UAP the Universal Ad Package and Banner Ads – Standards are Good for Website Design

If you are planning a banner ad campaign to advertise your website or if you are going to allow banner advertising on your website you should know about the UAP or Universal Advertising Package.

Banner advertisements have standard sizes and there are many to choose from. However, there is a standard package of ad sizes that you should be prepared for. This package of ad sizes is standardized by the IAB, the Interactive Advertising Bureau. The IAB is the trade organization for online advertisers and acts as a clearing house for information and industry advocate.

While there are many sizes to choose from, there are 4 standard sizes that you should be sure to create for your banner campaign, or make space for on your website.

  • 300w x 250h — Medium Rectangle
  • 180w x 150h — Rectangle
  • 728w x 90h — Leaderboard
  • 160w x 600h — Wide Skyscraper

It doesn’t take long to realize the advantage for website publishers of having standard sizes of ads. When designing a webpage you can count on certain sizes of advertisements. If you have a vertical toolbar, you can make it 160 pixels wide, knowing that you can fit a standard 160 x 600 wide skyscraper underneath.

If you use a multi column layout you can try to work with the widths of the rectangle, medium rectangle and wide skyscraper. By making your columns 160, 300 or 180 pixels wide they will be standard sizes and ads will fit in nicely.

Of course, these are not the only banner ad sizes. There are also the sizes below that are standard.

Rectangles and Pop-Up Ads

  • 250 x 250 — Square Pop-Up
  • 240 x 400 — Vertical Rectangle
  • 336 x 280 — Large Rectangle

Horizontal

  • 468 x 60 — Full Banner
  • 234 x 60 — Half Banner
  • 88 x 31 — Micro Bar
  • 120 x 90 — Button 1
  • 120 x 60 — Button 2
  • 120 x 240 — Vertical Banner
  • 125 x 125 — Square Button

Vertical

  • 120 x 600 — Skyscraper
  • 300 x 600 — Half Page Ad

A careful look at the list above will show that there are several ad sizes that are 120 pixels wide. While they are not part of the UAP, they are common enough that having a 120 pixel wide column can be very useful.

One last note, while advertisers and publishers talk about ad spaces and ad revenue, the ads themselves are called “creatives”. So, if you want to impress your advertising partners, don’t call a banner ad an ad, call it a creative.

For updates and more information about the UAP, visit the IAB website at http://www.iab.net

AS9100 Quality Management Standards for Aerospace

ISO9001 has been a good quality standard across many industries and has been used in aerospace to great effect, albeit with additions.

To meet the exacting standards in aerospace the major aircraft manufacturers and IAQG (International Aerospace Quality Group) developed AS9100; based on ISO9001:2008 this standard fills the gap between military standards and the commercial ISO9001 quality management standard. It makes good sense to have one aerospace standard for conformity to best practice; AS9100 is that standard.

AS9100 v ISO 9001

Manufacturing an item as complicated and critical as an aircraft or space vehicle requires special attention during all the production processes. A great deal of attention is placed on documentation and drawing control to ensure that the current revision of engineering drawings, part lists and test and inspection specifications is being used. This ‘configuration control’ is covered in far more depth than ISO9001, as is identification and traceability. The paperwork trail is vital following an incident or accident and these documents are always quarantined immediately by an accident or incident board of enquiry.

The AS9100 standard provides guidance for key characteristic management in both material, and process control. Clearly there is a good deal of emphasis on the design and development of the final structure as well as components used in that structure, the AS9100 standard includes additional references in design and development functions. Explanatory notes are included for both design and development verification and validation highlighting traditional areas of emphasis. Additionally, AS9100 provides information on areas of verification documentation and validating testing and results.

One area which receives greater attention is the inspection area, particularly the first off in a batch of items. This is called first article inspection in AS9100. The standard also gives guidelines for actions to be taken when it all goes wrong. Any faulty part, which is scrap, must be put beyond use before disposition.

This standard can be applied in the following forms:

  • AS 9100 – Quality Management System requirements for Design and/or manufacture of aerospace products
  • AS 90110 – Quality Management System requirements for maintenance and repair operations
  • AS 9120 – Quality Management System requirements for Stockists and distributors

Assessment and certification is carried out by properly accredited and competent assessors. The assessment is of necessity, more in depth than ISO9001 and the reporting is far stricter. The assessor scores each item against a prepared score card; at the end of the assessment the scores are totalled and a decision to pass or require additional work to be carried out is made. One major difference in the assessment is that no corrective action may take place during the assessment, unlike ISO9001. Any CAP (corrective action plan) must take place afterwards.

Inevitably main suppliers who achieve certification to AS9100 will then require their sub-contractors and suppliers to achieve the standard as well.

Once accredited these organisations are featured in OASIS (the IAQG Online Aerospace Supplier Information System).

Quality Matters can assist organisations to achieve certification to these standards.

Renovations Should Meet All Of The Industry Standards

Once the concept of the construction project has been formalised, and you are comfortable the costs are within your budget, you can proceed to the working drawings stage. The good thing about going through the stages prior to these is you are now far more informed. You are in control of the process and can make reasonable decisions relating to designing additions and alterations. There are clients who abandoned their plans in despair after spending $20,000 on design costs, only to have to pay even more to re-design. This process may have taken from six months to two years, all for no result.

Working drawings are the blueprint to any construction. They contain all the information needed to construct your design, including the dimensions and specifications for the building.

Depending on the size and substance of the project, working drawings can be up to fifty pages long. They will contain all the architectural, electrical and structural engineering plans. Working drawings will usually include:

• Site, Block and Floor Plans;

• Sectional views and projections;

• Perspective drawings;

• Detailed drawings;

• Service installations;

• Electrical circuits;

• Exploded drawings.

Designers normally begin with freehand sketches before progressing to design development where all the original ideas and practical aspects are combined into working drawings. Most working drawings done by architects will be produced using Computer-Aided Software (CAD). This software is a more efficient way of creating designs and a lot easier for any changes to be made.

Working drawings are used by Certifiers and Builders to formalize and complete the construction process. It is in this phase of the project designers need to produce a more comprehensive plan which not only allows construction but also meets all the industry standards. Meeting the industry standards and criteria is crucial when designing a building as it allows you to understand all the aspects of the architecture and to be content with its quality.

Prevent Your Construction From Going Wrong

Finding a reliable contractor is one of the most vital points of the construction process and needs some serious consideration. This decision will determine your enjoyment of the construction process. Unless you are experienced and exceptionally knowledgeable about the building and construction process, it will be necessary to find the right builder or contractor.

The contractor you choose must be honest, reliable and respected in the industry. A builder or the contractor will be informed of all aspects of the construction process. They will know what needs to be undertaken in regard to permits, building restrictions, weather conditions, contracts, subcontractor agreements and other construction issues and requirements.

You can also benefit from a builders association with reputable architects, draft’s people, estimators, landscape architects, and qualified, licensed and reliable trade’s people.

The advantage of a dependable and established company is a complete project management team and one point of contact to manage the entire process for:

• Home Renovations and Home Extensions;

• New Built Homes;

• Swimming Pools and Swimming Pool Renovations;

• Landscaping involves domestic and commercial properties.

All projects are programmed from start to finish allowing the client a full understanding of the timeline.

You can find a contractor by doing online research or searching through directories such as the Yellow Pages. Trade associations (such as the Housing Industry Association and the Master Builders Association) keep listings of registered and qualified contractors in your area. They also put out yearly publications featuring the top contractors in the state. It remains a good idea to obtain referrals from industry bodies, industry professionals and family or friends.

Make An Educated Decision When Hiring A Contractor

Anyone who is embarking on a building project should have a builder’s contract and a contractor. Choosing the most suitable contractor is vital as this will determine the success of your project. After you have gathered the relevant information on each potential contractor, the next step is to acquire a written quote from at least three different companies. Provide each contractor with a detailed brief of the project and ask them to submit a quote using these details. This way, you can make an informed decision about the quality and the cost of the work each contractor can provide.

When considering the quotes you have received keep in mind that a professional contractor will present the documents in person. Ensure that the documents have been fully explained and that all exclusions are listed. Quantifying Prime Cost and Provisional Sum items must be clearly listed.

• Prime Cost (PC) items are the cost for items such as tap ware, toilet pans and so forth, which may not have been specified exactly at the time of tender.

• Provisional Sum (PS) items are items, which had the supply of a product and labour incorporated into the cost. This is used for items, which cannot be totally identified – such as excavation and demolition.

The only way you can have a fixed cost contract with no variations is if the builder can determine the entire scope of work, and the desired specifications based on your wishes and needs. This will be extremely difficult to do if the project is a renovation, as there will always be items, which are not apparent at the time of design and pricing. It is important to note if variations are made during the construction, the builder/contractor must have these in writing, and both parties are to sign this document.

No-good builders will ask for money up front. You may need to agree a payment schedule that runs throughout the project so that the builder can acquire the materials he needs. You may have to pay other contractors, but you should never be asked to pay the total cost of the work up front. If any of the builders you approach ask for this, don’t choose them. You will have no way of getting your money back if the work isn’t completed.

What You Should Know Before Signing The Construction Contract

You are about to sign the contract with the builder or contractor who will be doing the work of your construction project. At this stage, you should have the following knowledge at hand:

• Project commencement date;

• Date of completion as per builder’s construction program;

• Insurances covering the project: you can find the information for the insurances you need by contacting the relevant local building authority or building associations;

• How communication will be conducted;

• The price: this can be the most difficult decision if there are a number of quotations. Look at the items they have included and ask for information and pricing on items they have not documented. This is where the bill of quantities comes into its own – especially if you have provided it to all the builders/contractors.

Once you have finalised a concept design with the architect and found your builder or contractor you will be given a tentative construction schedule that will keep you informed of the progress of your home. The builder will include all the different phases of construction within this schedule, along with a specific time period for completion of each stage. However, do not expect this schedule to be exact as there are a number of uncontrollable factors, e.g. unpredictable weather and the availability of materials, which can influence the overall completion time.

From here all the supplies will be pre-ordered, so at this stage it is important that you have made a decision about the materials and finishes you want to include.

It is possible that the person you are dealing with is not the person who will be doing the work. Insist on a meeting with the person who will be supervising the work. This will enable you to form an opinion prior to signing the contracts.

Study All The Clauses

The contract is an agreement binding the two consenting parties to facilitate an exchange of benefits. A contract is meant to be acted upon by both the signatories, and a breach of contract will entail legal proceedings in a court of law with the resultant payment of damages by the defaulting party. The one assured way to avoid possible litigation is for the two consenting parties to study all the agreement clauses and satisfy themselves that they are all capable of fulfilling their promises.

Most builders provide industry-standard contracts that are written in plain English. Industry standards set out all the industry benchmarks in regard to the quality of the work and obligations of the client and contractor, and also come with explanatory notes on the different responsibilities for each party.

There are two main types of industry-standard contracts that vary according to the responsibilities of each party:

• Traditional Contract: This contract is one that has been prepared by the BSA or one of the other housing industry bodies such as the HIA or the MBA.

• Non-traditional Contract: A contract that is referred to as a ‘cost plus’ contract. It must be said that this is not generally considered the best way to go as it is not supported by the BSA. There is no limit on the cost of the project.

There is a cooling-off period of five business days after the contract is signed. During this time, it is a good idea to have a solicitor read over the document in this period, to ensure they point out any contract terms, which create any uncertainty or could cause future problems.

For business contracts to be valid and sustainable in courts of law, both the consenting parties should initial each page of the agreement, and finally affix their full signatures and date the last page. In most cases, the agreement will also have to be signed by two witnesses (one from either side) to lend further credence.

Remain Vigilant Throughout The Construction Process

The most exciting day of the construction is most likely the foundation stage. This is the day when your design becomes reality. The site is excavated, and the concrete laid for the beginnings of the building.

After the foundation is laid the structure of your home will start to take shape. This means putting up the framing of the building, including walls, floors, roof, stairs and any other structural features. From here the exterior is built up, and outside finishes are applied.

The final stage begins with the installation of the plumbing and electrical features, followed by insulation and air sealing to produce a comfortable living environment. Once this is completed it is time for the fun stage, interior finishes. This is when you can really express your personality through colour, tiles, light fittings, carpets and other materials. All the internal doors and fittings are installed, along with any other in-built furnishings like cabinets, shelves and kitchen and bathroom units.

With completion, you can do a final inspection. Walk through the property with the builder or contractor. You can spot repairs or touch ups that need to be done. Make a list of the things that need attention.

During the construction process, you should document all information. Although your contractor will be recording all contract papers and administrations and your bank will be documenting all financial transactions, it is always a good idea for you to retain your own personal records of all correspondence, contracts, variations, payments and other paperwork to avoid discrepancies and cover yourself against liability.

Budgets and Standards Compared

A budget is a quantified monetary plan future period, which managers will try to achieve. Its major functions lie in communication activities within an organization.

A standard is a carefully predetermined quantity target which can be achieved in certain conditions.

Budgets & standards are similar in the following ways,

o They both involve looking to the future & forecasting what is like to happen given a certain set of circumstances.

o They are both used for control purposes. A budget aids control setting financial targets or expenditures are then compared with the budgets & action is taken to correct any variances where necessary. A standard also achieves control by comparison of actual results against a predetermined target.

As well as being similar, budgets & standards are interrelated.

For example- A standard unit production cost can act as the basis for a production cost budget. The unit cost is multiplied by the budget activity level to arrive at the budget expenditure on production costs.

There are however, important differences between budgets and standards,

o Budget gives the planned total aggregate costs for a functional or cost center where as a standard shows the unit resource usage for a single task for example the standard labor hours for a single unit of production.

o The use of standards is limited to situations where repetitive actions are performed and output can be measured. Budgets can be prepared for all functions, even where output can be measured.

o A standard need not be expressed in monetary terms. For example a standard rate of out put can be determined for control purposes without the need to put a financial value on it. In contrast, a budget is expressed in money terms.

In summary, budgets & standards are very similar & interrelated, but there are important differences between them.

The Real Problem With The Media’s Beauty Standards

Finally, it looks like significant change is happening in the corporate media. No longer are only ultra-thin women meeting its previously very rigid beauty standard – or what it’s really been – an acceptability standard for women.

Women with actual fat on their body (gasp!) are now increasingly represented in mainstream television and even glossy magazines. Not only are they appearing, they are being presented as examples of great beauty.

Sports Illustrated featured on its cover the gorgeous model Ashley Graham in 2016, which made international news because she is by traditional media standards about 70 pounds overweight.

Graham is now going to be a judge on the panel for the show “America’s Next Top Model” with Tyra Banks.

The popular HBO show “Girls” made headlines over the past few years because it revealed actual cellulite on one of the stars of the show. Glamour magazine followed suit by displaying on its cover the four stars, one of them boldly fat, her cellulite purposefully exposed.

Cable TV, YouTube, and other forms of alternative media distribution set the precedent a decade and more earlier. They have allowed us to see real bodies represented on video on a regular basis.

Now, the corporate media itself is changing. Actresses on TV commercials, female weather forecasters, even pop stars… It’s happening. Women who are larger than scarecrow thin are no longer banned from representation as being normal, and even beautiful, people.

What a victory – or so it seems. After all, for decades, feminists, concerned parents, and “plus-size” activists have been objecting to the media’s presentations of ultra-thin women as the measure of female beauty, and the required body type to even qualify to be a star.

They argued that this standard puts almost every woman alive, even lean women, in the “too fat” category, and that it leads many girls and women to develop and anorexia, bulimia, and the kind of dieting that ultimately leads to binging.

Corporations like Dove have listened. The mainstream media are adjusting to these demands. The basic tenets of public discussion on “body image” and the representation of women have shifted. It’s progress, for sure.

But something’s missing here. Something about as big as an elephant in a room.

It’s something that has everything to do with why so many women and girls have “body image” issues in the first place, and why so many develop eating dysfunctions.

That something isn’t simply about an inflexible or unrealistic or even physically unhealthy beauty standard.

It’s also about how women’s beauty is treated. It’s about how women’s bodies, however diverse in size and color and age, are depicted.

To put it in feminist terminology: the problem is sexual objectification.

The Sports Illustrated cover featuring the beautiful Ashley Graham might have sent the message to women who are larger than scarecrow thin that they, too, can be sexually desirable at the weight they are.

But is this a message about respectful desire? Or something else?

Do the photos of the three featured women of diverse body types elicit from the male viewer: a respect for women’s boundaries, an acknowledgement of their self-possession and their complex humanity, and the understanding that a woman’s sexuality is shared only with those a woman chooses to share it with?

Or does it send the message to the male viewer that the complex humanity of women who turn them on isn’t actually real, or doesn’t matter? Does it send the message that women don’t have meaningful sexual boundaries? And that women aren’t selective in whom they choose to share their sexuality with because – just look – these three diverse models who have what many consider to be the best job in the world for women – modelling – are all offering it to the camera and to millions of anonymous male viewers, no criteria needed?

Girls and women don’t develop low self-esteem, body image complexes, and eating dysfunctions simply because their body type isn’t represented in the media.

That’s part of the problem. But it’s not the most important part. In fact, the tight control over an outer beauty standard is actually just a facet of the real, deeper problem – and that deeper problem is the disrespectful portrayal of women. The portrayal of women – and even girls – as sexual objects.

Not every woman will agree that sexual objectification of women is a form of disrespect. Some women feel that embracing that role is a way to claim their femininity, and that the sexual attention they get from that isn’t disrespectful.

I would argue that what they are enjoying is the alleviation of open disrespect and disregard.

For men who have learned to objectify women, the prelude to “getting some” looks sort of like respectful behavior – smiles, nods, attention, maybe some gentlemanly courtship.

But if the men giving the attention don’t see a complex, inherently self-possessed human being when they see a woman presented as a sexual object, there’s no realness in their show of respect.

If you read accounts from women and girls about how their eating disorders started, most refer to sexual abuse in the family, sexually objectifying comments tied in with the ultra-thin beauty standard, and being overly influenced by that ultra-thin beauty standard in the media – after their self-esteem is low.

And low self-esteem comes from being treated as if invisible. It comes from being treated as if one’s insides, one’s infinitely complex humanity, is not real or significant.

It comes from being represented in the ubiquitous media as if one doesn’t have the physical and sexual boundaries that people who matter have. The kind of boundaries that need to be respected. It comes from being treated as if one is an object for someone else to use – whether or not the “object” is designated as “beautiful.”

In response to the culture’s objectification, most of all in the media, women and girls learn to objectify themselves.

A girl’s natural perception of herself which she inherently has as a young child shifts from being the important subject of her life – the one who experiences her body, who experiences the world – to being an object for the viewing pleasure of others.

She still has the needs of a subject, of a real, infinitely complex person, but her self-perception is shaped by the treatment she receives, and by the cultural representation of people who look like her.

She starts to conceive of herself in terms of images. The images that the media represents. The images that she knows others (who are also trained by the media) see when they look at her.

You could say that a “poor body image” issue results.

But a human being doesn’t naturally think of her own body primarily in terms of an “image.” Her conception of her body is naturally – before self-objection – multi-sensory.

This natural self-conception includes her visual understanding of her own body from the outside, but – before the self-objectification is internalized – her inner experience of her body isn’t separate from her visual image of it.

If we aren’t objectifying ourselves, we naturally associate our visual impression of ourselves with our internal experience of ourselves.

When we have this natural perception of ourselves, we don’t define ourselves according to a “body image.” We don’t think of our body primarily from an outside viewpoint, as if we were someone else looking at our body.

It’s not that a self-possessed person doesn’t care about her appearance. The opposite is true. When we feel self-possessed, we care about our appearance because we are proud, in a healthy way, of who we are.

Some in the “body positivity” movement have said that women’s appearance is emphasized too much in the media, and that women’s qualities other than physical appearance should be valued instead.

I think what they are intuitively objecting to is the media’s objectification of women’s appearance.

Appearance does matter – because we matter. Our appearance is part of our wholeness.

It’s the internalized separation of body from selfhood – self-objectification – that needs mending.

It’s the sexual objectification of women and girls in society that needs changing.

When we are self-possessed, we love our body without ever having to reflect on whether we love our body.

We love being alive, we love being ourselves, we love being in an amazing human female body, amazing because it is alive, and it gives us life.

We are all by nature self-possessed – before our relationship with our body is severed by the violent and the subliminal insistence throughout society and throughout the media that the female body does not signify human selfhood. Instead the female body is conceived of and presented as if it is publicly accessible, until it has been privately claimed by someone other than the human self in that female body.

The natural self-love we are all born with is injured or destroyed in this process.

The battle against the inflexible ultra-thin beauty standard seems to have been won, or at least victory is in sight. But the problem behind that beauty standard, why it was so injurious, and why it existed in the first place, is sexual objectification and disrespect toward women. It all begins with objectification.

It’s time to name that “invisible” elephant in the room.

The problem that’s currently identified as women’s and girl’s “poor body image” will continue until we launch another movement that effectively challenges the objectification of women and girls.

We already made some progress. Let’s keep going with making change.

Info 101 – Common Core State Standards and the Race to the Top

After taking more than a year to develop and built on a foundation of previously established college and career-readiness standards, the Common Core State Standards have now been released.

You should know that…

• The Standards were developed by the Council of Chief State School Officers and the National Governors Association-along with input from numerous teachers, parents, school administrators, civil rights and business leaders-and are designed to replace the various uncoordinated ones currently defined by the states.

• Only Texas and Alaska did not participate.

• The Standards address English language arts (ELA), literacy in history/social studies, science, and technical subjects, and mathematics, K-12.

• All are “1) research and evidence-based; 2) aligned with college and work expectations; 3) rigorous; and 4) internationally benchmarked.”

• The states are allowed to add up to 15% of their own standards to fill in any gaps.

If adopted nationwide, as hoped, every state-thus every district-will essentially be following the same curricular guidelines, thus enabling a child to transition smoothly from, for instance, a school in Oklahoma City to one in Philadelphia, without losing any ground or repeating much material.

Meanwhile, state applications are now being reviewed by the U.S. Department of Education for the second round of the Race to the Top (RTTT) grant competition. In the first round, Pennsylvania came in seventh; only Tennessee and Delaware won that time. This time around, 35 states and the District of Columbia are trying again.

Initially, Education Secretary Arne Duncan made adopting the national standards an RTTT application requirement, but organizations such as the Association for Supervision and Curriculum Development were wary of such a mandate. As a result, adoption now earns a state extra points on its application.

Competing this second round suggests that these 36 applicants will likely adopt the Standards.

And it behooves all of us to read all of the Standards, which represent “what students should understand and be able to do by the end of each grade.”

You’ll find, for instance, that instead of a list of required readings, the English Language Arts Standards includes an appendix with suggestions for appropriate texts at each grade level. The exception: high school juniors and seniors must study the Declaration of Independence, the Preamble to the Constitution, the Bill of Rights, Lincoln’s Second Inaugural Address, and one Shakespearean play.

Meanwhile, you’d also discover, for instance, that third graders would be able to describe the characters of a story, sixth graders could compare and contrast various texts, while 11th graders would demonstrate a knowledge of 18th-, 19th-, and 20th-century foundational works in American literature.

And when it comes to writing, the standards indicate, for example, that a 5th grader would successfully write well-supported opinion pieces, while an 8th grader would be able to write arguments based on relevant evidence, and seniors would be able to convey complex ideas, concepts, and information clearly.

The Grades 6-12 Literacy in History/Social Studies and Science/Technical Standards include:

• Identifying aspects of a text that reveal an author’s point or view and purpose.

• Analyzing an author’s purpose in providing an explanation, describing a procedure, or discussing an experiment in a text, defining the question the author seeks to address.

Meanwhile, the Mathematics Standards include, for instance, the expectation that first graders could solve word problems that call for addition of three whole numbers whose sum is less than or equal to 20, while 5th graders could handle fractions with unlike denominators, 8th graders could use rational approximations of irrational numbers, and high schoolers could apply the Remainder Theorem.

Of course, adoption would force states to amend their standardized tests and curricula to mesh with the Standards. Is it worth it?

Founder and chairman of the Core Knowledge Foundation and professor emeritus of education and humanities at the University of Virginia, E.D. Hirsch, Jr. says, “This is a welcome acknowledgement that only a cumulative, grade-by-grade curriculum, focused on coherent content, can lead to the high level of literacy which the nation needs. In short, the Common Core Standards represent a fundamental and long overdue rethinking of the dominant process-approach to U.S. literacy instruction.”

Meanwhile, former Los Angeles Unified School District teacher and lecturer at the UCLA Graduate School, Walt Gardner is now an education contributor to major newspapers and magazines. He writes that “National standards are not a panacea for the ills afflicting public education, but they are a step in the right direction. There are always risks involved in an undertaking of this magnitude. On balance, however, I think they are worth taking.”

The bottom line: these Standards, developed, as they were, by experts, will provide teachers with flexible guidelines they can follow as they develop lesson plans that will meet the needs and interests of their students.

And that’s a plus, any way you look at it.

Wolverine Boots – US Safety Boot Standards

This article discusses safety boots such as Wolverine boots that meet US government standards and help reduce injury in industrious workplaces.

With the Occupational Safety and Health Act of 1970, Congress created the Occupational Safety and Health Administration. OSHA as it is know, has a duty to ensure safe and healthy working conditions for employees, by setting and enforcing working standards that promote safety at work.

In order to determine what constitutes protective footwear, OSHA have established three footwear construction standards. Footwear that complies to any of these standards are deemed to be acceptable within their guidelines for protective clothing.

These standards are:

  • ASTM F-2412-05 – “Standard Test Methods for Foot Protection” and ASTM F-2413-05 – “Standard Specification for Performance Requirements for Protective Footwear”
  • ANSI Z41-1991, “American National Standard for Personal Protection — Protective Footwear”
  • ANSI Z41-1999, “American National Standard for Personal Protection — Protective Footwear”

Wolverine boots are made in accordance with these standards and come in a variety of safety feature combinations to ensure you get the protection you need.

Amongst the general population, certain other work boot brands are more common, but amongst those who actually wear work boots for protection, Wolverine boots are well known and much loved. Established in the USA over 100 years ago, these work boots sum up that pioneering American spirit that built this great nation.

Wolverine boots such as the ‘Mckay’ and ‘Fusion Technology’ product lines are a great mix of style and safety boot features. These boots will go the distance and keep you feeling strong on your feet for hours.

Best Jazz Standards to Help You Learn Jazz

If you’re a new jazz player, you may be curious as to which jazz standards you should start with. To help you out, we’ve created a brief list of the best standards to launch you into the world of jazz. But first, let’s take a moment to discuss what standards look like and why you need to learn how to play them.

What Are Jazz Standards?

Standards are songs that have been with the jazz world for so long they are now considered “must know” for jazz musicians. They are musical compositions that are critical to the repertoire of any serious musician, and they are equally familiar to jazz listeners. If you aren’t familiar with the basics, you probably aren’t a true jazz player. Most of these songs are based on jazz theory and traditional jazz practice, so there isn’t much improv in most of them.

So let’s get to it. Here are the best standards every beginner should know.

All of Me

“All of Me” was originally written by Gerald Marks and Seymour Simon all the way back in 1931. It became an instant hit, and was one of the most recorded songs of the era. Everyone from Billie Holiday to Frank Sinatra did a rendition of “All Of Me”.

This is one of the most popular jazz standards within the genre, and most jazz musicians are expected to know it by heart. It is therefore, a great place for beginners to start their journey. If you’re jazz theory is shaky at best, this is an excellent song to practice. You’ll find it most commonly played in C major.

Autumn Leaves

“Autumn Leaves” was written in 1945 in France, and was written with French lyrics. In 1947, Johnny Mercer wrote English lyrics for the tune, and it became an instant classic in the world of jazz. While it is difficult to put into a category, “Autumn Leaves” offers the common ii-V-Is, typical harmony, a singable melody, and fun lyrics. This song is also played in either G minor or E minor.

Beginners will learn much from the structure of the tune as well as the keys it may be played in. Once learning one key, you should go back and learn the other to round out your knowledge of this jazz standard. A solid jazz standards pdf should provide both keys for you to read.

Bye Bye Blackbird

“Bye Bye Blackbird” was written by Ray Henderson in one of the most complex times the world has ever seen. Mort Dixon lent his artistic flair to the 1926 song by writing the lyrics. This song is extremely popular with jazz musicians, however it has crept its way into countless movies and television shows and been recorded even more times by plenty of artists.

Because of its popularity, this song is one of the most important songs for jazz musicians to know. However, beginners should know that there are dozens of interpretations of the song which means complex chord changes. Depending on the jazz standard reference you’re using, you’ll find that each chord change creates a hybrid of the former. As a general rule, the song stays linked to the tonal center (F), and doesn’t stray from the I chord.

Alone Together

“Alone Together” is a classic piece originally written by Arthur Schwartz with lyrics provided by Howard Dietz. This song was created for the 1932 Broadway musical “Flying Colors”.

Because of its simple melody and beautiful chord changes, “Alone Together” is a jazz musician favorite. The flexibility of the tune gives it a perfect structure for improvisation as well. While it isn’t the greatest example of jazz theory, it more than makes up for it in terms of learning the ropes of improv. Ideally it is played in the key of D minor.

How High The Moon

“How High The Moon” was written by Morgan Lewis and Nancy Hamilton. Originally featured on the 1940 Broadway show “Two For The Show”, there have since been countless renditions of this classic jazz song. Obviously, it’s one of the primary standards all jazz artists should know. Most artists play it in the key of G major as well, so it’s a good idea to learn it in this key.

Where to find Jazz Standards References

Now that you know which standards you should play, the next step is finding the musical notes to do so. Today, finding a jazz standards pdf is easier than ever thanks to the internet. You can easily download pdf files on sites like Jazz Guitar Lessons and quickly start playing the best jazz standards out there. Even if you’re more interested in learning the nuances of jazz theory, there are plenty of websites that supply information and even lessons to help you get started.

The biggest burden you bear is selecting which jazz standards copy you’re going to start with. Jazz theory is a bit more in-depth, but having it as a foundation can make it easier to learn the aforementioned standards on our list.

Whether you go the route of jazz theory from the get-go, or if you opt to practice and memorize all the jazz standards files on our list, you can become the musician you’ve always wanted to be with dedication and practice.

Ballroom Dancing – The International Standards

Ballroom Dancing describes partner dances, performed socially or competitively, with prescribed specific movements. It evokes a sense of mystique and elegance if performed socially and of energy and passion when performed competitively.

The word “ball” in Ballroom Dancing comes from not the child’s toy but from the Latin word “ballare” meaning to dance. It forms the bases for the words ballet (a dance,) ballerina (a dancer) and ballroom (a room for dancing). Ballroom Dancing was very popular among the English upper class during the late 18th and early 19th centuries, where it referred to almost any type of recreation dancing. By the early 20th century, as it caught the interest of the working class, the term become narrower in scope, with many of the dances dropping out of favour as being ‘historical’ or ‘folk’ dances.

By the early 1920’s a number of dance societies in both England and America began to offer regulated competitive Ballroom Dancing. They promoted a number of standard dances, with some basic movements that dancers could confidently perform with any partner they might meet. The highly influential Imperial Society of Dance Teachers (later, the Imperial Society of Teachers of Dancing) formed a Ballroom Branch which was instrumental in developing standard dancing styles, which later formed the basis for the International dance standards.

Currently, the term Ballroom Dancing refers to the International Standard dances, which are currently regulated by the WDC (World Dance Council). The International standard comprises the following five dances: the Modern Waltz (also known as the ‘slow’ or the ‘English’ waltz); the Viennese Waltz; the Slow Foxtrot; the Tango; the Quickstep.

Sometimes, the term Ballroom Dancing also includes the International Latin style dances, which include: the Samba; the Rumba; the Paso Doble; the Cha-Cha; the Jive.

Both, Modern Ballroom and Latin American Ballroom, dancing styles are well standardized for teaching purposes with a set, internationally recognized vocabulary, technique, rhythm and tempo. The dancing postures for International Latin style varies from dance to dance: some dances require using closed hold, some require partners holding each other with only one hand, few dances require a line of dance and a number of dances have the routines performed on pretty much a single spot.

For the International standard Ballroom dances, the posture requirement is a closed hold (5 points of contact between dancers) during varied tempo (beats per minute) and rhythm (structure). With a set line of dance, this posture provides a very elegant look as the couple floats across the dance floor.

The Effectiveness Of Academic Standards

This paper presents highlights from a synthesis of research findings associated with schoolwide projects. The synthesis focuses on three aspects: (a) characteristics of faculties and districts with a comprehensive education; (b) programmatic and organizational components of educational achievement and (c) evidence of the effectiveness of organizing operations, particularly in terms of student performance. Additionally, several precautions associated with the interpretation of those findings are presented. Finally, implications are discussed for future evaluation and for administrators in schools and districts with top academic standards. The new education programs have provided supplementary resources to schools with large numbers of low-income students for over three decades. Recent federal legislation has encouraged schools to adopt new projects which permit schools to use funds more flexibly and strengthen their overall capacity to develop more comprehensive strategies to assist disadvantaged children. Funds are often employed by schools to enhance their entire program instead of targeting services to satisfy the requirements of the foremost disadvantaged populations. Despite the dramatic increase within the number of educational standards, however, there remain a variety of questions on their effectiveness relative to traditional programming. The new projects have operated in elementary schools in large, urban districts and have had high concentrations of poverty and academic disadvantage. School districts and state education agencies have frequently played a central role within the initiation and establishment of coordination and integration and most faculties spent a comparatively short period of time within the process of designing and wishes assessment.

New academic standards have allowed schools to introduce new activities and programs also as strengthen existing ones. Emphasis has been placed totally on strengthening existing programs and schools have designed assistance for it. However, a variety of common components have emerged, including reduction of class size through hiring of additional staff and increased staff development activities, revised decision making structures (e.g., teacher input into decisions affecting the school), and increased efforts to involve parents. Within the majority of schools, services became indistinguishable from the regular program at the school, which indicates that the traditionally fragmented or categorical approach to providing services is becoming less common. Some schools have introduced or strengthened aspects of classroom instruction or curricula, frequently incorporating components associated with effective schools. There’s also evidence that the planning process increased the capacity of schools and teachers to supply instructional services more flexibly, as particular student needs arise. These preliminary findings lend some insight into the components which are included as elements of support and start to make the idea for an understanding of what rises a typical implementation of the academic standards.

Principals report a variety of both advantages and drawbacks associated with schoolwide projects. The overwhelming majority of principals, operating for a minimum of three years, reported that evidence favored the new projects. Further, of these schools considered to comprise the primary group of projects, only 9% did not show the achievement gains required to continue. Although these broad indicators are generally positive, information about the impact on student achievement remains limited. The richest information about student performance derives from a couple of studies which are conducted within particular school districts. These district-level studies focus on comparison of bell-shaped curve equivalent reading and math scores for schools with and without new projects. Their designs, measures, and analytic methods vary widely, however, creating difficulties in drawing conclusions and comparing findings across studies. Of those studies that conduct tests of statistical significance, most report only a couple of serious differences in measures of student performance between schools. The findings from these district-level studies suggest mixed effects (both positive and negative) on student achievement scores that tend to be small. Further, several cautions must be considered within the interpretation of those findings, including the project implementation, the methodological difficulties inherent to the study, and therefore the limited district-level studies.

Evaluation of the new projects must continue beyond the initial phase of implementation and will be longitudinal and to capture effects which will not be fully apparent during the primary years. Because there are a variety of methodological challenges inherent to the study (e.g., varying implementation strategies across sites), evaluation design must be particularly thoughtful. Further, subsequent evaluations should still explore the role of school districts and to pursue a far better understanding of the mechanisms through which particular characteristics of educational standards cause changes in educational outcomes. The comprehensive plan has the potential to deal with three interrelated challenges within the nation’s most disadvantaged schools. First, to supply flexibility to our teachers to deal with the disadvantaged students. Second, to scale back curricular and instructional fragmentation within the classroom. Third, and of immediate interest to national policymakers, to be designed to enhance accountability at a time when there’s growing public concern over the overall quality of public education. Because the starting points incorporate a stronger accountability component, they provide the organizational potential to satisfy new federal legislative expectations for the new programs. Further, schools and districts implementing new projects can take the chance to travel beyond basic accountability requirements and consider broadening the ways the evaluation and the assessment are used. For instance, student assessment may additionally be used to guide instruction and improve teaching practice. Schoolwide projects also create a context during which roles of principals and district staff could be expanded or redefined. District staff might emphasize methods for phasing out pullout programs or for integrating traditional reading and math curriculum for the entire school. The chance to redefine decision-making roles at the school can also facilitate the creation of structures which better serve students. For instance, professional networks among teachers within the school could be fostered which encourage teachers to “buy into” aspects of the new project approach and cultivate changes at the classroom level. Similarly, new projects offer opportunities to explore broader governance issues. New alternative approaches to the functions of and relationships between the district, school, and classroom are often explored alongside parental involvement.

The research on the effectiveness of the new projects in terms of student performance has yielded mixed and largely inconclusive results. Nonetheless, the very fact that perceptions by district and school staff about continuation of the latest projects suggest that subsequent evaluations may begin to indicate more positive effects. It should be noted that these reflect only some of the tutorial standards within the nation; it’s therefore critical that reliable, longitudinal evaluations still be conducted beyond this first phase.

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