good journalism strives for accurate content, strong ethical practices, and serving the public interest.
There are things we can do to ensure that ethical and accurate journalism prevails.
Lobby all media platforms to better vet their sites against misinformation and take them down immediately when someone reports it.
Even Facebook CEO Mark Zuckerberg told congressional hearings in 2020 that social media companies need more government guidance and regulation in order to tackle the growing online content problem. harmful or misleading.
Until Congress acts or the platforms do so independently, here are some questions we should ask ourselves when reading or viewing social platforms:
False or misleading news stories often contain unverifiable information, articles written by non-experts, articles that appeal to emotion rather than state facts, and information from unreliable platforms.
Show me your news sources – not your news platforms – and I’ll show you your political leanings and where you stand on today’s most pressing issues.
Jim Martin can be reached at [email protected]
Liam Sharp broke into comics in the 1990s when ornate, action-oriented, larger-than-life artwork was all the rage and artists turned to Frank Frazetta, Barry Windsor-Smith and Moebius to find inspiration. As trends came and went, Sharp stuck to his aesthetic weapons, and eventually the industry rediscovered him, propelling him on an epic five-year run drawing DC’s best titles including Batman, Wonder Woman and The Green Lantern.
But Sharp is more than the sum of his detailed line art. During his career, he has written several novels, co-founded the digital comics platform Madefire, run several six-figure Kickstarters to publish his art books, launched a course on the online learning platform Domestika and introduces himself. as one of the greats in the industry. storytellers. For his latest project, he combines his pursuits of entrepreneurship, storytelling, and scholarship in an ambitious new sci-fi series for Image Comics titled Starhengethe first issue to fall in July.
I had the opportunity to speak with Sharp about his new project and his career. Our conversation has been edited for length and clarity.
Rob Salkowitz, Forbes Contributor: Tell me a bit about Starhenge. What is it and what was your inspiration?
Liam Sharp: I have always loved myth and history. I wanted to do something about the mythical origins of the kings of Britain descending from classical gods and Arthurian legends. In King past and future, there’s this concept of Merlin being born in the future and dying in the past, and I thought, “why would he come in the past?” I started to indulge my love of science fiction and fantasy, imagining this scenario where in the future humanity discovers an alien race where AIs have taken over and are threatening all organic life In the universe. The only thing that can stop them is magic, but magic only exists in the past. Thus, the AIs send robots back to the past to destroy this line of magic. It’s all horribly convoluted, but great fun! The first issues are about establishing the universe to get it started, then it becomes an adventure story.
RS: What are your ambitions for this project? Is it meant to expand beyond the comics page?
LS: That would be lovely. It would be nice as a series. people liked game of throneswhich is fantasy, and Foundation, which is science fiction, but the visual language isn’t much different. So there is an audience interested in this kind of epic material. For the moment, I can’t wait to do the first series (in paper version), then a second, and why not 3 and 4 back to back? We’ll be collecting them in paperbacks, but I’m also thinking of doing a hardcover edition for collectors. Either way, the idea is to create a solidly constructed universe that can be as big as you want or as intimate as you want.
RS: You just finished a 5-6 year run taking on the best DC characters. Why is it a good time for an independent project?
LS: The timing was perfect on this DC run, especially on The Green Lantern [written by Grant Morrison]. I was never content with having a single style, and this book allowed me to explore different techniques from one issue to another, in the service of the story. This deliberate approach to style became my style; it defines the work I do. After turning down a few pitches to DC for projects I wanted to write and draw, I realized I had to do something creator owned. I thought, now is the right time. My audience might be big enough to make it viable, and that’s important when you have a roof to maintain and a family. I contacted Image [publisher] Eric Stevenson. We talked about Starhengehe loved it, and that’s it.
RS: You’ve run a bunch of successful Kickstarters recently. What are your thoughts on crowdfunding as a sustainable model for comic book publishing, and why did you decide not to crowdfund? Starhenge?
LS: Kickstarter is great for existing projects or unique books. It’s great for indie creators who want to launch a book or series to jump-start their career and show off what they can do. But for an ongoing series, I crunched the numbers, and it’s just more viable to do it on Image, which is a known brand. Kickstarter is amazing and I plan to do hardcover collectors editions through them, but at the same time I need to be aware of what my audience wants and what platforms they’re ready to support.
RS: You are both an artist and an entrepreneur. How important is it for artists to have these business instincts these days, and how do you stay focused on your labor-intensive artwork while juggling business concerns?
LS: It’s honestly hard. Creatives need to learn how to promote themselves. It’s just the way of the world. If you want any chance of reaching an audience, your sense of who you really are goes way beyond a studio or third party trying to push your stuff. In a world of Instagram and Facebook and everything, people are used to feeling connected to the people who inspire them. This authentic voice is central and essential to reach anyone. Otherwise, you disappear into obscurity. It’s a constant struggle, trying to develop a platform. It’s a real frustration. Sometimes I just need to take a step back from the internet and focus on work.
RS: When you came to the 90s, comics were very artist driven, with hot artists driving sales. Nowadays it is almost entirely writer-driven; you are one of the few artists whose name can sell a book. What do you think of this change?
LS: It’s frustrating. He swayed back and forth. The 70s were more artistic, the 80s were writers, the 90s were back to the artists. Now it’s been mostly writers for a long time. These are writers and corporate characters, leading characters. People only buy Marvel or DC and get upset when the characters change. It’s hard to fathom as someone more interested in an array of titles and the creative teams for any book, any business.
I have always been a writer, but I am more recognized for my art. It’s really hard as an artist to get writing to be taken seriously. Art takes much longer. My opportunity to write has been massively reduced by the time it takes to produce my works. But I’m aware that writers have pushed the industry, which is why I’m writing more.
That’s why I’m so excited about the idea Starhenge. This is my story, this is my style. I can do painted comics, which we haven’t seen in a while. I hope people who like mainstream comics will give it a shot.
First Nations writers and women authors dominated the 2022 Australian Book Industry Association (Abia) annual awards, with a debut novel by one of the country’s most promising young writers taking top honors.
Love & Virtue by Diana Reid won Abia Book of the Year and Literary Fiction Book of the Year at a ceremony in Sydney on Thursday night. The judges hailed the novel as “a dark and funny yet unwavering insight into early adulthood”. In her review for Guardian Australia, Zoya Patel praised Love & Virtue as “a multi-layered page-turner about power, unrequited love and campus rape culture, wrapped in a coming-of-age narrative. adulthood”.
Reid’s debut novel was written in response to the Covid-19 lockdown in 2021. It has previously won the MUD Literary Award and been shortlisted for Indie Book Awards and Booksellers’ Choice Awards.
Receiving his award on Thursday evening, Reid said, “It was the craziest trip of this Word document to my desk, which I was a bit embarrassed about.”
Love & Virtue was one of the first books published by independent newcomer Ultimo Press, created during the Covid lockdown in 2020. “When they bought my book, they hadn’t published anything yet,” Reid said in his speech. “They were just getting started, and it was the most amazing privilege to be such a formative part of their journey.”
In a interview with Kate Prendergast last year, Reid said the pandemic derailed her plans to take on the musical she co-wrote and produced – 1984! Musical comedy ! – at the Edinburgh Fringe. Having just graduated from the University of Sydney, she was without a job or income.
“If it hadn’t been for Covid, I might never have picked it up,” she said. “I really didn’t expect it to be released. I was just writing it for something to do. I think there’s a kind of freedom that comes from not expecting anyone to ever read it.
The Abias are judged by over 250 members of the book industry and recognize success in writing, publishing and selling Australian books.
Former AFL legend Adam Goodes has been named co-winner of the Children’s Picture Book of the Year category, for Somebody’s Land: Welcome to Our Country, co-written with Ellie Laing and illustrated by David Hardy .
Along with Goodes, Bundjalung writer Evelyn Araluen and her collection of poetry Dropbear won the Small Publishers Adult Book of the Year award. And former NSW Australian Youngster of the Year and Kamilaroi man Corey Tutt won book of the year for readers aged 7-12 with First Scientists: Deadly Inventions and Innovations from Australia’s First Peoples .
Women writers dominated the major categories, with Jacqueline Bublitz’s Before You Knew My Name winning General Fiction Book of the Year, while financial podcaster Victoria Devine won General Non-Fiction Book of the Year for She’s on the Money.
Amani Haydar has been named New Writer of the Year for The Mother Wound, her harrowing exploration of her father’s murder of her mother.
In children’s books, Lynette Noni won the 13+ category for The Prison Healer, while Nova Weetman won the Small Publishers Children’s Book of the Year award for The Edge of Thirteen.
In honor of the late artist, teacher, and friend, Dr. Christopher Layton Clark, Utah Valley University’s School of the Arts (SOA) has presented the Chris Clark Fellowship, an academic scholarship designed to help UVU theater students to participate in the UVU Theater Study Abroad program.
SOA presented the scholarship to Emilee Simko, a UVU senior student and aspiring actor, writer and director, during a livestream at the Noorda Center for the Performing Arts on June 6. Simko will study in London from July 12 to August 10. watch Shakespeare plays, attend workshops and study the art of theater directing.
“I don’t really know if I have the words to express how I feel,” Simko said. “I guess I would just say, from the bottom of my heart: Thank you very much. It means the world to me to have help in achieving my goals. Money is so hard and life is so hard, and sometimes you just have to rack your brains to accomplish what you need, and it’s like a breath of fresh air when you get the ‘assistance.
Simko said she never really had the chance to work with Chris Clark, but she had seen a lot of his work. She said if she could talk to him now, she would ask him a lot of questions. “I think the life he led was so interesting and amazing,” Simko said. “All the experiments he had to do. I really wish I could learn from him.
On the livestream was Lisa Valentine Clark, wife of Dr. Clark, to present Emily with the scholarship funds totaling $1,400.
“My late husband, Dr. Christopher Clark – who is still very much loved here at Utah Valley University – loved his time here,” Clark said. “Part of his legacy that was most meaningful to him was being able to continue that scholarship he started studying in London abroad – he really knew the power of giving students real opportunities to see theater on more engaging, exciting and thrilling. as part of their education. And I’m so excited to have this happening today so I can present this first scholarship long into the years to come.
During his time at UVU – which included chairing the university’s theater department – Dr. Clark took students to London and Edinburgh as part of the Theater Study Abroad programme. There, students would attend live plays at venues like Stratford-upon-Avon, the home of William Shakespeare’s plays.
After Dr. Clark passed away from ALS in June 2020, employees at UVU School of the Arts wanted to nurture his passion for the study abroad program.
UVU School of Arts Marketing Director Isaac Walters met Chris in college and was responsible for transitioning the project – originally a stage production – to an online memorial.
“He had a huge impact on so many people I know,” Walters said. “He had a very big impact on me. He was there for me as a friend during some of the darkest times of my life. And I think he was that for just about everyone he met. He was a remarkable person.”
Funds for the scholarship come from the Ron and Kaye Gunnel Family Foundation, which has contributed up to 75% of the amount needed to fully fund the scholarship. The remaining 25% is currently raised through Dr. Clark’s Memorial Fund and Online Scholarships. In addition, the 2019 profit production of Xanadu – produced by Dr. Clark’s Friends and Collaborators and held at the Hale Center Theater Orem – raised enough money to help a directing student attend the Theater Studies Abroad Program.
“There is something to be said for his legacy, for leaving something behind that will continue to do good year after year,” said Erika Stone, Marketing Director for the School of the Arts. “I think it’s a wonderful thing for his wife and for his family to know that he’s going to continue living. He’s going to continue helping people and doing the same things he used to do in life in terms of impact on people.
Dr. Clark’s signature quote, “Well Roared, Lion”, comes from Shakespeare Dream of a summer night. While its meaning depends on interpretation, the quote signifies a voice and a life well lived, according to Walters.
“For me, [that quote] represents Chris so much because it’s Shakespeare, something he loved very much,” Walters said. “And secondly, it’s Dream of a summer night. It’s all about comedy and Chris loved to make people laugh. That says a lot about who he is as much as the quality of what he did, which was, of course, extraordinary.
You can contribute to the Chris Clark Scholarship here.
Lip The magazine has announced the list of finalists for the 2022 Rachel Funari Prize for Fiction.
The shortlisted stories are:
Now in its 10th year, the prize is open to women, female-identifying and non-binary writers, and is awarded in honor of Lipthe founding editor of the late Rachel Funari. This year, writers were invited to react on the theme ‘after’.
The winner will receive $1,000, while second and third place will receive $500 and $250, respectively. All winners will additionally receive a book pack and publication on Lipthe website of.
The winners, who will be chosen by LipThe editors, along with guest judges Julie Koh, Melissa Manning and Sonia Orchard, will be announced June 20 as part of the Emerging Writers’ Festival’s “Amazing Babes” event.
Category: Awards Local News
Minecraft fans have a new collaboration DLC to check out, this time based on the Ice Age movie franchise. The DLC includes 30 new skins, including fan favorites like Sid, Manny, Diego, and Ellie. The DLC also features a number of different locations from the movies and a collection mission that tasks players with finding hidden acorns (of course). As we have seen with other Minecraft collaborations, the Ice Age DLC is only compatible with Minecraft bedrock, and can be purchased for 1,340 Minecoins. Ice Age fans who don’t have the Minecoins to spend can also grab a free Acorn Hat Character Creator item from the Dressing Room.
A trailer for the new DLC can be found below. Readers interested in purchasing and downloading the new game content can do so here.
Travel to 20,000 BC. AD with the new Ice Age DLC from @4JStudios! Discover iconic locations and over 30 character skins from the Ice Age movies. And top it off with your free item in the Dressing Room!
– Minecraft Market (@MinecraftMarket) May 31, 2022
So far, the reception of the new DLC set seems pretty positive! The first one Ice Age released in 2002, and the series has developed a passionate fanbase over the past 20 years; there seems to be a lot of Minecraft fans who grew up with this series. Many reacted with surprise at seeing the franchise represented in the game, but it seems that many want to deposit Minecoins to buy the DLC.
This officially licensed collab was developed by 4J Studios, the team behind Marketplace options like Super Retro and Caverns of Chaos. Besides the Ice Age, Minecraft has hosted a number of other collaborations over the past few months. In May, the game added new content based on the Angry Birds franchise. A similar DLC pack based on the Sonic the Hedgehog games was released last year and was updated in April with new content. These types of collabs definitely won’t be for everyone, but it was fun to see all the different options that have been added recently!
Minecraft is currently available on PlayStation 4, PlayStation 5, Xbox One, Xbox Series X|S, Nintendo Switch and PC. You can check out our previous coverage of the game here.
What do you think of Minecraftis the Ice Age DLC? Are you eager to check this out? Let us know in the comments or share your thoughts directly on Twitter at @Marcdachamp to talk about all things gaming!
Express press service
MADURAI: When 11-year-old Muthukumar was diagnosed with mild intellectual disability about 15 years ago, his parents were devastated. But the couple, R Balamurugan and his wife Sundari, have not been mired in fear or stigma around mental illness.
They asked for help at the right time. Muthukumar has struggled with reading and writing since childhood. Initially, his family thought it was normal and that he would get better with time. But things got worse and when he reached class 4, his teachers suggested that he be transferred to a special school.
“When we were informed that our son was struggling with an intellectual disability, we were heartbroken. We couldn’t help but cry thinking about his future,” Balamurugan said, recalling the ordeal the family went through.
But they were determined to find a solution. As a small trader who sells ghee, Balamurugan could not afford high-end medical treatments or private guardians for his son. Bethshan Special School in Madurai was the last remnant of hope for the family. Determined to help their son, they took him to school in 2008.
Bethshan is a Hebrew word meaning “house of safety”. As the name suggests, Madurai Non-Residential Special School serves as a second home for many mentally handicapped children.
It was this school that rescued Muthukumar and made him stand on his own two feet. “The only condition imposed by the school management was that we had to ensure that our son attended all classes without fail. And thanks to them, his future is now assured,” adds Balamurugan, in a voice full of gratitude.
Now Muthukumar, 26, has been selected for the multi-tasking staff position in the Indian Air Force (IAF). R Ravikumar, founder and principal of Bethshan Special School, says he is delighted to see his student embark on a new adventure.
“Muthukumar had problems with reading, writing and comprehension. But he has improved a lot over the years. Not only has he completed his studies, but he has also obtained a Bachelor of Commerce degree and is awaiting the results”, he adds.
Although Muthukumar struggled a bit in his studies, he excelled in sports, says Ravikumar. “Muthu is good at almost all sports like running, long jump, shot put and basketball, but he showed exceptional talent in volleyball. He won a medal in bronze for the Indian team in the volleyball tournament held during the Special Olympics World Summer Games in Los Angeles in 2015,” he adds.
The proud volleyball player boasts of the achievement and says it’s one of the most memorable moments of his life to date. “I love all sports, but volleyball is my favorite. I never imagined that I would go abroad, let alone the United States. It was a difficult experience, but a very memorable one”, Muthukumar said.
“Our school has been constantly training me and other students to take competitive exams and the efforts have paid off. I have been selected for the multitasking staff position and am awaiting police verification. I I could be posted to the Air Force at Sulur Station in Coimbatore. Although it’s always daunting to think that I’m going to be alone away from home for the first time, I can’t wait to be there,” says Muthukumar.
The young director is also a devoted son who helps his father in his ghee business. “Muthukumar has two bank accounts and handles deliveries and financial transactions for his father’s business. He can easily manage mobile phones,” says Ravikumar.
Balamurugan also confirmed this by saying that his son is tech savvy and supported him in running his ghee shop. When Muthukumar was recently congratulated by Madras High Court Judge, Justice B Pugalendhi, Balamurugan’s joy knew no bounds.
“During the event, hearing about the experiences of other children, who have shared the same fate as our son, we were moved to tears. I am indebted to the school management and hope the parents of all these children will be able to experience the same joy that we feel now,” he says.
“Kids with special needs will definitely shine if given proper training and exposure. Muthukumar has proven that,” says Ravikumar.
He also called on central and state governments to simplify the recruitment process for public employment at least for specific positions reserved for people with disabilities so that they have a better chance of securing their future.
Mac users who create text snippets, compose content, write texts and write other notes and ideas usually turn to TextEdit from macOS. While it’s a competent text app, there’s no natural equivalent for Apple’s iOS users, who also commonly use Macs. iA Writer by Information Architects is a deceptively simple Markdown-language text-editing application that allows files to be accessed and edited on all Apple devices (Mac, iPad, and iPhone), if a user wishes and purchases both the corresponding macOS and iOS licenses. In addition to the program’s ease of use and minimal user interface, iA Writer is a powerful writing program that surpasses TextEdit in many other ways. Here are 5 ways iA Writer provides important features that TextEdit lacks.
iA Writer provides full Markdown language support, making it easy for authors to stay in the writing flow when writing web copy, news articles, blog entries, social networks and similar content that often includes hypertext language (HTML). There’s no need to lift your hands off the keyboard, break the beat, reach for a mouse, and start right-clicking, copying, and inserting hyperlinks, as is sometimes necessary with TextEdit.
Instead, with full Markdown support, links can be integrated into the natural flow of writing, as seen in Figure A. This year alone I have written tens of thousands of words for corporate web pages, marketing materials, newsletters, informational websites, blog posts and similar outlets and have found such a transforming convenience. With today’s distractions and our short attention span, don’t underestimate the importance of staying in one headspace while writing.
If you are unfamiliar with Markdown formatting and do any type of writing, whether for work or to better organize your thoughts and plans, you should take a look at the Guide Markdown from iA. By using simple punctuation, such as a single hash mark to format a word or phrase as a title, you can style text as you write.
With Markdown, you can stay in the flow of writing and never need to reach for a style selection somewhere in an ever-changing menu. The same goes for specifying italic (single asterisks around a word or phrase) and bold (double asterisks) styles. With the addition of a few touches, you can stay in the box while seamlessly integrating hyperlinks, emphasis, lists, bullets, and highlights. Convenience is a game changer.
Although I sometimes write content in iA Writer that I never intend to publish anywhere else, I usually write for a newsletter, website, publication, or other medium. While some outlets work directly with a Markdown-formatted file, the endpoint is often WordPress, an HTML newsletter, website, or other source. Subsequently, I often provide publications with PDF and Word documents. iA Writer supports exporting text files to both. The program also supports exporting text files directly to HTML and project files.
When I tried to export macOS TextEdit files, hyperlinks in Markdown format, other headings and styles don’t translate correctly. The native macOS app, instead, generally performs best when writing plain or simple rich text that doesn’t require a lot of formatting or manipulation.
Yet much of the writing of marketing copy, creative content, and other written materials today benefits from features enabled by iA Writer and Markdown formatting. The multiple export options of the program, thereafter, prove necessary.
When working with TextEdit, macOS proves a bit disruptive by first opening a window that mimics the Finder. From this file management window, Mac users can then create a new text document. iA Writer, on the other hand, opens a new file by default. And if you choose to open iA Writer with its library displayed, not only does the app open with a new file ready for text composition, but an iA Writer file navigation menu appears next to your open file.
These are subtle differences, I admit. But when you spend most of your day capturing thoughts, content, material, and writing, the convenience adds up. Switching between iA Writer files is also much easier. Mac users stay on top of their thoughts by easily navigating between files and documents in iA Writer.
I still remember when Microsoft introduced red underlines for text that its Word program didn’t recognize. As a professional author, this technical innovation has been incredibly helpful. iA Writer took the concept even further. The program includes multiple focus options that flag various elements with color coding to help spot errors, confusing passages, and opportunities for improved clarity.
In the program’s Focus menu, Mac users can choose to highlight specific syntax, such as nouns, adjectives, verbs, adverbs, and conjunctions, as shown in Figure B. The Focus menu also allows to highlight styles, including fillers, snaps, and redundancies. If you work in a specialized area, the app also supports specifying custom style alerts where you enter your own rules and exceptions using the program’s Preferences.
The app’s ability to highlight shades doesn’t stop there. iA Writer’s focus capabilities also let you set the scope of focus — the area the app highlights and accentuates as you write — on a sentence or paragraph. These are compelling features that need to be experienced in the middle of writing to really appreciate them. But the app’s ability to focus your attention on the attributes you specify is a nifty feature that allows writers to better direct attention to the content they’re writing, as opposed to the app’s predetermined mechanisms used to collect this writing.
TextEdit, on the other hand, does useful spelling and grammar checking as you type, and even automatically corrects spelling – a feature I’ve learned over time to avoid putting in highlight specific passages, which I think works best for materials I often find myself composing. But the native text app doesn’t offer the many styling and focus options found in iA Writer that prove so effective.
With a few quick keyboard shortcuts – COMMAND + E toggles the browse library and file list to the current view and is one of my favorites – iA Writer can switch from showing a list of files you’re actively developing to only the text you’re actively composing. With the ability to display a single text file full screen with no other ribbons, toolbars, status menus or distractions present, combined with the ability to activate a single sentence or paragraph, iA Writer excels at limiting your Pay attention to the actual text you’re actively writing.
When Hog Bay Software’s WriteRoom was first released 11 years ago, its singular focus on text was my favorite feature. You can think of iA Writer as a similar typesetting app, only with the addition of several robust features that sharpen the focus on the copy and text that one writes, while enabling Markdown functionality and several editing options. export.
Priced at $29.99, it’s probably inevitable that the app will become a subscription product. I’ve become so dependent on the Markdown writing program that I’ll gladly pay a monthly fee, though. iA Writer’s minimal yet robust feature set helps sharpen writing, and in today’s business environment, the feature is worth it.
Part of this story began centuries ago when the Sikh kingdom had not yet fallen to British East India Company troops. Undivided Punjab was under the rule of Maharaja Ranjit Singh in the 18th century, and the literary tradition of Punjabi Sufi poetry – which was started by Baba Farid in the 12th century – had just found its first female poet in a prostitute named Peero Preman. But once she emerged from the Hira Mandi in Lahore, where she had been sold to a brothel, the applause from the audience had almost ceased. As his verses challenged religious orthodoxies and religious identities, Peero broke every law to achieve self-actualization. She proudly called herself “Randi” and “Kanjari” in her fiery poems. After her death, she was buried alongside her guru partner, Gulab Das at Chathian Wala, in a single grave, which became a shrine for followers of the Gulabdasi sect. After the partition, the entire sect fled from Sindh and West Punjab to India and settled in Haryana. A spiritual icon of Gulabdasis, Peero continues to evoke both reverence and contempt to this day.
Any publisher would easily have agreed to publish Peero’s collection of poetry in English, but it’s not easy with Punjabi literature. For more than three years, Neeti Singh, who translated Peero’s poetry, has struggled to get the book published. “Finally, Speaking Tiger has shown some interest,” Neeti, an associate professor of English at Maharaja Sayajirao University in Baroda, told Outlook, stressing that Peero is not an isolated case. Even though the translation of Punjabi literature has gradually accelerated in recent years, with the exception of religious texts, finding a global publisher in English is still quite difficult.
“One of the reasons for the delay seems to be that Peero continues to be an outcast or dismissed with silent contempt due to his revolutionary ideas,” Neeti says. “Publishers generally prefer celebrities as content writers.”
A chapter of her manuscript recounts the life of the mystical poetess. “Peero is a wonderful woman. Her status was forcibly reduced to that of a sex object by a conservative society. But Peero refused to accept patriarchal standards. She lived her life on her own terms. Together with Gulab Das, who was no ordinary man, she has helped many other prostitutes to regain control of their lives,” says Neeti, who has written and translated five books so far.
Neeti has also published Desraj Kali’s acclaimed novel Shanti Parav (Treatise on Peace, 2020) in Blackswan Eastern English. Set in the heart of Punjab, it dissects the status of Dalits in the postcolonial caste-religion-political matrix through the prism of conflicting narratives around the struggle for freedom, terrorism, state violence, capitalism and democracy.
Commenting on the International Booker Prize for Geetanjali Shree’s novel, Desraj told Outlook, “Punjabi writing can also gain international recognition. But the tragedy is that our work is not translated into English. The Punjabi novel has a 100-year history, but except for some writers like Amrita Pritam, Punjabi fiction has not been sufficiently translated into English, let alone an international publisher, he says.
Punjabi poetry shares fate. Lately, some local publishers have started translating Punjabi literature and history from Shahmukhi to Gurmukhi and vice versa. But lamenting the unavailability of books released by Pakistani publishers in India, Desraj said: “Do you know where I got copies of my translated books from? England. Publishers could not send them to me directly. Similarly, he informs, some publishing houses in Indian Punjab have also started printing the works of Pakistani Punjabi poets and authors in Gurmukhi. “It’s really a nice trend that is growing in the Punjabi literary world,” he says. “Culturally, Punjab is one!
In 2014, a C$25,000 Dhahan Prize—an annual award instituted by a Canada-India education society for excellence in Punjabi fiction—provided a much-needed international stage for the language.
Last year, Lahore-based writer Nain Sukh won the award for his book of short stories written in the Shahmukhi script. And finalists included Amritsar-based writer Sarghi Jammu for a collection of short stories, Apnea Apnea Marseia and Balbir Madhopuri from Delhi for his novel Mitti Bol Peye. Both write in Gurmukhi script.
Beyond linguistics, the award offered shared joy to people on both sides of the border when diplomatic relations between the two countries were at their lowest after the Pulwama crisis.
But Paul Kaur, a leading Ambala-based literary and feminist voice in Punjabi, points out that with few exceptions, publishers on both sides of the border remain largely hesitant to publish translated works on either side for obvious reasons. Paul has nine collections of poetry to his credit. His latest collection of poetry, Hun Nahi Tuesday Nirmalawas published in 2020. She has also edited several volumes of poetry, including, Balde Khatan Of Sirnavenwhich was written in the 1980s when Punjab was plagued by militancy in addition to translating selected poems by Octavio Paz into Punjabi and a book on the eminent writer Amrita Pritam, Katehre Vich Aurat: Amrita Pritam De Ang Sang (2019). A retired professor of Punjabi literature, Paul describes last year’s farmers’ movement as a “historic event”, saying protest poetry was one of the driving forces behind the movement. “At least three volumes of poetry on farmer unrest have been published in Punjabi so far,” she says, adding, “Apart from Indian languages, this poetry needs to be translated into all major languages of the world.”
When the work receives the Sahitya Akademi award, it is translated into various Indian languages, but many writers feel that institutions such as the Punjabi Academy, Punjab Art Council and Punjabi Sahit Academy need to take translation work more seriously.
Nirupama Dutt, a prominent author, translator and journalist, believes that translations undertaken by underfunded government institutions do not meet expected literary standards. “Although Punjabi translation has picked up over the past 2-3 decades, it is lagging far behind in comparison to Bengali, Malayalam and even Hindi,” she told Outlook.
In the literary circle of Punjab, many complain that books written by eminent Punjabi writers like Balwant Gargi are not available in any language other than Punjabi. “Translation work has never been gratifying in terms of credit and remuneration,” Nirupama says, while calling the majority of Punjabi translations “vanity translations.”
“There are a few people who do good work out of sincere love for the language,” she adds, praising the English translation of award-winning Jnanpith Gurdial Singh Rahi’s work by Rana Nayar, a retired English teacher from the University. University of Punjab. She hopes Punjabi will also benefit from institutions like Indian Novels Collective and New India Foundation.
Incidentally, Rahi novels like Marhi Da Deeva and Anhe Ghore Da Daan were adapted into acclaimed Punjabi films in 1989 and 2011 respectively. His novel, Addh Chaanani Raat, which won him the Sahitya Akademi Prize, was translated into English as Night of the Half Moon by Macmillan while Parsa was translated into English by the National Book Trust. The books describe the plight of the Dalit Sikhs and the peasantry of Punjab.
Known for her outstanding contribution to Dalit literature, Nirupama has translated the memoirs and poetry of the Punjabi Dalit revolutionary poet Lal Singh Dil and written The Ballad of Bant Singh: A Qissa of Courage (2016). A commentary on the landless Mazhabi Sikhs in Punjab, the book details the struggles of the singer-activist, who lost his forearms and a leg after being attacked for waging a legal battle against upper caste men who had gang-raped his underage daughter. . “This is the age of Dalit literature. My next book will be the English translation of Punjabi stories about Dalits,” she says. “The best writing comes from the place of the fight.”