South Africa’s Top 50 Most Valuable Brands have been revealed and the competitiveness of the business sphere highlights a key component of a strong nation brand.Jeremy Sampson, newly appointed director of Brand Finance (Far left) with the representative of FNB, who came 6th in this year’s Top 50 Most Valuable Brands, along with Thebe Ikalafeng,chairman of Brand Finance, and Kingsley Makhubela, CEO of Brand South Africa. (Image: Brand South Africa)Ray MaotaAfter a year of indepth analysis and tough calculations, South Africa’s Top 50 Most Valuable Brands have been announced. Together they are the leading brands that make the nation proud.The announcement was made at the Nelson Mandela Foundation in Houghton in Johannesburg on 15 September 2016, through a partnership between Brand South Africa and Brand Finance, a leading brand valuation and strategy consultancy.The total value of the Top 50 brands increased 3% from R373-billion to R384-billion compared with 2015. Excluding MTN’s drop in brand value of R17-billion, the remaining 49 brands had a total value of R347-billion in 2016, growing 9% from R319-billion in 2015.“South African commercial brands are a key component of a strong nation brand and how this is experienced by both domestic and international audiences,” said Kingsley Makhubela, CEO of Brand South Africa. “As such commercial brands are key messengers in positioning the country competitively.“At the same time, we express our appreciation to all other corporate brands in the country for your contribution to the growth and development of South Africa. We thank you for playing your part and look forward to honouring you among the Top 50 in years to come.”Cellphone service provider MTN retains its number one spot this year, remaining the most valuable brand despite losing 32% of its brand value as a result of some of its reputational challenges. Woolworths holds the strongest brand position with an increase of 21% in brand value.Telkom posted the greatest increase in brand value following the integration of Business Connexion and improved performance on its retail side, with good ratings on value for money and customer satisfaction, according to the South African Customer Satisfaction Index. The increase in brand value caused Telkom to move from 23rd position in 2015 to 17th in 2016.“The more competitive the market, the more important it is to have a strong brand, leverage it to its full potential and measured and monitored at all times,” said Jeremy Sampson, newly appointed director of Brand Finance. “Brands are increasingly the major assets of companies, yet does anyone have an idea of their true value? Marketing is no longer a nice-to-have, it can be the difference between success and failure.”The Top 50The story of the Top 50 corporate brands was a good story for the South Africa nation brand as well as the continental story, said Thebe Ikalafeng, chairman of Brand Finance. “Many of these brands have footprints on the continent and this bodes well for perceptions about business on the continent, their ethics, governance and commitment to social upliftment.“Brand Finance salutes the Top 50 corporate brands for their excellence in flying the South Africa and African flags.”Many of the Top 10 brands from 2015 retained their positions in 2016. Exceptions were retailer Woolworths, which moved to fifth place, and bank Absa, which moved to seventh place.The top 10 brands, from one to 10, are: MTN, Vodacom, Sasol, Standard Bank, Woolworths, FNB, Absa, Nedbank, Investec and Mediclinic.Brands with a significant increase in value include Investec (27%) and WesBank (27%). Two new brands entered the Top 50. Clothing label Country Road, now owned by Woolworths, entered at 31st place with a value of R4.64-billion, and listed real estate investment trustGrowthpoint Properties entered at 50 with a value of R1.47-billion.SABMiller holds the most valuable portfolio, amounting to R29.67-billion, with four of its brands standing among the country’s top 50: Castle, Carling Black Label, Hansa Pilsner and SABMiller.SABMiller is followed by FirstRand, with its three brands – FNB, WesBank and Rand Merchant Bank – collectively valued at R23.12-billion.The rest of the brands in the Top 50, from 11 to 50 are: Multichoice, Shoprite; Castle, Mondi, Spar, Carling Black Label, Telkom, Old Mutual, Pick n Pay, Netcare, Sanlam, Discovery, Hansa Pilsner, MrP, Sappi, WesBank, Media 24, Liberty Holdings, Truworths, Bidvest, Country Road, Capitec, SABMiller, Steinhoff, Clicks, Huletts, Momentum, Makro, Checkers, Rainbow; Rand Merchant Bank, Santam, SAA, Life Healthcare, Imperial, Foschini, Cell C, Game, Nampak, and Growthpoint Properties.MethodologyBrand Finance calculates the values of the brands in its league tables using the Royalty Relief approach. This approach involves estimating the likely future sales that are attributable to a brand and calculating a royalty rate that would be charged for the use of the brand, i.e. what the owner would have to pay for the use of the brand – assuming it was not already owned.The steps in this process are:• Calculate brand strength on a scale of 0 to 100 based on a number of attributes, such as emotional connection, financial performance and sustainability, among others. This score is known as the Brand Strength Index.• Determine the royalty rate range for the respective brand sectors. This is done by reviewing comparable licensing agreements sourced from Brand Finance’s extensive database of licence agreements and other online databases.• Calculate royalty rate. The brand strength score is applied to the royalty rate range to arrive at a royalty rate. For example, if the royalty rate range in a brand’s sector is 0-5% and a brand has a brand strength score of 80 out of 100, then an appropriate royalty rate for the use of this brand in the given sector will be 4%.• Determine brand specific revenues estimating a proportion of parent company revenues attributable to a specific brand.• Determine forecast brand specific revenues using a function of historic revenues, equity analyst forecasts and economic growth rates.• Apply the royalty rate to the forecast revenues to derive brand revenues.• Brand revenues are discounted after tax to a net present value that equals the brand value.Would you like to use this article in your publication or on your website? See Using Brand South Africa material.
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Share Facebook Twitter Google + LinkedIn Pinterest Ohio Farm Bureau Federation (OFBF) has promoted Callie Wells of Columbus to director of digital communications.Wells, who started at Ohio Farm Bureau in 2012 as a communications specialist, will provide leadership for the organization’s website and social media. Last year, Ohio Farm Bureau launched a new website, ofbf.org, which combines the former Farm Bureau and Our Ohio sites into a comprehensive source of useful information and provide access to the organization’s resources. Wells also produces videos as well as contributes to Our Ohio magazine and Buckeye Farm News, Ohio Farm Bureau’s consumer and farm publications.Wells grew up in Butler County. She has a master’s degree in agricultural communications and a bachelor’s degree in animal science and agricultural education from Ohio State University. She is a 2013 graduate of AgriPOWER, Ohio Farm Bureau’s year-long leadership training program.
Ah, the year-in-review, that ritual where we tout the best and worst of what’s happened over the last 12 months. For its part, the Chinese government’s year-end review chronicled the usual sorts of governmental achievements, but a notable success this year, according to officials, is the amount of illegal and “objectionable” content that the country has eliminated: “By November, 350 million pieces of harmful information, including text, pictures and videos, had been deleted,” according to Wang Chen, deputy head of China’s propaganda department. “There was a notable improvement in the online cultural environment.” Wang says that the government checked 1.79 million websites in its efforts to eradicate objectionable content, and more than 60,000 porn websites were shuttered. Of the almost 5,000 people suspected of spreading pornographic content, 1,332 people received “criminal punishment” with 58 jailed for five years or more.Of course, “obscenity” has a rather broad definition in China, and these government figures don’t include content already blocked in the first place. China keeps tight control over what Internet users can access via an extensive system of filtering and blocking – the Great Firewall, as its often called. Blocked sites include Twitter, YouTube and Facebook.Wang said in a press conference that he had heard that Facebook CEO Mark Zuckerberg was vacationing in China, but said that Zuckerberg had not met with anyone from his department. “We saw reports that he met with some well-known figures in China’s Internet industry,” said Wang. “We are also still trying to learn more about his visit to China.”There are an estimated 450 million Internet users in China, a larger online population than any other country. But as these censorship numbers – along with Google’s history in China – indicate, entry into the Chinese market is difficult. Tags:#Government#NYT#web 8 Best WordPress Hosting Solutions on the Market Why Tech Companies Need Simpler Terms of Servic… Top Reasons to Go With Managed WordPress Hosting Related Posts audrey watters A Web Developer’s New Best Friend is the AI Wai…
Production designer Hannah Beachler takes us behind the scenes of Marvel’s Black Panther. See how she designed the afrofuturistic look of the film.Cover image courtesy Disney / Marvel Studios. Photo Credit: Matt Kennedy.I had the pleasure to chat with Black Panther production designer Hannah Beachler. If you don’t recognize her name, you’ve still likely seen her work. Her previous projects include Moonlight, Creed, Fruitvale Station, and Beyonce’s Lemonade.As someone who doesn’t know nearly enough about the workflow of a production designer, I talked to Hannah about creating a world from scratch, her team’s creative process, and the overall progression of her career. Here’s what I learned.Left: Paarl Rock in South Africa. Photo Credit: Hannah Beachler. Right: Black Panther San Diego Comic Con poster via Marvel Studios.Michael Maher: Ok, so I’m super excited. I’ve seen a lot of the films you’ve worked on over the years, and I love everything you’ve done with Ryan Coogler, Moonlight looked amazing, and I’m incredibly excited for Black Panther. It looks so beautiful and stunning. I wanted to pick your brain about it, ask about your workflow, and learn about how all this came together.Before we dive into that, can you offer some insight to our readers? How did you start your career as a production designer? What is it that lead you into this role on Black Panther?Hannah Beachler: I was set decorating on a smaller film, and the director said to me, “You know, you should do production design.” and I previously had never thought of it. I had always aspired to be a set decorator like Nancy Haigh (Oscar-winning set decorator and frequent Coen brothers collaborator). So that was always the drive.Hannah Beachler on the research trip at Table Mountain in Capetown, South Africa. Photo Credit: Ilt Jones.I never really thought about production design. A couple years later, I was still set decorating, and I noticed I was decorating more as a storyteller. So I woke up one day and said, “You know what, I’m gonna try production design.” I could tell a story through the environment for an entire film on all levels. And that’s how I decided to go that direction. Then it was about finding people who would hire me for that, and I got onto a few horror films. Those were the first things I did as a production designer.MM: Man, everyone starts in horror. Only way to earn your street cred.HB: [laughs] So true.Hannah Beachler at Blyde Canyon in South Africa. Photo Credit: Ilt Jones.MM: Tell me about your work on Black Panther. I know you were sent on research trips to South Africa and Korea, right?HB: Well the first place we went was South Africa, and I went ahead of everybody. It was me and the location manager, Ilt Jones, and my assistant Marley [Mountcastle]. We were there two weeks ahead of everybody, and we went up and down the coast of South Africa. I was taking pictures of everything from the second we hit the ground.We flew 18 hours, landed, dropped our luggage off, and went out right away to Table Mountain. Went up there, then down into the gorge. I was taking pictures of all the rocks and plant life, you know just the entire environment around me. I did that all up the coast.South African research trip Capetown. Photo Credit: Hannah Beachler.We had a team of people that traveled with us — they were telling us about the history of everywhere we went, the history of the flora and fauna, what was indigenous to the area. So I was looking at everything, researching everything, because it all got put into the design and design language of Wakanda.It was really great to be that close to it, and touch it. To talk to the locals and hear their stories, and understand the different tribes, and understand the history and what the people have gone through beyond what I read and research on my own. It was integral to the design. You can’t really capture what it is on film or in a picture. You have to see it.The landscapes are humongous — you lose a sense of perspective immediately, which puts you in a different frame of mind. All of that lends itself to the feeling we wanted to put into the nation we were building.Set Decorator Jay Hart and Production Designer Hannah Beachler on Korean casino set. Photo Credit: Alex McCarroll.Korea was awesome. I love South Korea so much. It was another culture-rich tradition, so a lot of that trip was learning about their history.We were in the fish market, and that’s were we started with the idea of the casino. Off of that was a place called Gangster Alley, which is where all the ships were. It was sort of the harbor, and it helped give us an international feel to bring in a very traditional side of what South Korea is. And then we also have the very beautiful side of South Korea with what we all know with the vertical signs and lit-up signs.The trips were amazing, and I learned so much, and so much of it was put into the design.Set of Black Panther. Photo Credit: Matt Kennedy.MM: Given that this is a Marvel comic book film, and with the success of Guardians and Thor: Ragnarok, it’s opened up the ability to use more color. That mixed with the afrofuturistic style; tell me about working with the colors in Black Panther.HB: You know, textiles were the main export of many of the nations in Africa. That was destroyed during the Transatlantic slave trade, but the textiles are still so rich in color. I remember as we were driving in, you would see women walking along the sides of the road and they’d have these skirts that came down a little bit below their knee, and they would have these socks pulled up over their knees. They were just so colorful, it was the most awesome thing. Every time I saw it, I was like, “Oh My God! I love that.”So the textiles are colorful, the buildings are colorful, everything is colorful. So I knew that was gonna be a part of it. Then looking at the [Jack] Kirby stuff, there was a lot of color in this Thor work, and even in the Black Panther comics at the time.Wakanda design art as seen in the Black Panther Page to Screen Featurette via Marvel Studios.We were gonna put all of that out there, you know, bring in the rich architecture. A lot of the architecture has designs, shapes, and colors that all have meaning. Senegalese buildings that have big, bold pinks, purples, and greens — and others with stripes that come down the columns.We went crazy with it, and there was a color story. There is definitely a color story, and as I watched it in the premiere, I was like, “Yeah you can definitely feel that color story with the characters.”As far as the stuff in the environments, we wanted to bring in that traditional beautiful color you see, and so many of the tribes are so colorful. They paint their faces, and they use nature to embellish them. It’s very beautiful. The Taron tribe and Dogon tribe are the tribes we used for the Jabari. They are master craftsmen with wood, and that’s something we took to use for the Jabari. And then the costumes, Ruth [E. Carter] did fabulous. They are so beautiful and vibrant.Black Panther mask as seen in the Black Panther trailer via Marvel Studios.MM: I’m not too familiar with a production designer’s actual workflow. You go on these trips, and you take all these photos, but then what do you do with all of that? Does your team build mood boards, or start illustrations, what is the production design process?HB: Well I had a great team. There is a team of illustrators — about seven I believe. And then a team of set designers, doing all the drafting and making our illustrations into practical sets. Then I have a supervising art director, six art directors — and each art director has a set that they run with a coordinator and a foreman. That’s a lot about building schedules and materials. Everything that you see, as far as finishes and such, I picked all those finishes. You know, how everything looked.Production design art as seen in the Black Panther Page to Screen Featurette, via Marvel Studios.When I’m traveling, it’s hard work. When we were in South Africa, I still had the team in [Los Angeles]. So as I’m taking pictures, my assistant was sending everything back to L.A.So we would scout for 12 or 13 hours, then I’d come back at the end of the day. By that time, it’s their morning. So we would have a meeting for an hour and a half to go over everything that was in their work for the day. So we still had some illustrations and concepts that we had to get done. So I would send back sketches and notes, revisions to all the illustrations and everything going on on the other sets.Part of the research trips for me was finding the look for Warrior Falls, and that came from Oribi Gorge. As I was taking pictures of the rocks at Oribi Gorge, I was sending them back to the art director, Alex McCarroll, so he could start modeling that rock. I think he was using Maya, Photoshop, and Illustrator. Some of the illustrators were painters; some would use Photoshop and Illustrator; some worked in 3D.Warrior Falls as seen in the Black Panther trailer via Marvel Studios.So, I’d be working all night, then get up the next morning and scout all day to take pictures and notes. Marley would be getting stuff in from the team as well as changes from the day before. She and I would go over everything and make all my notes and changes, then send more color concepts to them.I wanted to go into this color for the rock. We were up on Golden Gate [Highlands National Park] on this rock that had these beautiful black streaks in them. I really wanted to see that black in our Warrior Falls.Warrior Falls as seen in the Black Panther trailer via Marvel Studios.That trip, on top of 26 hotels and 17 airports, was pretty much 18-hour days every day. I still had the team in L.A. doing research and development, and I still had to keep all that stuff going so we could get it to the set designers and have them start drafting those. And as things were changing, we constantly had to update.When Ryan [Coogler] arrived, we were having meetings as we were flying from one location to another. As I was getting notes from him, I was giving them to my assistant, and she was getting everything back to everybody in L.A. to make changes. On something like this, you can’t ever stop.Michael B. Jordan as seen in the Black Panther trailer via Marvel Studios.As we were seeing things, I’d see textures and take a picture of them, and then send them back with notes like “I love this texture for the Hall of Kings” or “Can we put these masks in the Hall of Kings or recreate them somehow?”.Wakanda as seen in the Black Panther trailer via Marvel Studios.Maybe the roads into town look like a dirt road, but there’s some vibranium that the cars can maglev on. So I’d sketch it up and share that with Ryan, and he’d say, “Yeah, that’s awesome.”I took pictures of the Sentinel, which is were we wanted the Jabari to live, and while we were there, they were snowcapped. So I had the illustrator start dropping in buildings into the mountainside and add more snow. The snow is more packed, and less loose. So it’s not moving across the top of the mountain. We changed where the mountain was a couple of times, and we wound up doing some plates in Uganda.South African research trip at Sentinel Mountains. Photo Credit: Hannah Beachler.So that’s sorta how the workflow goes. It was nonstop. The guys would tease me because every morning I would have all these meetings. So I would say “West Wing me.” and we would just walk through the hall and they were putting stuff in front of me, “This. That. Yes. No. Ok. Next. What?”MM: Where there any set pieces that changed drastically after your travels?HB: The one that changed drastically after traveling was Warrior Falls. It changed a couple of times, but when I got to Oribi Gorge and looked up at the cliffside and rocks, it was so unique-looking.Hannah Beachler and filmmakers on South African research trip at Lake Eland in Oribi Gorge. Photo Credit: Hannah Beachler.Everything was on the horizontal. The rock was shaled, and it looked like it was stacked. You could just see shapes in it, and then you’d see where some of the shapes were in the architecture in the immediate area. That was really cool.Warrior Falls as seen in the Black Panther trailer via Marvel Studios.MM: Is there a particular set piece that you’re extra proud of?HB: My favorite set was Shuri’s lab. That was the most technological set. I also loved Hall of Kings. I loved them all, but Shuri’s was probably my favorite because it was so high-tech. The fun of that was finding how to keep the story, history, and ancestry that would be indigenous to Wakanda into this high-tech space.We had a great artist that does murals. His stuff is in the afro-punk festival, and he’s local to Atlanta. He came out and painted the core piece in that set. It’s beautiful. I was really pleased with that set.Shuri’s Lab as seen in the Black Panther trailer via Marvel Studios.MM: What was it like making a magazine cover for Empire? I noticed you managed to sneak yourself in.HB: Hahaha, it was a lot of fun. I did a couple of different ones, and that was the one they went with. They wanted a mood board of what would be in my office. Honestly, my office is just covered in pictures. So I thought, what if I made this collage that had to do with everything. It was fun to go through all the photos again. I wanted to have this feel of afrofuturism, and this overall feeling of what I thought Panther was.It turned out fantastic. I actually have it here right next to me, and yeah, this is pretty cool.Left: Black Panther cover via Empire Magazine. Right: Hannah Beachler on set Photo Credit: Ilt Jones.MM: Anything else you’d like to share about what you are up to these days?HB: Look out at the Oscars. Dee Rees, Rachel Morrison, and I get a little something that will be on the Oscars that was a ton of fun. Plus, Rachel got herself an Oscar nomination [Best Cinematography — Mudbound] , and we’re all very proud of her. Super awesome.I was saying something to someone the other day, it’s just wild thinking back [to Fruitvale Station] at Sundance. I found a picture of the three of us; Rachel, Ryan, and I on Fruitvale. Then, now, to look at the picture of us that we took right after they called picture wrap on Black Panther, seeing how we are all doing really well and staying true to ourselves, which I think is such an important thing.We’re telling stories unapologetically. Telling the stories we want to tell, and when we step out of our box and do a tentpole movie, it’s still a movie with a message. You can make this type of film and say something. Change minds, lift people up through this work, and still bring edge and fun and humor and sadness and thoughtfulness too it. It’s been great to see.Ryan Coogler, Hannah Beachler, and Rachel Morrison on set. Photo Credit: 1st AD Lisa Satriano.Special thanks to Hannah Beachler for her time. Black Panther hits theaters on February 16th. Interested in more filmmaking interviews? Check out our previous conversations.Interview: How the Editor Behind I, Tonya Recreated HistoryInterview: How This Oscar Nom Edited Downsizing While Directing His First FeatureExclusive Interview: The Secrets Behind RED Sensors and ResolutionInterview: Reality T.V. Sound Mixer Matthew HughesLooking for more information on production design? Check out these articles.The Art Department: Design, Construction, Decor, and PropsHow to Create Great Production Design for Film & VideoWhy Every Project Needs a Production DesignerThe Practical Guide to Independent Costume DesignLearn to Appreciate the Subtle Art of Good Production DesignFree collage maker from Shutterstock
Google honors food scientist, banana ketchup inventor and war hero Maria Orosa Read Next AFP official booed out of forum MOST READ Pelicans extend Okafor through the end of the season View comments LATEST STORIES LOOK: Iya Villania meets ‘Jumanji: The Next Level’ cast in Mexico Brace for potentially devastating typhoon approaching PH – NDRRMC Don’t miss out on the latest news and information. Pussycat Dolls set for reunion tour after 10-year hiatus Families in US enclave in north Mexico hold sad Thanksgiving Young Higa-onon, Manobo and Banwaon players all tried their luck, but only 11 aspirants got the golden ticket to the two-day basketball exposition at the the National Training Camp on May 18 to 20.Selections from the Jr. NBA Philippines Regional Training Camp in Butuan.These 11 are: Richard Carvero III, 13, and Paolo Matthew Kho, 13, of Corpus Christi School; Christian Joi Mesias, 14, of Jose Maria College; Zhan Paolo Moreno, 13, of Xavier University; Michael John Sarmiento, 13, of Father Saturnino Urios University; Klein Tyrone Tagotongan, 13, of St. Mary’s School; and Vince Uchi, 14, of Alabel National Science High School for the boys division and Madelyn Flores, 14, of Bukidnon National High School; Aishe Solis, 13, of Corpus Christi School; Mikylla Taborada, 13, of Kauswagan National High School; and Pauline Angelique Valle, 13, of Misamis Oriental General Comprehensive High School for the girls division.FEATURED STORIESSPORTSWATCH: Drones light up sky in final leg of SEA Games torch runSPORTSLillard, Anthony lead Blazers over ThunderSPORTSMalditas save PH from shutoutJr. NBA coaches Rob Newson and Jeffrey Cariaso made the selections after two day’s worth of basketball training and scrimmages.“There’s a lot of talent here,” said Newson. “We were really impressed with at least three of the kids who were selected that we really feel have the natural ability to make it until the end. The kids love the game. They worked really hard and I’m excited to see them in Manila.” Police teams find crossbows, bows in HK university PLAY LIST 01:29Police teams find crossbows, bows in HK university01:35Panelo suggests discounted SEA Games tickets for students02:49Robredo: True leaders perform well despite having ‘uninspiring’ boss02:42PH underwater hockey team aims to make waves in SEA Games01:44Philippines marks anniversary of massacre with calls for justice01:19Fire erupts in Barangay Tatalon in Quezon City Typhoon Kammuri accelerates, gains strength en route to PH TIpoff at the Jr. NBA Philippines Regional Selection Camp in Butuan.Jr. NBA Philippines 2018 welcomed a massive 1,505 young crowd in its the Mindanao leg at Fr. Saturnino Urios University in Butuan City over the weekend.Boys and girls aged 10 to 14 from Butuan, Cagayan de Oro, Bukidnon, Davao, Sarangani and other provinces in Mindanao trooped to the first-ever Jr. NBA Regional Selection Camp in the city for the record-setting numbers.ADVERTISEMENT Baguio is set to host the next Regional Selection Camp on March 17 to 18 before it goes to its final stop in Manila on April 21 and 22. John Lloyd Cruz a dashing guest at Vhong Navarro’s wedding
Urban Meyer Basement FloodedOhio State head coach Urban Meyer has a pretty decent contingency plan heading into the 2015-2016 season, given the fact that he has three quarterbacks capable of winning him another national championship. But he didn’t have much of a contingency plan for his basement after his sump pump broke this past weekend. Meyer’s basement flooded with what appears to be at least a foot of water after yet another rainstorm in Ohio. His wife, Shelley, tweeted out a photo of the damage – both before and after it was drained. Busted Coverage tipped us off:@mariawsyx6 @wsyx6 @SlingerWSYX6 @basementdoctor Darn! Too late for me, Maria. Mine flooded last night. #sumpumprobs pic.twitter.com/bRUW17BgBj— Shelley Meyer (@spinnershells) June 21, 2015Just home from baseball in Indy-the water AND the carpet AND the drywall are all gone. #sumpumpfail. #2muchrain pic.twitter.com/IWgOE446Xv— Shelley Meyer (@spinnershells) June 22, 2015In reality, it was probably time for an upgrade on some of the furniture down there anyway. Luckily, we’re pretty sure Meyer can afford to pay someone to fix it all.
A day after the media’s SEC preseason poll was released, the preseason All-SEC teams have been released. Unsurprisingly, Alabama has the most selections on the conference’s first-team with six players. Ole Miss, Georgia, LSU and Auburn are also well represented. Here are all three offensive and defensive teams. SEC Preseason Teams SEC Preseason Teams 2 SEC Preseason Teams 3 SEC Preseason Teams 4 SEC Preseason Teams 5 SEC Preseason Teams 6 SEC Preseason Teams 7 SEC Preseason Teams 8 SEC Preseason Teams 9Nothing too surprising. These teams will surely look a lot different at the end of the season, though.
Stony Brook University’s 2013 “Stars of Stony Brook” Gala will honor one of its own this year, actor-director-writer-educator and six-time Emmy and Golden Globe Award winner Alan Alda, on Wednesday, April 24 at Pier Sixty at Chelsea Piers in New York City.Mr. Alda is being honored for his central role in creating and growing The Center for Communicating Science (CCS) at Stony Brook University. A vital new approach to education, The Center works to enhance the understanding of science by helping train the next generation of scientists and health professionals to communicate more effectively – via techniques including improvisational theater workshops – with the public, public officials, the media, and others outside their own discipline. Since 2009, Mr. Alda has served as a founding board member, frequent visiting professor and media ambassador for CCS, which operates under the auspices of Stony Brook’s School of Journalism and its founding dean, Howard Schneider.“As people increasingly become aware of the challenges facing our world, scientists must be able to communicate effectively so those issues are better understood,” said Richard L. Gelfond, CEO of IMAX Corporation, Chairman of the Stony Brook Foundation Board of Trustees and Co-Chair with James H. Simons of the Stars of Stony Brook Gala. “The Center for Communicating Science is the single most important resource working in this arena today. It was very much the brainchild of Mr. Alda, and continues to be powered by his vision, passion and on-going personal involvement.”Mr. Alda has had a lifelong passion for science. After interviewing more than 700 scientists in his role as host of the PBS series Scientific American Frontiers, he realized how important it is for scientists to possess strong communication skills. To meet this need, he played an important role in creating Stony Brook’s Center for Communicating Science and remains actively involved in its work, including championing workshops that use improvisational theater games to help scientists communicate more directly and personally.“We are truly honored and privileged to be recognizing Alan Alda and The Center for Communicating Science at this year’s gala,” said Stony Brook President Samuel L. Stanley Jr., M.D. “Alan represents the best in us, a man who is using his experience and public profile for a groundbreaking and sorely-needed educational first that can benefit all of mankind.”The Center for Communicating Science (CCS) was established in 2009 at Stony Brook University, part of the State University of New York, with the cooperation of Brookhaven National Laboratory and Cold Spring Harbor Laboratory. It is located within the Stony Brook School of Journalism, with a multidisciplinary steering committee of science faculty members.CCS works to enhance the understanding of science by helping train the next generation of scientists and health professionals to communicate more effectively with the public, the press and the many decision-makers outside of their own discipline. Central to its mission is the belief that scientists have a responsibility to share the meaning and implications of their work, and that an engaged public encourages sound public decision-making. In addition, the ability to communicate directly and vividly can enhance scientists’ career prospects, helping them secure funding, collaborate across disciplines, compete for positions, and serve as effective teachers.CCS offers a range of instructional programs for science graduate students and scientists, including workshops, conferences, lectures, and coaching opportunities, as well as credit-bearing courses offered through the School of Journalism.The Center’s groundbreaking “Improvisation for Scientists” is a three-hour workshop spearheaded by Mr. Alda. The goal of schooling scientists in improv theater techniques is not to turn them into actors, but to free them to talk about their work more spontaneously and directly, to pay dynamic attention to their listeners and to connect personally with their audience. Now in its second year, “The Flame Challenge” presents a challenge to scientists around the globe, to communicate complex science in a way that will interest and inform an 11-year-old. The question put to the worldwide science community in 2012, “What is a flame?” garnered participation of over 800 scientists and was ultimately judged by 10,000 11-year-olds around the world. The 2013 campaign, which poses the complex question “What is time?” has more than doubled with 20,000 students participating worldwide. As in 2012, the winner of this year’s competition will be announced by Mr. Alda at The World Science Festival in June.CCS is today also working to develop new approaches to curriculum and establish a clearinghouse for best practices and a supportive network of institutions working to improve public communication of science. For more information, click here.The Stars of Stony Brook Gala begins with a cocktail reception at 6:30 PM at Chelsea Piers, followed by dinner at 7:30 PM. To reserve tickets, inquire about sponsorship, or for more information, call 212.245.6570, ext. 15 or email firstname.lastname@example.org.Source:PR Newswire
On the eve of the Billboard Music Awards, the stars came out for a night of celebrating at the Guggenheim Partners’ official pre-party.The event was held at HYDE at The Bellagio and raised funds to benefit the T.J. Martell Foundation, which supports research for leukemia, cancer and AIDS at top research hospitals around the country.Jermaine Dupri and Mad Linx were DJs for the evening, which featured surprise spur-of-the-moment performances from today’s hottest artists including Ludacris, Estelle, Fred Durst, Donovan Leitch and Austin Brown. Natasha Bedingfield was also in attendance.Find out more about the TJ Martell Foundation here.