10 things to know about the Giants new president of baseball operations

first_imgSAN FRANCISCO–After winning three World Series in the the first half of the decade, the San Francisco Giants have fallen behind their top National League West rival, the Los Angeles Dodgers.Following consecutive losing seasons, the Giants are attempting to reverse disturbing trends and compete with the back-to-back National League pennant winners.The first step? Hiring away one of the Dodgers’ most coveted executives.The Giants announced Tuesday that they’ve hired former Dodgers general …last_img read more

Go For Gold from education to work

first_imgGo for Gold says an average of 80% of phase one pupils matriculate with a Bachelor pass, enabling them to study at university. (Image: Media Club South Africa)Many graduates know the difficulties that lie in hunting for a job after they have completed their studies; many young people from disadvantaged backgrounds do not know what it feels like to graduate.Go For Gold, an education-to-employment public-private initiative, is trying to fill the gap. It was established in 1999 by companies in the built environment and the Western Cape department of education and civil society, to enable young people from disadvantaged communities across South Africa to benefit from a holistic education and skills development programme.HOW THE PROGRAMME WORKSGo For Gold’s programme has four phases:Phase 1: Go For Gold selects pupils in grades 11 and 12 who show an aptitude for maths and science. They are given after-school and Saturday morning maths and science tuition and, at the same time, their social and emotional education is improved during weekly life skills sessions.Phase 2: Once the pupils matriculate, they are employed for a year by partner companies in the construction sector as general worker interns. This gives them experience of the working world while they continue to receive Saturday bridging classes in maths, science and life skills, to prepare them for their tertiary studies.Phase 3: Students enter tertiary studies on bursaries from sponsoring companies and continue to be mentored by Go For Gold. They graduate within the minimum period of time.Phase 4: Students with a technical degree or diploma are employed after graduation. Sponsoring companies secure technical staff and improve their employment equity.According to Go For Gold, an average of 80% of phase one pupils matriculate with a Bachelor pass, enabling them to study at university.GO FOR GOLD AWARDSGo For Gold recently recognised 82 students for their extraordinary achievements at the 17th annual Go For Gold Awards.“Our annual awards ceremony is a wonderful celebration of the incredible commitment and determination shown by our Go For Gold students who, despite their generally poor socio-economic circumstances, grab hold of the opportunity to get a tertiary education by diligently attending extra classes and working hard to improve their marks,” explained Patti Bruyns, the Go for Gold Programme Director.“Never fail to do your best, for what you plant now you will harvest later,” said Tamsyn-Lee Simeon, a Go For Gold phase two student who will start her studies to become a civil engineer in 2016. “Do not watch the clock but do what it does – keep going. Accept the challenges so that you can feel the exhilaration of victory.”Amanda Filtane, a Go For Gold alumnus who graduated from the University of Cape Town with a BSc Honours in construction management and now works as a project manager with the Department of Rural Development and Land Reform, became the first Go For Gold Honorary Ambassador.She helped to start Lamps, an after-school tuition NPO through which young people in the township receive tuition and are helped to apply for tertiary studies and bursaries.“Amanda has, despite great odds and with tremendous resilience, carved a place for herself in a field dominated by men,” said Bruyns. “She stands out for both her professional achievements and commitment to give back to Go For Gold and her community. We are extremely proud to honour her with this award.”last_img read more

2015-2016 Ohio FFA State Officer candidates announced

first_imgShare Facebook Twitter Google + LinkedIn Pinterest President: Natalie Miller, Miami Trace and Matthew Klopfenstein, Wayne TraceVice President: Mary Buehler, Anna and Ryan Goddard, A.B. Graham Ohio Hi-PointSecretary: Michaela Kramer, Botkins and Alyssa McQuiston, Miami Valley CTCTreasurer: Haley Wilson, Sheridan and Sarah Landis, Valley View-MVCTCReporter: Aaron Klohn, Clyde and Madison Sheahan, Genoa-PentaSentinel: Lesley Shanahan, Mechanicsburg and Robert Thiel, Ridgedalelast_img

iPad for Business Round-Up: Tom’s Planner, Building Apps from InDesign Files and More

first_imgTom’s Planner is a popular software-as-a-service for project scheduling. It lets users create and share Gantt charts, or import them Microsoft Project or Excel. It’s not as advanced as Project, but is much easier to use. This week it added support for iPads and iPhones. The company boasts users from Asus, Dell, NASA, Oracle and more.PadMan IT + Project Management: A Love Affair PadMan is a plugin for Adobe InDesign for creating iPad apps from InDesign files. Adobe itself offers a similar application, but PadMan claims to be the only solution that offers native text in its applications. In addition to the plugin, PadMan has an iPad simulator and an App Store submission service.PadMan apps can include video, JavaScript animation and slideshows. It’s free to try – it only costs money to submit apps to the Apple App Store. Prices start at €790.00.Mobile E-Commerce UpdateThis week an app called Catalog Spree was released. It connects consumers with catalogs for various types of products. What’s interesting here is the way that tablets are changing the shopping experience. Catalog Spree’s representatives point to the fact that Ikea sends 175 copies of its dead-tree catalog to customers, and these catalogs make-up 70% of the company’s marketing. There are 20 billion catalogs mailed annually in the U.S. Catalog Spree is a step towards digitizing the catalog experience.This week Performics announced the results of a study on mobile Web users. The company found that most respondents use the mobile Web to find retailers and research purchases. More significantly, 49% had made a purchase using their mobile device.Good Data Report Related Posts Tags:#enterprise#mobile 3 Areas of Your Business that Need Tech Now klint finley The iPad isn’t just a hot new consumer device, it’s also an increasingly popular tool for business. Each week we take a look at the new or updated business apps for the iPad, and highlight trends in how tablets are being used in the enterprise.This week week we look at a new way of building iPad apps with Adobe InDesign, an iOS optimized version of Tom’s Planner, the ways tablets are changing e-commerce and the state of Apple in the enterprise.Tom’s Planner Massive Non-Desk Workforce is an Opportunity fo… As we reported earlier in the week, Good Technology has released its quarterly report on new enterprise activations of mobile devices. Good sees iPads dominating the mobile enterprise space. Cognitive Automation is the Immediate Future of…last_img read more

Industry Insights: The Blasting Company on Animation Scoring

first_imgAnimation scores may have had simplistic reputations in the past, but street-inspired innovators like The Blasting Company are disproving old ideas.We sat down with The Blasting Company‘s founding members, Josh Kaufman and Justin Rubenstein, for insight on the industry, their process, and where the sound of animation is headed.Image courtesy of The Blasting Company.PremiumBeat: So much of your work has been in animation. David O. Selznick famously called animation scoring “Mickey Mousing,” as a derogatory term that implied it was simplistic and telegraphed what was happening in a scene. Do you think that was fair, in reference to the past, and how has composing for animation evolved?The Blasting Company: There is definitely a large amount of that in the animation world, and I think it requires a courageous director to break free of that style. In fact, I think the problem has probably gotten worse since Selznick’s time. Carl Stalling, even with all the “Mickey Mousing,” still has some of the most sophisticated scores in animation to date. Since then, budgets have plummeted, and the amount of time given to the score has dramatically decreased. Composers are expected to play all of our own instruments, or use samples, rather than the real orchestras — 70 expert musicians at your disposal — then mix and master the audio.The good news, though, is that there are a lot of directors who realize how wonderful those past scores were (Looney Tunes, Classic Disney, etc.) and are fighting to have larger budgets, and more time for composers, to do really great work. The Simpsons and Family Guy are two great examples of animated shows with full orchestras.As far as animated scores being simplistic, I think Miyazaki and his main composer, Joe Hisaishi, have been a driving force in showing the world that animated films can have subtle, and emotionally complex, scores. In that sense, it really has been getting more and more subtle and interesting, since Selznick’s time. When you’re watching Studio Ghibli movies, I think you couldn’t even imagine the score being a direct corollary to the action on screen. It would be totally absurd!Over the Garden Wall.PB: The praise for your Over the Garden Wall soundtrack is pretty universal. Mournful, beautiful, lush, fun, raw, and polished. Old-timey meets rustic roots meets brand new day. I could go on, but when you were sitting down with the animation — with the production team — how did the direction of the soundtrack develop?TBC: Thank you. Most of the direction really is due to Patrick McHale’s particular taste in music. The sound of the world that he created was completely integral to its creation, from the very beginning. Our role was mostly to serve his vision, as best as we could, and help him realize his world. One nice thing was before he even started animating the very first episode, we had numerous meetings with him, just listening to music and playing different things for each other. Those meetings really set the tone for the entire project, and helped to guide us in the right direction throughout.Costume Quest.PB: Your current project, Costume Quest, is an animated series, based on a role-playing video game about kids battling dark forces, in a sleepy town. The fun and cute show is geared toward 6- to 11-year-olds. How much of the target audience influences your approach to the sound of the project? Without lyrics, does the age of the viewer play any role in the crafting of the score?TBC: With Costume Quest, we were really trying to achieve a Saturday-morning-cartoon feel and tone — something that felt comfortable to live in and come back to. Due to the target age group, we definitely had to use a few more of the classic cartoon scoring devices that you find in other shows of that ilk — telegraphing of emotional and action beats, and little slapsticky accents to the comic beats (i.e. Mickey Mousing).Within those margins, however — and really even because of them — we felt encouraged to be as earnest as possible. For example, the creators wanted us to really lean into the John Carpenter horror feel for the monsters, and dared us not to hold back, to have fun with building tension and unease. I think because the images are intentionally not too scary, we had permission to be as scary, or weird, as we wanted to be.The same was applicable for the emotional moments. With a show like this, there is a tendency toward heavy-handedness, for sure. And there’s definitely a temptation toward kitschy, tongue-in-cheek, pop culture references. So, one way we tried to temper that was to just keep trying to be really earnest. Even making the synthy ’80s dance song for the bad guy, we wanted it to feel like it was an actual synthy ’80s dance that an evil character would listen to in his car. We hoped to steer clear of replicating these things musically, but to honor the tone of badness that we have embedded in us from movies like The Warriors, Halloween, Blade Runner — all the way to Ghostbusters. So, in a way, the music is somewhat of and for an older generation, informed by the cultural influences of our age group.  But the beautiful thing about those references is that younger generations still love them, and those tropes are just as effective as ever, now.Over the Garden Wall.PB: There seems to be a trend in animation to reflect pop culture. Family Guy had a trilogy of Star Wars episodes. The Simpsons often referenced classic movies. Powerpuff Girls did a whole Beatles homage. Do you pull from pop culture, or micro culture, when approaching new material?TBC: I suppose there’s no way out of it! So much of finding the right tone for a scene, or an episode, involves watching and listening to things that have come before. It feels like, in the present day, our job is not so much to create new things, as to filter through all of the works from the past, and expand upon them. Or combine them in new and interesting ways. Like we are just making collages from paintings that exist, rather than coming up with new paintings. In music, probably the last big change that happened was Hip Hop, and the ability to use the computer to manipulate sound. But, since then, it doesn’t feel like any truly new ground has been discovered. So, until we find that next, new thing, we’re all just applying our taste to existing genres and styles.As far as something as overt as the examples given, we do get asked by directors, from time to time, to directly reference a particular, popular piece. In Over the Garden Wall, we wrote a piece very similar to a T-Rex song. In Costume Quest, almost every episode had some musical reference to pop culture (Trap music, “Take Me Out to the Ball Game,” The Titanic score, etc.).Costume Quest.PB: How does animation free you up artistically? Anything can be drawn and realized. Clearly, you believe anything can be a musical source. Can you share with us any new instruments of sound you’ve been incorporating in your work? And finally, what can we look forward to seeing from you in the future?TBC: Scoring to picture, animated or otherwise, is very freeing for us because the music is serving a very specific purpose. We often get paralyzed when writing original music, for our own albums, by the ever-present question: “Why are we making this? Are we contributing anything worthwhile?” But, writing music for film/TV completely eradicates that question. We’re doing it because this thing needs music, and because the director asked us to do it. Animation, in particular, is freeing because it can be so many things, in such a short span.A live action film needs to remain mostly in the same musical space for most of the movie, or it will feel very awkward and disjointed. But somehow — maybe because of the tradition of “Mickey Mousing” — in animation, it doesn’t feel so strange to jump around. More than new instruments, we’ve been playing around, a lot, with combining different sounds together to create novel sounds.We recently discovered that most of the bass on Pet Sounds was two basses, Arco and Pizz, and sometimes even with bass harmonica layered in unison. That’s such a fat, orchestral bass sound! We’ve been working on a new record, of our own music, using some of these types of orchestral sounds. In fact, this summer we’ll be releasing a new song called Candy, with an animated music video, in which, we recorded live with a string quartet and our brass section. We’ve also been getting more and more into analog synths, and are planning to release a synth record based on our song “Tiny Star” from the Over the Garden Wall soundtrack, this summer, as well.Looking for more industry interviews? Check these out.The Editor of “Us” on Working with Jordan Peele and the Horror GenreIndustry Insights: Composing for Supergirl, Riverdale, and Nancy DrewInsights into the Cinematography of the Award-Winning Doc-Series “Tales By Light”Industry Interview: Behind the Lens with Filmmaker Carolina CostaWorking with Comedy and Drama in Sundance’s “Before You Know It”last_img read more