Thursday, July 30, 2020

Fwd: Above-Ground & Portable Pool Safety



 

Above-ground and portable pool sales have gone up lately due to the pandemic but those purchasing them should be aware of the unique safety concerns they entail.

Here are some quick tips to get started. Feel free to download and share.

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NDPA Webinar - Advocating for Safer Waters & the ISPSC

Did you know that there is a building and construction code that can make residential swimming pools and spas as safe as VGB compliant commercial pools? The International Swimming Pool and Spa Code (ISPSC), published by the International Code Council does just that.

Adopted in over 20 states and in over 200 local jurisdictions, the ISPSC is already making water safer around the country.
More NDPA Webinars

Drowning In The News


ER nurse reveals her 18-month-old son drowned in their pool after crawling through a dog door - as she recalls horrifying moment she found him 'floating face down' in the water.
Read Now
CORAL MANTA "watches" the pool 24/7 when there are people in it and when the pool is not in use. Moreover, while existing alarms require you to deactivate and reactivate when using or exiting the pool, with CORAL MANTA you do not need to worry about forgetting to activate or deactivate. CORAL MANTA is on the lookout nonstop, day and night.
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NDPA is proud to announce that we have been awarded Guidestar's 2020 Platinum Seal of Transparency for Non-Profit Organizations. Click the seal above to learn more or view
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Ta.
 
 
Mark Rauterkus       Mark@Rauterkus.com 
Executive Director of SKWIM USA, a 501(c)(3)
The Pittsburgh Project - swim coach and head lifeguard
Coach at The Ellis School for Swimming, T&F and Triathlon
Pittsburgh Combined Water Polo Team & Renegades (Masters) 
Coach of the Duquesne University Club Swim Team

http://CLOH.org

412 298 3432 = cell

Fwd: Promotion of Professor Catherine V. Palmer



Hi my guys-
I thought you might like to see the official announcement from the department. 
Love you all-
CP/Mom
 
Promotion of Professor Palmer
View this email in your browser
Promotion of Professor Catherine V. Palmer 
Dear Pitt CSD Faculty, Staff, and Students:

Upon the recommendation of Dean Anthony Delitto, Senior Vice Chancellor Anantha Shekhar, Provost Ann E. Cudd, and approval of Chancellor Patrick Gallagher, I am pleased to inform you that Catherine V. Palmer, Ph.D., Director of the AuD Program in the School of Health and Rehabilitation Sciences and Director of Audiology at the University of Pittsburgh Medical Center (UPMC), has been promoted to the rank of Professor of Communication Science and Disorders at the University of Pittsburgh, effective August 1, 2020.

Dr. Palmer has served and led in the Department of Communication Science and Disorders at the University of Pittsburgh for over 29 years. She has served a major role in the School of Health and Rehabilitation Sciences and in our Pitt CSD program. Further, she leads the UPMC Integrated Health System, where she oversees over 63 audiologists and over 24 practice locations.

Dr. Palmer serves as Principal Investigator of a Patient Centered Outcomes Research Institute (PCORI) grant "HearCARE: Hearing for Communication and Resident Engagement, with direct costs of $2.2 million dollars. She leads and directs a highly accomplished team of researchers and clinicians across the School of Health and Rehabilitation Sciences at the University of Pittsburgh. Her PCORI team includes Charity Patterson, Ph.D., MSPH, Professor and Director of the Physical Therapy Data Center, Natalie Leland, Ph.D., OTR/L, BCG, FAOTA, FGSA, Vice Chair for Research and Associate Professor in the Department of Occupational Therapy, and Elaine Mormer, Ph.D., CCC-A, Vice Chair for Clinical Education and Associate Professor in the Department of Communication Science and Disorders.
 
Dr. Palmer's PCORI project will ultimately lead to improved patient care of older adults with hearing loss. This project compares two models of service delivery across eight assisted living facilities with over 520 residents. The results of this work will inform public health policy and lead to specific recommendations on the effectiveness of hearing care in senior living communities.

In addition to her phenomenal work as a clinician-scientist, Dr. Palmer is also a highly accomplished administrator, scholar, and faculty member in the School of Health and Rehabilitation Sciences at Pitt and at UPMC. 

In her role as the Director of Audiology for the UPMC Integrated Health System, Dr. Palmer supports the Pitt Audiology program with access to world class hearing health care. Our clinical audiology academic reputation is built upon this unparalleled access to clinical education.

In partnership with Dr. Elaine Mormer, Vice Chair for Clinical Education and Associate Professor; Barbara Vento, Ph.D., Associate Professor and AuD Externship Coordinator; and staff and colleagues at UPMC, the Pitt audiology program creates unique learning opportunities for our students in the School of Health and Rehabilitation Sciences that are simply unmatched.

In her role as Director of Audiology at UPMC, Dr. Palmer has developed many Interventional Audiology clinical service activities (e.g., embedding audiology in Geriatric outpatient clinics, interprofessional clinics, senior living facilities, home health care, etc.). These programs are not only good for the community – they also supply unique educational opportunities for our students in the School of Health and Rehabilitation Sciences.

On a more personal note – I have thoroughly enjoyed working with Catherine over the past two years. It is a pleasure to have her on our team. The University of Pittsburgh and UPMC have been extremely lucky to have Dr. Palmer at the university for over the past 29 years.

Dr. Palmer has too many accomplishments to list. However, I would be remiss without saying that she has been an incredible partner on our leadership team at Pitt; she has led the American Academy of Audiology as its President through an unprecedented global health pandemic and countless legislative victories in congress; and she is perhaps one of the most highly accomplished scientific, administrative, and clinical scholars in the world.

I am thankful for Dr. Palmer's steadfast commitment to advancing our mission to be a model program driving the generation, dissemination, and application of knowledge in the science and practice of audiology, speech and language pathology, and speech and hearing sciences.   

It is because of faculty members such as Catherine, that together – we will achieve my vision of providing unparalleled opportunities for our trainees to improve patient care, transform healthcare, and become leaders in clinical service delivery, research, education, and service to society.
 
I would like to extend my sincerest congratulations to Professor Catherine V. Palmer on this well-deserved and significant professional career milestone.
 
Hail to Pitt,




Bernard Rousseau, Ph.D., MMHC, CCC-SLP, ASHA Fellow
Professor and Chair
Department of Communication Science and Disorders
School of Health and Rehabilitation Sciences
University of Pittsburgh
#ForgeAhead #H2P
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Ta.
 
 
Mark Rauterkus       Mark@Rauterkus.com 
Executive Director of SKWIM USA, a 501(c)(3)
The Pittsburgh Project - swim coach and head lifeguard
Coach at The Ellis School for Swimming, T&F and Triathlon
Pittsburgh Combined Water Polo Team & Renegades (Masters) 
Coach of the Duquesne University Club Swim Team

http://CLOH.org

412 298 3432 = cell

Fwd: [rodmacg] Greenwich Village Folk Fest Sunday 8/2 7-10 pm


Hi everybody

The Greenwich Village Folk Festival is back this Sunday evening at 7 pm with a stellar lineup:

Suzanne Vega
Tom Chapin
Josh White, Jr
Bethany Yarrow
Guy Davis
The Chapin Sisters
David Roth
David Massengill
Bev Grant
Michael Fracasso

You can watch the show live at https://www.facebook.com/GVFF2020, and/or archived (probably a day or two later) on the GVFF's youtube channel.

As "A Gift To The Community" the concert is free, though donations are welcomed and shared with performers.

See you Sunday!

Rod MacDonald
Raymond Micek
co-producers, The GVFF
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Ta.
 
 
Mark Rauterkus       Mark@Rauterkus.com 
Webmaster, International Swim Coaches Association, SwimISCA.org
Executive Director of SKWIM USA, a 501(c)(3)
The Pittsburgh Project - swim coach and head lifeguard
Coach at The Ellis School for Swimming, T&F and Triathlon
Pittsburgh Combined Water Polo Team & Renegades (Masters) 

http://CLOH.org

412 298 3432 = cell

Wednesday, July 29, 2020

Fwd: Plans to Preserve High School Sports, Performing Arts Continue Amid Pandemic



---------- Forwarded message ---------
From: NFHS, National Federation of State High School Associations <info@nfhs.delsend.com>
Date: Wed, Jul 29, 2020 at 3:31 PM
Subject: Plans to Preserve High School Sports, Performing Arts Continue Amid Pandemic
To: Mark Rauterkus <mark@rauterkus.com>



View as a Web page

   
 
The NFHS Voice
Plans to Preserve High School Sports, Performing Arts Continue Amid Pandemic
The numbers in high school activity programs are staggering – 8 million participants in sports, 4 million students in performing arts, 500,000 coaches and officials and 300 million-plus fans at contests throughout the school year.            

Whether as a participant, parent, coach, official, teacher, administrator, community supporter or general fan, millions are invested in the greatest education-based programs in the country – high school sports and performing arts.

And unlike most countries, these activities – sports, music, speech, debate, theatre and many others – are cocurricular programs that complete the school-day educational experience. These activities – the other half of education – are vital to the mental and emotional wellness of student participants.

It is against this backdrop that the 51 NFHS member state associations and 19,500 high schools nationwide are having to make incredibly difficult decisions about how to restart high school sports and performing arts this fall amid the COVID-19 pandemic.
Read the NFHS Voice
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This email was sent to: mark@rauterkus.com

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Ta.
 
 
Mark Rauterkus       Mark@Rauterkus.com 
Executive Director of SKWIM USA, a 501(c)(3)
The Pittsburgh Project - swim coach and head lifeguard
Coach at The Ellis School for Swimming, T&F and Triathlon
Pittsburgh Combined Water Polo Team & Renegades (Masters) 
Coach of the Duquesne University Club Swim Team

http://CLOH.org

412 298 3432 = cell

Friday, July 24, 2020

Fwd: Fw: Hayden July 26th Sunday Service


---------- Forwarded message ---------
From: Patricia Trudeau

This Sunday, at 10:30am Donovan Hayden will be speaking on a Zoom Service for First Unitarian Pittsburgh
about the spiritual practice of protest based on recent experiences of protesting in Pittsburgh.
 
Here is the link to the service. Please feel free to share.
https://www.first-unitarian-pgh.org/upcoming-worship-celebrations.html  


Sunday, July 26, 2020
10:30am-11:30am
"What a time to be alive!" Black people and allies are taking to the streets to protest police brutality and government and institutions are being forced to change. These protests are obviously political, but there is another aspect that can only be felt when you really engage in the struggle. That is the spirituality of protest. It cannot be simulated on social media or learned from a place of convenience. It comes from uncomfortable reflection and connection to a larger movement by extending beyond ourselves. The reflection will explore the spiritual act of protest and how we can join those already doing the work.

Reflection by Donovan Hayden. Music by Ellen Gozion, piano; Kelsey Robinson, voice; Kai Ballard, drums. Poetry by jah.

Thursday, July 23, 2020

Fwd: Joe Jencks - LIVE from The Ark - Friday July 24th + Lomax & American Folksong

----- Forwarded message ---------
From: Joe Jencks 

Dear Friends in Music,

I hope that this finds you navigating the shoals of modern life with grace and forbearance. We do indeed live in interesting times. With so much going on in the world, it is sometimes hard to feel like it's important to keep celebrating the simple, day-to-day events. The small victories seem inconsequential when held up to the mirror of global events. But indeed, we need to keep doing what we can to honor the growth we each experience, the birthdays, the evolution of our selves even as we tac a course through what seem like uncharted and perilous waters. And as always, music helps us find solace, connection, and community. Music continues to give voice to our deepest sorrows and most earnest joys.

Bertolt Brecht said once that art is not a mirror held up to reality, but a hammer with which to shape it. I believe that many actions and efforts that might not be traditionally considered art are even still, small hammers held up to reality shaping it as we go, incrementally shifting our own experience of the world for the better. And while it is perhaps hubris for any of us to presume that anything we do can change the world or reshape reality, my lived experience says that every one of us has the capacity to make a difference in some way. We may not be able to change the world per se, but we do have some control over our experience of the world. Our choices, actions, kindness, commitment to community, commitment to wellness in its many embodiments, all of these things change our own experience of the world and allow us to shape it in some small way.

So, I keep singing. I keep writing, I keep creating and making art in many forms. I do not know the impact nor can I truly measure the affect. But I know it helps me feel better, and I receive notes, cards, emails and texts that tell me it helps others feel better too.

Friday, July 24th, at 8:00 PM ET, I will be performing LIVE from The Ark in Ann Arbor, MI. This will be the FIRST EVER Live Broadcast that The Ark has hosted from their own stage. I am honored to help initiate this new phase of engagement for The Ark, truly one of the finest music halls anywhere in the country. This will be a broadcast performance only with a few staff in attendance, but accessible to all via the Internet. Please tune in, link in, join in via YouTube or Face Book. Links will be available through www.theark.org

View via Joe Jencks Music Official YouTube Channel: https://youtu.be/n8UYB-pdCfs
View via The Ark YouTube Channel: https://www.youtube.com/watch?v=1R1i5OhGnEo
View via Face Book Live - link through The Ark's main webpage

I will have more Live-Stream events into August, including a live remote broadcast as part of a virtual version of the Goderich Celtic Roots Festival in Goderich, Ontario Canada. And a return to Caffe Lena in Saratoga Springs August 29th, for a Live Broadcast. But for now, please tune in on Friday, July 24th at 8:00 PM ET - for a Joe Jencks concert LIVE at The Ark!

In Gratitude & Song,

~ Joe Jencks
   7-23-20


PS " Please see below an essay I wrote about John Lomax, and the lineage of a song I recently added to my repertoire from the Archives of American Folksong at The Library of Congress.


The Lineage of a Song " John A. Lomax & Take Dis Hammer
" 2020 Joe Jencks, Turtle Bear Music

I have on several occasions been asked to be a part of the Library of Congress, Folk Archives Challenge at the Folk Alliance International Conference. It's always an honor and a good time. It is fun, relaxed, musically interesting and always educational. Musicians from all over the US and a few from other countries dive into the L.O.C. Folk Archives and resurrect some song that has fallen by the wayside. Or they render a new version of an old chestnut, and in so doing help us hear an old song in a new way. I always enjoy the concert that is assembled from musicians who have chosen to participate. It never fails to enlighten and delight.

I have to admit in all honesty that at least once, I trolled the archives for songs I already knew, and picked one of them. Based on looking at people's albums/ song titles and comparing that to what was performed in concerts at the conference, I am clearly not the only one who has taken the road more traveled now and then.

But this year, this year I dove deep. I looked through dozens of songs and went deep down the rabbit hole of songs relating to work and chain gangs in the south, and prison yard songs. And the song I emerged with was, "Take Dis Hammer." I am glad I did not know that it was a song well known in Blues and Bluegrass circles. If so, I might have stopped there with a rendition offered by Lead Belly or Odetta, or Flatt & Scruggs. Or one of a dozen other versions done by blues artists over the last 80 years. But because I found it in the archives of The American Folklife Center at the Library of Congress and in a Lomax field recording first, that was what I listened to.

I was moved by the voices I heard in those old John Lomax recordings, from a prison yard in Florida in 1939. He captured something powerful. As I listened, I imagined things that had not yet transpired when these songs were recorded. Nelson Mandela on a chain gang in a prison yard on Robben Island, in South Africa. Mohandas Gandhi and the peak of the Satyagraha movement, Martin Luther King Jr. and the marches, rallies and movements for Civil Rights yet to emerge. Black Lives Matter, and so much more.

John A. Lomax was a pioneering and visionary musicologist. Much of what we know about American Folk music from various eras before recording technology was accessible to most people, is because of John Lomax, his wives Bess & Ruby and his sons John Lomax Jr., Alan Lomax and daughter Bess Lomax. They transcribed by hand, and made field recordings of countless songs in a multitude of genres, preserving the musical styles that were endemic to certain regions or trades, or cultural sub-sets. And the Library of Congress Folk Archives are a true treasure trove of the extraordinary, including but by no means limited to the Lomax Collections.

John A. Lomax co-founded the Texas Folklore Society at the University of Texas in Austin in about 1908. The date is disputed, but in 1909,  he nominated co-founder Professor Leonidas Payne to be President of the society. John A Lomax went on to help found Folklore Societies across the United States. His direct mentor at Harvard (which was at the time the center of American Folklore Studies, a field of study considered a subset of English Literature) was George Lyman Kittredge. Kittredge was a scholar of Shakespearean Literature and of Chaucer. He had inherited the position of Professor of English Literature from none other than Francis James Child. Child is known for his 8-volume lifetime work: Popular Ballads of England and Scotland. The work was unfinished at the time of Child's passing, and Kittredge finished the work as well as continuing to teach several of the courses Child had taught. Lomax had a fine pedigree in sound research methods, and was likely the first to transcend th
 e idea of American Folklore as a subset of English Literature and thus is appreciated in many circles as the progenitor of a new discipline: American Folklore a.k.a. American Ethnomusicology.

In 1910, Lomax published: Cowboy Songs and Other Frontier Ballads, with a forward by none other than the recently retired President of the United States and aficionado of the American West, Theodore Roosevelt. It was quite a feather in the cap of a relatively young Lomax. But his truest musical love were songs that rose out of African American culture. And he was soon to find his way into the pursuit of many more forms of American Folklore. Lomax was the first to present papers to the Modern Language Association about American Literature in the form of uniquely American Ballads and Songs. He took to the lecture circuit while continuing to teach, publish, and make field recordings eventually with the help of his sons Alan and John Jr., and daughter Bess. Spanning several decades, John Lomax contributed over ten-thousand recordings to the Archive of American Folksong, at the Library of Congress.

At first the recordings were in the form of transcriptions and transliterations of the oral traditions he encountered. Old school. Lomax wrote them down. But as recording technologies improved and became more portable, Lomax was always on the leading edge of the latest capacity to record. In 1917, he was let go from his university position in Texas, over broader political battles within the institution, and was forced to take a job in the banking industry for several years in Chicago. But he became life-long friends with poet Carl Sandberg while he was there, and is referenced many times in Sandberg's book Songbag (1927). In 1925, Lomax moved back to Texas to work for a larger bank there, but obviously being in banking became disastrous in the fall of 1929. In 1931, his beloved wife Bess Lomax died at age 50, and Lomax also lost his job when the bank for which he worked, failed as a result of The Great Depression.

In 1933, John A. Lomax got a grant from the American Society of Learned Studies and acquired a state-of-the-art phonograph, an uncoated aluminum disc recorder. At 315 pounds, he and Alan mounted it in the trunk of the family Ford sedan, and went off adventuring. John was finally able to pursue the archiving the musical and narrative memory of a quickly passing generation of African Americans. Many of his subjects were in prisons, but that was by no means the sum of his contact with the African American community. He did however recognize that Jim Crow and other racist practices had created a situation where a disproportionate number of African American men were imprisoned. And because many had been there for a long time, they had not been influenced by radio and recordings. The oral traditions were still alive in the prisons of the south in particular, and in ways that they were no longer present in other parts of the country.

It was in one such prison that Lomax met Lead Belly. And while many have accused John Lomax of somehow misappropriating ideas from Lead Belly, history from many angles suggests that Lomax was a staunch advocate for Lead Belly. Lomax advocated earnestly for Lead Belly's release from prison, and while causality is hard to trace, Lead Belly was in fact released in August of 1934. The Lomax Family helped Lead Belly get work singing African American songs throughout the North Eastern US, and with the advice of legendary Western singer Tex Ritter, also helped Lead Belly get his first recording contract. John Lomax and Lead Belly had a falling out over the managing of finances in 1935, and never spoke to one another again. Alan Lomax however, remained a stalwart friend and an advocate of Lead Belly's for the next 15 years, until Lead Belly's death in 1949.

Though it is not clearly documented, it is very likely that Lead Belly himself learned Take Dis Hammer from the Lomax field recordings. He however only sang a few of the traditional verses, and invented his own version. He was prone to personalize many of the songs he sang and recorded, and was known to embellish on the historic record from time to time if it made a good story. In short, he was a Folksinger and Bluesman in good standing. 

My version of Take Dis Hammer was derived mostly from the field recordings made by John, Alan, and Ruby Terrill Lomax, John's second wife. There was no available transcription of the original field recordings which were made in 1939 at the Florida State Prison known as Raiford Penitentiary. These recordings were part of a series from the Southern States Recording Trip. So I listened, and listened, and listened again, at least 100 times. And I still could not discern certain words and phrases.

So, I spoke with Jennifer Cutting and Dr. Stephen Winick (with whom I am occasionally confused in public gatherings and always take it as a compliment) at The American Folklife Center at the Library of Congress. I explained the problem in trying to resurrect the original recorded version. They responded kindly that I should consider recovering as many of the original words as possible, and use my knowledge of the idiom, the period, and my capacity as a songwriter to fill in the gaps. So, I did. I also included a re-write of a verse that I traced to one of the Flatt & Scruggs recordings. And as a proper homage, I included a slight adaptation of one of Lead Belly's verses. But the last verse was largely unintelligible. As such, I lifted what I could and made up the rest with knowledge of the context.

I will note that the Flatt & Scruggs influenced verse about the shackles, does not appear in any of the Lomax field recordings. But I liked it. And since it seemed like everyone else had just invented it " I invented a version that I felt was more in keeping with the original Prison Yard recordings both in cadence and language. And that is the lineage of one rendition of a Folk Song.

Thank Dis Hammer / Take This Hammer
Take this hammer, hammer and give it to the captain
Take this hammer, hammer and give it to the captain
Won't you Take this hammer, and give it to the captain
(Won't you) Tell him I'm gone, Lord tell him I'm gone

And if he asks you, asks you was I running
And if he asks you, asks you was I running
And if he asks you, asks you was I running
Tell 'm I was flyin', Lord I was flyin'

Captain, captain this ole hammer too heavy
Captain, captain this ole hammer too heavy
Captain, captain this ole hammer too heavy
For the likes of man, for the likes of man

Must be the hammer, hammer that killed John Henry
Must be the hammer, hammer that killed John Henry
Must be the hammer, hammer that killed John Henry
But it won't kill me, no it won't kill me

This ole hammer, hammer shines like silver
This ole hammer, hammer shines like silver
This ole hammer, hammer shines like silver
But it rings like gold, lord it rings like gold

Flatt & Scruggs Bluegrass Verse
I don't want, your old darn shackles
I don't want, your old darn shackles
I don't want, your old darn shackles
'Cause it hurts my leg, 'cause it hurts my leg

Odetta Verse
I don't want your cold iron shackles
I don't want your cold iron shackles
I don't want your cold iron shackles
Around my leg boys. Around my leg.

Joe Jencks Adaptation " more in keeping with the original Prison Yard cadence and language
Don't you make me wear, wear these old cold shackles
Don't you make me wear, wear these old cold shackles
Don't you make me wear, wear these old cold shackles
 'Cause they wound my soul, Lord they wound my soul

Lead Belly Verse… JJ Adaptation to meet cadence of Prison Yard
Twenty-five miles, alone in Mississippi
Twenty-five miles, alone in Mississippi
Twenty-five miles, alone in Mississippi
Tell him I'm gone, oh Lord tell him I'm gone

Joe Jencks Verse " best guess based on cadence and audibility of
Lord I'm coming, to that Jordan water
Lord I'm coming, to that Jordan water
Lord I'm coming, to that Jordan water
Don't you let me drown, Lord don't let me drown

As a result of my work with this song, I was awarded a small grant to continue my research into the Library of Congress Folk Archives. And I will record a "tiny-desk" type concert for the Library of Congress Folk Archives this summer that will be released through the Library of Congress on Wednesday September 2nd, and remain part of the L.O.C. Archives in perpetuity. The focus of my work on this project will continue in the vein of prison and work songs from the Lomax Recordings. We will have a watch party at 12:30 PM ET / 11:30 AM CT on Wednesday September 2nd. Si Kahn will offer a set at Noon ET/ 11:00 AM CT on the same day. Stay tuned to www.joejencks.com for more details. And do yourself a favor, troll around the Library of Congress Folk Archives and the Archive of American Folksong. But be forewarned, you will definitely get delightfully lost.

~ Joe Jencks
   7-23-20

http://joejencks.com