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Bouncing stems – same or different volume from stereo mix?

Home Forums General Questions Bouncing stems – same or different volume from stereo mix?

This topic contains 19 replies, has 7 voices, and was last updated by  Tim 2 months, 1 week ago.

Viewing 15 posts - 1 through 15 (of 20 total)
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  • #30934 Reply

    Good afternoon,

    I’m starting to make stems (yes, I should have been doing that all along!:-) in anticipation of plugins no longer working due to future DAW updates.

    My question is: do you bounce each stem by simply soloing the appropriate tracks in your stereo mix (allowing for fader automations to keep the mix elements) OR do you disengage automation and bounce each stem at unity? Which is the best practice?

    Thank you so much.

    #30935 Reply

    #30937 Reply

    Sounds like you’re mixing terminology – printed tracks w/ FX vs. Stems. Stems are a group of like tracks such as Orchestra stem, Rhythm Tracks stem, Synths stem, etc.. To me it sounds like you’re talking about printing tracks with FX which are technically not stems.

    Once you figure out which it is you’re after, the next question would be “why”? And at this point I can’t discern that. If it’s for future remix, I’d print everything dry, and possibly without automation. If it’s so you can come back and tweak an instrument slightly, then print auto and FX. If it’s for REAL stems, then absolutely wet and affected. When you define your intent, you can make a decision as to whether or not to print FX and/or automation.

    Personally, I don’t do stems unless asked for them. I do alt mixes instead. When I do stems (real stems, not individual tracks) ALL fx, verb, EQ, etc are printed so that the combined total of the stems equals exactly the 2 mix – making sure that no FX or verb cross polinate between stems.

    In my world, Stems are not for recall (that’s the DAW’s job), they are for re-mixiing engineers who want to rebalance the mix, or remove elements, etc..

    #30938 Reply

    LAwriter – thank you for your detailed answer. For my purposes, what I thought were called stems would actually be called “printed tracks with FX” What threw me was in some high-end libraries, when you drill down to other versions of a track, those versions are labeled “alt mixes” (drums and bass, bed, etc) and “stems” (rhythm guitars, percussion, etc) but the stems have been printed with FX. So actually, stems are groups of tracks dry and without automation to allow for remixing. Is that right?

    Then for my purposes, if in the future I need to make additional alt mixes (but I no longer am paying for a license for that plugin (ie Propellor Head’s Reason) or the plug in no longer works in 64 bit (steinberg’s Groove Agent) then I would print tracks with FX but without automation and at unity db. is that right? Thanks!

    #30939 Reply

    No, stems are not dry without automation. They are singled out categories of the mix, and as such need have their fx, eq, etc. printed with them. They are grouped elements of the mix and should sound like they would if you solo’d “percussion” or “guitars” or “keys” during a mix. They would have their FX.

    If you’re remixing and just doing a few mix tweaks in the future, go ahead and print FX and automation.

    If you’re starting the mix over from scratch, changing the arrangement, adding or deleting parts, re-writing, etc.., at that point I’d print without automation or FX.

    That is the only time AFAIC. Otherwise I’d be printing FX.

    #30940 Reply

    thanks again LAwriter – walking me through this is very helpful and I appreciate it. Are you up for one more walk around the block?

    from what you’re explaining, it seems like I need stems sometimes and individual tracks / channel strips other times if my purpose is to preserve virtual instruments that I may lose due to future software/hardware updates.

    So if I’ve loaded a specific virtual instrument for orchestral bass and cellos into several tracks/channels , I’ll make a stem (with FX, EQ, automation, verb etc) of those tracks and I’ll have a stem for bass and cellos.

    And if I have a Virtual Instrument that I want to preserve for future remixing or alt mixes, lets say a synth, that’s loaded in a channel strip then I would print/ bounce that individual track without automation so that I can load it as an audio track back into the Logic Pro session if I’ve lost the use of that virtual instrument plug in but want to revisit the mix.

    #30941 Reply

    OK. I finally think I see where you’re coming from.

    When I have soft synths in “midi-land” I ALWAYS print them as audio tracks before I start mixing. The only time I use midi automation is if I’m affecting filters or other synth / sampler parameters, or for the very rare volume move. I always automate levels, etc. and mix in PTHD. Never in midi. That may answer your question.

    IME – always print midi tracks as individual audio tracks dry or dry-ish (if a sound has verb on it and I like it, I’ll print it with the verb) for mixing, and for later remixes. For stems, FX and automation always get printed.

    #30942 Reply

    LAwriter Bingo. You’ve hit it right on the button. And your suggested approach is a perfect fit for what I need to accomplish. Thanks for following this through to the end and for your help.

    #30943 Reply

    Sure, you’re welcome. thumbsup

    Printing audio tracks and automating those instead of midi renders a lot of future-proof sessions and the ability to transfer sessions to someone else to work on them seamlessly. Plus working with audio is so much smoother and more enjoyable than automating midi.

    #30948 Reply

    When I have soft synths in “midi-land” I ALWAYS print them as audio tracks before I start mixing. The only time I use midi automation is if I’m affecting filters or other synth / sampler parameters, or for the very rare volume move. I always automate levels, etc. and mix in PTHD. Never in midi. That may answer your question.

    Thanks for that tip LAwriter. I am guilty of keeping my tracks in MIDI for mixing because I am always finding little things to tweak in the MIDI during mixdown. In other words, I tend to mix before my track is finished. I need to work on my self discipline and that little tidbit helped.

    Regarding stems, I was asked for stems for a specific placement one time. I bounced out what they wanted from the mix. Then had to decide if I was going to deliver as is or run the stems through my mastering session. Is there a standard practice?

    I “assumed” they should ideally be able to combine the stems equally to recreate the original mix. If I run each stem through my mastering session as is, the combined stems would clip. I think I ran the stems through the mastering session at about -3dB to -4dB but I cant remember for sure. What would you have done?

    Funny end to the story, the stems were used on “The Marvelous Mrs Maisel” for a whopping 10 seconds, very lo-fi, coming out of a black and white TV viewed from outside the window, under dialog. I would think a simple band pass filter would have been a lot easier and faster. But I guess that’s why they earned those Emmys, ha.

    #30950 Reply

    Alan – wthout getting too detailed, IMO, this is the best way to mix stems if you KNOW you are going to mix stems. IMO of course…

    For the random sake of argument, let’s say the stems we need are : 1.) Orchestra (input bus 1/2), 2.) Solo instruments (input bus 3/4), 3.) Rhythm section (input bus 5/6), 4.) Synths (input bus 7/8), 5.) Vocals (input bus 9/10). Then a stereo two mix – (input bus 11/12). Adjust whatever stems you decide on to suit your particular piece of music’s requirements and/or client requests. Put all tracks into “input” and “solo safe” them.

    So….you will end up printing 6 Stereo tracks when you print your mix. 5 Stems tracks that ultimately feed the 6th track which is your 2 mix bus. Send the output of all Orchestra tracks and associated reverb and FX to internal bus 1/2, the Solo Instruments outputs and their reverb and FX to internal bus 3/4, and etc. This should have all your individual track outputs feeding their respective stem inputs properly. Then, feed ALL the stem track outputs to bus 11/12 which will end up being your 2 Bus stereo mix. Go ahead and put whatever 2 bus processing you use (I use analog gear on hardware inserts) on your mix bus. Monitor your stems tracks and 2 bus mix track on input while you mix, and your stems and your 2 bus will be perfect level wise. Or at least they will be where you want them. 🙂

    This type of mixing can get quite elaborate, but saves a HUGE amount of time, and creates stems that are properly designed and mixed.

    And to answer your question – yes, the stem outputs combined should recreate your mix bus – sans processing on the mix bus.

    #30952 Reply

    I had a similar issue regarding the dilemna of keeping things MIDI or bouncing them to audio. before i would mix and master with MIDI tracks unbounced, but because of resource constraints i had to resort to having 2 session files per song (MIDI unbounced and bounced). I would have my mastering plugins on the bounced version though (again due to resource constraints)…then i came across a situation where a library asked me to change a string sound cause they didnt like the one i used, so i had to go back to the unbounced session, change the vsti, made some level and articulation tweaks, bounce to audio, then import that to the bounced session and remixed/remastered the track. a lot of work…if it was just timing or level issue i could have edited the bounced session, but if its an instrument or arrangement change i have no choice to go back to the MIDI track…

    i havent had an issue with my stems clipping through the mastering chain though…i’d assume the sum of all the stems is greater than the stems separately…

    #30958 Reply

    I always render (Cubase terminology) my midi tracks and then have a Macro key command to hide and disable the midi track. This saves resources and also places the hidden midi track just above the audio version if I need to go back. Regarding stems I just solo the relevant tracks and bounce out. There can be certain situations where the the send fx (reverb etc) need to be separate which requires a different setup from the outset. Jason Graves has a YT channel where he describes this in detail.

    #30959 Reply

    This is how I do it:

    Stems for a client:
    – everything printed running through the master FX, but with a little less compression.
    – I then (if there’s time) load these stems into a fresh new session and reduce the volume overall until there’s no clipping. Re-bounce / export

    Stems (stripes) for a mix:
    – no master FX, except for any gain automation. Still print all the track automation, or else the mixer will have a rough time.
    – Depending on the mixer, and their process, I will / won’t print reverb into each track.

    #30960 Reply

    does anyone know if the editors mix stems with compression or just basic level adjustments?

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Reply To: Bouncing stems – same or different volume from stereo mix?
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Remembering Composer James Horner

The Musique Fantastique of James Horror: He brought sensitivity to science fiction and alienation to horror cinema

Film music fans were grieved to learn of the death of James Horner.  A passionate enthusiast of flying, Horner was killed when his private plane crashed sometime after 9:30 AM in a remote area north of Santa Barbara, California.  He was 61.

Horner’s assistant Sylvia Patrycja confirmed his death on her Facebook page Monday evening.  “We have lost an amazing person with a huge heart, and unbelievable talent,” she wrote. “He died doing what he loved.”

Composer of than 150 film scores, Horner began at New World Pictures, scoring a fistful of low-budget sci-fi and horror films for Roger Corman. HUMANOIDS OF THE DEEP (1980) was given an effectually brooding score; although reflective of Jerry Goldsmith, young Horner’s leading influence, HUMANOIDS holds many evidences of techniques Horner would later develop with more freedom, such as the echoing string chords that accompany the prowling sequences.  His lavish symphonic score to BATTLE BEYOND THE STARS (1980) and his electronically-tinged, atmospheric music for WOLFEN brought him some due attention, and with his ensuing score for 1982’s STAR TREK II: THE WRATH OF KHAN, Horner broke into the A-list.  A catalog of masterful and much-loved scores – many in the sci-fi and horror genre in the ‘80s and early ‘90s, followed through the end of the decade – KRULL, BRAINSTORM, and a return to the cosmos with STAR TREK III: THE SEARCH FOR SPOCK.

RIP James Horner FB

During the 1990s Horner’s musical focus largely moved away from science fiction and its ilk into more mainstream big-budget cinema – but not entirely. The various fantasy sequences derived from classic literature in 1994’s THE PAGEMASTER gave Horner the opportunity to provide a wide assortment of musical treatments, from classic swashbuckler to soaring fantasy and menacing horror, while the similarly family-friendly fantasy JUMANJI (1995), wherein he constructs a vivid and mostly episodic score, providing unique musical set pieces designed for specific standalone sequences – the rampaging rhinos, the energetic elephants, the adventurous apes, and so on – with a primary through-theme being the heroic adventure motif for the Robin Williams character. Beginning with 1985’s COCOON, Horner began an ongoing collaboration with director Ron Howard.  His score for this sentimental story about a group of elderly retirees who encounter visiting aliens who give them a second chance at life, captured some impressively rousing and passionate music that takes on an emotional depth that can be as adventurous as it is poignantly moving.

The blood-freezing discordance of ALIENS, which reunited Horner with one of the art directors from BATTLE BEYOND THE STARS – James Cameron, now an accomplished director – launched an association that would be very auspicious in the coming years.  Horner linked his score stylistically with the Goldsmith original while concentrating on underscoring the film’s visual action, using electronics to emphasize the alien “Xenomorphs,” and a military figure for percussion and PATTON-like echoplexed trumpets to represent the military team of US Marines sent in to eradicate a horde of aliens.

Rejoining Ron Howard for the Tolkeinesque adventure fantasy WILLOW (1988), Horner providing an enchantingly-flavored score comprising orchestra and choir that bolstered this entertaining fable about a dwarf charged with protecting a baby princess from a wicked queen.  Horner gave the Disneyesque adventure fantasy HONEY, I SHRUNK THE KIDS (1989) a somewhat cartoonlike score, from the short Roger Rabbit cartoon TUMMY TROUBLE, which preceded the feature (Horner also scored it) to the compatible sensibility of rampant action and busy, “antic” cartoon writing that is portrayed throughout the rest of the feature as well.

The 1990’s saw Horner expanding into more mainstream thrillers and dramas, but he also contributed some stellar scores for the decade’s sci-fi and fantasy efforts.  His score for Joe Johnston’s THE ROCKETEER (1991) carried a gentle sense of Americana as it supported the story of a steel-clad super hero battling Nazis on America’s home front during World War II.  The music for CASPER (1995), a feature film adaptation of the children’s cartoon series created in the 1930s, was a tour-de-force of mischievousness. The score bristles with activity, coloring both the ghost’s activities and the wonderment of his very existence.

Horner closed out the decade on top of the world – with two Oscars, one for best score and the second, shared with lyricist Will Jennings, for best song – for Cameron’’s TITANIC (1997).  His first post-TITANIC score, 1998’s asteroid-vs. Earth disaster movie DEEP IMPACT, is at once stone-cold sober, bitterly reflective of the grave extinction-level-event that is at the heart of the story, and vibrantly warm with human passions, focusing more often on the human impact than that of the onrushing comet.  Like TESTAMENT and much of TITANIC, Horner’s music acknowledges the epic, terrible disaster occurring while bolstering with intimacy and sweeping melodies the perspective of the human characters caught up in that tribulation.   Horner also lent a strong degree of sympathy to MIGHTY JOE YOUNG (1998), Disney’s colorful remake of the 1949 picture.  The score is earthy, with lots of African styled percussion and chorus behind its noble trumpet theme, which is also expressed in measures both poignant and profound by strings and choir.  The poignant melodies Horner composed for Chris Columbus’s BICENTENNIAL MAN (1999) spoke layers of emotional depth for the heart of the cyborg man seeking to find himself – and his soul – in an uber-technological future.  Horner’s ability to capture the inner spirit and mirror the emotional underpinnings of developing characters and situations serves him very well with this score.

Through the 2000’s into more recent years, Horner scored a variety of pictures, while becoming a little more selective on what or for whom he would work.   His genre-notable works from the new millennium’s first decade include Ron Howard’s live-action remake of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS (2000; aka THE GRINCH in UK), providing an effervescent fantasy score that brought the town of Whoville to a festive, emotive life.  Horner also collaborated with lyricists Will Jennings and Cynthia Weil on several of the songs featured in the movie.

His music for THE FORGOTTEN (2004), a science fiction thriller about a grieving woman who begins to suspect her son, believed killed in a plane crash, may in fact be alive and part of an extraterrestrial experiment.  Horner’s score begins with a tone of grim melancholy in recognition of the woman’s perceived loss, which will grow into a surging, discordant pattern, percussively distorted as the truth becomes known, finally resolving at the end of the film with a bright disposition of reconciled joy. For THE SPIDERWICK CHRONICLES (2008), Horner crafted a bright score that is brimming with enchanting melodies and vivid orchestration, and for his reunion with Cameron on AVATAR (2008) he created a score of varied breadth that enlivened the various cultural nuances of the planet Pandora, providing tribal vocalisms, ethnic flutes, and beaten frame drums to evoke the native spirit of the aboriginal Na’Vi, while a soaring theme for orchestra and chorus unites the spirit of hero Sully with that of the Na’Vi and, especially, love interest Neytiri, serving to stretch the heart strings at the story’s significant moments and its climax. With a simple yet sturdy motif for the greedy military-industrial machine that serves as the heroes’ primary threat, both motifs interact with aggression and vigor during the great battle that climaxes the film, given further power by thunderous drums, trilling brasses, and chanting choirs that build the battle into a cataclysmic epic of cultures.

And with his last genre film score, for Marc Webb’s reboot of THE AMAZING SPIDER-MAN (2012), Horner spun a splendid super-hero score that is saturated with lyrical sensitivity and melodic grace, capturing the varying perspective nuances of Peter Parker as he struggles to deal with his newfound “spider sensibilities.”  Foremost above these subordinate motifs is Horner’s engaging main theme – the confident, heroic Peter Parker.  Horner uses these motifs separately and together to intensify character interaction and underscore the intimacy of the story being lived out beneath the awesome conflicts that erupt across the cityscape.  All the attributes of Horner’s film scoring style are present in this score, the traditional, melodic-based orchestral approach, the sweeping anthem for the hero, and the impassioned poignancy of the insecure teenager struggling beneath the costume.

The sudden loss of James Horner this morning is a huge and a personal loss for film music, and music in general. His legacy of music is considerable and his efforts within the fantasy, science fiction, and horror genres have been potent and notable.  More than one generation of film composers and aficionados have been touched by his music for nearly 40 years, as evidenced by the very palpable grief and dismay over his death that’s been shared on social media.

May his music continue to soar.

– Randall D. Larson, June 22, 2015

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Is Drama Detouring Your Association from Its Mission?

By Adam Natali posted 29 days ago

By John and Jacki Davidoff

(This article originally appeared in the March 2018 issue of FORUM)

Last Friday, the board of directors of a prominent organization received a presentation by its law firm following an investigation of employee complaints regarding the organization’s culture. At the report’s conclusion, the CEO resigned, effective immediately—the latest in a string of top executive resignations. Just after those events, we received a phone call from a member of the organization’s executive committee. “How should we ‘message’ the situation?” they asked us, explaining that the party line was that the CEO resigned “to spend more time with his family.”

“We just stopped trusting you,” we replied. We knew this would likely upset the prospective client. But we didn’t want to be party to the drama coming through the phone line loud and clear.

Several red flags made the drama obvious:

  • Turnover of multiple CEOs
  • Complaints from employees about the culture, serious enough to warrant a legal investigation
  • Board choice to misrepresent CEO resignation as unrelated to legal investigation
  • Interpretation of situation as a “messaging” problem rather than symptom of a drama culture with low integrity and accountability

There are short- and long-term consequences of failing to recognize drama in your association. These consequences can lead to significant damage to the organization’s reputation with current and prospective employees, members, board members, donors, funders, the media, volunteers, and government representatives. As important, internal drama becomes a dominant focus, distracting the organization from its mission and service to its stakeholders.

While the organization described above is an obvious example of what we call a “destructive drama culture,” the symptoms often take much subtler form, such as employees, teams or departments within associations who relate to each other through blame, competition for resources, denial of responsibility, and avoidance of resolving problems.

This article is about identifying destructive drama cultures and how to address such situations before more damage is done. We will define such drama cultures, explain why associations may be more prone to them now than in the past, and present five types of such cultures. We will also offer tips for tackling destructive drama in your association, helping to move the organization from Mission-Challenged to Mission-Driven.

How Drama Detours

Dr. Judith Wright, executive coach and professor of emotional intelligence at the Wright Graduate University for the Realization of Human Potential, suggests that people could well spend more than 90 percent of their waking hours in some form of drama. The challenge for organizational leaders and their employees is to create a culture with high self-awareness—emotional intelligence—such that they’re aware of the tendency toward drama dynamics. These association executives seek to notice drama (their own and others’) and develop the skills to shift out of it, shaping a culture that brings relief to and motivates teams and individuals.

The idea is not to eliminate drama. That’s not possible. But certain types of unchecked drama, such as the CEO-resignation situation noted at the opening of the article, can impede organizations from fulfilling their missions. This kind of drama diminishes morale and leads to low-performing teams and disengaged staff at every level. In such cases, relationships with internal and external stakeholders are vulnerable to short- or long-term setbacks and disruption.

What Is a Drama Culture?

Drama describes conflictual and unproductive interactions among two or more people. A destructive drama culture—or “drama culture,” for short—is an organizational culture marked by unacknowledged, pervasive drama.

It’s important to recognize that most any human interaction will have some elements of drama, and that’s not a bad thing. You, the reader, are likely in some degree of drama right now! Organizations are especially prone to drama, given the large number of interactions they involve, often with high stakes. But there’s drama and then there’s drama.

In our research on what defines a mission-driven organization, a drama culture will invariably illuminate where an organization is mission-challenged. We’re talking about cultures that are chronically, negatively dramatic, with unhealthy implications for their mission and stakeholders. The costs of this include poor functioning, low morale, high turnover and low outcome-effectiveness.

We have found the “drama triangle” a useful framework for understanding the origination and operation of multiple kinds of drama cultures. First proposed by Dr. Steven Karpman (a student of Eric Berne, the psychologist who developed transactional analysis), the drama triangle suggests that people in dysfunctional interactions take one of three roles, based on their natural personality/tendencies and early experiences.

Below we present the three interactive roles Karpman proposed, with our own take on them from our observations of organizations:

  • Victim: Those who perceive they are persecuted by others. They also may be in denial or self-pitying, leading to ineffectiveness.
  • Persecutor: Stereotypical bullies but also those who act in passive-aggressive ways, ultimately diminishing performance and morale.
  • Rescuer: Ostensibly, these are do-gooders who want to help others (especially victims), but they may be dysfunctional in their own way, focusing on others’ problems instead of their own.

Importantly, people in organizations often become entrenched in their specific roles for long periods, contributing to a negative pattern of interactions and performance at all levels.

Drama Culture in Associations

Our work within and research on the association sector reveals several factors that have made associations more at risk for drama culture.

For most of the last decade, in response to a changing economy, the association sector has transformed how it delivers programs and services to members. This has manifested in reductions in staff size, increased outsourcing, and greater demands on remaining full-time leaders and their staffs to operate at maximum productivity levels. Similarly, many associations have had to eliminate vague job descriptions and raise expectations of responsibilities for each role in their now-smaller organizational staff—which has increased accountability and left little room for suboptimal performers to “hide.”

The silver lining in shifting to the new model of association management has driven expectations of greater productivity among individuals and teams. Many associations have risen admirably to the imperative of becoming leaner, meaner, and more efficient. Their leaders have built their mission, vision, action plans, operations, and culture around the principles of mission-driven leadership: accountability, responsibility, mutuality, integrity, and empowerment, among others. This includes creating drama-free cultures and taking active steps to address any emergent symptoms of drama, which maintains high performance levels.

Still, given that culture is often “in the walls,” it can be difficult to identify the presence and impact of drama, especially in the face of shifting sector dynamics. Indeed, our study of associations shows that many are “head down,” focused on core operations such as membership services, programs, advocacy, funding, and board relations. While strong operations are a key attribute of association management, it can also keep an organization from maintaining vigilance around the changing needs of key stakeholders (members, funders, strategic partners, others) and the shifting environment of its industry or sector, potentially providing pressures and uncertainty that spur unwanted drama to enter the culture.

Such “drama creep” is difficult to detect, like an invisible cancer eating away at the internal organs of an association, requiring awareness, vigilance, and a highly proactive approach. The next section discusses how to recognize signs of drama culture, including specific forms it might take.

Five Types of Drama Culture

Our work with associations and other organizations has highlighted multiple signs and symptoms of drama culture, as characterized by five specific types we’ll discuss below.

Generally, drama cultures will have overt and covert features. Some may be obvious to those within and outside the association, like visible conflict and resistance among colleagues, abuse of power by leaders or employees, or actions that go directly against an association’s mission. Others will be more subtle and harder to detect, such as denial, mistrust, gossip, backstabbing, or jockeying for recognition. All contribute to poor outcomes for performance and morale.

Think of the drama culture types below as “pure forms,” rather than those reflecting the exact situation of a given association. Some actual organizations may indeed fit the description very well; but most associations with a problematic culture will have features associated with multiple types. Regardless, understanding the drama cultures here can help you identify challenging elements of your association’s culture and take steps to improve.

Slow Death Drama: (“Everything is fine”) These associations have typically been struggling with remaining relevant to their members and their missions for a long period, but are in deep denial of this reality. Leaders and others in the organization can’t see and/or have chosen not to keep pace with the world changing outside their walls, while also failing to deal with cultural erosion within their walls. For example, we know of a global tech-related association “making its membership numbers” every year, but at the same time becoming less relevant as nimbler, more tech-savvy rivals gain ground.

Zero-Trust Drama: (“Everyone for themselves”) These cultures are marked by backstabbing, gossip, poor information-sharing, and lack of transparency/communication. In many cases, the organizational culture is marked by scarcity (of funding, resources, staff). Fundraisers or foundation executives may be trying to develop their own relationships to funders, taking credit for others’ work, or actively seeking outside opportunities. This type of culture can involve both active aggression and passive aggression, whether it’s outright conflict such as that of our opening-example association, or more subtly destructive interactions, such as people reluctant even to copy colleagues or “reply all” to emails. At another association, trust runs so low that even the most minor decision must be made by consensus, impeding progress across levels.

Pervasive Denial Drama: (“No problems here”) In associations with this drama culture (a more general form of the Slow Death Drama above), conflict is avoided at all costs, as people deny its existence in the first place. People may be civil with one another and seem satisfied enough, but there’s no real engagement with internal or external parties, no enthusiasm for the mission and vision. The general feeling in such cultures is that people have given up on their own fulfillment, and certainly that of the organization/mission, and are just “punching the clock,” present physically but not in spirit.

Anxiety Drama: (“Nothing is certain”) Here, the main theme is uncertainty, as people don’t know what will happen in the future, both to themselves and to the association and its mission. While anxiety can be part of a healthy organization (as we discuss later), this type of anxiety is destructive and breeds second-guessing, sticking to suboptimal routines, maintenance of the status quo, catastrophizing (believing the worst will happen and it will be unmanageable, such as losing all funding sources), and the appearance of being busy without making meaningful progress. In such associations, people may seem engaged, but they’re engaged with the wrong activities: instead of delivering high-quality programs or services or seeking to improve service, they are caught up in busywork or other low-value-added activities, such as attending meetings with little real impact on organizational goals.

Authoritarian Drama: (“Our leader is everything”) In these associations, everything is up to and depends on the leader (or small leadership group), often a charismatic but highly controlling figure. As a result, there’s no real collective decision-making, even if there are committees and other ostensible decision-making groups/interactions. Indeed, people take no responsibility for development of potential at both the individual and organizational levels. Some people have blind trust in the leader and simply “toe the party line,” while others who might normally contribute novel ideas fail to do so, believing their contributions will be shot down or stolen. Not surprisingly, these organizations struggle with succession (planning and execution), and their missions suffer under controlling leadership and during any leadership transitions, as there are few healthy systems and interactions in place.

Deal Proactively with Drama Culture

The good news is that a drama culture, even a highly destructive one, need not represent a permanent state for your association. There are specific steps you can take to address and improve such a culture, with the goal of moving from Mission-Challenged to Mission-Driven. Our work with a range of organizations along this spectrum has yielded specific steps for addressing drama cultures, as detailed below.

Identify the drama: The first step is to assess the presence of drama and its potential sources. The descriptions of drama culture types above present many of the symptoms to look for: aggressive and passive aggressive behavior, conflict, denial, catastrophizing, withholding information, second-guessing, clock-punching, and many others. Importantly, such drama can happen at any level of the organization, including the leadership team, board, and general ranks.

Accept the presence of some drama: Here we don’t mean to accept all the elements of a destructive drama culture, but to acknowledge that drama is a natural part of any organizational landscape, including yours. Culture is the sea we swim in, and drama is inevitable within it. So rather than asking “How can I get rid of any drama here?,” ask “What drama elements are in the way of our mission, and how can I contribute to identifying and addressing the symptoms?”

Identify sources of drama: Once you’ve identified elements of a drama culture—and recognized the difference between naturally occurring and destructive drama—work to understand their sources. These can be wide-ranging. It’s possible that one person is driving much of the drama in your culture, such as an overly ego-driven leader or manager. But more likely, drama emerges from a dysfunctional system with multiple contributors. As suggested by the drama triangle concept we presented earlier, drama is inevitable when people habitually play specific roles of persecutor, victim, and rescuer. Drama can also stem from misalignment or unexpressed needs among staff, leaders, and boards, such as unwillingness to talk about conflict in a productive way, repression of true opinions, and fear of or failure to deal with the natural emotions that arise when people work together. Identify and document as many sources of drama as possible and look for how these may relate or feed into one another to develop a plan for improvement.

Create and maintain a Mission-Driven culture: Rather than taking a narrow approach to improving specific sources of drama, the general goal should be to create and actively maintain a high-performance, mission-driven culture—one that gives people little motivation to create drama, and rather to direct their efforts and energy at upholding the association’s mission. Among the multiple, non-exhaustive elements of Mission-Driven cultures are:

  • Support for mistakes and anxiety: Within Mission-Driven cultures, people understand that failure and mistakes are inevitable parts of doing business, with the goal of learning from these rather than engaging in blame or justification (as happens in drama cultures). Similarly, there’s recognition that anxiety can be a positive indicator of an association’s commitment to high-value, high-stakes outcomes for members and broader society. On the other hand, excessive anxiety and avoidance of anxiety and conflict can contribute to drama cultures, as described earlier.
  • Empowerment and autonomy: In Mission-Driven cultures, leaders feel empowered by their boards and fellow executives, and those in the more general ranks feel empowered by leadership to serve their members. Empowerment and autonomy actually create a greater sense of trust throughout the organization, improving communication and performance.
  • Ownership: Empowerment and autonomy also promote a greater sense of ownership among your people, such that everyone owns her/his own role and responsibility while also looking out for others. Do people go home after they complete their deliverables or stick around to help others with theirs? Is there a “not-my-job” mentality in your organization or one where people routinely step outside the official bounds of their roles to help fulfill the mission? Answering these questions can help you determine the level of ownership people assume in your association and take steps to improve it.
  • Principles and systems of excellence: Hoping for excellent performance isn’t enough. You need to have specific principles and systems in place to make it happen. That can mean things like asking everyone to pledge not to withhold information from colleagues. Or ensuring people presume good faith when assessing their colleague’s motives. Or creating an environment that encourages and rewards authentic expression, vulnerability, and risk-taking. There are many others, and the idea is to develop and communicate from within the staff what principles they want to orient to in their interactions with each other and throughout the association.

We hope your association is free of the drama culture elements described here. If so, congratulations! (And we don’t believe you!) If not, reading this article may well be the first step in your journey to identifying, acknowledging, and improving your drama culture. There is hope—we see it in associations that decide to shape their cultures for the benefit of their staff, volunteers, and ultimately, their members. It helps to have humor as a starting point, and to recognize it’s a journey—possibly the most worthwhile journey to take.

John Davidoff, MA, Transformational Leadership & Coaching is the Founder and Chief Mission-Driver of Davidoff Strategy, with offices in Chicago and Washington DC. John can be reached at or 312-543-1932.

Jacki Davidoff, MA, Transformational Leadership & Coaching, is the firm’s Chief Potential Officer and can be reached at or 773-791-2831.

Davidoff Strategy is nationally known for its cutting-edge, unique Mission-Driven Strategy and Marketing methodology. Find out more at


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CBD Oil Tinctures

cbd-tinctures.jpgCBD tinctures are one of the most popular and arguably the most versatile. There are many CBD tincture products to choose from, with different flavors and CBD strengths, and all of them are fairly easy to use. Tinctures stand above other types of CBD products in serving size precision as you can increase or decrease your serving size by the drop (all tinctures come with a dropper).

CBD tinctures are absorbed sublingually (under your tongue), which means that they perform quicker than some other forms of CBD products. Additionally, you can mix the CBD tincture with a drink or smoothie during the day.

Tinctures come in a variety of flavors, including cinnamon, vanilla, and peppermint, and contain added sweeteners to make them more enjoyable. Tinctures are ultra-popular with many people who use CBD on a daily basis.


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Jervois Gardens sold en-bloc for $72m to SC Global

Jervois Gardens, a freehold development in River Valley, has been sold to Brownstone, a unit of SC Global, for S$72 million following a competitive tender that ended on Sept 26.

The development comprises two low-rise blocks of 14 maisonettes and three apartments at 30F and 30G Jervois Road.

Ms Tang Wei Leng, managing director of Colliers International Singapore, which facilitated the sale, said in a statement that this was Jervois Gardens’ third attempt at a collective sale. She added there was a total of eight bids for the prime freehold site – “a testament to its strong redevelopment potential”.

Ms Tang noted that the winning bid of S$72 million translates to about S$1,373 per plot ratio. Depending on the size of their units, each apartment owner can potentially receive between S$3.3 million and S$4.5 million.

Under the 2014 Master Plan, the site has been zoned for residential use, with a gross plot ratio of 1.4.

Jervois Gardens sits on a freehold land area of about 34,038 sq ft, which could yield a gross floor area of 52,419 sq ft, including an additional 10 per cent gross floor area for balconies.

The site is located between the Redhill MRT station and the future Great World City MRT station. Its proximity to the nearby park connector will provide the 50 to 70 homes that can potentially be built on the site with amenities that promote a healthy lifestyle, said Colliers.

The sale is subject to the approval of the Strata Titles Board.

Adapted from : The Straits Times, 26 September 2017


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harmon.ie CEO to Present “How to Create the Right Social User Experience” at NMX/BusinessNext Social

Thursday, January 3, 2013
Boston, MA

harmon.ie®, the social software company, today announced that its CEO Yaacov Cohen will be presenting a session at NMX/BusinessNext Social on “How to Create the Right Social User Experience” on Sunday, January 6 at 2:05 p.m.

According to Cohen, too many social initiatives in the enterprise fail due to too much focus on the platform and not enough focus on the user experience. The challenge is to deliver this social experience across desktop, mobile and cloud while keeping the experience consistent and intuitive. During his session, Cohen will also discuss how to prevent a company’s social intiatives from falling into the “silo trap,” and how to use social analytics without compromising privacy.

“In 2013, we are going to see a deeper convergence of social, mobile and collaborative processes for business,” said Cohen. “The integration of these activities into a user’s daily habits will fuel a renaissance for some of the traditional enterprise players as they incorporate social activities into business processes.”

Click to Tweetharmon.ie CEO @YaacovCohen discusses how to create the right social user experience at #NMX BusinessNext Social. #collaboration

About harmon.ie

harmon.ie is the first platform-independent enterprise social vendor, delivering a consistent social user experience across multiple social and collaboration platforms from different vendors such as Microsoft, IBM and Salesforce. Thousands of businesses including Continental Corporation, BearingPoint and Amway use harmon.ie across Mobile, Desktop and Cloud to evolve into more socially powered enterprises. For more information, visit http://harmon.ie/.

All trademarks, trade names, service marks, and logos referenced herein belong to their respective companies.


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Matchbook Announced as New Sponsor of the Birdcatcher at Naas

Matchbook Announced as New Sponsor of the Birdcatcher at Naas

Naas Racecourse today announced Matchbook Betting Exchange as the new sponsor of the ‘Matchbook EBF Birdcatcher Premier Nursery’.

The Matchbook EBF Birdcatcher Nursery will take place on Sunday October 21st. The race is renowned as Ireland’s most prestigious nursery race and with a value of €50,000 is also the richest two-year-old handicap of the season. The Birdcatcher Race at Naas has become one of the end of season highlights in the Irish racing calendar.

Matchbook is leading disruption in the betting exchange community by focussing on  customer needs and offering the best value commission rates and liquidity in the market. The Cork based company are a growing force in the UK and Ireland and strive to provide a best-in-class platform for users to have the ultimate online betting experience.

Some of Ireland’s leading trainers, Ger Lyons, Willie McCreery, Jim Bolger and Aidan O’Brien have all targeted and won the Birdcatcher in recent years.

Tom Ryan of Naas Racecourse said: “We are thrilled to welcome Matchbook on board as sponsors to Naas. The Birdcatcher is a very popular race and we are delighted to have a strong brand like Matchbook supporting the Premier Nursery and a supporting race on the day. We look forward to working with the Matchbook team and making it a successful partnership over the coming years.”

Matchbook will also sponsor a supporting race on the day, ‘The Matchbook Time To Move Over Handicap’.

Mark Brosnan CEO of Matchbook said:We are thrilled to expand our sponsorship portfolio in Ireland by supporting such an historic race as the Birdcatcher at Naas Racecourse. This race is one of the most competitive in the Irish racing calendar and, as a company who needs to maintain a competitive edge at all times, is a great fit for our brand.”

For further information contact Jackie Donohoe, Sales & Marketing Manager at Naas Racecourse, or call 045-897391.


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"Part icon" Best Practice - Select Your Part for Perfect Collab

July 25, 2017

Hi there nana-versal people! Are you all tuned up as always?

Most unique feature that nana has is “collab” by overdubbing your tune with others and play with it. However, it will be difficult if you can’t find the part that you want to collaborate with, and that will be the same for your potential collaborators… but don’t worry. By adding a little effort, you can make yourself discovered by your future sound buddies!

In order to start that, today we will be explaining how to set up the “Part Icon” of your track to make yourself found easier by your potential collaborators!

Your voices on the track...

Your voice is the first instrument that you will make sound with. Select this icon if you’re into the main vocals for any type of music.

Although not the main, if you are going to add pinches to the song, your part will be “Chorus”. Find yourself supporting other voices or creating unison together with choir people.

Apart from singing tunes, you can use your voice to make people imagine lots of things. Put in expressions to the words you speak, and that will your piece of work without doubt. Be emotional, make imaginations.

Join the Band squad!

Long-loved classical to modern electric, you can show off your riff and backing by choosing this one. The team who wants to create band sound must put this on!

If you’re into the rhythms for the band acting as the basement, you definitely need to select this one.

The most important part, heart beating part for the band. Everyone awaits for you to create the beat out!

To the Classical World...

Traditional part. Nothing more. Play the elegance out of your classical one, or mash it with other band sounds if you’re keyboard player!

One of the most orthodox instruments from classical world. Be the one of the orchestral part with this icon.

Another classical instruments. If you’re taking the part for the orchestra from violin to cello, use this icon!

Unique bits and pieces!

A bit different from drums, this percussion is for people who is fond of voice percussions and other beating instruments like jambe. If you’re with unique rhythm item, choose this one.

This is for you all-in-one track creator. The main lot of background music creators are using DTM tools to make music. If you are one of them, choose this one and thousands of people will be able to discover you soon.

Haven’t found any part that fits for you cause you’re making something totally new? Then set this up for your original sound!

Collaborate with everyone!!

By setting up the part icon correctly, you can team up with other users to create an awesome sound.

Here are some of the tracks that were created by collabs of users from different perfection. Click on their track, and listen up people!

If I Ain't Got You/Alicia Keys

Bohemian Rhapsody/Queen

Fly Me to The Moon/Frank Sinatra

...and even originals!!

Mother And Daughter (Original Song)/Mother And Daughter feat Miwa & Ina

Be the part of these creations by showing your speciality! Enjoy nana :)

If you already have collaborated with talented users, share it with the world by looking here!!

Check out “nana How-to Guides” (Android / iOS)  if you want to learn the basics to enjoy nana app.

For more infos, see our FAQ for answers to the most common questions.

nana Official http://nana-music.com/users/51608/ Official blog account for music social app, "nana"

Also Recommended!


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Recommendation 1

Interveners and Qualified Personnel

A lot of the work of the intervener services initiatives over the past year has focused on Recommendations 1 and 3 (there will be more information about Rec 3--the development of intervener training materials--next week). Rec 1 is "Develop a coordinated and expanded national approach to provide state and local early intervention and education agencies with information and tools needed to understand and use intervener services."

Implementation strategies we have worked on are include the development of work groups of individuals with interest and expertise in various topics related to intervener services. Currently, there are three: 1) Family Issues, 2) Intervener Services for Infants and Toddlers, and 3) Interveners in the Home and Community.

A second implementation strategy was to create a web-based platform on which state deaf-blind projects, NCDB, families, and other organizations and individuals can interact and share knowledge. This is part of NCDB's overall interactive web site, which you are on right now.

Finally, a key strategy to "develop and disseminate a consistently applied national definition of intervener services, including clarification of the occupational role of the intervener" has just been completed and will be available soon (within a day or two). Thanks to everyone who provided input and feedback on this.

Peggy Malloy

Posted Jul 2, 2013 by Peggy Malloy

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Big Brother Bryant: Cowboys star mentors rookie Ryan Switzer

By Jaime Dunaway

FRISCO, Texas — Ryan Switzer exchanged a high-five with Dez Bryant, then two more, followed by a shoulder bump and a couple of dance moves with his celebrated Dallas teammate.

The rookie receiver isn’t a typical fourth-round pick cloaked in anonymity. The 5-foot-8 speedster ran with the starters during off-season practices and he cooked up an elaborate handshake with Bryant, who wasn’t the only Cowboys veteran to notice.

“Switz, man, that guy, he’s the real deal. I love little Switz,” Bryant said. “The way that he just loves being around this locker room and these guys, it was meant for him. Dallas was meant for him.”

Switzer is almost a replica of teammate Cole Beasley, a slot receiver whose stature with the team has grown steadily over five seasons.

But it’s been Bryant who has taken the youngster under his wing. With Beasley and Lucky Whitehead sidelined with hamstring injuries, Switzer shared the field with Bryant frequently during the off-season, which wrapped up with minicamp last week.

“I think the love for the game is really what’s hitting it off between us,” Switzer said. “We’re both very passionate about the game of football and what this game has done for us. It’s been like that for everyone, especially the receiver room. Everyone enjoys what they do, and that’s why it’s such a close-knit group.”

Switzer has found the spotlight since the day he was drafted as a record-setting punt returner out of North Carolina.

A video of him receiving a draft-day phone call from Cowboys owner Jerry Jones went viral on Twitter. His inner lip tattoo has received as much coverage as his play.

And he doesn’t mind talking about his love for “The Office” or romantic movies that have been part of his pre-game routine.

He even worked a case of mistaken identity to his advantage. When a security guard mistook the 180-pounder for a new Dallas kicker, Switzer posted a wildly popular tweet about the incident.

Switzer’s popularity means he is already a regular of sorts in the veterans’ locker room at the team’s training facility, where rookies dress in a separate room nearby.

Reporters are not allowed in the rookie locker room and must make requests to interview Switzer with the veteran players. There were days when about a dozen cameras and recorders surrounded him. Again, not typical treatment for a fourth-rounder.

“I think he brings his own certain swag to our room, and it helps us out tremendously,” receiver Terrance Williams said.

While Switzer isn’t likely to take Beasley’s job in the slot right away, there’s a good chance he will be the primary punt returner for the Cowboys, who have struggled since letting Dwayne Harris leave in free agency two years ago.

“I think the reps have really contributed to his development. In addition to that, he has a tremendous work ethic on and off the field,” receivers coach Derek Dooley said. “The combination of those two things has helped him progress probably quicker than most people would.”

Switzer tied an NCAA record with five punt returns for touchdowns as a freshman and finished his career with seven, one off the record.

“Like anything in life, the more you can do, the more you know, the more you’ll be valued,” Switzer said. “I’m just focused on my role and learning the system, whatever that may be. My job is to handle my responsibility and know where I’m supposed to be and make sure those guys can trust me.”

But it would be wise for people not to forget that Switzer is also North Carolina’s career leader in catches and yards receiving.

“He was a productive player in college, both on offence and as a special teams player,” coach Jason Garrett said.

“He’s a smart football player, and he’s one of those guys who’s ready for every opportunity. I think when you approach it like that and have that mindset, you get better.”

While Switzer could spend more time on the sideline once the veterans return for training camp, he may not be there for long.

“It’s still an adjustment period, but I’m getting it,” Switzer said. “If I can continue to grow and continue to make strides, it sets myself up for a good season.”

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“The Angel who redeemed me….”

Currently, I am juggling three books, two of which are Stephen Spykerman’s Christians and Jews; The Two Faces of Israel and Asher Intrater’s Who Ate Lunch With Abraham?.  Judging from the high ratings on Amazon, I am not the only person who is really enjoying these.

Intrater’s book primarily deals with digging deeper into the “appearances of God in the form of a Man in the Hebrew Scriptures,” a subject that has fascinated me as I have studied the Angel of the Lord appearances.  Spykerman’s book explores the place of parts of Christendom among Ephraim/the House of Israel.  Where the two books suddenly came together was on page 100 of Spykerman’s offer when he quotes Genesis 48:14-16,

14 But Israel stretched out his right hand and laid it on the head of Ephraim, who was the younger, and his left hand on Manasseh’s head, [a]crossing his hands, [b]although Manasseh was the firstborn. 15 He blessed Joseph, and said,

“The God before whom my fathers Abraham and Isaac walked,
The God who has been my shepherd [c]all my life to this day,
16 The angel who redeems me from all evil,
Bless the lads;
And may my name [d]live on in them,
And the [e]names of my fathers Abraham and Isaac;
And may they grow into a multitude in the midst of the earth.”

The Angel who redeems me?  Seriously?

I’ve read these verses many times, but always focused on the latter part dealing with ‘grow(ing) into a multitude in the midst of the earth.’  Yet here is a fantastic statement referring to ‘the angel who redeems me.’

It is important to note that though many translations say ‘redeemed,’ the Hebrew is clearly present tense, which I corrected in the above NASB translation.

Even more interesting is the fact that this ‘angel’ is set in parallel with Elohim (God).

Schottenstein’s Interlinear Chumash has a comment on this verse (pg. 300) stating,

16. הַמַלְאָךְ – The angel. This is the essence of the prayer that began with the previous verse.  May You O God, assign Your “emissary” – the angel whom You always dispatched to redeem me from evil – to bless the lads, etc.  Jacob’s prayer was certainly not addressed to the angel himself, for angels have no power to act except as agents of the Holy One, to Whom Jacob referred in the previous verse.  This translation, which combines both verses, follows R’ Avraham ben Ha-Rambam and avoids many difficulties encountered by other translations that imply the angel had independent power.

The present tense, Who shepherds… who redeems, is indicative of Jacob’s faith…

Several items are worthy of note:

  • Clearly, they recognize the angel as being very special.
  • Schottenstein tries to avoid the very obvious and hard challenges that the Angel has authority, and is even in parallel with ‘Elohim.’
  • The note, to me, seems like a soft ‘dodge’ to prevent the reader from digging further into this amazing statement, thus confirming Who the Angel IS!

Spykerman, in pointing out this phrase, begins to make the case for Yeshua as the Redeemer of Ephraim‘s descendents, then too quickly moves on.  But, in pointing it out and making the connection, his line of thought is not lost on me.

Part of Israel’s (Jacob’s) blessing on Ephraim and Mannashe is an expression of faith that the Redeemer would lookout for and guard the sons and their progeny!!!  Is that not precisely what has happened these 4000 years since the blessing?

About Pete Rambo

Details in 'About' page @ natsab.wordpress.com Basically, husband of one, father of four. Pastor x 11 years, former business and military background. Micro-farmer. Messianic believer in Yeshua haMashiach!
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In the News

LINCOLN, NEB. – The Nebraska Farm Bureau Foundation selected two recipients for the Agriculture Teacher and FFA Advisor of the Year award. Casey Carriker from Raymond Central High School and Ashton Bohling from Auburn High School were honored at the Nebraska FFA Convention on Thursday, April 5, in Lincoln. The winning advisors received a plaque and a $1,000 donation to their FFA chapters.


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Healthcare Reprocessing of Medical Devices and Human Factors Debrief presented at MD&M West

The reusable medical device industry is facing challenges regarding device design considerations and usability. The demand for more complex devices has led to the introduction of devices that are difficult to reprocess. These design advances have impacted the sterile processing units in hospitals. Sterile processing department personnel who perform the reprocessing steps and the conditions they work in are referred to as human factor considerations.  Complex medical device designs and other enhancements that do not take these human factor considerations into account may make it difficult, or even impossible, for hospitals to clean, disinfect and sterilize these devices in an effective manner.

Presented by: Emily Mitzel

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My daughter brought home a book entitled Pete, the Cat: I Love My White Shoes, by Eric Litwin. I consider myself to be fairly knowledgeable with most of the picture books out there, but this one I had missed and am grateful that my daughter didn’t.

The story begins with the main character Pete, a four-legged feline, who, when out walking, experiences a few misfortunes that alter the appearance of his white sneakers. Depending on one’s outlook, this could be considered a huge disappointment or a minor inconvenience. After each mishap, the author lets us know that Pete chooses “to keep walking along and singing his song. “

I don’t know about you, but I have to work hard at not getting rattled when events occur that I hadn’t anticipated. Through whatever means each of us resorts to when they do, be it prayer, positive thinking, a trip to the therapist’s office, yoga class or maybe an encouraging pep talk from a supportive friend, it’s probably fair to say that we do our best to stay focused and not allow setbacks to derail us from moving ahead. (It is after all, one of the bitter-sweet themes we witnessed in these Summer Games from some of the Olympic athletes in their moments of defeat.) Perseverance, ambition and dedication are traits that, those of us who are parents, most likely have topping the “characteristics-we-want-our-children-to-have” list.

Not only does the theme of moving forward take its place in Pete’s response but so does the meaning of remaining faithful to one’s character.  After each event that alters Pete’s white shoes, Pete not only keeps walking along but keeps singing his song. Another wonderful lesson: despite the challenge, stay true to who you are.

So thank you, Mr. Litwin, for illustrating such important principles through this beloved fury friend. We all hear and know these truths, but sometimes we encounter seasons in our lives where our spirits are low and motivation tanks are running on empty. We question whether to push forward when stopping to have a tantrum is what feels most natural. Sometimes, we just need a Pete to remind us that in the face of interruptions, obstacles or disappointments, we need to keep walking along and singing our song. Maybe even at the top of our lungs.

A Boston native, Linda lives in Southern California with her husband and two daughters.
Prior to motherhood, Linda worked as Assistant Marketing Director for KABC Radio in Los Angeles generating publicity for TalkRadio, ESPN and KLOS radio stations. She now freelances as a P.R. consultant and writes every spare minute she can.
After graduating Syracuse University, Linda was hired at Petersen Publishing’s Hunting, Fishing and ‘TEEN Magazines where she wrote her first young-adult novel, Picture Perfect(Lunchbox Press, 2001), and is a member of the Society of Children’s Book Writers and Illustrators with a picture book in the works.
Having struggled with the transition from career to motherhood, Linda decided to write a book addressing God’s role in re-establishing a woman’s identity once they become mothers. She is represented by Blythe Daniel Literary Agency in Colorado Springs, CO. You can visit her blog at www.lindawriteson.com, Shaping Your Identity in Motherhood, where all are welcome to weigh in on the on-going conversations about who we are in our roles and where we are going.


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Red Sox Wrap: Chris Sale Dazzles As Boston Takes Down Royals 8-3

Chris Sale has been flat-out spectacular for the Boston Red Sox this season, and the left-hander added another brilliant performance to his 2017 campaign Tuesday night at Kauffman Stadium.

The left-hander dazzled against the Kansas City Royals, only allowing three runs on four hits with 10 strikeouts over 8 1/3 innings of work in Boston’s 8-3 win. Sale nearly notched the complete game, but a shaky ninth inning prevented him from the feat.

And Sale’s performance was matched by Boston’s bats. The Red Sox received hits from eight of their nine batters and notched 13 in all.

With the win, the Red Sox improve to 40-31 and take sole possession of first place in the American League East thanks to the New York Yankees’ 8-3 loss to the Los Angeles Angels. The Royals drop to 34-36 with the loss.

Here’s how it all went down.

The Royals had been riding a hot streak, but they stood no chance against Sale. The left-hander imposed his will up and down Kansas City’s roster, sitting down batter after batter. He wasn’t able to finish off the complete game, but Sale’s performance against the Royals was one of his best this season.

The Red Sox posted a four-run inning in the fourth, followed by a three-spot in the sixth frame. With the way Sale was dealing, that was more than enough run support for the left-hander.

— Sale was tremendous against the Royals, and there weren’t too many blemishes in his performance. Kansas City jumped out to a quick 1-0 lead when Mike Moustakas took the left-hander deep in the second inning. But after that home run, the Royals’ bats were all but silent.

Sale allowed a hit in the third inning on an Alcides Escobar single, but from there, Sale was in complete control. He sat down 19 consecutive batters before the wheels fell off a tiny bit in the ninth inning.

With one out in the ninth, Sale allowed Whit Merrifield to reach via walk, and Jorge Bonifacio followed with a two-run blast. After Brandon Moss knocked a single during the next at-bat, Red Sox manager John Farrell pulled his starter.

— Fernando Abad entered in relief of Sale and recorded the final two outs.

— The Red Sox struck first in the third inning. After Deven Marrero sent a double the opposite way, Mookie Betts brought him home with a looping RBI single up the middle.

— Boston really got things going in the fourth, though. Jackie Bradley Jr. led off the inning with a sharp liner for a single, then hustled around the bases on a Sam Travis double off the left-field wall for the Red Sox’s second run.

After Josh Rutledge singled and advanced Travis to third, Sandy Leon brought in both runners with a double to right field, swelling Boston’s lead to 4-1. The Red Sox weren’t done in the frame, though, as a Marrero sacrifice fly plated Leon for run No. 5.

— The Sox’s bats were quiet in the fifth, but Boston recorded a three-run sixth inning.

Leon kicked things off with a single, followed by a Marrero walk. Chris Young then got in on the action with a sharp double, scoring Leon and advancing Marrero to third base. And with runners in scoring position, Xander Bogaerts delivered with a two-RBI single to boost Boston’s lead to 8-1.

This is awesome.

The Red Sox and Royals will battle in their series finale Wednesday afternoon. Drew Pomeranz is scheduled to get the ball for Boston and will be countered by Kansas City’s Ian Kennedy. First pitch from Kauffman Stadium is scheduled for 2:15 p.m. ET.

Thumbnail photo via Denny Medley/USA TODAY Sports Images

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Partner of USATODAY Sports Digital Properties


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Area code Ammerstol

Information on the area code of Ammerstol and the surrounding places.

Area code Ammerstol

The area code of Ammerstol is 0182. Ammerstol lies in the province Zuid-Holland

area code0182

Places with the same area code as Ammerstol

The following places has the same regional area code as Ammerstol.


WARC-Identified-Payload-Type: application/xhtml+xml

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Posted on November 12, 2018. Filed under: Advertising, All Company Reviews: Breaking MLM | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

Sales is a highly competitive field, people sell for a living are used being told “no”.

How do you train for that? How do you coach your Direct Sales Team so that they will get more “yes-es” and fewer “no’s’?

  1. Mentor new members of your team. the #1 reason why new reps quit lack of support.
  2. Encourage positive attitude. Everyone does better when they are built up. Help you teammates look beyond what they can do on day one and help them revise what is possible tomorrow.
  3. Motivate your team. Setting goals and teaching your team how to attain them will excite and inspire them to make more sales.
  4. Present a clear path. No doubt, your company has provide your with resources. Plug your team in to these trainings and create opportunities for them to use their talents.
  5. Insist on dedication. Your team will follow you. Lead with consistent winning habits and challenge your team to follow your lead.

Want Some Leadership Inspiration? Listen to this Podcast!

“Oklahoma City Bombing Survivor turned CEO with Amy Downs (CEO of Allegiance Credit Union)” on the Relevant Leadership Podcast with Ty Bennett

Amy Downs went from bank teller to CEO of that same bank after surviving the Oklahoma City Bombing. The insight living through that event gave her is incredible and spurred her to make drastic change…
Amy lost over 200 pounds and in addition to becoming the CEO she now runs full marathons. Truly an inspirational story!

Listen Here

These Reps are leading their teams with to more WINS!

Meet Jamila Sloan Barahona ~ Thirty One Gifts Consultant in Turlock, California

I joined Thirty-One in May 2012 because I fell in love with the products and want to meet new people. Since that time, I have met so many people and have grown both as a person and professionally.
Thirty-One has helped me afford to travel and spend more time with my family and friends. I have been truly blessed by joining Thirty-One Gifts as a Consultant.

Thirty-One is a Faith-based, Christian company who strongly believes in Celebrating, Encouraging, and Rewarding women! Thirty-One has certainly changed MY life! If you would like more information on the Thirty-One opportunity, please contact me anytime!

With some many products available to help with everyday home organizational challenges and hassles; products to be stylish and cute on the go and at work; and products for travel and trips to the store! But, my most helpful products are the Large Utility Tote, the Zip-Top Organizing Utility Tote, and the whole Jewell and thermals lines

Meet Jenny Wiest ~ Thirty One Gifts Consultant in Friendswood, Texas

Hi! I am Jenny Wiest, and I am a a senior director with Thirty-One. I have been in business for 6 years, and I can honestly tell you that this business is a hoot! I work from home so that I can be at the bus stop when my 3 girls get home. My business goal is to have 4 parties per month. That works well for our family as I am away for about 8 hours a month! If you have any questions about me or the Thirty-One business, please feel free to reach out. I will help you!

I became a consultant for Thirty One because I wanted more monogrammed bags than my pocketbook could handle. Little did I know that I would become an independent Senior Director with Thirty One! This is a generous company that provides QUALITY products that help women stay organized in this busy world of ours.

The name Thirty One is based from Proverbs 31, where virtuous women are celebrated, encouraged and rewarded. This company definitely rewards its consultants and customers!

I am here to make 31 a great experience for you! Don’t be afraid to ask any questions! I offer honest advice on how our products can fit into your life! I can’t wait to hear from you! My Favorite Product is the Organizing Utility Tote! The smartest bag for a lady on the go! Use it as an ‘office on the go’, diaper bag, or just a super snazzy bag for the ball field!

Large Utility Tote! Got junk in your trunk? Seriously! Use this bag to keep that clutter in the back of your car in one place with this beauty! Use it for the grocery store or the beach/pool!

Meet Wendy Leal ~ Tupperware Consultant in Rocklin, California

My name is Wendy Leal and I am Tupperware Director in California. I have been with Tupperware since 2004 and I specialize in internet marketing, fundraising and helping people get started with their own Tupperware business. I chose Tupperware because it is a well respected household name for over 60 years and people love our products. I stay with Tupperware because I have met many wonderful people and I love the relationships I have built with my customers and my team members. The money is great too! 😉 Contact me to order Tupperware products, to Sell Tupperware or for information about our Tupperware Fundraising Program. View the New Tupperware Catalog, Buy Tupperware Products Online, Host an Online Tupperware Party.

Since 1946, Tupperware has offered innovative solutions for the home, from food storage to meal prep to easy entertaining. Tupperware products offer you convenient and innovative ways to preserve, prepare and serve food. Tupperware can help you protect the environment, because our container products last a lifetime. Most Tupperware products carry a lifetime guarantee as well!

My Favorite Tupperware Products: Tupperware Stainless Steel Cookware, Tupperware Knives, Tupperware SmartSteamer, Tupperware Stack Cooker, Tupperware Measuring Cups and Spoons, Tupperware Bowls, Tupperware Quick Shake Container, Tupperware Snack Cups, Tupperware Microwave Pasta Maker, Tupperware Microwave Rice Maker, Tupperware Shape-O Toy, Tupperware Sandwich Keepers, Tupperware Cereal Storer, Tupperware Cake Takers, Tupperware Round Container, Tupperware Modular Mate Storage Containers, Tupperware Vent N Serve Containers, Tupperware One Touch Reminder Canister Set, Tupperware Eco Water Bottles, Tupperware Water Filter Pitcher, Tupperware Spice Container Set, Tupperware Salad Spinner, Tupperware Quick Chef Pro, Tupperware Smooth Chopper, Tupperware Colander, Tupperware Jello Mold, Tupperware Freezer Mate Containers, Tupperware Stuffables Set, Tupperware Season Serve Container

Vikki Klein ~ ViSalus Distributor in Reno, Nevada

My name is Vikki Klein and I would like to help take your health and fitness to the next level and/or challenge you in weight loss / management. The Body by Vi Challenge has become the fastest growing health movement in North America, with over 150,000 new challengers joining every month!

I love the Protein Shake – it tastes like cake! And the NEON energy drink is very good (and as an added bonus it will glow under a black light!).

There are so many unique qualities! Vi-Shape is The Shake Mix That Tastes Like A Cake Mix™. Other shakes can be gritty or leave a bitter aftertaste. Vi-Shape mixes easily, supports digestive health, bone health, muscles and provides amazing nutrition. It is low fat, low sodium, and lower carbohydrate and sugar than other brands, and it uses our unique Tri-Sorb™ protein blend.

What is Neon Energy? It’s an energy drink with good taste! NEON is made with 24% fruit juice from concentrate combined with a proprietary blend of ingredients for energy and antioxidant support—such as caffeine from green tea and a selection of energy-supporting B vitamins—for an energy boost that lasts.

If breakfast is the most important meal of the day, isn’t it time we all started treating it that way? Vi Crunch is a healthy way to start your day, giving you nutrition to fuel your Challenge that’s great for the whole family.

Snack Smart with Vi Bites. If your Challenge goal is to lose weight or maintain your weight loss, try Fruit Frenzy and Glorious Greens. If your goal is to build muscle or support an active or fitness endeavor, try Chocolate Monkey and Fiesta Nut.

Nutra-Cookie™ Try a cookie that tastes great — and is good for you, too! What is it? A delicious cookie that is a good source of protein, fiber, fruit and vegetable nutrients to help control hunger. Each delicious Nutra-Cookie flavor is also GLUTEN-FREE!

Carla Cohen ~ Young Living Essential Oils Independent Distributor in Malibu, California

I stumbled onto these amazing oils about 12 years ago. A lot of people are looking for chemical free solutions for their health without side effects. Since I started working with the oils and the other amazing products, I have experienced much better overall health. The oils support all of our body’s major systems. They can help us relax, improve our immune function, increase our energy, support digestive function, improve sleep, decrease physical discomfort, improve our mood or help us detox. Friends, clients and co-workers who experienced the oils noticed they too had great results. As a result of sharing these amazing products and helping others, I was able to replace my income from three part time jobs.

Young Living is a health and wellness company that has been around for over 21 years. We started out as an essential oil company and then developed supplements, personal care products and household cleaning products that are essential-oil based. We take the stewardship of our planet seriously. Our state-of-the-art production process brings you the purest oils on the planet. We are unique because we were founded by a farmer. The only way to ensure you have a clean essential oil without any chemical fillers is to do everything from seed to seal. So we have our own farms all over the world where we grow and distill our own oils. There are never any synthetics or chemical extenders in our oil and our internal chemistry is the best in the world. Many of our oils are safe for ingestion and are earth Kosher certified.

My Favorite YLEO Products are Valor, Peppermint Oil, Lavender Oil, Thieves oil, Thieves Household Cleaner, Lemon Oil, Thieves Detergent, Thieves Spray, Thieves Dentarome Ultra Toothpaste, Lavender Mint Shampoo, Lavender Mint Conditioner, Copaiba Vanilla Shampoo, Copaiba Vanilla Conditioner, NingXia Red, NingXia Nitro, Palo Santo Oil, Copaiba oil.

Are you breaking records at your company by inspiring your team to build their own team? We want to feature you!

Email us at Support@FindSalesRep and share your story. Well post it to our blog. Let’s Get You Found on FindSalesRep.com

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Make the ICD-10-CM transition

Published by Craig Petronella on

The earlier you familiarize yourself with ICD-10-CM, the easier the transition will be – so you may want to start now.

To recap, the ICD-9 code sets, which were used to report medical diagnoses and inpatient procedures, will be replaced by ICD-10 code sets. ICD-10 is more robust and descriptive than ICD-9, which is 30 years old, and has many outdated and obsolete terms.

You may ask why ICD-10 is any different from the annual code changes
that already take place. The answer: ICD-10 codes have a completely
different structure from ICD-9 codes. ICD-9 codes are mostly numeric and
have three to five digits. ICD-10 codes are alphanumeric and contain three
to seven characters. Like ICD-9 codes, however, ICD-10 codes will be
updated every year.

Does the switch to ICD-10 affect you? More than likely. Everyone covered by
HIPAA must transition to ICD-10 – including providers and payers who do
not deal with Medicare claims. it’s important to remember that all activity that happens in a doctor’s office will be covered. This is a big deal that will impact every doctor and those who aren’t prepared will experience significant loss of revenue.

The deadline for the transition is October 1, 2014. To help you make the
transition, a widget for setting up a timeline for the switch to ICD-10 can be
found here.

Published with permission from Source.

Published with permission from Technology Times. Source.Source.

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Construction and Extraction Occupations Salary Info - Nellis Afb, NV

How much do Construction and Extraction Occupations earn in Nellis Afb, Nevada?

$51k Construction and Related Workers, All Other

$42k Highway Maintenance Workers

$47k Hazardous Materials Removal Workers

$72k Construction and Building Inspectors

$26k Helpers, Construction Trades, All Other

$26k Helpers--Pipelayers, Plumbers, Pipefitters, and Steamfitters

$38k Helpers--Electricians

$27k Helpers--Carpenters

$34k Helpers--Brickmasons, Blockmasons, Stonemasons, and Tile and Marble Setters

$73k Structural Iron and Steel Workers

$45k Sheet Metal Workers

$42k Roofers

$30k Plasterers and Stucco Masons

$55k Plumbers, Pipefitters, and Steamfitters

$51k Pipelayers

$51k Painters, Construction and Maintenance

$45k Glaziers

$56k Electricians

$49k Tapers

$43k Drywall and Ceiling Tile Installers

$60k Operating Engineers and Other Construction Equipment Operators

N/A Paving, Surfacing, and Tamping Equipment Operators

$40k Construction Laborers

$46k Cement Masons and Concrete Finishers

$39k Tile and Marble Setters

$40k Floor Layers, Except Carpet, Wood, and Hard Tiles

$48k Carpet Installers

$50k Carpenters

$37k Stonemasons

$61k Brickmasons and Blockmasons

$70k First-Line Supervisors of Construction Trades and Extraction Workers

$51k Construction and Extraction

*Construction and Extraction Occupations labor statistics in this table are based on surveys taken from Las Vegas-Paradise, NV. To view Construction and Extraction Occupations labor statistics from other areas near Nellis Afb, see links below for salary data from nearby areas.

Salary Details from Nearby Areas:


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Welcome to Dr. Uhl's New Patient Center!

Arriving at a new doctor's office for the first time can be a nerve racking experience. Paperwork to fill out, new faces and names to learn, and getting to know your way around the office may feel intimidating.

In contrast, at New Loudon Chiropractic our aim is to remove any  stressor causing unnessesary tension and make you feel comfortable. In this area of the website you will be able to take care of items necessary for your visit prior to arriving, in the comfort of your home.

Welcome and Please let us know how we can help you!


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Bob Cropp

Dairy Day, 1996; Kansas Agricultural Experiment Station contribution; no. 97-115-S; Report of progress (Kansas Agricultural Experiment Station and Cooperative Extension Service); 771; Milk marketing; Milk price

Milk pricing will continue to change. Clearly, the dairy industry will continue the trend toward MCP. The federal dairy price support program will terminate at the end of 1999. Changes will occur in federal order pricing. The FAIR ACT of 1996 requires some changes. Pricing provisions must be market oriented. The U.S. dairy industry must be competitive internationally. Federal order provisions must provide less rather than more regulation. Federal order prices must be minimum prices allowing for industry pricing above those prices. Markets are national. Hence, California should be a part of the same pricing system. Compacts such as the Northeast Interstate Compact should not be allowed.; Dairy Day, 1996, Kansas State University, Manhattan, KS, 1996;

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2018 IDC Whitepaper - Sponsored by Avaya

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