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Hate speech is often used synonymous to any negative phrase. Offensive, misinforming or discrediting materials are thought to be hate speech. In reality, there is a big difference between them. Because every country has its unique context, it is hard to distinguish what hate speech is and which terms or phrases will increase negative attitudes towards a certain person. However, there is an agreement on what is hate speech based on. According to the recommendation of European Council Committee of Ministers approved in 1997 year, “Hate speech includes every way of expression which shares, supports, encourages or approves of racial conflict, xenophobia, antisemitism or other forms of intolerance-based conflict, including nationalism, ethnocentrism, discrimination and hostility against minorities or migrants”. Based on this definition, hate speech is different from offensive or libeling. Georgian Charter of Journalistic Ethics Article Seven is about hate speech and says: “Journalist should understand the danger of encouraging discrimination by the media and do everything to avoid discriminating a person based on their race, sex, sexual orientation, language, religion, political or other beliefs, national or social origin or any other reason”.

According to the Charter Council practice of cases, the seventh principle covers discrimination, hate speech and stigmatization. Based on European Council and Charter definitions, hate speech should be about a certain identity. Discrimination and stigmatization should also touch on a certain characteristic and negatively show people based on this characteristic. Council said in one of the decisions that “hate speech should be aimed at a specific group and be offensive, but not every type of offensive text is a hate speech”. This way Charter Council differentiated discrimination and discreditation from each other.

The important thing about hate speech and discrimination is the context, attitude in the society about a specific topic. One thing can cause the stigma in one society to increase when members of other society might not even notice it.

If media is not careful about every case and does not think about frame and terminology used while working on sensitive topic, it might easily become a weapon to encourage and strengthen stereotypes.

General Principles

  • Media companies should try not to support non-tolerant, discriminating environment and hate.
  • Media has a social responsibility to not only not discriminate, but also work against irrational fears and disgust of the society.
  • Each media company should have a policy of fighting against hate, which will be clear for the employees and the audience.
  • Media companies need to react immediately to the feedback from citizens if the feedback says that media has been sharing hate speech or discrimination.
  • Media product based on facts, in which a journalist tries to see the problem from every perspective, protects the media from encouraging discrimination.

Focusing on Identity

As was mentioned above, hate speech is directed towards groups unified with a certain identity. One negative behavior from a group member is generalized on the whole group and causes their discrimination. Every person is individually responsible for the antisocial behavior and focusing on the person’s identity you are just strengthening negative attitudes of your audience towards the whole group.

  • When you decide to mention a person’s origin, religion, sexual orientation or social status in connection to the negative behavior of a person, think about how important it is for the story. Does it give additional information? Is it giving more worth to the story? Will it focus on negativity towards the whole group? If there is any risk that this information will support stigmatization and stereotypes and also if there is no lack of information caused by not adding the information, consider not focusing your attention on this detail.
  • It is unacceptable to mention ethnicity, religion or another identity of the accused person if it is not directly connected to the crime in question.
  • Negatively focusing on origin, religion, sexual orientation, physical characteristics or social status of a person is recommended only in the case where such information is important. For example, when a person was attacked because of discrimination or became a subject of violence because of such (religion, origin, faith, etc.) characteristics. When in the case of antisocial behavior, you think such information is important, it’s better to specify a country of origin and not an ethnicity. For example, say “Georgian government was contacted about extraditing a citizen of Iran” and not “Georgian government was contacted about extraditing an Iranian person”.
  • It should be a priority of ethical media companies to fight against negative myths about people of certain identities.
  • Try to check what the negative beliefs are in the society about specific identities and what they are based on.

Using Hate Speech

There is a discussion between media professionals and in general society, whether people using hate speech should be covered or not. There is no prohibition against this because there are situations when this supports discussion in the audience. We cannot share information with our audience about a large-scale fascistic or homophobic demonstration or about people who were elected in Parliament and are using hate speech from this platform. Therefore, everything is dependent on context, the reasons, and aims of coverage and its frame. Hate speech can be shared when you want to show:

  • A parliament member or a public figure igniting hate and using incorrect terminology;
  • A public institution being discriminatory. E.g. they have a text, warning of any kind published;
  • The certain group is igniting hate in the society;
  • This list is not comprehensive and can include many other topics. The main idea is that there should be a public interest present, so you have a reason for sharing the information.
When publishing material containing hate speech:

  • Be clear about the reason for publishing. Show that you are against such a position. This does not necessarily mean saying “We are against the ideas of the respondent”. This can be shown in a different way and with different text.
  • When deciding to show a public person or institution in e.g. homophobia or other discrimination, it is best to title story with “An official used the homophobic phrase; “Minister responds to the opponent with sexist phrases”; “An institution established discriminatory restraints”, etc. If you only use the phrase as a title and hint in the text that you are against such phrases, a part of your audience might not even open the article and just by reading the title they will not guess that the editorial staff is against the decision.

Choosing Respondents

  • • Choose respondents carefully. Think before giving the platform to people who are often discriminatory. Ask yourself, why are you inviting them? What is the information you are awaiting from them? Are we ready, not to support them in presenting hate speech from our platform?
  • Choose respondents and the frame so that you don’t have to question any fundamental rights. For example, don’t ask questions such as “Should LGBTQ people have freedom of expression?”, “Should people of other ethnicities have a right to buy property in Georgia?” Remember that people are equal, in spite of the differences between them. Inviting respondents who want to negate those rights and use hate speech cannot be explained by balancing views. Balance is only formal in this case and causes negative attitudes to escalate.
  • If you invite people who will probably use hate speech, prepare for opposing them. Think about how to stop their discrimination, how to explain to the audience that these attitudes are unacceptable towards other groups.
  • It is expected that users of hate speech will provide facts that you are unable to check at that point. Therefore, try to watch their previous speeches, see what arguments they have, prepare counter questions and do not let them to deviate from the topic.

Comments of respondents

  • The journalist is responsible to choose the respondent and to choose their speeches’ part. Therefore, it is important to analyze what results will follow the phrase and whether it will cause discrimination or not.
  • Before using the phrase in your material, evaluate its author, their influence, type of platform they use and how they will influence the audience, whether they will support stigmas and stereotypes.
  • When publishing public space recordings with audio check whether it is sharing hate speech unintentionally.
  • Edit the quote of the respondent so that you do not have to support hate speech. The exception is when the material is about the usage of hate speech, for example by a public figure.

Live Coverage

When working in live transmission, respondent might use hate speech unexpectedly and it cannot be edited. In this case journalist should:

  •  Ask the respondent to not use discriminatory and hate speech phrases;
  • Mention that it is unacceptable for the editorial group to use hate speech and discriminate against the certain group and they do not stand with the respondent;
  • Stop talking to the respondent if they continue using such phrases.
Media has a big challenge with the edition of Facebook Live function because now every violent demonstration can be transmitted via social networks with no editing required. In this case, journalist should use the same rules as with the TV channel live transmissions:

  • Do not let respondents use hate speech and discrimination. For this, it is necessary that at every moment journalist is commenting on what type of demonstration is going on. The audience needs to get information about the leaders of the demonstration.
  • A journalist should describe the demonstration so that it is clear that the editorial group does not stand with these messages.
  • If it is possible, record the comments of discriminatory people’s opponents and show them to the audience during the live. The recordings should include the counter-arguments, ideas on why hate speech is unacceptable. This will make live more balanced.
  • Be careful when describing the participants of the demonstration. Try to use descriptions that are based on facts and can be proven. In there are phrases that are against LGBTQ community, you can call the demonstrating people homophobes. If there is discrimination against other nations, call them xenophobic. It should be clear to the audience why the demonstrators are homophobes, xenophobes, fascist or ultra-nationalistic.

Social Media and Comments

Often, we have cases when covering sensitive issues that there are comments on social media pages using hate speech. Real people and trolls and bots are commenting together, which faces a new challenge for media.

According to Charter practice, media company is responsible for every material and comment on their platform. Most of the media companies, though, do not have the resource to assign one person for comment control and moderation, which needs to be acknowledged when assessing media companies for efforts to fight against hate speech. It is important that media uses every resource for their platform not to be used for hate speech. For this, they should:

  • Try to have moderation on comments on the webpages, the ability to delete hate speech comments or restrict commenting function.
  • If you are publishing an article that might cause comments with hate speech to appear or if you notice that your comment feed is used for hate speech and you cannot regulate it, it’s better to turn to comment off. This will not be considered as a restriction of freedom of expression, because hate speech is not protected with the same standard as other forms of expression. Mention, that discriminatory and hate speech using comments will be deleted by administration. This will warn the audience that it is unacceptable to use such language and they will not be surprised if the comment is deleted. If they are on your platform, they should follow your rules.
It is harder to moderate comments on social networks, especially when trolls and bots are active. In this case, before moderating each one of them, it is better to note the words which will be restricted on your page. This will have you avoid worst cases of discrimination until you can moderate all comments.

  • Videos, photos, data are important parts for storytelling. But without context this information can be an object of interpretation and manipulation. Therefore, visual material should tell the whole story and not only one part of it.
  • Pay attention to data. Only numbers, with no labels can cause audience to form incorrect perceptions.

Questions that journalists should ask themselves:

  • Is there public interest about this news?
  • Who uses hate speech and with what aims? Are they supported by facts?
  • Does the respondent have evidence to support their claims?
  • Will we avoid strengthening stereotypes and stigma through publishing this? Did we ask every relevant question?
  • Is there a variety of respondents present and do the representatives of the groups talk themselves?
  • Did we choose correct language for telling this story?
  • Is the coverage in accordance with ethical standards?

  • DW Akademie - Reporting hate speech – practical tips for journalists
  • Ethical Journalism Network - Hate speech A 5 point test for journalists
  • #MediaAgainstHate - Guidelines for countering online hate speech
According to Ninth Principle of the Georgian Charter of Journalistic Ethics, editorial content should be strictly separated from marketing, advertising, and sponsored materials. The main goal of the principle is to prevent media from misleading the audience – from providing information as verified and confirmed while it is published in exchange for a certain fee. According to the Charter's practice, media outlets shall be responsible for all information that is spread through their platforms. Therefore, if a commercial content is published as an editorial material without a proper marking, the editorial office shall be responsible for the contents. The media is accountable to the audience and should respect the right of the public to receive accurate information rather than misleading and unverified advertising content.

Basically, all types of media outlets allocate advertising time and place – banners or commercials are entirely different from a journalistic material in terms of form and contents, therefore, it is less likely that anyone will perceive them as editorial material. In contrast, problematic is the material that does not differ from journalistic content, for example, it has the form of an article or footage is prepared, etc. At such time the audience may easily believe that the information provided with no proper labeling has been checked by the editor, for example, a product is really the best.

Consequently, instead of using confusing symbols, it is important to indicate that the material is an advertisement.

Basic rules:

• Media organizations must ensure editorial independence from commercial influence. The influence means changing the airtime or publication timeframes, idea, a footage storyline, respondents, presenter’s behaviour, shooting angle, location or other key details as desired by the customer.

• It should be clear to the public that they are receiving information of commercial content.

• Any material prepared and published as commercial content must be strictly distinct from the editorial material. It must be accompanied by a proper labeling in an easily detectable place and form.

• Any material without a relevant marking shall be considered as a content of the editorial responsibility.

• The editorial office should have in place a policy for distinguishing between advertising and editorial content, which must become the basis of signing agreements with advertisers or service purchasers. In addition, advertising and editorial departments should be clearly separated.

• When promoting commercial content within the scope of any advertising agreement, no further editorial support should be provided for a company or a product.

Financed content

It is a common practice to publish content in the form of an article that is paid for commercially, which can misinform readers because of the lack of an appropriate marking.

• Contents developed in online and printed media based on an agreement should be accompanied by an indication of funding in an easy-to-read place and manner. The labels such as "Partner Content", NS, R, "Associate’s Material", etc. are confusing to the reader. It is better to apply the labeling like "Advertising"/"Commercial Article", "Advertising Page". It is not recommended to indicate on the last page of a newspaper or a website that certain pages / columns are funded. The marking must be added to an article itself.

• The editorial office should be transparency-oriented. If it is impossible to identify a customer in a commercial content, the editor should clearly indicate the client.

• If the content provided by the customer contains specific accusations against another person, or it is obvious that the purpose of the content is to discredit a person, the editorial office must make a decision on the publication of such content based on their editorial policy.

• As for broadcasters, advertising a product or a service in a news programme is both unethical as well as illegal. A part of the international media has such restrictions regarding the programmes that provide the public with news about business and economics.

• When placing an advertising content or footage, or selling the airtime in a programme that is not a news programme, the broadcaster must inform the audience that the material is commercial. Subtitling can be used for this purpose.

Product placement

Product placement is the inclusion of a product within a programme for a commercial purpose, for example, placing a banner, using branded items, etc.

• According to the legislation, product placement is allowed only in feature films, television films, soap-operas, film episodes (except for documentaries), sports and entertainment programmes (except for children's programmes), lotteries, gambling games, goods/services provision as a prize free of charge or without economical benefits.

• In such programmes products can be placed, but under relevant rules - it is impermissible to promote a product and its advantages and encourage public to purchase it. No specific address, product price, discount, slogan or other details should not be indicated, as they are a part of advertisement. • It is prohibited to place medicines and medications that are issued under prescription.

• It is not permitted a presenter to persuade viewers to purchase a product by referring to his/her own experience, for example, "I've been using this shampoo for a month and I'm excited by the result," "I advise you to buy this juice. My daughter starts her morning with it. It’s a completely natural product. "

• A positive assessment provided by a presenter or encouraging viewers to buy the product is particularly unacceptable and unethical when it comes to health. The presenter’s persuasive promotion of medications, self-care products, nutrition, and other products may lead to deplorable consequences.

Sponsorship is a direct or indirect funding or co-financing of the preparation of a programme or a live broadcasting of a programme with a view to promoting a sponsor’s name, trademark, image, and activities. Sponsorship should be strictly distinct from advertising because it directly funds particular media content.

• Similarly to product placement, the sponsor must not distort contents of the funded material.

• Sponsorship of information-political programmes must be prohibited, as well as of those which are related to consumer rights, electoral campaigns.

• The audience should clearly identify the sponsor by means of his/her name, commodity or other identifying marking at the beginning, in the course and / or at the end of the programme.

• Sponsorship must not include the invitation to purchase a product or a service.

• Content and rubrics that provide reviews or advice on various products and companies cannot be sponsored by organizations whose products or services are likely to be reviewed.

Participation of journalists in advertising
• With the view to ensuring impartiality, a journalist or a presenter of news programmes, public-political and pre-election debates may not be permitted to participate in advertising or teleshopping.

• The same standard must be applied to commercials disseminated by broadcasting or other media platforms.
Journalistic products are accompanied by mistakes and incorrect details, which in some cases are the result of time constrains, inattentiveness, lack of professionalism, lack of experience or other factors. Responsible media, for which the trust of the audience and reputation is important, tries to promptly correct the mistake and work to share true information.

In case of incorrect information being published, the editorial group has a challenge to share the corrected information with the same audience who got the incorrect information in the first place. The correction can take different forms, according to the way the information was shared, the scale of the audience and the length that it was available.

1. Main Principles
  • Journalists and editors have to take responsibility for their mistakes and correct them.
  • Audience has to understand what was corrected and what was false and is true.
  • If the events are ongoing and new details will be revealed, it is necessary to say that the information is renewed.
  • The responsibility for the mistake has to be shared between the journalist and editorial group and if possible, the reason should be explained.
  • The correction has to be made in the reasonable time. The time is dependent upon the type of the media and scale of the audience, therefore is individual, according to the context.
  • Editorial group needs to be attentive to the comments made on different platforms by the audience, which shows the mistake.
  • According to the practices of the Charter of Journalistic Ethics, the message about the mistake can be made in any form to the journalist or the editorial group. It will be considered a violation of the correction rule if it becomes known that they knew after publishing the information that it was not true but did not correct it.
  • The editorial group has to decide how to react, when to correct/not correct the material, who has to make a decision, etc. after acknowledging that there was a mistake made. It is preferential that organizations have their own guidelines of this procedure.
  • It is better if the company’s official web-page has special part where audience can send the information about mistakes.

2. Online Media

2.1. Correction

  • The published information should be corrected in a way that notifies the audience of the correction. Where it is possible and does not damage anybody, it should be noted what was incorrect in the first place.
  • When changing the headline, the media should check that it is corrected on every platform where it was shared. Pay attention to the URL of the link, which in many cases is similar to the headline and correct it too.
  • In case of correcting the photo, make sure that it is not searchable on any platform of the media.
  • Use Facebook tools to correct the link, for the incorrect link not to be shareable anymore.

You can also renew the shared material on Facebook without deleting it.

2.2. Deletion

  • Fully deleting the material is the last resort. It can be done when there is no public interest present and it violates somebody’s rights or ethical standards.
  • Material can be deleted instead of correcting it when you are the only open source of the information. If others also shared the information, it is better to correct it.
  • It is preferable for the media to explain the reason of such decision.
  • If in the following days new details are revealed which change the previously shared information, it is better to create a new material and make a link in the previous one about the newer version having been published. (სურათი)

3. Broadcasting Media

  • The broadcaster has to openly and immediately state that a mistake was made and correct it in an equal form. For example, if the mistake was made in prime time in the main news show, it has to be corrected in the same show next day. The equal form of correction depends on the case relevancy and in some cases it might be better to correct the mistake in the next news show.
  • Official web-page can be used to correct the information promptly.
  • In case of internet broadcasted video, it has to be re-uploaded with the correction on the official webpage and corrected on every platform according to the rules stated in the guidelines for online media.
  • According to the code of broadcasters, a person, who was the target of incorrect information, can address the media in 10 days after the broadcasting and request for the mistake to be corrected in equal form or for the information to be denied in the same length and approximately the same manner of the incorrect statement.
4. Printed Media

  • In case of press the equal form and measure are also important. If the incorrect information was printed on the first page of the newspaper, it is preferable for the correction to also be printed on the first page of the next issue. It has to be made clear that information in the previous issue was incorrect.
  • The standard of correction for printed media is the same as the online media.
  • If the mistake is grave, the editorial group can neglect to wait for the next issue and correct the mistake on their official webpage or social network pages.
Earthquakes, fires, floods, hurricanes – media has to cover these natural disasters quite often. The importance of being informed is more prominent in these situations. Audience waits for the new information. The correctness of disseminated information is critical, especially in the first stage of the disaster. While working on these topics, journalists also have to take care of their own safety. The editorial board has to be sure that a journalist, in addition to being professional, is also physically and psychologically prepared to cover natural disasters.

Recommendations to editorial board:
  • It is better to have a special protocol for the journalists working in the field and journalists staying in the office;
  • Journalists have to be equipped with special apparel and safety equipment, according to the disaster type;
  • Transportation, food and other technical issues need to be taken care of. Evacuation plan needs to be prepared including the transportation used for it.
  • It is important that editorial board has information about other media companies in the disaster zone. In case of losing connection to their own crew, they can contact others.
When arriving on the field, journalist has to try to:
  • Find as much information as possible about the incident. They can ask help with this to the local journalists.
  • Create a database of contacts of responsible institutions, experts, interested parties and locals, who may have additional information.
  • Have contact information of every person whom he/she might need for help
  • Determine the working location as well as the location to stay for the night, if such need arises.
  • Study the surrounding area and place. It is necessary to have a printed-out map and a map application which works without internet connection and has markers for the epicenter of the disaster, hospitals, shelters and help centers. Journalist needs to have first aid kit with him/her.
  • Check chargers, adapters, memory cards, accessories which he/she may need. It is better to have more than 1 sim card, in case one of the networks has a problem.
  • Have a contact person, subordination system; know whose orders to follow
  • If a journalist working in the field thinks, that it is dangerous to go to certain location, even if editor-in-chief asks to go there, he/she can leave the workplace, provide arguments for this decision and inform superiors. Safety of the journalist is a priority.

Technical Details

  • Check the weather forecast and choose comfortable clothing
  • Shoes have to be closed, comfortable. In case of flooding – waterproof, light and high.
  • Trousers and tops are better to be light, neutral colors (don’t wear khakis or cloths like military uniform). Do not wear jeans, because they are uncomfortable and heavy when wet.
  • Take a raincoat with you
  • Take a medical face mask or a scarf, which you can use to protect from smoke, dust or gas.
  • It is not recommended to have expensive accessories (watches, jewelry) with you. Living Place
  • When choosing a place to spend night, prioritize safety. Depending on the situation this can be a famous (brand) hotel or a private house.
  • It is better if the flat is not far from civilization, does not stand alone or on a street, which is a dead end and does not have open connection on two ends.
  • After choosing a place, study all the exits of the building.
  • Walk the roads which are populated. Do not stray away from them. Inform the media company about going out preemptively. Workplace
  • Don’t stand near trees, because in hurricanes and fires there is a chance of branches and tree falling. A tree can also be struck by the lightning.
  • Stay away from places covered with water where electric cables can be places. Don’t walk without shoes.
  • In case of fire, windows in the car have to be closed and the door unlocked. Ventilation has to be turned off. Control the direction of the wind. Stay away from the fire.

Content Part

Tone of coverage
  • Gossip chances, speculations and invented stories are frequent in disasters. Therefore, verified information is important. Incorrect information may confuse and endanger people in the disaster zone. It is a challenge for journalists not to create unfounded fear and panic in society while delivering the information. The tone of the coverage must be as calm as possible.
  • In disasters journalists often have a hard time drawing a line between activism and professionalism. It is important to understand your role precisely. Maintaining balance is necessary while trying to help injured people. Don’t forget that you are not a part of the humanitarian help mission.
  • Editorial board has to define when to switch to state of emergency regime, how to cover events on different platforms – social media, official web-page, auxiliary web-pages, etc.
  • While working in emergency regime, try to share verified information to avoid speculation and panic. If journalist has to share unverified information, this needs to be stated clearly to the audience. Pay attention to those who say that they are eyewitnesses. Ask them details and make sure that they saw what they are talking about themselves.
  • There is higher risk of sharing fake audio-visual materials in disasters. Check the materials sent in by the citizens. You need to make sure that the information is correct. See: The guidelines of using social media.

Try to find out
  • Details that will help citizens;
  • Risks for human life
  • Institutions responsible for helping, informing, preparing citizens, etc.
  • Amount of damage and government’s plans/events to help the injured.

Interacting with injured people
  • People injured from disasters often appear in the center of media attention without trying or being aware of it. In such instances it is important to respect their privacy and not to invade their personal space.
See: Guidelines of privacy
  • Try not to use the material which will offend an injured person. Look at how they are depicted in the material. You need to have a balance of public interest and sharing the material which depicts human suffering.
  • When interviewing a person consider their emotions. Don’t force them to remember details which will cause them trauma.
  • Don’t stay in their property if they ask you to leave.
  • Don’t follow them if they ask you not to.
  • Don’t bother them with frequent calls, messages and waiting outside of their home. Tell them which media company you represent.
  • It is necessary to have a permission to record a funeral. In other cases, editorial board must prove that there was a high public interest.

Visual materials
  • When sharing sensitive material (view of injured, deceased people) online or broadcasting media has to warn audience about it. Press has to avoid using such images on the cover and front pages.
  • Manipulation of video/audio footage is unacceptable. When reconstructing an event, it has to be clear that the situation is staged.
  • You have to think what results can sharing disturbing images, over and over or at length, cause.
  • When a media is describing disaster results again, they have to think whether it is worth to show images again which depict human suffering. Think of emotions of survivors and their families.


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Arts News

Wasatch Theatre turns 21, moves out, and experiences missed connections

Wasatch Theatre Company is turning 21 and moving to The Gateway as the resident theatre company. WTC joins organizations like Wise Guys Comedy Club, The Depot, The Discovery Children’s Museum, Clark Planetarium, The Gateway Megaplex and the newly opened Dave & Busters to be part of The Gateway’s premier entertainment and cultural district.

Your first chance to check out Wasatch’s new space is during their Page-to-Stage Festival. The festival is an opportunity to check out new works by local playwrights. For 19 years, the festival has provided a forum for local talent to develop new scripts, get feedback, and see their words brought to life.

This year, the challenge presented to the playwrights was to craft a script based on a missed-connection advertisement from Craigslist. Participants were assigned a missed connection (or two) in January, and under the direction of WTC board member Nicholas Dunn, they workshopped drafts through the end of April before turning over completed scripts to director Michael Nielsen. The 2018 playwriting team includes Brook Downs, J. Omar Hansen, Sierra DuCharme-Hansen, Hayley Heaton, Jesse Nepivoda, and Andrea Kile Peterson.

The shows — ranging from surreal to poignant and mysterious to heartfelt — are now in the capable hands of actors Amanda Caraway, Laura Chapman, Gordon Dunn, Merry Magee, Daniel McLeod, and Carlos Nobleza Posas. Each actor stars in a couple of the short scripts, making the evening not only a showcase for new scripts, but also for the versatility of the cast.

Performances are Thurs.–Sat., June 14–16, 8 p.m., at WTC, 124 S. 400 West. Additionally, on June 16 a matinee performance is scheduled at 1 p.m. Tickets are $15 and purchased at

Other features of this year’s festival include an open house on Fri., June 14, at 5:30 p.m. (come to check out the new space and stay for the show); then a reception with the playwrights follows the performance. As well as a free staged reading of an original play by Nicholas Dunn, Sat., June 16, 4 p.m.

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In my last column I mentioned the Market Research Study: United States Testing Laboratories done by the Consulting Group at Virginia Tech with Rachel Trebour as the project manager.

It received 529 responses from a number of fields including calibration, aerospace, energy, material testing, medical examiners—seventeen industries in all. Despite the range of laboratories covered, there were a number of common concerns across most, if not all, of them.

Calibration labs represented the largest single group—some 22.9% of respondents. I was surprised to see that 7.1% of those in the field were not accredited. I was not surprised to find that 87% were accredited to ISO 17025. Despite this wide acceptance, many labs across all sectors have the same problem: industry specific risks and requirements. These could be broken down to unique quality system requirements beyond what 17025 requires, usually in reports in the form of all types of extra information of often questionable value having to be reported. An example of this may require the lab to list the calibration dates for the equipment used, NIST traceability numbers, etc.

Another industry specific risk involves the hardware and/or methods required for certain types of products or instruments being calibrated. Typical of this would be how pitch diameter is measured and/or reported on a gage. To do the job properly, the calibration laboratory must have a copy of the relevant standard and understand the technical details. (See ASME Standard B1.25 also.)

All labs were asked to indicate areas of risk within their operations and about 31% of them indicated people problems as a key one. Employee turnover, lack of skills, low staffing levels, and human error were cited.

In the case of calibration laboratories, 46% indicated similar people concerns while 25.4% noted industry specific risks which included equipment. Part of the high staff turnover and/or low staffing levels may be caused by management trying to reduce costs by automating where possible to avoid the need for skilled staff which can result in boring jobs for remaining staff, among other problems.

This indicates that management can’t find or won’t pay for people that know what they’re doing in this field so they prefer lower cost instrument readers and look to computers to reduce or eliminate even this function. However, when the wheels come off, the instrument readers may not even recognize this and if they do, their limited knowledge makes it more difficult to get things back on track.

Laboratories across all sectors appear to be looking for magic bullets in the form of software, particularly for situations requiring acceptance and other decisions. Some existing software already has a feature which does this to a limited extent by comparing numbers. The problem with what’s out there is the numbers used for the comparison are usually taken from new specifications for items which do not necessarily apply to used items or even relate to the manufacturing tolerances the gage or instrument is required to verify. This ‘requirement’ is brought about by the owners of the items being calibrated downloading the decision making to the lab which rarely has enough data to make such a call. A lab making such decisions—by any means—runs the risk of legal problems should the decision come into question. Considering the litigious nature of business today, I consider this one of the most significant risks a calibration laboratory faces.

One way out of this problem is for laboratories to remain neutral by reporting their measurements only and leave the decision making where it belongs: with the user of the equipment. After all, the user is the only one that knows all the requirements needed for such decisions.

On the dimensional calibration side of the study there is a lot of information which I have only touched on. Lots of graphs and numbers with minimum editorial—an easy read. If you would like a copy, visit

This is part two of a two-part series. Read part one here.


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Today’s reader topic comes from QSFer K. S. Madden:

Hi Scott, after reading a lot of the recent responses, I’d love to see you do a question post sometime about the surge in interest in seeing more asexual characters.

I was at Readercon in Boston a few months ago and there was a panel there as well stating the need for more asexual protagonists in mainstream scifi/fantasy.

I’m curious what people want to see. Asexual characters in romantic relationships? Or asexual characters just having adventures and being free of relationships?

Or is this partly a desire to see more friendship fic, people relating deeply on other levels that aren’t usually explored because romance is so often at the forefront of what sells?

Writers: This is a reader chat – you are welcome to join it, but please do not reference your own works directly. Thanks!

This is a “legacy” chat – a greta topic we’ve visited before that we thought deserved another go.

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The Queerty Interview

‘Man Made’ director T Cooper: “We are obsessed with the absence or presence of a penis”

Artist T Cooper’s Man Made, premiering at this year’s Outfest, follows a group of transgender bodybuilders: Mason, Dominic, Tommy, Kennie and Rese as they prepare for a nation-wide competition in Atlanta while facing the prejudices in everyday life that trans people routinely face.

T took chatted with Queerty just ahead of the Outfest premiere.

Man Made shows at Outfest July 22. Tickets on sale now.

You’re a man of varied mediums. You’ve done scripted work, novels, graphic novels, short films, television, directing. What was the inception of this project, and why do it as a sports documentary?

I definitely have run the storytelling gamut. I guess the short, sort of esoteric answer is that I feel like the subject matter sort of dictates the medium. Which is to say, in a more accessible way, my first impulse when I heard about the bodybuilding competition was to write, you know, a piece of journalism about it with some really cool visuals, just a one-off about the competition. But when I started doing sort of the advance work you have to do, you know, you meet with people, set it up, you know how that is. You start sort of measuring the depth of the story, and it just felt super deep and three-dimensional and it just felt like it needed a longer treatment. And, mostly just because there wasn’t just one guy who represented this world. There were, honestly, infinite guys, but just so many different experiences and identities and people coming from such different places to bring them to that moment on stage. But for me, I really wanted to try to tell a multi-stranded story of the people who are drawn to this, the people who do it, all the different reasons they do it, and all the different paths they take, not only to get there but where they go after. And so that just felt like a film.

Are transgender men ignored by the media? I could, right now, name five or ten transgender women, female celebrities. But I think I could only really name one or two transgender male celebrities.

I mean, I do believe it is. I do believe the transphobic kind of line is trans people, a trans woman is really a man, and a trans man is really a woman. And so if you do kind of string that out, and follows it to its logical kind of implications, that is about sexism and a de-prioritizing of what people think of women’s stories. And you know, I just think that culturally, we are obsessed with, just to be blunt—the absence or presence of a penis. So, sort that out as far as which stories make it, and which are fascinating. And to be honest, I think those who give up that power—again, perceived to give up that power—for whatever reason, culturally, those stories resonate more than, you know… I don’t think people want to think about women becoming men, because if anyone can become a man, then that supremacy is called into question.

You’re probably right.

That’s why, you know, to kind of bring it back to the first question, that’s another reason I wanted to tell this story, and I wanted to tell it in a larger way. I don’t feel I see my story. I don’t feel I see our stories out there. And, you know, just being able to show the variety of trans masculine lives in so many different versions and representations, not just one. They don’t all look like Mason. They don’t all look like Tommy. They don’t all look like Kennie [three of the subjects of the film]. That’s just what was so magical about it. It was just people being where they were in their lives and meeting on stage, and being celebrated for whatever hard work they did.

The film explores the transition process without making that the plot. Was that a conscious approach?

Oh yeah, 100%. Because whatever trans storytelling there is out there, and like you said, the bulk of it focuses on the male-to-female journey. And then when it does focus on that, it focuses on the transition and the particulars of the transition which often involve surgery and hormones and whatnot. And then if it doesn’t focus on the transition, then it’s about some horrible thing befalling the trans person. They’re raped, they’re murdered, they’re making their family miserable… Whatever it is, it’s a tragedy. To me, it was like, these guys don’t have to die, or be beaten, or be punished for being trans to care about them. Like, I want you to care about them and their lives and their communities because they are whole people. It’s an honest look at their lives, good and bad, challenging and triumphant. And a lot of it happens to be more triumphant in this film. And a lot of it doesn’t happen to be focused on their transition. Now sure, a character like Dom—it was hugely important to him. His first competition, he stood on stage with his breast tissue still. And the next one, he was going to be without it, and that part of his journey was super important. But if all trans storytelling is on transition, the story of your life isn’t three years in middle school or that time you went abroad, or a prison term, you know what I’m saying?

We have these whole lives, and it’s erroneous to suggest that the whole of trans people’s lives is a transition. I understand the cultural fascination, but I think we’re past that point making what’s interesting about their lives being transition. There’s a million things more interesting in their lives. And the guys in the film—look at a character like Dom. Sure, his surgery was important, but look what happens! He finds out where he came from, his biological mother. He faces his origins and finds this whole other thing about himself, which actually supersedes the transition stuff.

A character like Mason–his wife says she’s never seen him naked. There’s almost like this contradiction in that. This is a guy who loves to go to bodybuilding competitions and get up on stage in this skimpy little thong. And it’s like your wife has never seen you naked? How do you, as director, reconcile the two?

First of all, I believe that universally we, as humans, build our bodies from the minute we’re born. Now, some of that is nature, but some of that is every little choice you make affects the person, the body we become. Some people are more radical than that, and some people it’s more, god, even the choices you make. If you eat animal meat or not, we’re all adapting and growing from the minute we’re here on the planet until we leave. And so, yeah, I’ll say that’s the metaphor of it. So that was really fascinating to me, and that was also what drew me to it. All these guys, no matter where they’re at physically are able to stand up on stage with, like you said, literally like three or four inches of material on their body. I would never do that, I don’t care what I look like. I would never be marching around in a mankini.

Mankini? Is that a proper term?

Yes, that is! I coined that. So yeah, the mental and physical gymnastics that need to go on in order to step up there and be judged, but then also not be able to share that intimacy with someone so close to you. I think that’s fascinating. I do think that’s universal too. I think it’s a metaphor for all sorts of things we share or don’t like to share with even the people we’re closest with.

And even then, the relationships. That was also important to me: to show a variety of trans relationships in the film too. Because a relationship like Kennie & DJ’s, yes, is very specific. [DJ is] a lesbian. She thinks they’re lesbians. That’s the relationship she wants to be in. But it turns out, no, [Kennie] is actually a man, and he’s going to transition into passing as a man. And how does that affect their relationship? That’s super specific, but it’s also a stand-in for everything we go through in life with family, or friends, or lovers. God, anything could happen. Somebody could have stroke. Someone can change their mind about having children. There are a million things that happen in life, like I say, as we evolve with our bodies and lives. So yeah, that moment with Mason and his wife, or some of the moments with Kennie and DJ are just really important for me to show the depth of relationships. And yes, they’re specific, but I also believe there’s so much universality going on.

Talking with their families who still can’t wrap their heads around the idea of having a transgender relative, a transgender child…

Was it a conscious decision to try and capture those, and was there anything of that nature that you left out?

So as a trans filmmaker, and I mean in general, we’re not given as much access to tell our own stories. It’s a shame, but if you look at most films—we’ll just take transgender subject matter since that’s what we’re talking about—it could be anything. It could be about poverty, it could be African-American stories. You know, most of those stories, the lights are shown on those stories by people who aren’t on the community. And I’m not saying it’s deliberate, but there’s a constant “othering” that can’t help but go on because you’re shining a light on it for a reason. You’re saying “hey look at this tragic thing you should care about.” So the light that I’m shining is actually from the inside, you know what I’m saying? It’s in the middle of that circle, and shining out, as opposed to shining in. So some of those uncomfortable moments, those intimate, those incredibly you can’t-even-believe-you’re-there-for-them moments, there’s something else going on there because of that inside-out storytelling I’m talking about. And so that’s like that moment when I cut away to my reaction after Dom seeing himself, or when Mason and I are standing in a room of naked dudes with their [email protected] hanging out, when we’re the only trans guys in there, or when DJ doesn’t know how to load Kennie’s first shot. Those are moments of intersection that were organic so there’s a trans eye literally behind the camera.

Related: Sense8 actress Jamie Clayton on the finale, the Matt Bomer flap and casting trans roles

So when I did leave those moments in, there was nothing that I felt I was exploiting by leaving in, because, honestly, every single one of those guys that I filmed, and even those that didn’t make the final cut, they all said they wouldn’t be doing this if it weren’t me telling the story. And they were all, always very comfortable with me being there. Certainly, there were a couple moments where I was like, holy [email protected], I can’t believe I’m filming this right now. But I’m just here to provide an authentic, honest eye. And like I say, that light from within is something that would never tell a story that I wouldn’t personally be comfortable with telling in my own story. In some ways, it is my story, and I took care of it like I would take care of my own.

Did you know about Mason’s history with Ellen—the run in on her stand-up special before you met him? [Prior to transitioning, Mason thanked Ellen DeGeneres for coming out during a filmed stand-up comedy special. Both Ellen and Mason broke down crying.]

I did not! He mentioned something about it early on. So I think the first time I was filming, we were talking about it and he pulled it up on the computer. And so that really, organically happened, when we were just at his place. And he was just like, oh, that thing I told you about, you want to see it? And he’s not ashamed of it. It’s super emotional for him, and it was a real turning point in his life. He was deciding whether he wanted to live or die.

I saw it on DVD, and that was not too long after my own coming out. I was wrecked after he said what he had to say and got emotional with Ellen. So then to see this later, and see how far he’s come and the state of his life, I was bowled over by it.

That’s so cool. I’m surprised by how many people saw that, but I just think there’s something so raw about that. It doesn’t matter what the “coming out” is, it’s just making your life in the image you want to make it in. And for whatever reason, at that moment, Ellen was a stand-in for so many people in that era. And [Mason] really feels like that helped save his life. And he also feels like bodybuilding saved his life. His parents were not supportive, and even help him find a way to transition. He could have transitioned, I don’t know, 20 years ago, but they weren’t supportive and going to make that an option. So he found bodybuilding, and he could literally build his body. He could adapt and change and live until he did figure out how to transition.

I hope you’ve sent Ellen’s people a copy so they see it…

We’ve tried. We’ve definitely tried. Maybe when the film comes out-out we’ll try again. I think it would just be mind-blowing to show that and just have him come out.

It definitely would be. My mind was blown.

It’s so cool you remember that.

Ellen came out right before I did, and I already loved her, and I loved her show before any of that happened. So to see someone in the media go through everything that she went through after that happened, and to see her just stand there as this island of strength was really, really moving and inspiring.

That’s so cool. I was so happy we got to include that because it was just so, you know…getting to talk to that. And that’s another thing with the storytelling. I feel like a lot of trans storytelling is oh, I was going to kill myself and then I transitioned. And so, you know, it’s just important. That was an important era in Mason’s life, and that moment was so important too. But again, that wasn’t where we started, it’s actually where we ended with Mason just before he stepped on stage.

One last question…I noticed, much to my surprise that Teá Leoni actually produced this film. I looked at her bio, and this is only her fifth project as a producer. How did you get hooked up with her?

[Executive producers] in the doc world are folks who can often come on board with a high-profile that a film might not have otherwise. So yeah, so Teá and I have known each other for years. The reason we actually became acquainted is that she actually mentioned my second novel, and it happened to be set in a tiny town in Texas where both her mother and my mother grew up in.

Oh wow.

So we just had this weird coincidence, and sort of became friends back in maybe the mid-2000s. She’s been supportive of all creative projects. So my wife and I collaborate on television writing. One of the projects that we first sold to Showtime, she was EP on that too. You know, she just puts her money where her mouth is as far as social justice issues are concerned. She cares a lot about trans civil rights. So basically when she heard about this project, she was just like “dude, how do I help get this story told?” She just wanted this story out there. So you know, she’s supported in material and immaterial ways.

So I’m super lucky.

Man Made shows at Outfest July 21 & 22. Tickets on sale now.


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Personalised Birthday Blue Cloud Pyjamas

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These gorgeous blue and white cloud Pyjama set if perfect for little ones. Personalised with their names they make great gifts for children.

Long PJ bottoms and long sleeve top is perfect for keeping them cosy on the colder nights.

Made from 100% Cotton
Item is washable at up to 30 degrees. Do not tumble dry. Iron on reverse.

-Your personalisation will be exactly as entered, so please double-check spelling and punctuation before completing your order.
-Rachel J Designs can accept no responsibility for incorrect spelling or punctuation unless it was our mistake.

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Champion Bumper heroine and 'fantastic mare' Relegate retired to paddocks

Cheltenham Champion Bumper winners: Katie Walsh and Relegate
1 of 1

Relegate, winner of the 2018 Champion Bumper at the Cheltenham Festival, has been retired to the paddocks her trainer Colm Murphy has revealed.

A winner of her first three starts for Willie Mullins including that festival triumph under Katie Walsh - the jockey's last winner at Cheltenham before retiring from the saddle - Relegate had been based with Murphy since January last year and ran five times without success.

A multiple Cheltenham Festival-winning trainer who returned to the profession over a year ago after a brief sabbatical, Murphy trains a host of young horses for Relegate's owner Paul McKeon.

Relegate: will head to the paddocks after her retirement from racing

Speaking about the decision to retire Relegate, Murphy said: "She owed us nothing. Relegate has been a fantastic mare for Paul, highlighted by her victory in the Champion Bumper a couple of seasons ago.

"We have decided to retire her to the paddocks now but it hasn't been decided who she will visit just yet."

Watch Relegate's Champion Bumper victory

Relegate was sent off an 11-2 joint-favourite for the Pertemps Final for Murphy at Cheltenham last season, but was found to have fractured her pelvis after finishing a creditable fifth.

Following three sub-par efforts this season, Murphy and McKeon felt it was best to concentrate on a broodmare career with the four-time winner.

Murphy explained: "She fractured her pelvis when she finished fifth in the Pertemps at Cheltenham last year and she hasn't come back to her best in three runs this season.

"As I said, she doesn't owe us anything on the track and hopefully there will be a lot to look forward to with her progeny. She was a fantastic racemare who should make a wonderful addition to Paul's band of broodmares."

Read more:

Festival fact-finding: Shishkin, Paisley Park and Yala Enki entered at weekend

Cheltenham and Doncaster confident of beating cold snap for weekend fixtures

Midweek fun in Galmoy Hurdle before seven Grade 2s on an action-packed Saturday

'I'd always planned to retire at 65' - Classic winner D'Arcy to quit training (Essential members)

'We never expected it' - 90-year-old owner basks in First Flow's Ascot success (Essential members)

Members can click here to download the digital newspaper every evening from 9pm. Not a member? Click here to sign up and enjoy the digital newspaper every day.

She doesn't owe us anything on the racetrack and hopefully there will be a lot to look forward to with her progeny. She was a fantastic racemare

Key data

Relegate C A Murphy
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SE-5 Advanced Training

Advanced Training for the SE-5, SE-5 plus and SE-5 1000

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Don Paris
Don Paris

Don Paris, Ph.D. (h.c.) is a published author, speaker, video producer, and musician. His book, Regaining Wholeness Through the Subtle Dimensions has been published internationally in German, Spanish, Japanese, Portuguese, and English. He is known as the guru of the SE-5, the world’s most respected subtle energy instrument.

He is well loved for his style of bringing challenging concepts into an easy to understand language and has been a popular speaker at the Quantum Energy Medicine Conference, Global Sciences Congress, Congress of Spiritual Scientists and the United States Psychotronics Association.

He has created the most detailed explanation of the principles of Radionics and the most advanced training courses in the entire field. He began exploring the subtle dimensions in the early seventies, and has now trained people in over 30 countries around the world in the workings of Radionics and the subtle dimensional realities.

Don was awarded an honorary doctorate degree in Human Sciences from the International University of Vitalogical Sciences in Stockholm Sweden in 2000 for his work with the SE-5 and subtle energies.

He and his wife, Ilona Selke, who work as a team, have contributed to radio and TV shows, and have been quoted in numerous publications around the world. They teach seminars in Quantum Psychology in the US, Europe and Asia.

When not traveling to teach, they divide their time between their homes in the Pacific Northwest and Bali.

In his work he had dedicated himself to bridging the barrier of the physical boundaries to the subtle dimensional realities.

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We would never want you to be unhappy! If you are unsatisfied with your purchase, contact us in the first 30 days and we will give you a full refund.

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Barix IP Audio STL Solution Enables High-Quality, Reliable Program Delivery for Las Vegas Public Radio

Cost-effective Exstreamer 500 devices exceed expectations while linking studio, transmitter and remote production sites for recently-launched low-power FM station

ZURICH, SWITZERLAND, March 29, 2017 — For hundreds of low-power FM (LPFM) community radio stations across the United States, clearly and reliably bringing insightful local programming to their listeners is paramount. When independent broadcaster Las Vegas Public Radio Inc. hit the airwaves last year, it selected Barix Audio over IP devices– distributed in the U.S. by LineQ – forits studio-to-transmitter link (STL) and to connect its main studio with remote production locations.

Founded by President and CEO Greg LaPorta with a vision of serving as “The People’s Voice of Las Vegas”, Las Vegas Public Radio began broadcasting over the air as KIOF-LP 97.9FM in February 2016.Reaching listeners locally from its 100-watt transmitter siteand globally over the Internet, the station aims to promote community-related issues, local culture, tourism and entertainment while creating opportunities for young people to learn about the radio business. KIOF-LP’s programming includes news, public affairs, local sporting events, call-in shows, cultural content, music and more.

When selecting equipment for the new station’s STL, quality and dependability were LaPorta’s primary criteria, with affordability also a key factor. “Staying on the air and delivering a great listening experience are most important, but as a non-profit startup, cost also had to be a consideration for us,” he explained. “We looked at an old-style POTS (telephone system based) STL approach, but it would have been too expensive for our startup budget and wouldn’t have met our quality goals.”

Having read articles in broadcast journals about other stations’ success with Barix equipment, LaPorta decided to test an IP-based STL. “Barix has a great name among radio stations large and small, with lots of positive reviews about the stability of their units,” he said. “Prior to trying the Barix devices, we did have some initial reluctance about using IP-based audio over the Internet, particularly in terms of reliability and quality degradation across the uncontrollable public network. But our testing with Barix put those concerns to rest very early in the process – we were very impressed with the results.”

LaPorta selected the Barix Exstreamer 500 model as providing the best combination of capabilities and cost-effectiveness for the station’s needs. One Exstreamer 500 encodes audio from the main studio and control room for transport to the transmission tower site, where it is decoded by a second such unit. Anadditional pair of Exstreamer 500s delivers audio to the main studio from a second, remote production studio, with the off-site unit occasionally taken into the field for on-location remote broadcasts.

The remote studio and transmitter site use 25Mbps Internet connections from Cox Business, while the main studio, located on the sixth floor of an office tower, shares T1 and T3 connectivity with other companies in the building. The station’s 192Kbps MP3 streams are delivered to the transmitter location through the cloud-based Barix Reflector stream replication service – offered in partnership with StreamGuys – to maximize uptime in spite of the unpredictable nature of the studio’s communal connection. “The Barix units are very low-maintenance,” said LaPorta. “We generally only need to touch them when the building’s IT department makes significant configuration changes to our shared network.”

The audible benefits of the Barix units also continue to impress LaPorta and the station’s listeners. “The Barix units have exceeded our expectations for the audio quality they deliver,” he praised. “Barix’s digital signal processing and other advanced technologiesdo a fantastic job of maintaining great quality while overcoming the challenges and unpredictability of transport over the public Internet. Barix makes our station sound very rich over the air.”

Building on his satisfaction with Barix in the station’s first year on the air, LaPorta plans to add more Exstreamer 500 units as Las Vegas Public Radio increases its remote productions and expands with more studios, as well as converting its Internet stream encoding to Barix equipment. “We swear by the Barix units,” he summarized. “They’re very well-built products that deliver great value. I would recommend Barix to any radio station looking for a cost-effective STL solution, whether they’re replacing legacytechnology or just getting started.”

Barix: We Move Audio (

Barix supplies simple and reliable solutions and components to systems integrators and end users worldwide. We move high-quality audio across IP networks, adding value to customer solutions for more than a decade with hundreds of thousands of devices installed worldwide. Background music distribution with dynamic advertising insertion for retail shops, bars and hotels; public address solutions for schools and public spaces; and intercom and entry systems for facility surveillance, protection and security are among the many applications of Barix solutions. Barix also supports OEM projects for a number of Global 500 listed companies serving many industries worldwide.

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LineQ is a full-service distributor specializing in complete Audio over IP solutions, with a complete portfolio of premium, networked end point solutions from IP audio specialistBarix, pro AV specialistEclerandCornered Audio loudspeakers; and key partnerships with streaming and software companies to ensure rock-solid multipoint content distribution for in-store radio and other IP delivery systems. LineQ’s customized approach ensures tailored systems to meet the needs of systems integrators and end users in the Pro AV, broadcast and security markets. LineQ’s experience in retail, corporate, transit and education further differentiates its position as an expert solutions provider for an array of businesses and organizations. Additionally, LineQ’s unique Digital Product Manager software simplifies ordering, design, installation and maintenance in the field through an intuitive, easy-to-use mobile app. Visitwww.lineq.comor e-mail [email protected] for more information.


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Radix Camp Photos

From the very start, we have been blessed to have one of the kindest, most creative, most enthusiastic, and most amazing photographers that the running world has ever known: Ben Weingart. It is amazing each year to see Radix through the eyes of Ben. His camera provides us with physical reminders of the amazing camp memories we all share.  We hope you enjoy going through them and reliving a little bit of camp each time you look at the pictures. We can't wait to make new memories in 2020!

Radix Photos 2019

Radix Photos 2018

Radix Photos 2017


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Alberto White - All-Time Roster - History |

Alberto White

Alberto White

Number: 96

Position: DE

Years: 1994

School: Texas Southern

The Raiders selected White in the 10th round of the 1992 NFL Draft out of Texas Southern. He played in eight games and recorded two sacks. White went on to play for the Rams.


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Header image
"We Entertain When It Rains"

The Aeron chair is designed for SERIOUS office work.  Apparently it is pretty comfortable for napping as well, at least for Eliot.  The chair is not padded in the usual fashion.  Both the back and seat are made of a tough mesh material which enables plenty of air flow...epecially important on those warm Boston Summer days.

The secret to the chair's comfort is the huge number of adjustible options available on it.  Each arm is individually adjustible both vertically AND horizontally.

Adjusting it vertically is a simple matter of loosening the knob, sliding the arm to the desired height, and locking it back in place.  Horizontal adjustment is easily done by moving the pad to one of three pre-notched positions.

The adjustible lumbar pad is a feature of the Aeron which allows it to give exact support to a variety of body shapes.  The support is also reversible, which allows it to provide support for backs with deeper or shallower curves.

The key to the Aeron's support is the spring mechanism underneath the seat.  The cantilevel construction allows the entire seat to "float" flat and shift properly when weight is shifted around.

The levers on both sides of the chair allow for lots of different possible adjustments: front tilt, back tilt, up/down, tilt tension, etc...

We have had our Aeron chairs for years now.  They have not needed any servicing the entire time.  They do come in different sizes and different colors.  Take it from us, this chair will take years of uses and abuses.  Take it from Eliot, this chair is as comfortable as it looks!

Herman Miller

Aeron Chair

By Wan Chi Lau

We knew we would be spending a LOT of time sitting and we wanted chairs which would promote good posture and last a long time.

When we furnished the office, we got Aeron chairs for everybody.  Herman Miller's Aeron chair is probably one of the more recognizable office chairs around.

This chair is unlike any other...the mesh material, the support system, and the adjustibility are all unique to this design.

If you are considering an office chair for serious office work, put this chair on the top of your list.  Why sit in something which is not fabulously comfortable when you have to sit for hours at a stretch?

Photography by Wan Chi Lau
Rainy Day Magazine is a Publication of Rainy Day Entertainment Group © 2006


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I do this by offering classes to walk you through my creative processes, allowing you to take the skills you learn and transform them into a style that is uniquely you.

This gives me the ability to help aspiring artists express themselves more freely with the added skills and techniques that can build up their repertoire.

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Thales to Reinforce ‘Make in India’ Commitment at Aero India

Aero India 2021

New Delhi. At stand B2.1b, Thales will present its flagship capabilities that support the modernisation plans of the Indian armed forces.

The spotlight will be on Thales’ ‘Make in India’ commitment and contribution towards building of ‘Atmanirbhar Bharat’ by way of local partnerships and design & development.

Visitors at the Thales stand will be able to experience cutting-edge technologies across civil and defence aerospace as well as land and naval defence including its latest airborne surveillance radar, the AirMaster C, for the first time in India.

Led by its commitment to ‘Make in India’ policy of the Government of India, Thales is all set to participate in the upcoming 13th edition of Aero India – India’s premier aerospace and defence exhibition – in Bengaluru from February 3-5. Thales’ stand B.2.1b in Hall B will provide the visitors a chance to witness the latest cutting-edge technologies across civil and defence aerospace as well as land and naval defence along with a special feature on its efforts towards ‘Make in India.’

At Aero India 2021, Thales will showcase its airborne optronic capability the targeting and reconnaissance pod TALIOS that combines targeting and tactical reconnaissance capabilities in a single pod which will be able to embed artificial intelligence in the future, and also a range of rockets for fixed and rotary wing military aircraft.

This year, Thales will also bring the latest addition to its family of airborne surveillance radars, the AirMaster C, to the air show. With this new product, Thales offers an optimised surveillance solution for a broader array of platform types and operators, ensuring they benefit from the highest levels of mission performance as they face the new challenges ahead.

Among the other demos for the tri-forces, systems like SYNAPS software defined radios, armaments, small arms, counter-UAV measures and air defence solutions such as STARStreak (for which a teaming agreement has been recently signed between Thales and Bharat Dynamics limited) will take the centre stage.

Some of the other highlights at Aero India this year will include military and civil avionics, Air Traffic Management Systems that support today’s growing domestic and international travel requirements, among others.

“Driven by the purpose to build a future everyone can trust, we remain resolute in our commitment to the ‘Make in India’ vision of the Government of India. Since inception of our operations in the country, we are proudly supporting the modernisation efforts of the Indian armed forces and helping them to prepare, achieve and maintain tactical superiority over any form of threat.

Aero India 2021 provides us with an opportunity to present our latest and advanced technologies that serve the needs of the country’s defence forces, and strengthen our local partnerships. We are excited to be part of it,” said Emmanuel de Roquefeuil, Vice-President and Country Director, Thales in India.

Backed by the rich legacy of close to seven decades in India, Thales continues to innovate and accelerate digital transformation to serve the needs of the Indian market as well as globally.

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Shop for Los Angeles Rams gear at

Aaron Curry Should Just Keep His Mouth Shut

During the game against the Seattle Seahawks, Steven Jackson and Seahawks rookie linebacker (and highest paid outside linebacker in the NFL) Aaron Curry could be seen jawing at each other after a few plays.  Seahawks won the game, even though Aaron Curry was taken off the field on any formation except the Seahawks base 4-3 defense.

Steven Jackson talked about Aaron Curry on his weekly radio show:

“Some guys don’t know how to be pros and I feel he has not learned that yet,” Jackson told 101 ESPN St. Louis. “Someone is over there not teaching him what it means to be a pro. It’s all right to jaw jack but unnecessary hits and taking shots at guys that are defenseless, …  it’s not professional.”

I’m just sitting there jaw-jacking a guy and letting him know that I’m not backing down. It’s obvious I’m injured, it’s obvious that I haven’t practiced all week and if we want to go head-to-head for 60 or 70 plays in a row, I’m willing to do so. I’m not going to back down. I’m going to let him know there’s a whole another monster, a whole another level in the NFL and this is not Wake Forest or the ACC.”

So, Jackson calls out Curry for hitting players after the play and going after Steven Jackson specifically after plays are over.  Jackson is a veteran and one of the best running backs in the NFL.  It would be hard to imagine much coming from the Seahawks after Jackson called out Curry for being a little to big for his britches and a cheap shot artist.  However, behold the power of twitter and Aaron Curry’s response.

A wise man always told me don’t argue wit fools cuz from a distance people can tell who is who. -Jay Z

Now, I am not a linguistics expert, but I think Aaron Curry is calling Steven Jackson a fool.  Curry is quite lucky the season series between the Rams and the Seahawks is over, otherwise Curry would be targeted by a player much better and more ferocious than he ever say at Wake Forest.  And I’m more than certain Curry will be targeted by an entire offense in the two games that Rams play against Seattle next season.  I know Aaron Curry is a good player and I wanted the Rams to draft him to play MLB last year. (even going as far as to endorse him – needless to say I have revoked my endorsement)  However…

As the saying goes: “pick on someone your own size” and Aaron Curry is no where near Steven Jackson’s size.

Mr. Curry, you beat the Rams twice, but don’t think you had a huge hand in it unless you count late hits and trying to talk smack to veterans.  I suggest you keep your mouth shut.

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'Streets will run red with blood': Trump-loving senator mocked for ad bragging she's 'more conservative than 'Attila the Hun'
Kelly Loeffler and Donald Trump (Facebook)

A Republican U.S. Senator is being mocked and disparaged for her new TV ad which touts her "100% Trump voting record" and positions her as "more conservative than Attila the Hun."

Kelly Loeffler of Georgia, who was appointed in January, is running to keep her seat. Her main opponent is Republican Congressman Doug Collins.

The ad says she's "the most conservative Senator in America."

The ad "jokes" about murdering journalists and political opponents.

Loeffler is no stranger to controversy.

The Dept. of Justice closed its investigation into Loeffler's coronavirus stock trading scandal in May. She is the owner of the Atlanta Dream professional basketball team and has been criticized for opposing the Black Lives Matter movement.

Now her new ad is drawing criticism, too.


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New Book Blogger Hop - January

I decided to join the new Blog Hop hosted by Ramblings of a Coffee Addicted Writer. This weeks question asks:

Are you a book blogger purist? Do you only have book related posts or do you review/post on anything/everything that catches your eye?

My Answer:

Yes, I guess I am.  I have 2 other blogs Ramblings on a Crazy Life, and a tumblr Love, Life & Reading. So I reserve this one for books.

  1. My blog is book pure. :) Mostly reviews. Some other things, but most are bookish.

    Have a great weekend.

    Happy Hopping!!

    Silver's Reviews
    My Blog Hop Answer

  2. Wow, all of them are reading related. That's cool you have this one for books.

  3. I applaud you for having so many blogs! I have a hard time keeping up with just one :)

  4. Thanks for stopping by! Yea having a lot of blogs can be tough, my tumblr is mostly photos, my rambling blog is a total mixed bag of life, reading and anything else that comes to mind and this one is strictly books.

  5. Hi I'm quite a new book blogger, but will keep it purist as well, got other blogs about my other interests, mainly as I'm also a freelance translator. but boy, can one spend time on this!

  6. Wow! Maintaining 3 blogs must be hard work!
    I only have one blog and I must say I'm not a purist at all :)
    You can read my answer to the Blog Hop question.

  7. I'm also a book purist and I love it!
    Here's my full answer

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Michael Butterworth Archives
9 Posts
Activism & Protest Photo October 8, 2020

Social Justice in the “Unified” NFL

If the NFL really wants to promote anti-racism, it seems hard to imagine a less emphatic visual statement.

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Michael Butterworth Photo September 26, 2017

Stirring NFL Protest Optics: Unity to What End?

As encouraging as the explosion of protest in the NFL may be, let us not lose focus on the purpose of such protest in the first place.

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Activism & Protest Photo December 12, 2014

Protesters vs. Props for Freedom: College Athletes Can’t Breathe Either

The solidarity of the players expresses a desire not to wear “freedom” as a slogan but to seize it as a fragile part of their daily lives.

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Business Focus Photo October 6, 2014

Abdullah's 100 Yard Prayer Rug: The Visual Landscape of Faith and Violence in Sports and the NFL

The NFL's missteps must become opportunities to address the symbols of violence that the league promotes. Can Abdullah help us do that?

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Sports Focus Photo July 14, 2014

The Second Coming: The Messianic Visuals of LeBron's Return to Cleveland

These images are only a small sampling, but the symbolism should be clear: LeBron James is still a savior, the prodigal son awaiting his redemption.

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Michael Butterworth Photo February 4, 2013

Super Bawl

Too often, however, American culture upholds this kind of hypermasculine intensity as a virtue.

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Michael Butterworth Photo December 18, 2012

The NFL and Newtown: Reflections on a Violent World

The nationalistic imagery stands out for me in the photo because I know how seamlessly it is woven into the fabric of the sport itself, especially in its most muscular, militaristic forms.

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Michael Butterworth Photo September 26, 2012

Football’s End of Days?

Going with replacement refs, what has been happened in the NFL is nothing short of apocalyptic, at least according American sports media.

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Michael Butterworth Photo May 2, 2011

"Take 'Em Out" at the Ball Game (Or: "The Jersey Pop")

In this image we see the almost perfect conflation of sport and nationalism. Here, the citizen as “fan” celebrates his “team,” the United States. The death of an American enemy, then, is roughly the equivalent of a walk-off home run.

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Ending India's Rape Culture

By Naomi Wolf, Globe & Mail - January 1, 2013

The crime seems incomprehensible. A 23-year-old physiotherapy student is dead, 12 days after having been raped for more than an hour by six men in a bus travelling on main roads in the Indian capital. Her internal injuries from the iron rod that her attackers used were so severe that doctors had to remove her intestines in their effort to save her life.

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Old Town – Life in Puerto Vallarta

Old Town – Life in Puerto Vallarta

Puerto Vallarta has long been known as a top vacation destination and is slowly winning hearts as an amazing place to retire or start a new life as an expat. Indeed, snowbirds have been choosing this part of Mexico for years now. Puerto Vallarta’s Old Town has gained a lot of press recently with renovations and real estate opportunities. While living in Old Town might not appeal because of the noise and large volumes of tourists, living near Old Town is a great option.

Life in Puerto Vallarta

Puerto Vallarta was recently ranked #9 by US News & World Report magazine in 2016 as one of the top vacation places to visit. Puerto Vallarta has ranked high in other areas, which include:

#9 – Top Places in Mexico to Visit and Live
#5 – Top Spring Break Location
# 7 – Best Beaches
#8 – Best Affordable Wedding Location

 Read more about Old Town – Life in Puerto Vallarta below…

Authentic Mexican Small Town

Old Town (Zona Romantica) is on the southern area of El Centro, and it is one of the most popular areas in Puerto Vallarta providing that authentic Mexican small town charm that few other major vacation destinations in Mexico possess. The streets are cobblestone and the shops, bakeries, and boutiques are outstanding. You can enjoy fresh pastries daily in Old Town Puerto Vallarta.

Market Life in Puerto Vallarta

Saturday mornings is a day that you will want to go to Old Town Puerto Vallarta. They have one of the best farmers’ markets where you can purchase handmade jewelry, fresh vegetables and fruit, crafts, and even beauty supplies. How great would it be if you needed an adjustment or a massage and you can have it done with a chiropractor that is at the farmer’s market? Just around the corner from the farmer’s market is the tortilla factory and there are also taco vendors. You can enjoy delicious and fresh ceviche and aquachile that is prepared fresh for you.

If exciting nightlife that comes with a hip vibe is what you are looking for, then in Old Town or El Centro and Olas Altas has lounges, clubs, and bars that will meet anyone’s taste.

Culture and Architecture in Old Town Puerto Vallarta

The architecture and culture in Old Town Puerto Vallarta is amazing. There may be a hidden jewel or historic property that you may encounter when you are walking through the area. If you haven’t see the local church in Old Town that is called “Nuestra Señora de Guadalupe”, and in 1965 a crown was added to the church. The church is near the Plaza de Armas and you can tour the inside of the church too. Just a few steps from Plaza de Armas and the church is the Los Arcos Amphitheater. The amphitheater is beautiful and you will not want to miss seeing it either.

Something Special about Old Town Puerto Vallarta

There is something special in Old Town Puerto Vallarta that you will not find in other Mexico cities. Old Town Puerto Vallarta has a mixture of old and new. The locals in Old Town are very friendly. During whale watching season (December through March) you can clearly see the dolphins and humpback whales from the beach. Old Town has world class dining, amazing views, and the best shopping too. You can walk along the Malecon and enjoy fresh coconut and oysters from vendors.

Puerto Vallarta is intriguing. You will appreciate Old Town Puerto Vallarta once you have visited it. Old Town is not just a great place to visit, but an even better place to live. Life in Puerto Vallarta is best when you live near this area.

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Dreaming of their Paintings, Painting their Dreams

It all started with 195 young artists/students and a single dream. They dreamed of winning the plum prizes at the recently concluded Global Art Philippines National Art Competition. Working around this year’s theme “My Dream City,” these budding artists drew and painted their ideal city or place.

Seven of them were adjudged grand champions and will represent the Philippines at the Global Art International Level Competition to be held in Kuala Lumpur in December this year.

The competition had two main categories based on the medium used. The first Category was Creative Drawing. Here, participants were further divided into four age groups: Category A (4-6 years old), Category B (7-9 years old), Category C (10-12 years old), Category D (13 and above).

They had to draw and color using color pencils, oil pastel, or poster color paint. An Acrylic Painting Category was opened for the first time. This was divided into three d age groups: Category 1 (7-9 years old), Category 2 (10-12 years old), and Category 3 (13 years old and above).

Named grand champions for Creative Drawing Category are Benno Julian Sy Ang (Category A), Kirsten Mirielle Go (Category B), Reina Nagoshi (Category C), and Hannah Ong (Category D). Champions for the Acrylic Painting Category are Francesca Arcilla (Category 1), Ashley Gomez (Category 2), and Kelly Reese Martin (Category 3).

 “Art adds color to my life. Through it, I can express my thoughts and emotions louder than I can with my voice,” 13-year old Kelly Martin said. Her winning painting was inspired by Paris, her dream city. “We visited the place last summer and I was awed by its beauty and grandeur.”

Like Kelly, 8-year-old Kirsten Go, also appreciates the benefits she gets from art lessons at Global Art. Her piece was an artwork of her dream city, Candy Land.

Francesca Arcilla, 9 years old, feels more confident about her art and style after winning at this year’s event: “Studying at Global Art taught me to use my imagination and appreciate the colors of life.”

Benno Ang and Reina Nagoshi are both exciting to compete at the International Level. “Art is just like writing stories,” Nagoshi mused. “And I’m going to prepare for it by constantly practicing what I love to do and that is, drawing.”

Hannah Ong, 13, knows that winning means a new set of challenges are underway but she is more determined than scared of these challenges. “The competition is an opportunity for me to be exposed and grow as an artist,” she said.

“At Global Art Philippines, we encourage and unleash the individual creative potentials of toddlers, teenagers, and even adults. We have art enrichment programs, mentorship, and competitions like these to further inspire students and to give them opportunities to boost their artistic talent,” Yenny Saw, Global Art Country Manager, said.

Global Art’s main goal is to see young artists step up their artistic skills through these competitions. True enough, these seven grand champions showcased their artistic flair and won a chance to represent the Philippines in Kuala Lumpur. “Clearly, this learning experience has not only taught them to paint but also to get ready to live their dreams,” Saw concluded.

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2020 was a somewhat mixed year, with COVID-19 wiping out the early season, but as soon as the UK public was given the green light for leisure travel to resume on 4th July, caravan and campervan hire companies saw demand for hires rise like never before.

Popular camper hire company, Quirky Campers, experience of 2020 was typical.  The company specialises in hiring unusual or ‘quirky’ vans, and as such each van has it’s own name and unique personality, giving campers a very individual hire experience.

In the 10 years that the company have been hiring out campervans, they report a consistent increase in demand for campervan holidays but this year, the company have seen hires more than double compared to last year, with demand completely exceeding supply for much of the year, meaning they were turning away customers from the beginning of August due to having maxed out on occupancy.  Many campsite owners also reported record seasonal bookings for camping pitches, with campers of all types keen to explore the UK after foreign trips were cancelled.

Campervans were especially popular, because they are considered one of the safest forms of travel during COVID-19; the contact required at ‘check in’ is minimal, you can self-cater all your meals and many campervans provide toilets and showers, there is no need to use public facilities. Add to this the fact that no ‘quarantining’ is required and this type of holiday provides ultimate flexibility, if your intended destination changes its regulations you can simply choose to travel somewhere else.

“One happy camper summed it up:

“Our campervan provided us with a safe but exciting holiday experience this year and allowed us to be able to continue a level of normality in an unpredictable world.”

Judging by bookings, is seems those who had never experienced a campervan holiday before made 2020 their year to get out and travel the UK by road:

First time campervan hirer Michele’s experience is typical:

“We really enjoyed our trip in Anneliese. It was our first campervan holiday, definitely due to COVID-19. We loved the flexibility, to move on if we did not like a place, or stay longer if we did.

“We met great like minded people. We coined the phrase “the pyjama run” which meant waking around 7am hopping in the cab without getting dressed, and driving to a great spot (with a great view) on or near the beach for breakfast. We enjoyed it so much that we have since bought our own campervan!”

Campervan holidays are likely to continue in popularity, at least according to projections, with the Staycation trend set to continue – so anyone planning to hire a camper in 2021 is advised to book early, as popular dates are likely to sell out fast.  While it’s great to see hire companies thriving, it’s good for the UK too, with holidaymakers investing money into the local economies rather than far off destinations.  Even better is that most campervans are well insulated and heated, making them great for winter breaks.  This supports an all year round tourism industry which helps communities thrive and allows the UK’s beautiful hotspots to be recognised and appreciated.

Lindsay Berresford, Marketing Director, Quirky Campers, says:

“We have always believed that campervans provide the perfect combination of comfort and adventure and this has been true this year more than ever.

“We know how important the lockdowns have been to save lives, but they have left many of us with an intense desire to experience a sense of freedom when we can, while continuing to be responsible. We’re so proud of the way that our campervan owners have adapted; intensifying their cleaning regimes and offering contactless transfers.”

2021 promises another year of camping freedom for UK travellers.

Article courtesy www.campinginbritain.co.uk

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