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Netflix let its Viacom streaming deal expire last month, and Amazon took advantage immediately. The Kindle-maker's Prime service now has exclusive rights to kids' titles like "Dora the Explorer," plus adult fare from MTV and Comedy Central.
Amazon (AMZN) played up the kids' content in its announcement Tuesday, noting that the multi-year deal includes several titles from Viacom's (VIA) Nickelodeon and Nick Jr.: "Dora the Explorer," "SpongeBob SquarePants," "Blue's Clues" and "Fairly OddParents." The adult shows include MTV's "Awkward" and Comedy Central's "Tosh.0."
Amazon said children's shows are "one of the most watched TV genres" on its Prime Instant Video service, which costs $79 per year with included two-day shipping on certain retail products. Some of the Nick titles will also be available on Kindle FreeTime Unlimited, a $2.99-per-month service focused on kids' content.
Loss of that children's catalog is particularly painful for Netflix (NFLX), which warned in its last earnings report that the Viacom contract would lapse at the end of May.
Related story: Netflix slumps after 'Arrested Development' release
"As we continue to focus on exclusive and curated content, our willingness to pay for non-exclusive, bulk content deals declines," Netflix said in that April report. The company said it was "in discussions with [Viacom] about licensing particular shows, but have yet to conclude a deal."
Exclusivity has been a focus for Netflix -- and all streaming services -- as such deals are an easy way to stand out in a field choked with rivals such as Amazon, Redbox, which is owned by Coinstar (CSTR), and Hulu. But those deals are much more expensive than non-exclusive contracts, and Netflix in particular hasn't been able to cut favorable agreements with everyone.
Netflix's catalog took a massive hit last year after negotiations with Starz failed. And just last month, Netflix lost nearly 1,800 titles after contracts with MGM, Comcast's (CMCSA) Universal and Warner Bros. -- owned by CNNMoney parent company Time Warner (TWX) -- expired.
Such moves create a game of musical chairs in the streaming video industry, with content bouncing from one service to another. Yahoo (YHOO) stole "Saturday Night Live" content from Hulu with an exclusive deal inked in April, and Netflix exclusively added two Disney shows to its catalog in May.
Much to the joy of cable providers, the ebb and flow of any given service's offerings makes it tough for consumers to cut the cord and rely exclusively on streaming subscriptions.


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Ios Island Greece
Ios or Nios -as it is called by the locals- is a very beautiful and picturesque Greek Island with excellent sandy beaches and hundreds chapels. Its pretty Chora (capital), is a dazzling mix of white washed houses and blue domed churches.
Yialos (or Gialos)
Ios port, 2Km from Chora and only 600 meters from the hotel. Yialos with is own life is quieter than Chora and has a sandy beach with more local feel, water sports, tavernas, bars, shopping.
Close to Yialos are Koubara and Kolitsani beaches. Behind the port climbs the old stairway to Chora (20 minutes). Alternatively you can take a bus or carry on to Mylopotas beach. From Yialos there are caiques to some of the beaches of the island.
Ios Chora
(is twenty minutes walking distance from the hotel) the island's capital, is one of the finest towns in Cyclades. Built on the top of a hill, with medieval castle (built in 1400), white washed houses, maze streets, churches and a dozen of windmills reminding you of past days, when the islanders used the wind power efficiently to make their windmills work.
There are remains of the walls of the ancient city and there are ruins of the Temple of Apollo, close to Agia Aekaterini church. At the top of Hora is the chapel of Agios Nikolaos and under the castle the church of Panagia Gremiotissa.
Is Ios most popular and one of the most famous party beaches of the Cyclades. The crystal clear waters are ideal for swimming and it has been awarded the blue flag.
In the south part of the island and 23 km away from the center is located the Manganari's beach. In fact, this enchanting bay is divided into five consequent beaches and gulfs with shallow, cristalline emerald waters. This place is ideal for swimming and sunbathing. In additional, it provides watersports facilities for endless hours of fun.Along the beach there are taverns, where you can taste fresh fish and local dishes. During your stay there don't miss to visit the byzantine monastery of Saint Ioannis near the beach of Kalamos. We have to mention that in Manganari was shot the movie «Infinite Blue». There are buses that leave from the port, Chora and Mylopotas, as well as taxi-boats from Gialos.
Skarkos' Hill
(is just ten minutes walking distance from the hotel) where visitors can see the remains of an Early Bronze Age settlement. This is an extremely important archaeological site providing evidence of a much earlier, developed society on the island and the views from the top of the hill are stunning.
The Archaeological Museum
The Archaeological Museum in Hora – opening hours 08:00-14:00 except Mondays and bank holidays.

subset: commoncrawl


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It usually takes a substantial amount of human and technological resources to manage a company's entire IT system. This can be a challenge for many small- to medium-sized businesses (SMBs), as they tend to have limited resources. So if you want to ensure that your SMB's IT assets are performing optimally, it's crucial to conduct technology business reviews.
A technology business review reveals the strengths and weaknesses of your company's IT framework. It's often performed by a third-party IT consultant who will give an objective assessment of your technology and provide recommendations to help you meet your goals. If done properly, technology business reviews allow you to:
Save money
Every review starts with a cost-benefit analysis to determine whether an implemented solution is worth the continued investment. If there are technologies costing you a fortune in management and maintenance fees, consultants will advise you to cut them from your budget. They will also recommend cost-effective alternatives so you can do more with less.
Increase productivity
System-wide reviews of your IT infrastructure show you what processes are hindering business operations. This allows you to formulate solutions to increase productivity. For example, if employees are mainly sharing files via email, consultants might suggest cloud collaboration platforms, like Microsoft 365 or Google Workspace, which store data in a centralized location for seamless file sharing.
Enhance security and compliance
Technology business reviews can also uncover security risks within your business. Consultants look for missed patches, poorly configured networks, and other software vulnerabilities that can be easily exploited by cybercriminals.
They'll then compile their findings to create a more robust cybersecurity strategy, usually one that involves implementing advanced solutions like intrusion prevention systems, file access restrictions, and patch management software.
If you operate a business that's subjected to data regulations like the Health Insurance Portability and Accountability Act (HIPAA) or Payment Card Industry Data Security Standard (PCI DSS), consultants will also pinpoint noncompliant IT practices and solutions and then customize a strategy that ensures the privacy, integrity, and availability of your data.
Implement appropriate technologies
Considering that new technologies are released at a breakneck pace, it's important to pick those that will help you achieve your business goals. Technology business reviews keep you up to date on the latest technology trends and gauge the impact of implementing them so that you can make informed decisions.
Whether your goal is to increase profits, productivity, security, or all of the above, technology business reviews can put you on the right track. Our seasoned IT consultants can conduct these reviews for you and develop a strategy that gives you an edge over the competition. Just give us a call.


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Alexander Grossmann |
Prior to his stint in publishing, Grossmann held posts as a researcher and lecturer at the Jülich Research Centre, the Max Planck Institute in Munich, and the University of Tübingen.
if any OA advocates will know Grossmann, but publishers surely will. Jacek Ciesielski, Vice
President Open Access at De Gruyter and CEO Versita, emailed me this comment:
"I have known Alexander for some ten years now and we have had a number of
different business relationships during his times at Wiley, Springer and De
added, "You enjoy working in an industry when you enjoy working with its
people. Alexander makes me truly enjoy being an academic publisher. He is one
of the nicest and kindest people I have met in the industry. He is also someone
with a profound understanding of the research community, and of scholarly
publishing; and he is always receptive and open to new ideas and trends."
it is clearly his openness to new ideas and trends, combined with frustration
at the way legacy publishers are responding to OA, which has persuaded Grossmann
to combine his new academic post with a different kind of publishing role, as
President of a privately owned OA venture called ScienceOpen. Co-founded
with Tibor
Tscheke, the new venture, says Grossmann, will feed into and help his
future research.
is a "research and publishing network" designed to allow researchers to share
scientific information, both formally by publishing articles, and informally by
reviewing their colleagues' work, providing endorsements and comments, and
updating their own papers.
it will offer a publishing service that will also enable post-publication peer
review, and which will be embedded in a social networking environment. A beta
site will go live next month, and submissions will start to be accepted in
November. Once the service is properly up and running researchers will be
charged around $800 to publish a full article (Although there will be no
publication fees this year).


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Lots of companies are working on VR, and we're led to believe that this is the defining technology of the near future. I'm an optimist when it comes to new technologies, so I wanted to try it out to get a status of where we are today.
My background in VR is not great - I tried a giant helmet once in the 90s at a technology fare. It was a very pixelated rollercoaster, it was all very interesting, and nothing became of it. I tried a VR setup in a Medialogy lab ca 2007, and it looked better but it was mostly a very expensive way of doing storytelling with better immersion.
The reason I find VR interesting today is that it has become cheap, because you can use your smartphone for all the tech and just add some lenses via Google Cardboard. A DIY kit can be had for a dollar or two on Amazon, and complete headsets can be had for $20. To really give it a shot, I bought what I thought was a high-end one for $59, that according to the reviews I read had the best immersive experience. It was the BoboVR Z4 from HyperShop
The BoboVR Z4 comes with a headset for 3D surround sound (how this is not just plain stereo, I don't know), and the connector was neatly tucked on the left hand side of the device, very easy to connect. That requires, though, that the iPhone 6S Plus that I connected is oriented in one orientation. Such a shame that virtually every app I installed required the phone to be oriented the exact opposite way. Oh well, I ordered an extension cord from Amazon and that was that. It also comes with a button I can tap on my helmet, but that button was extremely unreliable, working the first tap or two and then working less and less. But it's the wrong place for a button anyway, so I ordered a game controller via eBay that I can hook up. I have no idea if this is the preferred setup for VR, but this is what I explore the VR world through.
Now, what do I want from VR? I'm a developer, so I'd love to treat it as a giant monitor and have a window manager that would let me juggle terminals and text editors in a more productive way than I do at my 5K iMac today. I expect this VR experience to be roughly the VR equivalent of what fvwm and xterms were for a desktop experience back in the days where X11 was my environment.
Other than that, seeing videos in 3D, or where it makes sense, 360 degrees videos, would be interesting. And although I'm not much of a gamer, I know there is much VR exploration going on there, so I'd love to be blown away with a good game that really utilises the immersiveness in a (to me) novel way.
I searched the App Store for VR and downloaded about 200 apps and games (for the rest of the post I'll just call them apps), some paid, some free. I wanted a good mix to see what was going on in this landscape. I won't call out many apps in particular, but give you my general experience.
There are many not particularly good apps in the app store, and the VR apps are no different. I expect there is a blog that could help me sort to the cruft, but I had already dived head first in before thinking of this. ;-)
Input is something that needs working on, especially head input from head movement. Most of the apps I got expected you to do rather large head movements. That means more work for the user, more chance to bump into things, and you needing more space. I want more fine-grained control with smaller movements, so that I can do most things sitting on my couch instead of having to stand beside my couch to be able to turn all the way round.
Even though mobile phones aren't heavy, wearing it together with lenses and headset feels a bit heavy in total. That limits how long a user can use a VR application before being fatigued. Speaking of fatigue, wearing a setup like this for an hour is both eye straining and warm. I have no input on how that could be solved, so for now, doing serious work on a virtual 3D-space of terminal windows seem illusive.
While the idea of using a mobile phone to power the VR experience seems good, it won't be really good until the operating system on the phone embraces VR. At the moment there are annoyances to downright interruptions from having notifications come in, the occasional vibrating of the phone when a mail arrives, or even worse - people calling you (it's a phone - that's what people do). So to get a good experience, you need a dedicated phone for VR apps, which totally defeats the purpose of a cheap entry-level VR system.
Another part where the need for OS-level VR integration is glaringly obvious is that many apps move back and forth between VR and non-VR interaction. This is really bad, because that means taking the headset off, putting my glasses back on, opening the headset, disconnecting the audio cable, taking the device out, fiddling with the interface while holding the headset, putting the device back in, connecting the audio cable, closing the headset, removing my glasses and putting the headset back on again. What kinds of stuff do they require this for? Clicking away from an ad, choosing a new level or scene, settings, etc.
Lastly, I have a QR code that about half of the apps want me to scan on first launch so they know what headset I have and can configure accordingly. The OS should know, and I should not have to carry a QR code around. To fix that last issue, I've glued it to my VR headset. Guess what headset doesn't look all nice anymore? ;-)
Remember I told you about the giant pixels in the 1990s? Well, the pixels are still here. Not as giant, but still very, very visible. I was using an iPhone 6S Plus which has a Retina display of 1920x1080, or 401 DPI. Retina is marketing speech for not being able to see individual pixels in the distance you're expected to have the device from your eyes. Having the device in a VR headset changes this distance dramatically, so this is not a Retina VR experience at all. So we should expect the resolution game to continue at least until we reach Retina level for VR. This must frighten my iPhone 6S Plus, because when running VR experiences, it runs pretty hot doing all this GPU work - and I just told it that it needs to do a whole lot more. And it needs to stop running as hot, because VR is quickly eating up my battery. That needs fixing too.
One experience I liked a lot is apps that use the camera to give me an augmented reality experience. This can become nice a whole lot nicer when we get more wide-angle lenses on the phone and photo sensors allowing more wide-angle video than what the current crop of phones do.
So this is what I've found so far. My experiment is of course not done yet, so I've ordered a VicoVR Sensor that has an estimated delivery time in november 2016. For wanting more fine-grained motion for input, attaching a full-skeletal tracking system is probably going the wrong way, but it'll be interesting to try out.
I'm an iOS developer at Snapsale, and I spend some time on the road, either travelling to our main office in Oslo, or to conferences. For my out-of-office work, I chose the entry-level Macbook.
The specs were not very powerful: a 1,1Ghz dual-core Broadwell Core-M with 8GB of RAM and 256GB SSD. But then again my expectation was mainly to do meetings and notes, UI review and the occasional Xcode hacking. Thus I chose 12" to optimize for being able to "comfortably" work from the flight seat and the coach seat, and retina for working on UI together with our designer.
Optimizing for the screen is something I would not have expected to do five years ago, and I must admit to being a bit hesitant to how the Macbook would deal with Xcode. The answer is: surprisingly well. What I had not factored in was that the SSD is actually a quite fast SSD, and since development work is quite I/O intensive, that made a significant difference.
One of the big benefits of this Mac that is easily overlooked is no fans. I actually didn't notice for the first couple of weeks until my colleagues Macbook Pro spun up to a whine. Of course, the worst part is that the CPU is not powerful enough to need those fans, but buying a Macbook, you should be very aware of this going in.
So how is the Macbook for Xcode? It's decent: I'd say about half the speed of my Skylake iMac (2015 model). The amount of stuff on my screen is of course limited, but laptop development work usually has this drawback, and dealing with that is not hard.
So instead of only occasional Xcode work, I use it heavily for Xcode even when I'm not travelling: at home when I don't want to go into my home office but be in the living room, and even in my office when I want to run another branch of the git repo in parallel.
With this in mind, I expect to be able to recommend a Skylake Macbook (the rumoured early 2016 model) as an all right Xcode environment.
Welcome to my website. The reason I have a website is that I like to maintain a space where you can find my content. But the way I use the internet, which is not so different from so many others, I leave much of my original content in places like Facebook and Twitter. I don't mind sharing, if I did I'm sure this content would have been behind a paywall and no-one would read it, but I do like to remain in control of it. When I give it to Facebook and Twitter, they can do more or less what they would like with it.
I'd therefore like to put it out there that I'm investigating options to have what I write there appear here also. Either as a carbon-copy, or even better, with this space as the original source. I could do that as a separate micro-blog feed, but I think that I perhaps prefer embedding it between the blog posts. We'll see, that's what I'm thinking so far anyway
Let me know what you think and how you deal with this, preferably as a post that you have full control over on your own site :-)
I started using a treadmill under my desk August 21st 2015. Today, January 6th 2016, I did my 1.000.000th step at the end of my working day. (or 425 kilometers in 45 days - yes I have been travelling much)
I wrote about my first impressions of using the treadmill, and since then I have really been loving it. I'd like to use this opportunity to give you my impressions one million steps in. :-)
First of all: I'm being at least as productive working while walking on a treadmill as I was before. I believe I'm being more productive, but if that is because of the treadmill, better tooling, better architecture or what is hard to say.
My ambition was 15.000 steps a day, but my daily average is about 23.000 steps a day, and that is a little less than 10km a day. I've settled in to a speed of around 3.5 km/hour, but I vary from 2.8 km/hour to 4.5 km/hour. So you can already guess my biggest surprise, it is that I don't get more hours walking than I do. Apart from obvious stuff like bathroom- and coffee-breaks, I stop the treadmill often while debugging, while having meetings and while talking on the phone. Then I stand on the treadmill instead. I haven't lowered my desk to sit since the end of August.
I used to be very happy to work from home, so if the weather was bad and I didn't have a specific reason for being in the office, I would just work from home. Since getting the treadmill, it is not that I make a point of going to work, but I actually really want to get to work so I get to use the treadmill there. I've switched jobs in this period, and this want to get in has been the same in both places.
My iPhone still doesn't get all the steps I take since it's on my desk and my Apple Watch is on my wrist and my wrist is resting on the desk. So my move metrics are often way below what they actually have been. This sucks, but I have stopped caring as much. I hope a good solution will present itself, preferably as an integration from the treadmill software. The included Lifespan treadmill software is still rubbish.
The treadmill is just as loud as it used to be, even after being lubricated well. However, I've found just how much difference the office can make to the sound. I used to think my former office wasn't that resonant, but now that I'm in a larger office, the treadmill doesn't sound as bad, even though the treadmill itself hasn't changed.
While I did get a bit sweaty when I began using the treadmill, I don't find I do that anymore. I attribute this to it being winter now and I started using it in the summer, we'll see if half a years time.
I've become a big advocate for the treadmill, and I really do think it is one of the best things I've done for my work life. If you are nearby Tarp, come by and try it and see how you like it.
November 2nd I started working at Snapsale as the head of iOS development. At the moment that means the head of me, so I get to do all the fun stuff myself. :-)
In that context I'm setting up an iOS test lab, that I've called "Snapsale iOS Lab" (yes, I'm that original in my naming). For my own sake, to remember with future devices, and to inspire other iOS developers (this might even apply to some degree to other mobile app devs), here is the list of tasks I do for each device.
When setting up a new iOS device:
I expect the last two steps can be automated through Fastlane.io, but I haven't come around to that yet.
I also expect that many of these steps can be fast-forwarded by taking a backup with encryption enabled through iTunes on the test server and then restoring it onto the new device


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Alpha leaders are aggressive, results-driven achievers who assert control and insist on a hierarchical organisational model. Yet I am seeing increasing success from "beta" start-up cultures where the emphasis is on collaboration, curation and communication.
Some argue that this new horizontal culture is being driven by Gen-Y, whose focus has always been more communitarian. Other business culture experts, like Dr Dana Ardi, in her new book The Fall of the Alphas, argue that the rise of the betas is really part of a broader culture change driven by the Internet – emphasising communities, instant communication and collaboration.
Can you imagine the overwhelming growth of Facebook, Wikipedia and Twitter in a culture dominated by alphas? This would never happen. I agree with Ardi who says most successful workplaces of the future need to adopt the following beta characteristics and better align themselves with the beta leadership model:
1. Do away with archaic command-and-control models.
Winning start-ups today are horizontal, not hierarchical. Everyone who works at an organisation feels they're part of something, and moreover, that it's the next big thing. They want to be on the cutting-edge of technology.
2. Practice ego management.
Be aware of your own biases and focus on the present as on the future. You need to manage the egos of team members by rewarding collaborative behaviour. There will always be the need for decisive leadership, particularly in times of crisis. I'm not suggesting total democracy.
3. Stress innovation.
Betas believe that team members need to be given an opportunity to make a difference – to give input into key decisions and communicate their findings and learnings to one another. Encourage team-members to play to their own strengths so that the entire team and organisation leads the competition.
4. Put a premium on collaboration and teamwork.
Instead of knives-out competition, these companies thrive by building a successful community with shared values. Team members are empowered and encouraged to express themselves. The best teams are hired with collaboration in mind. The whole is thus more than the sum of its parts.
5. Create a shared culture.
Leadership is fluid and flexible. Integrity and character matter a lot. Everyone knows about the culture. Everyone subscribes to the culture. Everyone recognises both its passion and its nuance. The result looks more like a symphony orchestra than an advancing army.
6. Be ready for roles and responsibilities to change weekly, daily and even hourly.
One of the big mistakes entrepreneurs make is they don't act quickly enough. Markets and needs change fast. Now there is a focus on social, global and environmental responsibility. Hierarchies make it hard to adjust positions or redefine roles. The beta culture gets it done.
7. Temper confidence with compassion.
Mindfulness, of self and others, by boards, executives and employees, may very well be the single most important trait of a successful company. If someone is not a good cultural fit or is not getting their job done, make the change quickly, but with sensitivity.
8. Invite employees to contribute.
The closer everyone in the organisation comes to achieving his or her singular potential, the more successful the business will be. Successful cultures encourage their employees to keep refreshing their toolkits, keep flexible, keep their stakes in the stream.
9. Stay diverse.
Entrepreneurs build teams. They don't fill positions. Cherry-picking candidates from name-brand universities will do nothing to further an organisation and may even work against it. Don't wait for the perfect person – he or she may not exist. Hire for track record and potential.
10. Not everyone needs to be a superstar.
Superstars don't pass the ball, they just shoot it. Not everyone wants to move up in an organisation. It's perfectly fine to move across. Become your employees' sponsor – on-boarding with training and tools is essential. Spend time listening. Give them what they need to succeed.
Savvy entrepreneurs and managers around the world are finding it more effective to lead through influence and collaboration, rather than relying on fear, authority and competition. This is rapidly becoming the new paradigm for success in today's challenging market. Where does your start-up fit in with this new model?


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Looking for homes for sale in Islandia? Our dedicated team of Islandia real estate agents is here to assist you. Explore a wide range of Islandia listings, including new homes and foreclosures, and get access to expert advice from the top Islandia REALTORS.
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Our online EDUC 655 Strategies for Dealing with Disruptive Behaviors course will give you behavior management skills and intervention strategies to guide your students in successful and positive behaviors.
Register now to reserve a spot. There is no registration fee to reserve a class.
Our behavior management course includes how to:
- Support students dealing with adverse childhood experiences (ACEs) and trauma.
- Integrate mindfulness and self-care practices to help you as an educator, as well as your students, self-regulate, and deal with stressful situations.
- Implement Tier 1 and Tier 2 strategies in your classroom.
- Create a behavior assessment tool and intervention plan.
- Connect with your students and determine settings, triggers, and effects.
- Build strategies for teaching self-management and social skills.
We'll discuss evidence-based preventative strategies, positive behavioral supports, and effective interventions. You'll gain classroom management strategies for addressing disruptive behaviors, chronic noncompliance, and ADHD-related issues.
EDUC 655 Strategies for Dealing with Disruptive Behaviors
Instructor: Michael Kennedy
Online Course
Three semester hours of graduate credit
Fall: September 16 - November 8, 2024
We invite you to enroll in our behavior management course to meet your professional development goals if you need a license renewal, graduate credits, transfer credit to another university, or just a refresher course.
If you need a copy of the syllabus for your employer to approve enrollment in the class, email: Online Professional Development.
Our online behavior management course allows you to complete your weekly assignments as they best fit your schedule. All discussion postings and projects are submitted online.
This course is an approved elective in the Master of Science in Education online degree program.
Our Students Say
"I have liked the open discussions, the instructor's openness to answering questions, the organization, and learning specific strategies on responding or dealing with disruptive behavior."
~ Kendra Brolsma"Reading about all the different behavioral scenarios teachers have encountered in schools through discussion postings has been very enlightening for me. Sometimes it feels like I'm in a bubble at my school, so hearing other experiences and approaches to behavior concerns has been very helpful in reassuring me (a newish teacher) and gives me ideas for addressing problem behaviors.
Overall, all the assignments are very applicable to my everyday teaching, and that made this class very helpful."
~ Erin Janke
"I have enjoyed reading the other students' posts and interacting on the discussion board. I liked the Functional Behavior Assessment (FBA) assignment because I got to read the FBAs other people created, as well as all of the feedback."
~ Nate Flesch
Our students include:
- PK-12 teachers
- Special education teachers
- Guidance counselors
- Speech-language pathologists
- School psychologists
- Principals
- Leadership teams
Complete the Online Registration Form.
UW-Stout reserves the right to cancel classes that do not meet minimum enrollment requirements.
If you need a copy of the syllabus for your employer to approve enrollment in the class, email: Online Professional Development.
An e-textbook will be provided when you log in to the course. You may open the e-textbook to read online from your laptop or desktop. The e-textbook software is compatible with an iPad, Kindle Fire or fully internet-capable device. It is not compatible with a Kindle Reader.
Colvin, G.T. (2009). Managing noncompliance and defiance in the classroom: A road map for teachers, specialists, and behavior support teams. Corwin Press. ISBN: 9781412960892
If you prefer to read a hard copy of the textbook, instead of reading via your computer or tablet, you may purchase the book from amazon.com as a new or used paperback.


text:
xkfd.com7.4.33 |
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These are "evidence-based statements about the care practices that ease and facilitate labor, prevent complications, and protect breastfeeding and early mother-infant attachment."
Amy Romano, CNM, discusses the Healthy Birth Practices on the excellent birth blog, Science and Sensibility. She makes the following very vital point (emphasis mine):
Each of the Healthy Birth Practices is supported by decades of high quality research. I like to think of the practices as "the basic needs of childbearing women."Amen to that. Let me say it again:
Some women will need high tech monitoring and intervention to birth safely, but the standard should be care that supports and facilitates the normal physiologic processes, intervening with the safest, most effective, and least disruptive approach only when a medical need arises and with fully informed consent.
Routinely depriving women of The Healthy Birth Practices makes birth unnecesarily difficult, and complications more likely.
The standard of care should be that which supports the normal physiologic process and the best outcomes for mothers and babies.
Unfortunately, this can be difficult to come by in many hospitals today....and especially so for women of size.
The Six Healthy Birth Practices
The Six Lamaze Healthy Birth Practices include:
- Let labor begin on its own
- Walk, move, and change position
- Have continuous support
- Avoid unnecessary interventions
- Get upright and follow urges to push
- Keep baby with you
Think of the typical hospital birth you see on TV or in the movies. Although vastly over-dramatized for plot purposes and dramatic tension, they do represent the way most women experience birth in this country these days.
Most of these women are flat on their back (or nearly so) in labor, with tubes and wires all over the place and often an oxygen mask on their face. Most are given contraction-strengthening drugs during labor, have pain medication of some type, and have their water broken artificially at some point in labor. Most push on their backs or semi-sitting with their knees pulled way back to the side, holding their breath or screaming as nurses and partners count to 10 and urge them to "push harder!"
This is the reality of birth for most women in this country today, but it does not reflect the safest and most effective ways of giving birth.
Even more frustrating, the Six Healthy Birth practices is DEFINITELY not the reality of birth for most fat women in this country today, and as a result, women of size and their babies are being put at risk unnecessarily.
Go See These Videos
I can't recommend these videos and handouts highly enough. They are presented in clear and simple language, yet effectively communicate why these care practices are so important.
Even better, the videos have accompanying handouts for those who wish more details on the research behind them. For research geeks like me who like to see proof of claims of efficacy and safety, this kind of information is vital.
If you or a loved one are pregnant now (or even just considering the possibility of a baby in the future), I strongly urge you to watch these videos.
The complete set of videos can be found here:
I like this set of videos so much I will be reproducing* them, one by one, on my website over the next few weeks. They each contain such important points about birth that each one deserves its own moment in the sun for discussion and as much exposure as possible.
However, I particularly want to highlight how each Healthy Birth Practice is used even less often with women of size, and how this negatively impacts fat women's ability to birth safely and normally.
So in this new series of posts, I will be highlighting the Six Healthy Birth Practices (one at a time), talking about the importance of each one, and embedding the Injoy video associated with that Practice. Then we will discuss how that particular healthy birth practice is even less utilized with "obese" women than across the general obstetric population, when in fact these practices may be even more important for women of size to have optimal outcomes.
I hope these will be as enlightening and useful to you as they have been to me.
*Special thanks and kudos to Lamaze and Injoy Videos for making these freely available on the internet. What a tremendous public service!


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Eth-News.Info has been emerging as a leading news provider especially in the crypto space. The digital news platform also covers a wide range of subjects such as ICOs, DApps, and blockchain along with market updates of crypto coins.
In the last few years, blockchain space has come across as one of the most feasible options in order to support various sectors starting from automobiles to education. At the same time, crypto space has flourished, however, a lack of awareness regarding it still affects it to quite an extent.
Considering that in mind, Eth-News.Info aims to offer fresh, authentic and unbiased news pieces on its platform. Reporters here are ever ready to bring out unique yet useful content to keep the readers fully updated regarding the crypto market.
Eth-News.Info operates independently and it contributes to a notable extent in order to help the crypto space to grow further. At the moment, it seems, mass adoption and awareness of cryptocurrencies are much needed. Here is where Eth-News.Info impresses the audience while keeping ethics in mind.
Our Goals:
The website aims to give a leg up to novices while maintaining a standard for crypto-experts too. The team here works round the clock to fetch our audience a vast range of contents.


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LibreOffice 24.2 Help
LibreOffice lets you present data graphically in a chart, so that you can visually compare data series and view trends in the data. You can insert charts into spreadsheets, text documents, drawings, and presentations.
Charts can be based on the following data:
Spreadsheet values from Calc cell ranges
Cell values from a Writer table
Values that you enter in the Chart Data Table dialog (you can create these charts in Writer, Draw, or Impress, and you can copy and paste them also to Calc)
Click a chart to edit the object properties:
Size and position on the current page.
Alignment, text wrap, outer borders, and more.
Double-click a chart to enter the chart edit mode:
Chart data values (for charts with own data).
Chart type, axes, titles, walls, grid, and more.
Double-click a chart element in chart edit mode:
Double-click an axis to edit the scale, type, color, and more.
Double-click a data point to select and edit the data series to which the data point belongs.
With a data series selected, click, then double-click a single data point to edit the properties of this data point (for example, a single bar in a bar chart).
Double-click the legend to select and edit the legend. Click, then double-click a symbol in the selected legend to edit the associated data series.
Double-click any other chart element, or click the element and open the Format menu, to edit the properties.
Click outside the chart to leave the current edit mode.
To print a chart in high quality, you can export the chart to a PDF file and print that file.
In chart edit mode, you see the Formatting Bar for charts near the upper border of the document. The Drawing Bar for charts appears near the lower border of the document. The Drawing Bar shows a subset of the icons from the Drawing toolbar of Draw and Impress.
You can right-click an element of a chart to open the context menu. The context menu offers many commands to format the selected element.


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When the sciatic nerve—the nerve that stretches from the spine down the leg—is pinched or damaged, this can result in sciatica pain. Many people who experience sciatica have problems performing even the most basic tasks, such as walking or even bending down to pick something up off of the floor. At Midwest Healthcare & Physical Medicine, our doctors have helped a number of patients address the reason for their sciatica and alleviate their pain.
Sciatica pain has a number of causes; in fact, anything that can compress the sciatic nerve may cause sciatica symptoms. However, the most common causes include bone spurs, spinal stenosis, disc herniations or bulges, or injuries. To get to the root of the problem, our doctors will perform a comprehensive physical examination as well as a diagnostic assessment to diagnose the cause of your pain.
Generally, sciatica symptoms will only affect one side of the body from the lower back down through the leg. Signs that you may have sciatica include:
- numbness
- tingling
- prickling sensations
- muscle weakness
In addition to making it difficult to move, these symptoms can also cause insomnia for some people.
At Midwest Healthcare & Physical Medicine, we offer chiropractic care and physical therapy—as well as other pain relief services—to alleviate the symptoms associated with sciatica. For a free consultation on our sciatica treatment, please call (630) 636-9788 today.


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5 Ways to Slay the Enemy of Entrepreneurs: Fear Decide that you desire to achieve your goals (and build a startup) more than you're afraid of the obstacles.
By Sarah Crossman Sullivan Edited by Dan Bova
Opinions expressed by Entrepreneur contributors are their own.
Entrepreneurs find themselves pulled in multiple directions to put out fires, raise capital, increase their customer base and build brand awareness. It's easy to get distracted. Fears surrounding success are common.
While entrepreneurs are often leaders who inherently crave change, uncertainty, doubt and low cash reserves can intrude. Fear is a powerful enemy. Your ability to slay this giant begins with deciding to embrace an experience. Decide that you want to achieve the goal more than you're afraid of the obstacles.
Winston Churchill said, "When I look back on all these worries, I remember the story of the old man who said on his deathbed that he had had a lot of trouble in his life, most of which had never happened."
Here are five ways to help you face your fears, stay focused and win the weekly battles that nearly every entrepreneur faces:
Related: 11 Lessons I Learned at Startups That Keep Me Up at Night
1. Remember the "why." You started your company with a passion to ignite the market with a needed solution. After the launch parties and early wins, it's easy to lose sight of why you started. You might become engulfed by customer-service issues, productivity problems or exhaustion. Remembering the "why" helps inspire impactful decision-making and motivate those around you.
Instead of focusing on frustration, think of inspiration. If you founded a company to offer something fast, free and fun, keep those adjectives on your daily calendar. Use visual reminders of why you forged the journey to draw strength when you need it most.
2. Embrace the race. Urgency is in the eye of the beholder. While some deadlines are absolute, others are arbitrary or self-imposed. Instead of getting weighed down by demands, focus on what you can do today to move the business forward. Typically there are three choices: move forward, stay still or go back. Filter these options against all things on your to-do list, particularly those causing fear and anxiety.
Related: It Turns Out, Fear is Your Best Friend
3. Build a base of "go to" people. Find a foundation of friends and mentors who make you a better person just by being in their presence. Choose people who share your values. Meet with them one-on-one and arrive ready with a concern, question or idea that you want to discuss. Select people whom you respect who are not afraid to challenge you or hold you accountable. They will help you determine when items are critical versus mere distractions.
Try doing something with your "go to people" outside of work, such as volunteering to help others in your community. While sitting on a board together solving a philanthropic issue, you may find solutions for your company.
Time is a limited, precious commodity. Your time spent at work will become more efficient if you can build a network of people whom you can count on for feedback, insight and encouragement.
Related: Tony Robbins on the Importance of Being Fearless
4. Determine your defining moments. We all have days when things go well, and then one conversation changes the course. Don't let a bad customer-service experience or a frustrating call with a potential investor define you. Instead of lashing back, let such moments remind you of the importance of small wins. Stringing together multiple small victories gives you the confidence to keep fears at bay.
5. Trust yourself, your team and the ability to get help and answers. Your co-founder, spouse, boyfriend (girlfriend) and mom will tell you everything will eventually be O.K. You have to believe it. Fear, uncertainty and doubt can creep up during any conversation. Resilience and hard work are the best ways to minimize stress and keep you focused on driving growth and results. Knowing that things will get better will help slough off some of the distractions pulling you away from success.
It all comes down to choices. You opted to pursue your dream because you believe in your idea. You also can choose to not let the everyday distractions divert you from your goals. By giving yourself reminders of why you are here, surrounding yourself with a great support team and trusting outcomes, you can and will slay those giants.
Related: The Ramen Noodle Startup Menu


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Petland Beavercreek, OH
Petland, Inc. has been awarded the Better Business Bureau (BBB) of Central Ohio's 2023 Torch Award for Ethics. Headquartered in Chillicothe, OH, Petland is a member of BBB's Central Ohio chapter. Petland has been publicly recognized for "having practices in place to elevate its commitment to ethical business." Petland, Inc. was among 27 finalists representing the central Ohio market in consideration for the award.
"For 57 years, Petland has been living its mission to match the right pet with the right person and to meet the needs of both," said Petland President and CEO Joe Watson. "To be selected by the judges and BBB as a recipient of the BBB of Central Ohio's 2023 Torch Award for Ethics is a testament to the care, compassion and dedication of Petland staff, and their commitment to enhancing the human-animal bond here in south central Ohio and around the globe."
Founded in Chillicothe, Ohio in 1967, today, Petland is a global organization with nearly 300 operations in eight countries (U.S., Canada, China, Mexico, South Africa, Brazil, El Salvador and Saudi Arabia) and 24 U.S. states. However, community connections are at the heart of Petland's culture to support the health and wellbeing of pets, and their value to humans in their lives.
"Petland stores are community-focused," Watson added. "Our teams have developed relationships with local shelters and humane societies to regularly provide food and other needed supplies. Petland employees volunteer in their local communities to help meet the needs of homeless pets; deliver pet therapy to those living in extended care facilities and to children in classrooms around the world. Through Petland Charities, we are also working to build a healthier and happier world for pets by ending inhumane puppy breeding, ending the risk of pet homelessness in our communities, and creating special connections."
To date, Petland and its not-for-profit arm, Petland Charities have:
BBB Central Ohio President and CEO Judy Dollison spoke of Petland and other finalists as being "Outstanding representatives of the vision BBB is demonstrating in the areas of integrity and ethics in our community."
BBB established the Torch Awards for Ethics as an annual awards program to publicly recognize local companies with practices in place that elevate their commitment to ethical business. The Torch Awards for Ethics is designed to not only promote the importance of building trust, but the willingness and efforts made by outstanding businesses to contribute to an honorable marketplace. To learn more about the BBB of Central Ohio Torch Awards visit https://www.bbb.org/local-bbb/bbb-of-central-ohio/news/news-releases.
To learn more about the work of Petland Charities, visit www.petlandcares.com.


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Find more information about
at the Center for Jewish History:
NOTE: you will be redirectedto the Web site for the
(Shalom Rabinovitz; 1859–1916), one of the founding fathers of modern Yiddish literature. A supreme Jewish humorist, Sholem Aleichem tapped into the energies of the East European, spoken-Yiddish idiom and invented modern Jewish archetypes, myths, and fables of unequaled imaginative potency and universal appeal.
Born in the provincial town of Pereyaslav (Ukraine) to a middle-class family of timber merchants, Rabinovitz spent a happy childhood in Voronkov. Here he was suffused with impressions and experiences that he would later utilize artistically, sublimating memories of his tiny childhood hamlet into the literary image of Kasrilevke, the archetypal shtetl. The death of his mother, Esther, and the loss of the family's capital, truncated his childhood felicity. Following a brief stay with his grandparents in Bohuslav, he returned to live with his father and stepmother. In spite of his habitual high spirits, depression and impotent fantasies marked Rabinovitz's pubescent years. This dark mood suffused his fictional world as a dangerous undercurrent of distress, sickness, psychosis, and death, which belied its bright surface and informed the "Jewish comedy" that he was to create.
Although the family had a Hasidic background and Rabinovitz was given a traditional heder education, his father, Nokhem, was somewhat exposed to ideas of the Haskalah and encouraged his son to learn Russian and read secular books. Rabinovitz attended the local Russian secondary school, matriculating in 1876 with distinction. In 1877, he became a tutor for the children of a prominent estate owner, Elimelekh Loyev, remaining there for three years until a love affair between him and Olga Loyev, Elimelekh's daughter, was exposed. Brokenhearted but unvanquished, he ran for the elected post of crown rabbi of the town of Lubny (Yid., Luben), won the elections, and resided there from 1880 to 1883.
In those years Rabinovitz began his career as a writer. By 1879, he had already been a local reporter for the Hebrew weekly Ha-Tsefirah. In 1881 and 1882, his articles, focusing on issues of Jewish education, appeared in Ha-Melits, the chief journalistic organ of the Haskalah. His original intention was to become a Hebrew or a Russian writer, and his resort to Yiddish was, as he would say, "accidental." He discovered an issue of the Saint Petersburg weekly Yudishes folks-blat (the only Yiddish periodical in Russia at the time) and realized that the Yiddish language and its literature appealed to the majority because of its accessibility. He was soon at work on his first Yiddish novella, Tsvey shteyner (Two Gravestones), in which he fictionalized his romance with Olga Loyev and ended his tale with the suicide of the two young protagonists. He published the story in weekly sequels (July–August 1883) in the Folks-blat, but not before he and Olga overcame, in real life, the objections of Elimelekh Loyev and married. The couple moved to the town of Belaia Tserkov', where Rabinovitz worked as an agent for the Brody family of sugar magnates. His first full-length novel, Natashe (later retitled Taybele) appeared in 1884, the same year as the birth of his first child, Esther. In 1885, with the death of his father-in-law, he became the sole trustee of the Loyev estate, and a relatively rich man himself. In 1887, the young family moved to Kiev, where the budding writer dabbled in the stock market.
This enterprise did not bring about any diminution of his literary activity. On the contrary, Rabinovitz was now writing at a dizzying pace, publishing in many genres in Russian, Hebrew, and Yiddish. He also founded a literary almanac, modeled after the prestigious Russian "thick" literary journals of the day. The appearance of the first volume of the almanac, Di yidishe folks-bibliotek (The Jewish People's Library) in 1888 became a milestone in the history of modern Yiddish literature and put Sholem Aleichem at the center of its stage. However, shortly after the publication of the second volume (1889), Rabinovitz depleted his wealth in irresponsible business transactions. By 1890, he was bankrupt. The family had to abandon its bourgeois apartment in Kiev and move to humbler quarters in Odessa. He spent several months abroad, until his mother-in-law settled with his creditors, and he rejoined the family in Odessa. Penniless and burdened with a large family, he faced a decade of hardship.
The years 1883–1890 formed a distinct part of Sholem Aleichem's career, during which he produced much work (in three languages), the majority of which was never to be included in his official oeuvre, or was thoroughly rewritten later. Sholem Aleichem's literary activity during these years was divided between the gentrification and "Europeanization" of Yiddish literature and the writing of sequences of feuilletons. When he began writing in Yiddish, literature in that language lacked cultural status and artistic respectability. Although it had won the interest of a wide reading public in popular works of fiction such as Ayzik Meyer Dik's didactic novellas, Sholem Yankev Abramovitsh's Dos kleyne mentshele (The Little Man) and Di klyatshe (The Nag), and Yitskhok Yoyel Linetski's Dos poylishe yingl (The Polish Boy), it still had no sense of continuity and accumulative worth. Most of its writers hid behind pseudonyms, saving their real names for their productions in other languages.
Sholem Aleichem is itself a peculiar pen name, meaning something like "how do you do." The writer resolved to elevate Yiddish literature to the role of a Jewish national literature together with Hebrew. This necessitated the continuous production in Yiddish of meritorious literary works; the establishment of a literary tradition; and the cleansing of current Yiddish writing from popular shund (trash). Sholem Aleichem used his command as the owner and editor of the Folks-bibliotek to encourage writers he admired, such as Abramovitsh and Linetski, to produce new works, all the while looking out for new talent such as Y. L. Peretz and David Frishman. He himself set out to create what he called "the Jewish novel": a realistic text in which the erotic theme (regarded as a necessary ingredient in any roman) would be developed within the framework of contemporary Jewish society. Sholem Aleichem had internalized the values of nineteenth-century Russia and its flourishing literature as expounded by the nation's chief novelists (his own favorite among them was Ivan Turgenev). He firmly believed in realistic mimesis as the chief means for achieving artistic maturity and in the novel as the genre most conducive to the evolving of such mimesis. During the years 1884–1889 he produced six novel-length works of fiction, among them Natashe (1884), Sender Blank un zayn gezindl (Sender Blank and his Family; 1888), Stempenyu (1888), and Yosele solovey (Yosele the Nightingale; 1889). The best example of Sholem Aleichem's novelistic concept and ability at the time was Stempenyu. In this work, Sholem Aleichem unfolds an aborted love affair between a musician and a pious woman. Necessarily, the plot of such novels could not be complex or multitiered, since the author's loyalty to what he perceived as the "truth" of Jewish life would not allow for a full development of the erotic theme.
Sholem Aleichem turned intensively to literary criticism in the 1880s in an attempt to establish a literary tradition and to purge Yiddish literature of "trash." As a critic, he was invested in the process of elevating certain Yiddish writers to semiclassical status. For example, he presented Abramovitsh, Linetski, and to a certain degree Dik and Avrom Goldfadn, as the harbingers of mimetic realism. Conversely, he waged scathing critical attacks on writers he regarded as hacks. He exposed certain ones, such as the prolific romancier Nokhem Meyer Shaykevitch (known by his pseudonym, Shomer), as sensationalists vying for commercial success. The "classics" Sholem Aleichem projected as his own precursors. He took special pains in canonizing Abramovitsh, inventing (in his introduction to Stempenyu) the myth of "grandfather Mendele" as an éminence grise of Yiddish writing. Of course, the canonization of the "grandfather" was primarily aimed at asserting the legitimacy of the heir apparent, or the "grandson": Sholem Aleichem himself.
Between 1883 and 1889, Sholem Aleichem wrote many feuilletonistic sequences, often in epistolary form. Chief among these were "Di ibergekhapte briv af der post" (Letters Intercepted at the Post Office; 1883–1884), "An ibershraybung tsvishn tsvey alte khaveyrim" (A Correspondence between Two Old Friends; 1884), and "Kontor gesheft" (Office Business; 1885). He never dreamed of collecting these wild farces and satires, some of which were aimed at ad hominem targets and pertaining to the author's personal enmities. However, it was precisely through these sequences that he quickly became an intimate household name in Yiddish families. In these works, the effervescent persona "Sholem Aleichem" was born, playing the role of a funny "devil" who wreaked comic havoc wherever he went; however, this character differed greatly from the chatty omniscient narrator of the author's novels who went by the same name. In these sequences, the author abandoned realism and descriptive verisimilitude in favor of writing within the more primitive traditions of Lucian satire and epistolary parody and pastiche. Through these writings, the author offered the readers literature unbridled by almost any "rules" of artistic decorum. The readers loved what they read and clamored for more. Sholem Aleichem, on his part, felt most in his element when indulging in these literary pranks, and of course he savored the popularity.
In 1890, Sholem Aleichem entered a literary limbo. He no longer had the time or the financial resources to maintain the same level of literary productivity as in the 1880s. Also, with the Folks-blat folded and no similar popular Yiddish organ in existence, he had no outlet for the publication of his Yiddish works. He therefore published little and quite irregularly throughout the decade, often turning to both fiction and essay writing in Hebrew, which brought him close to the circle of the Odessa Zionist writers, whose nationalist mood and politics he shared. The only short (and unfinished) novel Sholem Aleichem managed to write in the 1890s was Meshiekhs tsaytn (The Days of the Redeemer; 1898), a piece of Zionist propaganda of slight literary merit, that directly continued, by fictional means, nonfictional propaganda brochures that he had written right after the first Zionist Congress (1897). Also, the 1890s were the years of Y. L. Peretz's rise to literary and cultural stardom. Overnight, Peretz became the great hope and the cultural hero of a young Yiddish intelligentsia, wrenching the initiative of modernizing Jewish culture through a modern Yiddish literature out of the hands of Sholem Aleichem. This was the source of much bitterness to which the "dispossessed" writer gave expression in a rather unsavory sarcastic critique of his rival's poems.
Nevertheless, it was during this decade that Sholem Aleichem devised two critical literary inventions. The first, the character Menakhem Mendl, had briefly appeared in an epistolary feuilleton in 1887 as a young husband still living with his in-laws. Now Menakhem Mendl, already the father of several children, found himself in Odessa, experimented as a small-time stock investor, and forgot about returning to his family. One immediately sensed that the reappearance of Menakhem Mendl in this work marked a sublimation of the habitual hilarity of the author's earlier farces and satires. The character gained semiautobiographical importance in terms of Sholem Aleichem's own disastrous penchant for speculation, as well as a depth of significance emanating from the projection of the character as a Jewish "hero" of a comic myth. This archetype was at once a version of the modern homo economicus, as well as a representative for henpecked Jewish manhood celebrating its freedom from repressive cultural and familial institutions. The development of this figure was of the greatest symbolic significance, and Menakhem Mendl was to follow Sholem Aleichem throughout his creative life, with new sequels of epistolary exchanges between the speculator and his wife finally occupying two volumes in the author's collected writings.
Sholem Aleichem's second crucial literary invention during this period was the character Tevye, a dairy supplier to the wealthy inhabitants of Boyberik (Boyre), a summer colony adjacent to the great "Yehupets" (Kiev). Tevye of the 1895 story "Dos groyse gevins" (Striking the Jackpot) was a buffoon—a zesty raconteur in possession of a trove of folk-sayings, funny mistranslations of scripture, and malapropisms. However, like Menakhem Mendl, Tevye possessed an inherent inability to cope with the vicissitudes of existence. Coupled with a tendency to counterbalance this passivity through a vivacious loquacity, he exposed his own shortcomings in a seductive yarn. Tevye consistently rendered the listener his ally rather than his critic, and on one level, this was a subtle revelation of the author's own manipulation of the reader through self-effacing humor. Tevye was one of Sholem Aleichem's greatest achievements and he remained a fixture in his work. With new Tevye stories appearing every few years, each story reflected changing historical circumstances and added fresh subtleties to the complex icon.
In 1899, the weekly Yiddish publication Der yud appeared and allowed Sholem Aleichem to earn a living from his writing. As the Yiddish reading public during this period consumed literature via the newspaper rather than in book form, he was required to produce short pieces for the newspaper on a weekly basis. (He did write two short novels in this time, entitled Ver veyst? [Who Knows?]; 1902, and Moshkele ganef [Moshkele the Thief]; 1903). While the writer himself probably regretted this state of affairs, his short pieces amounted to the very core of his oeuvre and displayed his brilliance to the best effect. Sholem Aleichem's son-in-law, Yitsḥak Dov Berkowitz, compared his father-in-law at the time to a stoker in a locomotive throwing coals into burning furnaces, which were not to cool off for a minute, lest the train lose velocity and come to a grinding halt. Indeed, Sholem Aleichem's creative train chugged through these years (1899–1905) at full speed.
The body of work Sholem Aleichem created during these years is vast and variegated. Schematization of his publications reveals four genres: monologues, stories about children, holiday narratives, and the Kasrilevke tales. Most important were the monologues, spoken by specific characters and often addressed to a fictionalized interlocutor, such as "Sholem Aleichem" in the Tevye stories. The emergence of this genre was based on the success of these tales; by 1905, Sholem Aleichem had written four of the nine stories that were to add up to his Gants Tevye der milkhiker (The Complete Tevye the Dairyman). However, it was with the publication of Dos tepl (The Pot; 1901) that the monologue evolved into the writer's forme maitresse. "Dos tepl" was succeeded by "Gendz" (Geese; 1902), "Funem priziv" (From the Draft; 1902), "Gimenazye" (High School; 1902), "Finf un zibetsik toyzent" (Seventy-Five Thousand; 1902), "A nisref" (Burnt Out; 1903), "An eytse" (Advice; 1904), "Yoysef" (Joseph; 1905), "Khabne" (1905), and the particularly complex and bewildering "Dray almones" (Three Widows; 1907). Superficially, each story presented a disorganized effusion of its gossipy monologist, yet beneath this veneer was a human being in great distress. Nowhere else did Sholem Aleichem succeed in yoking together comedy and tragedy as he did in these monologues, in which the "tensors" of spoken Yiddish as a provincial vernacular were tautly contracted and flexed in the creation of texts of universal import.
Second, Sholem Aleichem wrote stories focusing on children. These were usually composed as monologues spoken by a child, whose experiences were refracted through the prism of an adult consciousness. The use of this hybrid construct often gave rise to problems of stylistic uniformity and psychological coherence, but as often resulted in thoroughly integrated narrative amalgams. Of such amalgams are the stories "Der zeyger" (The Clock; 1900), "Di fon" (The Banner; 1900), "Afn fidl" (The Violin; 1902), and "Der esreg" (The Citron; 1902). Many of these children's stories also belonged to the category of "Yontev Stories," stories published by the Jewish press on the eves of traditional Jewish holidays. Sholem Aleichem was contractually obliged to supply holiday stories to all the newspapers for which he worked. He often succeeded in fleshing out the required rudiments of this subgenre into a poignant work, as in "Af Peysekh aheym" (Homebound for Passover; 1903). In this story about a teacher who risks his life crossing a half-frozen river in his quest to return home for Passover, the author brought together notions regarding the Jewish calendar, the natural seasons, contemporary life, and the reenactment of the biblical myth of the crossing of the Red Sea.
A final category of stories gave Sholem Aleichem the opportunity to create his Kasrilevke, the quintessential shtetl. While he previously dealt with small-town and hamlet scenes, it was only in the early 1900s that such scenes coalesced into the unified image of Kasrilevke. The self-seeking "Kasriliks" were plagued by dire poverty yet somehow managed to stay upbeat, always dreaming of miraculous events and redemption, as in the story "Ven ikh bin Roytshild" (If I Were Rothschild; 1902).
By 1905, Sholem Aleichem felt overextended physically and mentally. Unable to meet his financial obligations without constantly producing new work at an unrealistic pace, he turned his hopes to the theater. In 1905, his drama Tsezeyt un tseshpreyt (Scattered and Dispersed; 1903) was staged successfully in Warsaw on the Polish stage. Emboldened by this positive reception, he planned a collaborative effort to launch a Yiddish theater in Odessa; however, his plans fell through due to the Russian authorities' extreme distrust of any cultural activity that could be used as a cover for revolutionary propaganda. In October, the widespread pogroms followed by the abortive 1905 Russian Revolution prompted his departure from the tsarist empire. In December, the family crossed the border and ensconced itself in Lemberg. Following the summer of 1906, he went through Geneva to London, where he spent part of the fall before setting out for New York City.
In New York, the Yiddish and the American-English press greeted Sholem Aleichem as a celebrity. Dubbed the "Jewish Mark Twain," the journalistic fanfare went to his head. Sholem Aleichem, insensitive to the New York Yiddish literary community's strong sense of its own worth, made patronizing remarks, announcing the role he would play in elevating the American Yiddish theater to the European artistic level. This boasting came home to roost as Sholem Aleichem's own two plays, Yaknehoz and a dramatization of Stempenyu, were flops—much to the schadenfreude of the local Yiddishist community. Compounding his unpopularity, Sholem Aleichem alienated the influential left-wing Yiddish press by aligning himself with conservative and traditionalist newspapers such as the Tageblat. In short, his American sojourn turned out to be a fiasco. In the summer of 1907, he departed for Europe, disappointed and resentful. Yet he took from this experience the idea for a series of stories about the mass emigration from Eastern Europe to New York in the wake of the 1905 pogroms. The immigrants' struggles of acculturation were presented through the eyes of a shtetl boy named Motl. The work expounded the writer's optimistic view that East European Jewry would emerge strong from the downfall of its traditional civilization and from the melting pot of assimilation. The first chapters of Motl Peyse dem khazns (Motl the Son of Cantor Peyse) were written before the author's return to Europe and continued throughout 1907.
Unwilling to return to the tsarist empire, he stayed briefly in Geneva, then went to Berlin. Crestfallen and fatigued, Sholem Aleichem nevertheless had to produce at a steady pace if he was to earn an income. With serial publication of novels in demand, he wrote the lengthy Der mabl (The Deluge, later retitled In shturm [In the Storm]; 1907), succeeded by Blonzhende shtern (Wandering Stars; 1909–1911) and Der blutiker shpas (The Bloody Hoax; 1912). Returning to America in 1915, Sholem Aleichem wrote his autobiographical novel, Funem yarid (Back from the Fair), Der misteyk (The Mistake), and the second part of the Motl sequence (all three works remain unfinished). These were written very quickly in serialized form, the author always running only a few episodes ahead of the one that went to the printer. Although he would never regain the craft of his earlier works, the epistolary stories Marienbad (1911) and the new Menakhem Mendl series (1913) somewhat recaptured his earlier flair.
In 1908, financial hardship and nostalgia for his East European readers drove Sholem Aleichem to tour throughout the Jewish Pale of Ukraine and Belorussia. For three months he traveled from one town to another, performing as a one-man act, which took a serious toll on his health. Diagnosed with open tuberculosis, he became bedridden, yet continued writing. Friends purchased the rights to his entire published corpus and presented them to him on his twenty-fifth anniversary as a Yiddish writer. This enabled him to publish an extensive edition of his collected works, which sold well and yielded a certain dependable annual income.
During World War I, Sholem Aleichem escaped from Berlin to Copenhagen. In 1914, in poor health and cut off from his sources of income, he returned to New York. There he signed a contract with the newspaper Der tog, which assured him a fixed income, and he returned to habitually producing both large and small-scale literary projects. In the summer of 1915, crushed by the news of his son Misha's sudden death, Sholem Aleichem wrote a will and spoke of his own impending death. He nevertheless continued writing new chapters for both the autobiographical novel, of which the first two of the intended eight parts had been completed, and for the sequel of the Motl stories. In 1916, he fell ill and died on 13 May. Two days later, he was given a temporary burial (he was reburied in the Har Carmel cemetery in Queens, although he desired to be buried in Kiev, alongside his father). Attracting hundreds of thousands of mourners, the funeral evolved into an unprecedented demonstration of the size and cohesion of New York's Yiddish-speaking population—no longer a conglomerate of rootless immigrants, but rather an organized community, joined in their grief for the loss of a great artist.
Sholem Aleichem's legacy has been of a universal scope and significance. Since 1909, his works have been translated into dozens of languages with complete sets of comprehensive selections appearing in Hebrew and Russian. In the 1960s, his Tevye stories, having gone through theatrical productions in the United States, Soviet Russia, and Israel (including a serious cinematic adaptation by Morris Schwarz), enjoyed international success in Fiddler on the Roof, a Broadway musical classic that has played at almost every theatrical center in the world.
Much impressionistic criticism of uneven quality has been written on Sholem Aleichem. In contrast, serious Sholem Aleichem scholarship is limited. The 28 volumes of the Folksfond edition published by Berkowitz between 1917 and 1925, while still the most widely used, does not encompass much more than half of the author's Yiddish output. As for the author's recorded life, only the mere rudiments of a trustworthy scholarly biography are available. The author's own semifictional rendering of the story of his early years (in Funem yarid and other writings), as well as memoirs recorded by himself, his son-in-law, his brother Volf Rabinovitz, and his daughter Marie, serve as a basis for study, yet cannot be taken as factual biography. Other biographical and scholarly sources include Uri Finkel's rudimentary Sholem Aleykhem (Moscow, 1939), as well as Uriel Weinreich's study, "Principal Research Sources" (The Field of Yiddish, vol. 1 [1954], pp. 278–291), since updated by Khone Shmeruk (Shalom-'Alekhem, madrikh le-ḥayav veli-yetsirato; 1990).
As noted, the critical and scholarly writing on Sholem Aleichem's work is quantitatively vast. Comprehensive assessments and interpretations were launched in 1908 and 1912 by the critics Bal-Makhshoves and Shmuel Niger, respectively. The former analyzed the symbolic functions of Sholem Aleichem's chief characters. A perception of Tevye and Motl as illustrations of the writer's benign humor vis-à-vis his harsher satire (i.e., Menakhem Mendl) informed Niger's criticism throughout his scholarly career (cf. his 1928 short monograph Sholem Aleykhem, zayne vikhtikste verk, zayn humor un zayn ort in der yidisher literatur [Sholem Aleichem, His Most Important Works, His Humor and His Place in Yiddish Literature]).
After the writer's death in 1916, an array of critical appraisals appeared throughout the Jewish world, the bulk of which was by Soviet scholars and critics. Their work fell into three major categories: Nokhem Oyslender, Yitskhok Nusinov, Yekhezkl Dobrushin, Maks Erik, Meyer Viner, and others used a positivist-historical approach to study the evolution of the author's texts. A second category, dominated by such critics as Viner, Moyshe Mizheritsky, and Erik, was marked by Marxist theoretical concepts offering a view of Sholem Aleichem's "vision" as an expression of the Jewish petite bourgeoisie at the turn of the century. The third category was the philological study of Sholem Aleichem's language and style. Critics such as Ayzik Zaretski (1926, 1927), Khayim Loytsker (1939), and Elye Spivak (1940) laid the foundation for the understanding of the various aspects of Sholem Aleichem's artistic usage of Yiddish and highlighted the stylistic virtuosity evident in his best works.
After World War II, the focus of Sholem Aleichem scholarship and criticism shifted to Israel and North America. In Israel, Shmeruk continued the Positivist-Historical perspective, with his ideas, as well as the most thought-provoking ones of critic Dov Sadan, informing the work of a new generation of scholars both in Israel and in the United States. New scholarship dealt with such issues as the fictionality of the Sholem Aleichem persona (Miron, 1972); Sholem Aleichem's humor and the challenges of Jewish tragic history (Ruth Wisse, 1971, 2000; David Roskies, 1984); the writer's use of the monologue (Victor Erlich, 1964; Miron, 1978; Hana Wirth-Nesher, 1981; Benjamin Harshav, 1983; Ken Frieden, 1989, 1995), and many other topics. Sholem Aleichem scholarship and criticism can be said to have been opened up to post-Positivist, modernist and postmodernist views and perspectives.
Bal-Makhshoves (I. Elyashiv), "Sholem Aleykhem," in Geklibene verk, pp. 172–190 (New York, 1953), in English as "Sholem Aleichem [A Typology of His Characters]," Prooftexts 6.1 (1986): 7–15; Max Erik, "Menakhem Mendl: Geshtalt un metod," Shtern 5–6 (1935): 180–202, 8 (1935): 82–90, English translation in Prooftexts 6.1 (1986): 23–39; Max Erik, "Vegn Sholem Aleykhems 'Ksovim fun a komivoyazher,'" Visnshaft un revolutsye 3–4 (1935): 161–172; Victor Erlich, "A Note on the Monologue As a Literary Form: Sholem Aleichem's Monologn; A Test Case," in For Max Weinreich on His Seventieth Birthday, pp. 44–50 (The Hague, 1964); Ken Frieden, Classic Yiddish Fiction (Albany, N.Y., 1995), pp. 95–224; Jacob Glatstein, "Menakhem Mendl," in In tokh genumen: Eseyen, 1945–1947, pp. 469–484 (New York, 1947); Janet Hadda, Passionate Women, Passive Men: Suicide in Yiddish Literature (Albany, N.Y., 1988), pp. 101–118; Binyamin Harshav, "Dekonstruktsyah shel dibur: Shalom 'Alekhem veha-semantikah shel ha-folklor ha-yehudi," in Tevyeh ha-ḥalban u-monologim, pp. 195–212 (Tel Aviv, 1983); Dan Miron, Masot meshulavot (Ramat Gan, Isr., 1976); Dan Miron, The Image of the Shtetl (Syracuse, N.Y., 2000); Dan Miron, Ha-Tsad ha-afel bi-tseḥoko shel Shalom 'Alekhem (Tel Aviv, 2004), pp. 19–116; Shmuel Niger, Sholem Aleykhem: Zayne vikhtikste verk, zayn humor un zayn ort in der yidisher literatur (New York, 1928); Avraham Novershtern, "Menakhem Mendl le-Shalom Alekhem: Ben toldot ha-tekst le-mivneh ha-yetsirah," Tarbits 54.1 (1984): 105–146; Nokhem Oyslender, "Der yunger Sholem Aleykhem un zayn roman Stempenyu," Shriftn 1 (1928): 1–72; David Roskies, Against the Apocalypse: Responses to Catastrophe in Modern Jewish Culture (Cambridge, Mass., 1984), pp. 163–195; David Roskies, A Bridge of Longing: The Lost Art of Yiddish Storytelling (Cambridge, Mass., 1995), pp. 147–190; Dov Sadan, "Sheloshah yesodot," in Avne miftan, vol. 1, pp. 45–54 (Tel Aviv, 1961), in English as "Three Foundations," Prooftexts 6.1 (1986): 55–63; Chone Shmeruk, 'Ayarot u-kherakhim: Perakim bi-yetsirato shel Shalom-'Alekhem, ed. Chava Turniansky (Jerusalem, 2000); Eliyohu Spivak, Sholem Aleykhems shprakh un stil (Kiev, 1940); Yeḥi'el Yeshaia Trunk, Sholem-Aleykhem: Zayn vezn un zayne verk (Warsaw, 1937); Yeḥi'el Yeshaia Trunk, Tevye un Menakhem Mendl in yidishn velt-goyrl (New York, 1944); Meir Wiener, Tsu der geshikhte fun der yidisher literatur in 19tn yorhundert, vol. 2 (New York, 1946), pp. 235–378; Ruth R. Wisse, The Schlemiel As Modern Hero (Chicago, 1971); Ruth R. Wisse, Sholem Aleichem and the Art of Communication (Syracuse, N.Y., 1980); Ruth R. Wisse, The Modern Jewish Canon (New York, 2000), pp. 31–64.
Dan Miron


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What price would you pay for freedom? In the exhilarating action epic For Greater Glory an impassioned group of men and women each make the decision to risk it all for family, faith and the very future of their country, as the film's adventure unfolds against the long-hidden, true story of the 1920s Cristero War the daring people's revolt that rocked 20th Century North America. Academy Award® nominee Andy Garcia headlines an acclaimed cast as General Gorostieta, the retired military man who at first thinks he has nothing personal at stake as he and his wife (Golden Globe winner Eva Longoria) watch Mexico fall into a violent civil war. Yet the man who hesitates in joining the cause will soon become the resistance's most inspiring and self-sacrificing leader, as he begins to see the cost of religious persecution on his countrymen . . . and transforms a rag-tag band of rebels into a heroic force to be reckoned with. The General faces impossible odds against a powerful and ruthless government. Yet it is those he meets on the journey; youthful idealists, feisty renegades and, most of all, one remarkable teenager named Jose who reveal to him how courage and belief are forged even when justice seems lost. Also starring Peter O'Toole, Eduardo Verastegui, Oscar Isaac and Santiago Cabrera in an all-star cast. This film is rated: R This DVD contains the following language options: English and dubbed Spanish with Spanish subtitles
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