Hedonism II Returning in July With Party Safely …

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Travelers who want a wild vacation after being stuck inside during the coronavirus quarantine should look into a stay at Hedonism II, which has announced a new set of health and safety guidelines.

While Jamaica officials reopened the countrys borders to international travelers on June 15, the clothing-optional, adults-only, all-inclusive resort will once again welcome guests on July 1 with a new Party Safely initiative.

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Along with local and world health officials, Hedonism II implemented new preventative measures, including social-distancing guidelines, mandatory temperature checks and the buffets no longer being self-serve.

In anticipation of Hedonism II's July 1 reopening, we have spent the last month undertaking preparations and consulting with local and international organizations to make sure our enhanced safety measures are up to the highest standards, Hedonism II General Manager Kevin Levee said in a statement. We look forward to welcoming home our guests and are confident that the iconic Hedonism II experience will shine through, even if its with some adjustments.

In addition, the resort will continuously disinfect in room surfaces, sanitize high-contact areas, spray luggage at the time of arrival and provide masks for employees and guests, as the Jamaican Government requires them.

Remember: masks are required, but clothes are optional.

The property will also feature a team of specially trained nurses and 24-hour medical service.

Travelers can receive incentives for visiting Hedonism II when it reopens, including a $300 resort credit per room for travelers arriving between July 1 and September 30 who do not cancel or rebook their vacation.

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Hedonism III: Naked truths about ‘resort casual’: Travel …

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Travel Weekly's twentysomething-and-single associate editorNicholas Pavlou checked out SuperClubs' Hedonism III resort inJamaica. His report follows:

RUNAWAY BAY, Jamaica -- This resort has a certain stigmaattached to it. Why not? Playboy Channel's "Night Calls" cast hasvisited here, controversial nude weddings took place on Valentine'sDay and the see-through water slide has generated headlines of itsown.

So it's no surprise that Hedonism's vacation image is that of aplayground for the self-indulgent, a Dionysian feast for the 21stcentury.

What, exactly, does that entail? What are the expectations ofguests who come to party hearty -- naked or clothed -- on aweeklong package?

The answer is simple: Hedonism III is Spring Break foradults.

This atmosphere kicked in as soon as the transfer bus picked us upfor the hour-and-a-half drive to Runaway Bay, 40 miles east ofMontego Bay along Jamaica's north coast. Meeting and greeting tookover.

Two twentysomething single guys from New York and a pair ofover-30 single men from New Jersey compared stories and sharedexpectations about the week ahead. All discussion centered oncarnal activity and inebriation.

The rest of the bus was couples. A Maryland twosome were repeatguests of both Hedonism III and its sister resort, Hedonism II inNegril.

Why did they return?

Hubby singled out the weather and the food -- he ate fish threetimes a day -- as main selling points, but he quipped, "Even ifyou're not somebody who gets crazy, you'll always be entertained bythe people who do."

That was pretty much the theme of my Hedonism stay. The resortdoes a fine job of entertaining. With activities such as nude truthor dare, strip pool volleyball and toga and pajama parties, what'snot to like?

Most of us on the bus stayed in contact with each other duringthe week with updates and progress reports. The anecdotes wereilluminating. Hedonism III has two sides -- Nude and Prude. Eachhas its own beach, common areas, pools, bars and grill.

To gather notes for this story, I passed briefly through theNude area. However, I wasn't in the buff and therefore wasn'twelcome.

The beaches, both Nude and Prude, are disappointing in size andquality. They are manmade because the natural coastline is litteredwith sharp, jagged stones. An expansion is planned but not soon,according to a spokesman.

The resort tries to make up for its lack of beach area withthree large pools: the Nude pool; the main pool with bar seatingand a pool table smack dab in its middle, and the Prude pool with aswim-up bar and sun terrace above. Dining was an important part ofeveryone's schedule.

Hedonism III has four restaurants plus breakfast room servicefrom 7 a.m. to 11 a.m. and special Snack Attack packages from 3a.m. to 7 a.m.

Tropical Terrace, the main dining area and venue for nightlyentertainment, served three meals and a midnight buffet. The foodhere does not disappoint, offering something for every palate.

My personal favorite was roasted pig, the centerpiece of aHawaiian-themed night. The beachfront Scotch Bonnet served lunchand dinner.

Although the service was slow at times, the Jamaicanspecialities -- especially the jerk chicken and pork -- were great.I had problems reserving a table at the Pastafari and Munahanarestaurants, both of which require reservations.

The Italian restaurant Pastafari was less difficult to book, andI did eat there twice. Although the mood lighting was too dim andalmost put me to sleep one night, and the portions were small, theshrimp and calamari platter was excellent and the waiters werepatient.

Our solution to the small portions: Sample heavily from theantipasto buffet or order side dishes to fill up the plate.

Reserving a table at the Japanese restaurant was nearlyimpossible. Several guests reported they either had not been ableto obtain a reservation, or it took several lengthy attempts.Munahana's chefs cook in front of the patrons, and the atmosphereis very festive.

Hedonism III boasts six bars along with Tropical Terrace andOctopussy Disco. Entertainment at the Terrace includes magicians,talent shows and concerts.

The Battle of the Sexes pits teams of men against women. Theycompete to see who can change beds the fastest or identify aspouse's rear end by touching it while blindfolded.

The Piano Bar and Octopussy Disco stay open until the lastperson leaves. This strategy seemed a little unnecessary, however.Most singles looking to hook up had already done so and vanishedlong before it got really late.

The Piano Bar is an intimate room serving drinks made withtop-brand liquor while a piano player belts out karaoke tunes. It'stoo bad that the size of the room prohibits more than 30guests.

Octopussy Disco is the best place -- and the only late-nightplace -- to hang, dance, drink and mingle. As one single guy putit, "It's one or the other. There's nothing in between."

Off-site tours at extra cost include Dunns River Falls in OchoRios, catamaran party cruises, all-terrain vehicle safaris and BlueMountain bicycle adventures.

Daytime facilities include a basketball court, two tenniscourts, beach and pool volleyball, a fitness center, spa treatmentsand a games center with table tennis and board games. Guests canwindsurf, water ski, kayak, snorkel and learn trapeze feats at thecircus clinic. Diving requires certification.

Two rooms on the Prude side served as the gift shop,accommodating no more than eight people in each room. Arts andcrafts are for sale around the resort.

Hedonism III provides exactly what its name indicates -- aself-indulgent, worry-free vacation for those who want to gettotally loose -- if only for a week.

Male-pattern boldness: Resort needs 'more singlewomen'

RUNAWAY BAY, Jamaica -- Most of Hedonism's guests are from theU.S. The Midwest sends the couples while singles hail from bothcoasts, although East Coast ZIP codes predominate.

Half the guests are couples who prefer the nude accommodationsand activities. It's this group, too, that comes back for more.

Kevin Levee, general manager, said that Hedonism III may havethe highest percentage of repeat guests in the SuperClubschain.

What's the most frequent complaint? Guys complained to me overand over about the lack of single women in comparison to the numberof couples and single men. A New York male put it this way: "That'snot how they marketed Hedonism."

Resort officials recognize the problem. Hedonism's sister resortin Negril does have more single females, and Hedo III is"definitely trying" to attract more from that market, Levee said.The challenge lies in changing the perception of the resort assolely a haven for nudists, Levee said.

"We want to show that Hedonism is a place where guests can havea lot of fun but keep their clothes on if they want to," hesaid.

Incentives to attract single women include a Threesome Is aFreesome, in which three female guests stay for the price of two,and Fourth Female Free, where four stay for the price of three.

There's no problem getting single men to Hedonism III. I figuredit must be the activities. During my abbreviated, four-night stay,I was treated to a bikini swimsuit competition and a Jamaican modelcontest. That's not too shabby from my perspective.

Too bad I missed the Playboy group that arrived the followingweek. However, without the lovely swimsuit participants, thesingles ratio would have been even more male-dominated.

I also judged Hedonism's middle-of-nowhere location to be aflaw. Unlike Hedo II in Negril, Hedo III offers nooutside-the-resort entertainment, such as bars, dining andattractions, other than a few tours.

Despite what Levee said about the importance of visiting areaattractions, Hedonism III clearly wants its guests to indulgethemselves within the resort's friendly confines.

Although both Hedonism resorts have special features, Hedo IIIhas more "bells and whistles, like a Jacuzzi in each bathroom andfour restaurants," Levee said.

Things to bring for nudes and prudes

If you're single and mingling or accompanied by your partner,here are some items to bring to Hedonism III:

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Taking Time to Enjoy the Pleasures of Life Brings Happiness – PsychCentral.com

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New research suggests acts of hedonism such as relaxing on the couch or enjoying a delicious meal contribute to a happy life as much as self-control. Investigators from the University of Zurich and Radboud University in the Netherlands found the capacity to experience pleasure or enjoyment without getting distracted by intrusive thoughts are important components of a happy and satisfied life.

The research is timely given that most people are now doing business from home, an environment that was previously used to relax and recharge. Investigators believe their findings suggests hedonism should receive a greater appreciation in psychology and in our society.

We all set ourselves long-term goals from time to time, such as finally getting into shape, eating less sugar or learning a foreign language. Research has devoted much time to finding out how we can reach these goals more effectively. The prevailing view is that self-control helps us prioritize long-term goals over momentary pleasure and that if you are good at self-control, this will usually result in a happier and more successful life.

Its time for a rethink, says Katharina Bernecker, researcher in motivational psychology at the University of Zurich. Of course self-control is important, but research on self-regulation should pay just as much attention to hedonism, or short-term pleasure. Indeed, Berneckers new research shows that peoples capacity to experience pleasure or enjoyment contributes at least as much to a happy and satisfied life as successful self-control.

Bernecker and her colleague Daniela Becker of Radboud University developed a questionnaire to measure respondents capacity for hedonism, i.e., their ability to focus on their immediate needs and indulge in and enjoy short-term pleasures. They used the questionnaire to find out whether people differ in their capacity to pursue hedonic goals in a variety of contexts and whether this ability is related to well-being.

They found that certain people get distracted by intrusive thoughts in moments of relaxation or enjoyment by thinking about activities or tasks that they should be doing instead.

For example, when lying on the couch you might keep thinking of the sport you are not doing, says Becker. Those thoughts about conflicting long-term goals undermine the immediate need to relax. On the other hand, people who can fully enjoy themselves in those situations tend to have a higher sense of well-being in general, not only in the short term, and are less likely to suffer from depression and anxiety, among other things.

The pursuit of hedonic and long-term goals neednt be in conflict with one another, says Bernecker. Our research shows that both are important and can complement each other in achieving well-being and good health. It is important to find the right balance in everyday life.

Unfortunately, simply sitting about more on the sofa, eating more good food and going to the pub with friends more often wont automatically make for more happiness. It was always thought that hedonism, as opposed to self-control, was the easier option, says Bernecker. But really enjoying ones hedonic choice isnt actually that simple for everybody because of those distracting thoughts.

This is currently a topical issue with more people working from home, as the environment where they normally rest is suddenly associated with work. Thinking of the work you still need to do can lead to more distracting thoughts at home, making you less able to rest, says Bernecker.

So, what can you do to enjoy your downtime more? More research is needed, but the researchers suspect that consciously planning and setting limits to periods of enjoyment could help to separate them more clearly from other activities, allowing pleasure to take place more undisturbed.

Source: University of Zurich

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Taking Time to Enjoy the Pleasures of Life Brings Happiness - PsychCentral.com

The Other Columbus: National Beer Float Light Cat Pin Zuke Day – Columbus Alive

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Just because we're quarantined doesn't mean we can't celebrate six holidays in a single day

The pandemic has ruined every holiday for the last several months. Regardless of how you come down on specific observances, we should all be able to empathize with people who couldnt see their mothers on Mothers Day for fear of infecting them, or couldnt get out to honor the fallen veterans in their lives on Memorial Day.

There is every likelihood we will lose Labor Day come September, as well, though I am sure the ritual of shedding your white outfits can still be managed in quarantine. The only holiday that was preserved during the spread of COVID-19 was the Fourth of July, which people everywhere celebrated for weeks before and after the designated date, much to the chagrin of pet owners everywhere.

I dont celebrate many holidays, but I do note their capacity for community. Regardless of how you feel about the problematic histories of Thanksgiving or Christmas, most of their detractors still make their case from across a family dinner table. It is that part of the holidays that even a crank like me misses: the times when everything would stop and allow one to take stock of the people in their life under a theme or series of colorful explosives. And its not just families at stake; there is a warm pride that comes from participating in communal celebrations, in having something to rally behind as citizens. And since we cant go to concerts, festivals and, depending on the week, bars, the sting of losing holiday rituals is real.

To this end, I propose a new holiday, one comprised of the random holidays occurring within a given time window. The idea is that participants celebrate all of the holidays in one day, giving oneself over to the caprice of self-control and the heady rush of safe-enough hedonism. Things are pretty dark these days, so how about we jump right in and use the holidays happening within the next few days.

Columbus, I give you: National Beer Float Light Cat Pin Zuke Day! (NBFLCPZD)

This amalgamation of six non-federally recognized holidays is to be celebrated on August 8, which falls on a Saturday this year. It all sounds very extra, but I assure you that you will be able to celebrate this holiday from home, given a day or two to gather the right ingredients.

Holiday source #1: National Root Beer Float Day (August 6)

A&W used to give away floats for this, but it is unknown at press time if this is still the case during the pandemic. But no bother: Youll be celebrating this piece of NBFLCPZD in three minutes flat. Get the biggest cup you own, dump a scoop or two of vanilla ice cream inside, then pour on the fizz. I like mine with a little vanilla bean ice cream to get it that real, old-fashioned taste that used to come from safrole, but was canceled back in the 1960s because it gave people liver damage.

Activity: Make a root beer float.

Holiday source #2: International Beer Day (August 7)

If you live in Columbus, you need absolutely no assistance from me on how to celebrate this portion of the program.

Activity: Go Bucks.

Holiday source #3: National Lighthouse Day (August 7)

Being landlocked, this holiday doesnt usually hit our radar when it rolls around every year. Were missing out, as lighthouses are wondrous structures typically situated in beautiful locales. Dont let that eye-rolling film with Willem Dafoe and Sparkly Vampire throw you off of lighthouses; there is something magical about them, something safe and beckoning for both seafarers and land-lovers alike. I dont even get down with big boats and oceans like that because YOU KNOW. But I still love me a good lighthouse.

Activity: Visit, draw, paint or support a lighthouse financially through the American Lighthouse Foundation or a similar organization.

Holiday source #4: International Cat Day (August 8)

Few things are better than a cat who acts like they like you (save for every dog that has ever existed). If they were good enough to be worshipped by the Egyptians, theyre good enough for a holiday recognizing their fair-weather tendencies. Also, they make for the best memes.

Activity: get your cat a new toy or food. If you dont live with a cat, share a few cat memes.

Holiday source #5: National Bowling Day (August 8)

Lets be clear: It is not safe to be out here putting your fingers in publicly accessible ball holes and rented shoes right now. Do not celebrate this by going to a bowling alley.

Activity: Make a bowling game out of something in the house. Use toilet paper rolls for pins and a baseball as your bowling ball. Its basically what the ancient Egyptians used: a round rock covered in leather.

Holiday source #6: National Sneak Some Zucchini Onto Your Neighbors Porch Day (August 8)

I thought this one was bogus, but it turns out its a thing. With publicly transmitted diseases being what they are right now, I dont advise actually doing this one this year, at least not in the traditional way. You shouldnt be accepting random things on your porch. If you do, you should quarantine the item for at least 4 days. See how its not really worth it?

Activity: Eat a zucchini or zuck-infused dish on your porch or deck for all your neighbors to see.

This is something we could do as a a city from month to month for as long as the shutdown lasts. And before someone lifts my idea, the official hashtags are #NatBeerFloatLightCatPinZukeDay and #NBFLCPZD.

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Two Dances: The Women of Fellini and Beardsley – Varsity Online

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Fellini's '8 1/2'instagram/federico_fellini

Before Wildes play, the defining image of Salome was ingenuic: renaissance depictions of the princess clutching the Baptists head, sanitised of gore, as though it might be nothing more unordinary than a particularly large and bearded melon. Beardsley rectified all that, with his Salome a snarling, sexual, demonic figure, not quite harpy, not quite princess. She could be twenty, she could be sixty, for there is something timeless about the monstrous glee with which she stares into the Baptists rolling eyes. In Beardsleys style, Salome stains the page, ink curdling, violent white against violent black, mother pearl and coal dust. Her hair is enormous, it seems to writhe in great matted gorgon-like knots, and her dress slipsseductive? Sloppy? Either way, a deeply reductive depiction of female sexuality.

I am watching Fellinis 8 when I think about Beardsleys Salome. Fellini women encompass a great many kinds of femininity, a rogues gallery of womanhood through the eyes of a man: sensuality, immaturity, haughtiness, glamorousness. Maddalena, Sylvia and Gloria share an easy aloofness; Juliet, Emma and Luisa all bitterly wronged wives. But none are quite like Saraghina.

"Saraghina emerges from her cave-like dwelling in a ragged half-dress, all tendon, muscle and animal slabs of flesh, practically prehistoric"

Saraghina emerges from her cave-like dwelling in a ragged half-dress, all tendon, muscle and animal slabs of flesh, practically prehistoric. In the infamous scene, she is sought out by schoolboys and paid to dance the rumba, the money tucked in her cleavage. She smiles, wide and wet, and begins to dance with solid, muscular movements as though wading through tar. It is a disturbing dance, like Salomes, animal and instinctual. It is at once childish and deeply adult, exuding a heady seductivity that we inhale with the boys as though it was church incense, for it demands to be inhaled, sweaty and beachy: sea salt, salt sweat. Adolescent and church-like. Her beachside pillbox-hut (it seems important scenes in Fellini always take place beside the sea) has all the squat solitude of an anchorites hermitage, and, for a destitute semi-prostitute, she has all the trappings of someone deeply religious, a veritable Mary Magdalene.

"Her monstrous girlishness, her caricature body, and her daunting sexuality seems characteristic of the auteurs women"

When the boys secretly flee the school in search of Saraghina they are watched over by an enormous statue of a church dignitary looking sterilely down at them. Where the saintly effigy is white and marble, Saraghina is dark and fleshy, an overripe Eve in grayscale. But she is not entirely unlike the statue, she too is enormous, a giantess to the boys, thighs, arms and bust solid, neck sprouting from her torso as though coursing with sapI wonder how much of this gigantic size is authentic, and how much is childhood imagination, for everything seems big to someone small. Fellini himself has said that she is sex as seen by a child. Grotesque yet seductive to one so innocent, a line that evokes perhaps Jokanaans revulsion at the desirous Princess Salome, but I wonder if she is also womanhood stripped back as seen by the male gaze. Her monstrous girlishness, her caricature body, and her daunting sexuality seems characteristic of the auteurs women. Rota scores the scene with a searing Weimar tune, squawked out on a throaty accordion, sensual in its theatricality, the music screeching as Saraghina plucks a boy up, holds him to the sun and grinsharmlessly childlike, or hungrily menacingher hair like a statically untameable halo. It is seeing her in that pose (smiling at the child held aloft like the Baptists head, post dance with her dress slipping) that I realise Saraghina is Fellinis own Salome, his women are Beardsleys women.

Beardsleys women are reductively seamy grotesques, their 2-Dimensionality not just due to their place on the page. They are often felinely androgynous, with sneering lips, cat-like eyes and hermaphroditic in body. A modern audience may find them distasteful, defined for the large part by the apparent repulsion-cum-fascination Beardsley takes in their sexualitythough do we expect substance and gender-dimension from nineteenth century decadent art? The same is true for Fellini. His City of Womena sort of modern misogynistic pasquinade of Christine DePizan. His films are wish-fulfilment; through semi-autobiographical protagonists Fellini treats himself to a sort of Solomons harem of women who lavish attention on him, a Bechdel nightmare that leaves me rolling my eyes at best, and slightly nauseous at worst. In 8 , Mastroiannis character imagines a dream world in which all the women hes ever been attracted toohis wife, showgirls, mistresses, and indeed an imagined Saraghinadote on him, fight one another for his attention, an autobiographical wish-fulfilment for Fellini to indulge in unchecked male gaze, their personalities sacrificed for visceral focus on their sexualities.

Through their women, Fellini and Beardsley satirise the very cultures they rule as princes over, a self-indulgent creative hypocrisy. Fellini depicts Italys Jet Set of the 60s as a shallow, carnal whirlwind of hedonism, though in doing so takes great pleasure in indulging in and filming all the sun-steeped sex that he allegedly parodies. Likewise Beardsleys pieces often inkily lampoon the Decadents, and yet to think of Beardsley is to think of the very Decadents he ridicules. Their invasive obsession with and vitriolic depictions of female sexuality smack of a distasteful male gaze, and so their women, Saraghina and Salome, come to expose them, the culmination of their work and desires. If the men claim their grotesques of female sexuality, their condemnations of hedonism are satire, Saraghina and Salome know better, rolling their kohl rimmed eyes together.

Varsity is the independent newspaper for the University of Cambridge, established in its current form in 1947. In order to maintain our editorial independence, our newspaper and news website receives no funding from the University of Cambridge or its constituent Colleges.

We are therefore almost entirely reliant on advertising for funding, and during this unprecedented global crisis, we have a tough few weeks and months ahead.

In spite of this situation, we are going to look at inventive ways to look at serving our readership with digital content for the time being.

Therefore we are asking our readers, if they wish, to make a donation from as little as 1, to help with our running cost at least until we hopefully return to print on 2nd October 2020.

Many thanks, all of us here at Varsity would like to wish you, your friends, families and all of your loved ones a safe and healthy few months ahead.

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The Dandy Warhols Thirteen Tales From Urban Bohemia: Why It Mattered – Happy

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In their first six years as a band,The Dandy Warhols quickly established themselves as outliers in the rock and roll scene. Tinkering with garage, psych-rock, electronica, glam, shoegaze, and classic rock sounds throughout their first two albums meant the band was quite hard to define. As a result, there was a shift in focus away from their music and towards their attitude; blissed out and purposefully nonchalant.

The bands unconventional approach to genre was never more outstanding than it was in August 2000, when the Portland-based group released its third album.Thirteen Tales From Urban Bohemiais undoubtedly The Dandy Warhols best work;a bakers dozen of infectious rock tracks that exude the bands playful character and a distinct sense of melancholy. It was through this album that the Dandy Warhols helped kick-start the naughties rock revival, paving the way for garage and alternative superstars for years to come.

Frontman Courtney Taylor-Taylor had a vision for Thirteen Tales From Urban Bohemia,and in order to achieve it, the band started cultivating a far more specific sound compared to previous releases.

In contrast to dabbling in a whole universe of genres, Taylor-Taylor took a deep dive into the world of classic rock, allowing some of the rock scenes most significant figures, fromGeorge HarrisontoThe Grateful Dead,to inspire his sound:

We felt like we needed to make the last classic rock album. A record that would be, sonically, shaped somewhere in-betweenAll Things Must PassandWorkingmans Dead.

In 1999 the thought of reviving the classic 1970s rock and roll sound was uncool to the bone, but distancing themselves from the current trends was quite the deliberate act. Already knowing their album would be unique, The Dandies rented out what was once a gay mens gym in Portland to record their album.

This unexpected setting became the bands creative haven. Zia McCabe, the bands keyboardist, said at the time:

We recorded the album in this old gay mens gym. We took it cause we were so desperate for a place. The sauna became the drum room, there were lots of shower rooms to record in and one little office that we made the control room.

The end result ofThirteen Tales From Urban Bohemiais messy musical perfection. Opening track Godlesspulls you into its sprawling atmosphere and immediately declares its darkness. OnCountry Leaver Taylor-Taylor drawls his way through a twangy backdrop, reintroducing the confident swagger and self-assurance that the band and especially its frontman was known for. Solidis rocky bliss-out, whileHorse Pillsshowcases a sharp lyrical wit.

Get Off sits pretty in the middle of the album a short-lived song about the lavish life of a star, filled with sex, drugs, and rocknroll.

The Dandies also gave us a taste of a much more sombre style throughoutThirteen Tales From Urban Bohemia,especially in tracks likeBig IndianandThe Gospel,arguably one of the most stunning conclusions to a rock album.

Of course, the albums most famous track isBohemian Like You,which has also been acknowledged as the bands most influential creation.Dropping a few subtle nods to The Rolling Stones,with itsshambling percussion and catchy chorus, its impossible not to like. After the track was featured in a big-time Vodafone campaign, an interest in the bands style grew.

Soon enough, everyone wanted a piece of the new-old sound, and groups like The White StripesandThe Strokeswere taken far more seriously.

When looking back onThirteen Tales From Urban Bohemia, what stands out is how The Dandy Warhols probed their hedonism as a sonic inspiration. Unhappy with the music the world had on offer, Taylor-Taylor and his band were determined to bring a bit of old school style back for good.

And thats exactly what they did.

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The South Got Something To Say: A Celebration Of Southern Rap (1995-1999) – NPR

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At the 1995 Source Awards, Andr 3000 issued a proclamation, or a prophecy: "The South got something to say." Inspired by his words, this list represents some of the most impactful songs, albums and mixtapes by Southern rappers. It was assembled by a team, led by Briana Younger, of Southern critics, scholars and writers representing the Carolinas, Georgia, Florida, Maryland, Mississippi, Texas, Tennessee, Louisiana and Virginia.

We offer this list not as an authoritative canon but as an enthusiastic celebration that recenters the South's role as a creative center of hip-hop and presents the region for all that it has been and given to us.

Goodie Mob, "Cell Therapy"

A pianist taps out a low D and a syncopated D-minor blues chord. A psychedelic guitar lick frets, no, chokes a note for five supple seconds to trip you out, seeming to signal that Jimi Hendrix and Freddy Krueger are back from the dead, the latter surely to shank you. Then the keys add an even lower D and A pattern in the mix with an unassuming drum-and-bass line that lets you know you're not in Hollywood on Elm Street; the Bronx projects; riot-riven, post-Boyz n the Hood South Central L.A.; or even a Miami Beach rumpshakin' set with Uncle Luke. Reporting to you live from "the traps" of "the city too busy to hate," a voice, like buckshot, breaks the ragged silence, only to unsettle you further with 28 words so at war with the 16 counts they fall within that you know you'll never see Atlanta's longtime slogan or hear Southern hip-hop the same again: "When. The. Scene. Unfolds. Young guls. Thirteen. Years old. Expose. Themselves. To any Tom, Dick and Hank. Got mo'. Stretch marks than these hoes. Holle'n they got rank." Surely, not even Scorsese and his whitewashed Taxi Driver lens could make Goodie Mob founding member Khujo's vision any less horrific. And so begins the debut song from four survivors of the so-called war on drugs, who at once detail Black folks' complicity in trafficking, abuse and glorification of illicit crime, declaim any confidence in governmental intervention and refuse to succumb to imminent doom and gloom on the hallowed ground they would famously dub "the Dirty South." In fact, as CeeLo Green, T-Mo and Big Gipp join the phantasmagoria with confessions and observations, they dare to weave a host of Orwellian conspiracy theories for a class-stratified nation too busy to care, decrying the nightmarish corruption and surveillance, historical and present day, that's dependent upon Black communities' implosion and self-destruction. The peerless production of Organized Noize (Rico Wade, Sleepy Brown and Ray Murray) and the spiritual force of their Dungeon Family (iconoclast duo OutKast, rappers Killer Mike and Big Rube, funk singer Joi and others) propel these foot soldiers to stand guard, glocks cocked and ready to take aim at any enemies, one verse at a time. "Who's that peeking in my window? POW! Nobody now!" they chant, putting the industry on notice and calling fans and all Southern rappers after them to come correct and join the front lines. L. Lamar Wilson, Ph.D.

Soul food is a quintessential element of African-American culture, standing as an example of the way enslaved Africans took the scraps they were given and nourished their families. Today, those dishes are an integral part of the broader American palate, as is Southern hip-hop. On their debut album, Goodie Mob took the term "soul food" and transformed it into a metaphor for the experiences of the working class in the "Dirty South."

Released at a time when Atlanta was still fighting to prove that the city, and the South, had something to contribute to hip-hop, Soul Food stood as an example of the consciousness the region was capable of. Atlanta was largely benefiting from its status as "The City Too Busy To Hate" (they'd go on to host the Olympics one year after Soul Food was released), but Goodie Mob spoke for the Black residents who were surviving off the scraps leftover by the white and Black elite. The rappers weren't afraid to call out the violence of former Atlanta drug unit the Red Dogs or former President Bill Clinton (referring to him as Bill Clampett, a reference to the Beverly Hillbillies character Jed Clampett). On "Free," the opening track that evokes the memory of negro spirituals, CeeLo longs for an escape from opression; on "Live at the O.M.N.I.," the group flips the title of a former entertainment hub in Atlanta into an acronym about mass incarceration, while Khujo's reference to the "trap," on "Thought Process," is often considered one of the genre's first uses of the term on record. A foundational part of Atlanta's extensive and ongoing rap legacy, Goodie Mob's debut provided a counter narrative to the city's standing as a "Black Mecca" and, combined with OutKast's Southernplayalisticadillacmuzik, helped show that the South could provide consciousness in addition to the booty bass it had come to be known for. 25 years later, the album is still as nourishing as "a heaping helping of fried chicken, macaroni and cheese and collard greens." Jewel Wicker

TRU, "I'm Bout It Bout It" (Featuring Master P and Mia X)

TRU's "I'm Bout It Bout It" is the first big missile from the No Limit Tank that bulldozed through hip-hop from 1995 to 1999. It's also one of the rare times we hear a man (Master P) and a woman (Mia X) share mic duties on the same track and not talk about the usual duet topics of love, sex and relationships. Instead, both offer up violent, but prideful, looks at what life was like in New Orleans, "the murder capital of the world" at the time. Producer KLC provides the perfect backdrop, incorporating a West Coast-ish, Ohio Players "Funky Worm"-esque synth over a New Orleans bounce rhythm that ironically symbolizes P's recent move from Richmond, Calif. back to Louisiana. Even though P didn't offer a definition of what "I'm Bout It" actually means until the last seconds of the song, the raw energy, attitude and litany of city shoutouts in it had most listeners asking themselves if they were "bout it" or not before they officially found out. Maurice Garland

Mystikal, Mind of Mystikal

Initially released as an indie record simply titled Mystikal in the summer of 1994 on New Orleans' Big Boy Records, Mystikal's auspicious debut, Mind of Mystikal, made a huge impression on the Deep South by proving to the region and those outside of it that the Crescent City had more to offer than club-friendly, chant-heavy, p-poppin' bounce music. At a time when bounce artists were outselling many national rap artists in the New Orleans and wider Louisiana market, Mystikal's self-release numbers surpassed those of his homegrown peers, and his popularity and dynamic performances placed him on Jive Records' radar, who quickly signed him to a distribution deal giving him a national platform.

The Mind of Mystikal, which came in the fall of '95, added a few new songs to its predecessor including the classic tracks "Beware" and "Here I Go," the scathing answer to diss records by Cash Money's The B.G.'z and U.N.L.V. Its gold-earning success proved to the industry that New Orleans rap artists could be commercially viable on a national level, making it easier for New Orleans labels like Master P's No Limit and the Williams brothers' Cash Money Records to ink lucrative deals. In addition to garnering critical acclaim from a fickle hip-hop scene that was largely dominated by the East and West Coast, Mind of Mystikal offered proof that the N.O. had top-notch lyricists capable of competing with the best. Charlie R. Braxton

Eightball & MJG, "Space Age Pimpin'"

The video for "Space Age Pimpin'" is set in a floating brothel with women crawling all over invited guests, the future Eightball & MJG envisioned on "Pimps in the House," from their 1993 album Comin Out Hard. MJG opens the song with such chivalrous advances "I be obliged if you step outside, your ride is awaiting" and Nina Creque's crooning atop T-Mix's buttery production made of twangy guitars and pillowy horns over warm bass lines is so pleasant that it's easy to forget the endgame. Eightball offers a reminder in the back half: "slip on the latex and dive in. Swish."

The track showcases Memphis rap's deep musicality, the prevalence of pimp culture that took hold in the city, and Eightball & MJG's dogged pursuit of hedonism. They don't "smack, step back, and watch that ho hit the flo'" like on "9 Little Millimeta Boys," instead offering something like romance. Eightball suggests that he and his paramour get to know each other; MJG's lover asks if he'll kill for her, and he replies, "Yeah, if my life in danger too." The whole thing feels hazy and dubious, which so much pleasure is. Melvin Backman

Mia X, Good Girl Gone Bad

There was a tremendous output of Black women's writing from the 1970s to 1990s that consciously centered Black women's experiences from enslavement to the post-Civil rights movement as essential to understanding the way power works in our nation. Now canonical texts, these works include Ntozake Shange's choreopoem For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf (1976), Alice Walker's novel The Color Purple (1982), Angela Y. Davis's book of essays Women, Race, and Class and Barbara Smith's incisive Black queer women's anthology Home Girls (1983), Kimberl Crenshaw's essays on intersectionality and jurisprudence (1989, 1991), Patricia Hill Collins' academic monograph Black Feminist Thought (1990), Beverly Guy-Sheftall's anthology of Black women's writing from the 1830s to the 1990s (1995) and Mia X's debut album, Good Girl Gone Bad (1995).

Within the first few bars of the first track, "Ghetto Sarah Lee," Seventh Ward's Mia X, the first woman emcee of Master P's burgeoning No Limit Label in New Orleans, distinguished herself as the indisputable "Mama of Southern Gangsta Rap," a title that only she can hold. Her dizzying versatility across New Orleans bounce to West Coast-influenced gangsta beats and the blend thereof are second only to her narrative dexterity and clarity about who she is as a Black woman oppressed by racism, patriarchy and capitalism in the shadow of Clinton's crime bill. She is every woman a woman struggling through the challenges of single motherhood, holding it down in a community choked by mass incarceration, managing heartbreak, mourning the loss of a dear friend to domestic violence and moreover a woman seeking and declaring herself worthy of life and pleasure. It's these multitudes that beget the righteous Rapsody, the baby mothering BbyMutha, the sensuality-centering Trina and the gangsta Megan Thee Stallion. Mia X cooks on this album, a method of survival forged by improvising nourishing recipes from whatever she had on hand and in her ancestral lineage to feed herself, her family and Southern hip-hop. We are still lucky to sit at Mama's table. Zandria F. Robinson

There are only a handful of lyrics from this 1996 twerkfest, which introduced us to the wondrous contradictions of Trick Daddy, that can comfortably be printed. The nonce naughtiness of the titular exclamation underscores that it was always the genius production and one-liners of Luther Campbell that made his Miami bass-driven tracks at once undeniably danceable and unforgettably gutbucket-good. Recasting himself here as a solo act under his nom de guerre Uncle Luke amid his label's bankruptcy reorganization, Campbell paired Trick's laidback pimp flow with the gangsta grime of Verb, whose triple-beat rhymes could rival Twista and Mystikal at their best. The rest is roughly 2-1/2 minutes of histrionic, anaphoric hooks ("Hydraulics!" "Capt. D comin'!") from Luke, including the closing stinger "Free Willy!," an especially clever pun on a PG-rated film about a beloved orca that surprisingly hasn't been resurrected in the recent glut of remakes of early 1990s gems. With the all-star music video featuring everyone from Paula Jai Parker, round-the-way-girl-o-the-day, to Rudy Ray Moore, aka "Dolemite" himself, Campbell let the world know that while he was down with money problems for the moment, he wasn't leaving the game without a fight. To this day, "Scarred" rivals any song in Lil Jon's crunk catalog. Just drop this track in your party's mix, and watch da booties go whop-whop-whop ... L. Lamar Wilson, Ph.D.

UGK's Ridin' Dirty grooves just as much as it bangs. The third studio album by the Port Arthur, Texas duo was released in 1996 and modeled after the infamous tapes created by the forefather of Houston's native chopped and screwed genre, DJ Screw; the pensive "3 in the Mornin'," is named after his project, 3 'N the Mornin'. Even Ridin' Dirty, itself, is a duplicate title, taken from DJ Screw's collaborative tape with the group, recorded shortly before the release of Bun B and the late Pimp C's own work. True to its origins, the UGK iteration of Ridin' Dirty settles into a decidedly unhurried pace: "One Day" and "Diamonds & Wood" serve as the most contemplative songs on the album, with the artists rapping solemnly and steadfastly about their respective trials, tribulations and errors as human beings. There are a few exceptions to the measured pacing, like the frenetic "Murder," produced by Pimp C; on it, both Pimp and his counterpart spit intense, threatening rhymes about their confident positionings as men and artists. "Well, it's Bun B b****, and I'm the king of moving chickens / Not them finger lickins'," Bun announces vitriolically, before launching into a tear of a verse. Much of the album is produced by the unofficial in-house team of Pimp C and his frequent collaborator N.O. Joe, who craft a sound that resembles a laid-back journey through the streets of South Texas, largely driven by funk and soul samples. Pimp, the more vocal half of UGK, ultimately used songs like the title track and the outro to shout out regions, cities and crews across the South, laying bare his affiliations and how meaningful they were to him. Kiana Fitzgerald

DJ Screw, 3 'N The Mornin' Part Two

3 N the Morning Part 2 Bigtyme Recordz hide caption

"We tryna let the whole world hear how we do it down South," ESG, Houston rap royalty, warns in his endearing drawl on the intro of DJ Screw's 3 'N the Mornin' Part Two. The tape is filled with repeated phrasing and expertly placed turntable scratches that permeate the brain in an intentionally syrupy way all in service of DJ Screw's lofty, but attainable, plan to chop and screw the globe, one song at a time. Not only did Screw produce hundreds of his own tapes before passing away in 2000, he inspired a rival Houston coterie, Swishahouse. That crew eventually birthed the Chopstars of present day, who construct their own prolific "chopped not slopped" creations in memory of the originator.

3 'N the Mornin' Part Two is the epicenter of Screw's extensive tape series and touches on everything from the perils young Black men fought to escape in the mid-1990s ("No Way Out") and still face today, to the small pockets of local joys ("Elbows Swangin'"). The last third of the tape is the most potent, starting with the transformative "G-Ride," which kicks off with a countdown and an enthusiastic "all aboard" before DJ Screw constructs a gauzy scene for ESG to spit all-knowing bars over and for featured singer Flava to sprinkle his soulful vocals. From there, DJ Screw blends his way from the self-explanatory "Why You Hatin' Me" to the eerie "Cloverland," which drips into the album's most well-known track, "Pimp tha Pen" by Lil' Keke, who raps from the heart from jump, with 3 'N the Mornin' Part Two's most memorable lyrics: "I'm draped up and dripped out / Know what I'm talkin' bout?" In their regional specificity and colloquialisms, those lines embody the essence of the entire project, letting it be known that this is a tape for Texans, by Texans. Everybody else is welcome to join the voyage. Kiana Fitzgerald

Tela, "Sho Nuff" feat. Eightball & MJG

If there was a periodic table for what southern hip-hop sounds and feels like, blues guitars and strip club visits would be two key elements. Tela's 1996 hit "Sho Nuff" has healthy doses of both. Produced by Jazze Pha, the track doesn't open with a drum pattern or voice adlib, instead it immediately identifies itself with guitarist Neal Jones' three-note intro that brings you back to the first time you heard it, everytime you hear it. This musicality, matched with Tela and guests Eightball & MJG using the art of storytelling to describe their interactions with "hoes with no clothes," set and damn near created the bar for what a "strip club anthem" is supposed to be which, before this, mainly consisted of simple chants and direct instructions for "shaking that ass in the club." To this day, "Sho Nuff" remains tied with Ball & G's "Space Age Pimpin'" as the highest-charting single Suave House Records ever released. Maurice Garland

Ghetto Mafia, "Straight From The DEC"

The origins of trap music have long been disputed, with Atlanta artists T.I., Jeezy and Gucci Mane often credited with taking the genre mainstream. But prior to their reigns in the 2000s, acts such as Goodie Mob and Ghetto Mafia were rapping about the trap.

While the record labels So So Def and LaFace were solidifying Atlanta as a cultural hub in the mid-1990s, Nino and Wicked of Ghetto Mafia were setting their country rhymes squarely in the neighboring city, Decatur. "Naw, this ain't Compton. This Decatur," rapper Nino adlibs underneath the hook of their standout single "Straight from the DEC." An ode to their hometown that centers around tales of drug dealing and raids over a bluesy guitar riff, "Straight from the DEC" doesn't actually include the word "trap" (although the pair utilizes the word elsewhere on their sophomore album of the same name). Still, it encompases the lyrical themes the genre would become known for. Ghetto Mafia never reached the level of fame of their peers of the time such as OutKast and Goodie Mob, but they remain local legends and early pioneers of the city's hip-hop scene. Jewel Wicker

Young Bleed, "How Ya Do Dat"

Ask any fans of Southern rap to list their favorite No Limit songs, and chances are they'll include Young Bleed's "How Ya Do Dat." The Baton Rouge/New Orleans/No Limit anthem served as a declaration that Louisiana was no longer going to be relegated to the rap sidelines. Bleed opens the song with a question familiar to any Louisiana native and New Orleans Saints fan: "(W)ho dat? Heard they wanna do dat." And whether takers were from Kentucky, Tennessee, North Carolina, South Carolina, Utah, Arizona or beyond, they could get that bayou smoke.

"How Ya Do Dat" was a key part of the Tank's early success and one of the tracks on the I'm Bout It soundtrack responsible for garnering the label its first No. 1 album. Ironically, despite the single and Young Bleed's subsequent 1998 Priority Records debut My Balls & My Word and their affiliation with No Limit, Bleed wasn't actually a No Limit artist. In-house production team Beats by the Pound only touched up "How Ya Do Dat," which started as 1996 Bleed solo track "A Fool,'' composed and produced with his then collaborator, now Grammy-winning producer Happy Perez. The combination approach made for a result that's a little more melodic than the standard Beats by the Pound production, taking the trademark mix of New Orleans bounce and the harder gangsta element that made you believe No Limit soldiers walked the "Hoes bounce that ass, n***** get dealt with" talk and infused it with a little West Coast funk. The sound is a reflection of Perez's Dr. Dre and Pimp C discipleship, plus some influence from his hometown of Houston, which lends a dark, heavy feel to the instrumental. (Perez also worked on the debut album of Bleed's little cousin, Boosie.) But as often happens with No Limit posse cuts which were spread throughout the No Limit discography like Easter eggs to drive sales for each of the continuous releases out of the camp the primary artist got lost in the mix. Master P is often listed as the title artist for "How Ya Do Dat," while Bleed, despite the Gold success of My Balls & My Word, has largely faded into semi-obscurity. Still, the rally cry of "How Ya Do Dat" has listeners ready to act a fool even 20 years later. Naima Cochrane

Missy Elliott, Supa Dupa Fly

In the summer of 1997, hip-hop desperately needed to find its joy again following a presumed East Coast/West Coast rap rivalry left its two brightest stars, Tupac Shakur and The Notorious B.I.G., dead at the ages 25 and 24, respectively. Enter Missy Elliott, her close friend and superstar producer Timbaland and Supa Dupa Fly. There's not much of an argument to be made about whether Missy's debut album is a classic. It is. Full stop. But is it a Southern album is where the discussion gets foggy, much how it's always been for Virginia hip-hop.

Supa Dupa Fly is an amalgam of sounds and genres, from hip-hop, R&B and soul. Listening to the album in 2020, it feels like a project that's still a good 10-15 years from its actual release date, still ahead of its time sonically and culturally. Speaking to Timbaland in 2017 for the 20th anniversary of the album, he didn't mince words when zeroing in on its impact. "We made history," he told me. "We came in and shifted the tempo and the bounce." No cap. "Sock It 2 Me" with Da Brat was erotic and promiscuous, but carried an undeniable bop with it. "Beep Me 911" with 702 and Magoo was vulnerable, yet simultaneously sultry. Records like "Best Friend" featuring Aaliyah and "Friendly Skies" with Ginuwine were further proof that Missy never minded sharing the stage with her friends. In fact, she preferred it that way. A defibrillator jolt to the very nervous system of a reeling Black music ecosystem, the Portsmouth, Va. native's debut project is as importantly-timed a classic as there is. "We were young," Timbaland said. "[Missy's] whole thing was, 'I gotta do this and make it fun.'" Mission accomplished. Justin Tinsley

Kilo Ali, "Love In Ya Mouth"

In 1997, Kilo Ali made the best rap album of his career. It was his seventh project, and he was only 24. The Atlanta upstart had made a name for himself, releasing his first hit, the conscious jam "Cocaine," at 17. He followed that with a run of four regionally loved albums in the early '90s that yielded his first taste of nationwide recognition, thanks to his cuts "Nasty Dancer" and "White Horse," from his 1995 album, Get This Party Started. With momentum on his side, Organized Bass was the result of a joint deal with Interscope records and Kilo's musical ties to the city, which included the Dungeon Family. "Love Ya In Mouth," like the bass music tradition that heavily influenced his work, was Kilo Ali making an oral sex anthem that to this day still has dope boys and private school girls alike yelling, "She said she never done it / she said never tried / she sitting there telling a m************ lie." It's like watching that R-rated movie you know will get you in trouble with your parents, but it's so damn good you don't care. That Big Boi pops up fresh off of OutKast's lyrical deep dive known as ATLiens only adds more spice to a boiling pot of raunch. Gavin Godfrey

Master P and his independent No Limit label officially introduced themselves in 1995 with his group TRU's explosive single, "I'm Bout It Bout It," which took its self-titled LP to gold status. The following year, he established himself as a solo artist by releasing the platinum-selling LP Ice Cream Man. At the top of 1997, TRU's follow up effort Tru 2 Da Game went platinum; that summer, P wrote, directed, and starred in the film I'm Bout It, which became a cultural phenomenon that earned him yet another platinum plaque, and with all eyes officially on him, he dropped Ghetto D in September. Could he repeat his incredible success or would he fall off? The album, which yielded the hit single "Make Em Say Uhh!," proved to be lightning in a bottle and the record of his career, selling 250,000 copies the first week out and eventually reaching triple-platinum status. It was the largest selling record in the No Limit catalog an extraordinary feat in itself and took Master P from underdog rapper to pop star status and No Limit Records from fledgling indie outfit to bonafide national label. In the boardrooms, majors took notice and began to see the fiscal advantages of inking deals with Southern startups, and in the streets, a slew of down South hustlers were inspired to pour their money into music hoping to repeat P's success. Charlie R. Braxton

Three 6 Mafia, "Tear Da Club Up '97"

Since its introduction to the mainstream, Southern rap music has built a bulletproof legacy of getting the body moving. From Miami bass to New Orleans bounce, rappers have acted as the mouthpieces for their regions, fashioning anthems that would permeate outside of their home turf. When it comes to Memphis, the locally-developed sound that eventually became a staple in early 2000s pop culture was crunk and few tracks embodied that sound like Three 6 Mafia's early hit "Tear Da Club Up '97," from the group's Chapter 2: World Domination. Its legend not only lies in its ability to inform other cities like Atlanta (where it went mainstream) how to channel rage, but also in the taboo reputation that the song cultivated in its genesis: The song's messaging is almost exclusively based around throwing hands, bows and shoe bottoms at strangers in the club. Turn it on today, and people still honor it in similar fashion. Lawrence Burney

Raheem The Dream, "Freak No Mo"

One of Atlanta's earliest stars, Raheem The Dream paved the way for generations of acts in the city, helping to formulate the then-popular Miami bass into an Atlanta sound (alongside peers like Kilo Ali and MC Shy D). "Freak No Mo" is a subtle but beautiful mix of Miami booty-shaking style and Atlanta attitude that arrived just as the city's famed Freaknik was coming to an end. Its rolling bass giving way to a smoother, slower groove all but closed the door on the era. In 2014, the then-rapidly rising trio Migos took Raheem The Dream's "Freak No Mo" concept and fashioned it into the stripper ode "Freak No More" from the album No Label 2, a reference that brought the long history of Atlanta's spot at the forefront of sonic shifts in hip-hop full circle. Raheem the Dream's behind-the-scenes work of transforming his music into a business with his Tight 2 Def label (which would eventually give us early records from DRAMA, Young Dro, DG Yola and Dem Franchize Boyz) remains his truly foundational work; a song like "Freak No Mo" only reminds us just how far back and forward that legacy stretches. Clarissa Brooks

DJ DMD, "25 Lighters" (Featuring Lil Keke & Fat Pat)

In the history of the Screwed Up Click, Lil Keke & Fat Pat are the greatest duo that never was. Both achieved solo success within the Click, and Keke holds the honor of having the collective's first breakthrough single after E.S.G. discussed jamming Screw openly on "Swang N' Bang" in 1995 ("Sip syrup, swang and bang, jam nothing but that Screw fool"). Keke's "Southside" was originally a jailhouse freestyle that evolved into a dance and ultimately a salvo sent to the rest of the world. Fat Pat was the gravel-voiced superstar who would be tragically cut down in February 1998, a month before the release of his classic debut album, Ghetto Dreams.

"25 Lighters" with Port Arthur native DJ DMD marks one of the few times Keke and Pat's chemistry manifested in a full-blown single. Over a chop of Al B. Sure!'s "Nite & Day," all three parties exhibit what make them world-beaters: DMD's opening verse feels like a gospel refrain, as he breaks down why the number 25 is so prevalent in his life; Keke's rundown of day-to-day operation and mantras ("never trust broads"); Pat's coda of strongarm bravado. The song also helped establish slang around "25 lighters," code for holding crack rock within an empty BIC lighter. Pieces of the track have been lifted in various forms by the likes of Kendrick Lamar, Big K.R.I.T., Mac Miller and Z-Ro; there's also a gospel remix and even one by Houston's own classic rock band ZZ Top. Brandon Caldwell

Trick Daddy, "Nann N****" (Feat. Trina)

"Nann N****," Trick Daddy's 1998 release from his sophomore album http://www.thug.com is an unequal sparring match. This is to say that, on first listen, it's possible to think Trick Daddy steers the flow and sharpness of the record, but with a slight second thought, it's clear that then 24-year-old Trina, who had just gotten her real estate license that year, was the victor. It's one of the highlights of Trina's career and foreshadowed a catalog of hits that would help pave the way for women in hip-hop to see themselves fully. We have no Megan Thee Stallion or Nicki Minaj without the powerful words of Trina. Her feature verse showcased her best attributes: her wit, conversational lyricism and unabashed sexuality that is not in relation to the male gaze but from her own internal compass. Trina's upbringing and clear sense of self-esteem reflected the basis of Black women's ownership of their autonomy and tacitly rejected the ways in which it has always been policed and ridiculed. Her debut album, Da Baddest B**** in 2000, and the music that followed, granted her entry into hip-hop's hall of fame not only for her explicit lyrics and her ability to spar with her peers but also her commitment to outdoing her past self time and time again. Clarissa Brooks

Writing a short review of Aquemini feels wrong. This album needs books written about it. Actually, it needs sets of books like Regina Bradley's Chronicling Stankonia and sequels upon sequels to actually explore what OutKast did to sound and song. Over 20 years after the album dropped, there may not be any popular art that is as equally committed to being innovative as it is to being jammin'. Aquemini made those of us crazy enough to wander wonder about the relationship between invention and appeal. How do you give consumers something they've never experienced and make them not just need, but want, to experience it again? While nothing before or after sounded like "Hold On, Be Strong," "Rosa Parks," "Da Art of Storytellin' (Pt. 2)," "SpottieOttieDopaliscious," "Liberation" and "Chonkyfire," it's the character and characters of Aquemini that really secure it as one of the greatest artful constructions ever made.

Of course, we have Andr and Big Boi, luminous and rhyming back-to-back. But to whom are they rhyming? I imagine Big and Dre in the middle of a levitating cypher rhyming to the characters: Sasha Thumper, the gypsy from "Rosa Parks," the owner of the bootleg album store in skits, Raekwon's Henny drinking self, Nathaniel rapping over the phone from prison, and Badu wearing a shirt that says airbrushed, "Tryin' to stay sane is the price of fame / Spending your life trying to numb the pain / You shake that load off and sing your song / Liberate the minds, then you go on home." Surrounding that cypher of breath-filled Black human beings is a larger cypher of sounds that is one fourth heaven, one fourth jungle, one fourth Jupiter and one fourth harmonicas. Kiese Makeba Laymon

Gangsta Boo, "Where Dem Dollas At"

Gangsta Boo is the Queen of Memphis and the First Lady of Hypnotize Minds, Prophet Posse and Three 6 Mafia. She is the original "f****** lady": horrorcore, smoke, mosh pits and boss s***. Whenever she enters the room of a track, the whole of femme Memphis enters with her. No song exemplifies this consistently dynamic and breathtaking character of Boo's presence more than "Where Dem Dollas At." The song's architecture is reflective of her distinct ability to command a royal Southern court; the city's premier producers, DJ Paul and Juicy J, sampled a popular Memphis song "Sho Nuff," originally produced by Memphis native and son of the Bar-Kays' bassist, Jazze Pha. Its insistent title query, chanted by a chorus of Boo's dubbed voice, is punctuated by a sample of one of her own lines from her featured verse on Indo G's "Remember Me Ballin'." That she can sample herself "I'm chiefin' heavy understand me, baby, this Gangsta Boo" and chant a demand for the location of the cash is an explicit recognition of her power and significance as a formidable rapper in an all-men music collective in the 1990s South.

"Where Dem Dollas At" is the template for cash-as-women's-agency that reverberates throughout subsequent women rappers' work, from Trina to Megan Thee Stallion to Cardi B, as laborers in the music industry. The enduring question of the song is of what Gangsta Boo, as well as frequent collaborator La Chat, is owed for her trailblazing work as a tenaciously deft lyricist better than most of her men counterparts. In an industry where women's increased presence as artists rarely translates into increased power, compensation, or control, "Where Dem Dollas At" is a reminder of where we have been, just how far we have to go and how we need to keep chanting the questions until we get the answers we deserve. Zandria F. Robinson

In 1998, hip-hop was undergoing an evolution. The heaviness of the West Coast/East Coast beef, culminating in Tupac and Big's subsequent deaths in 1996 and '97 had subsided, and during those battle years Southern hip-hop had finally advanced from the sidelines to the playing field. The No Limit soldiers had recently stormed the rap scene waving the New Orleans banner, clearing the way for former bounce label Cash Money Records to announce they were "taking over for the '99 and the 2000s" with Juvenile's 400 Degreez.

Cash Money took No Limit's formula and improved on it, rebranding from a regional label to a JV with Universal in a historic deal said to be worth $30 million that allowed them to retain ownership of their masters and publishing. Immediately, they stopped hip-hop in its tracks with a single that sounded rough and chaotic, but simultaneously polished and advanced. "Ha'' was our visitor's pass to Magnolia Projects. It wasn't danceable and barely even head-noddable, but it was quietly inspirational; Juve was talking to block boys everywhere out there handlin' their biz. Even East Coast rap giant Jay Z was motivated to jump on the track for his own rendition.

Juve and Mannie Fresh were an elite artist-producer team; Juve is a master storyteller with a cadence that effortlessly shifts from growling realness to melodic and playful, and the perfect conduit for Mannie Fresh's futuristic bounce-influenced production. The in-house architect of Cash Money's sound crafted our journey through Juvenile's New Orleans, from the invitational "Gone Ride With Me" to a hood orientation session in "Welcome 2 Tha 'Nolia." Juve showed us his stark reality in "Ghetto Children," brought us along for a day's business (and the risk that goes with it) on "Follow Me Now" but also reminded us that New Orleans is still a rhythmic city with the ass-shaking anthem that's drawn people of all ages to the dance floor for the last 20 years, "Back That Azz Up."

Juvenile's takeover declaration proved at least partially true according to Billboard, 400 Degreez was the top R&B/Hip-Hop album of 1999, remaining on the charts even as Juve released another LP, and it remains Cash Money's top album to date with over four million units sold. The small label's first foray into the major's space helped lay the groundwork for an outsized legacy; though Juvenile's time with them came to an end just a couple of years later, 400 Degreez's heat kept burning. Naima Cochrane

Juvenile, "Back That Azz Up" (Featuring Mannie Fresh & Lil Wayne)

"Back That Azz Up," from New Orleans rapper Juvenile's debut album 400 Degreez, is the Pavlovian song of Southern hip-hop. (Crime Mob's "Knuck if You Buck" clocks in at a distant second.) The first 15 seconds of the song, a blend of bass and strings, breaks open into a rapid spitfire of Juvenile's New Orleanian drawl and the local flavor of New Orleans bounce music. Juvenile's use of "ha" does double duty throughout the song a throwback to Juvenile's debut on "Ha" and also a taste of how it sounds to be hollered at and encouraged to dance in a New Orleans party, whether it's out in somebody's backyard or a college function. The single is not only Mannie Fresh's masterpiece, but it is the ushering in of the Cash Money Records era of "the 9-9 and the 2000." "Back That Azz Up" passes the essential club and car test so effective, in fact, that Chrysler used it to highlight their back up camera feature in their cars and reigns, over two decades later, as the one track that makes all of us wish we had Megan Thee Stallion's knees, if but for 4 minutes and 25 seconds. Regina N. Bradley, Ph.D.

B.G., Chopper City in the Ghetto

Chopper City in the Ghetto's most celebrated achievement is "Bling Bling," the single credited with catapulting a then nascent Lil Wayne, who raps the song's titular phrase on the hook, into the spotlight and providing language for a particular brand of rap's particular brand of materialism. It's ironic, though, this album housed that song (which was originally intended for a Big Tymers release) because B.G. was always street-cool before he was ostentatious. At only 18, it was his fifth album his first under Cash Money's historic deal with Universal; the prior four helped them cement it and the one that best displays his vocal instrument and the delicate and compelling push-pull of his music and trajectory.

B.G.'s voice and the way he enunciates his vowels may translate the majestic accent of New Orleans better than any of his peers; it's laidback and defined by a singular kind of nasally drawl that adds rawness to his casual cadence. It's a perfect complement to Mannie Fresh's production wizardry, which is pristine as ever here. The cinematic evolution of "N***** In Trouble," from its orchestral stabs to its breakdown into vintage bounce, is a rapper's playground, while the intricate buoyancy of "Cash Money Is an Army" rings out like a well-timed and well-earned victory lap coming off the massive success of Juvenile's 400 Degreez. The latter track, along with "Cash Money Roll," offers a glimpse of the once unbreakable familial bonds of the label which added to their legend; their most self-immortalizing music often exerts an air of triumphant invincibility. But in B.G.'s case, there's always been one foot in and one foot out, luxury and lack in the same breaths. Songs like "Thug'n," "Hard Times" and "'Bout My Paper" tend toward the dark and brutal truths of his life and that of the people he grew up around. The pull of the streets and the addiction he picked up in them was always at odds with the rap star lifestyle, and Chopper City in the Ghetto intertwines them both for a paradoxical yet potent result. Briana Younger

Crooked Lettaz, Grey Skies

Grey Skies was personal.

I was best friends with Brandon "B-Dazzle" Franklin, little brother of Kamikaze, one half of Crooked Lettaz. In high school in 1992, Brandon would bring tapes to school of what Kamikaze and David Banner were working on. Most of us wanted to be rappers far more than we wanted to put the work into actually creating music to rap to. Banner and Kamikaze were different. Like Chris Jackson, James Robinson and Othella Harrington, they were virtuoso Mississippi Black boys we could see, smell and touch. Since they intimately knew Ellis Seafood, Bebop records, Lake Hico and the Sonic Boom of the South and we knew the same thing, we felt more worthy, less less than about being alive.

Seven years later, on April 20, while I was in graduate school at Indiana University, I heard Grey Skies for the first time. Grey Skies is why I didn't write myself out of my fiction and nonfiction. Grey Skies made the evocative proclamation that in order to understand the Jackson, Miss. that birthed us, one needed to understand the sounds of the Mississippi Gulf coast, Tupelo, the Mississippi Delta and the Democratic Republic of Congo. They made a classic sonic quilt out of everything Black Jacksonians like us knew. I knew Mama Lena. I knew Kamikaze washed Pimp C and Noreaga on "Get Crunk" and "Fire Water." I knew Valley North. I knew from whence Banner's provocation "My state left scars on my manhood while y'all screaming that it's all good" came. I knew Tupelo. Mostly, I knew the eerie and iridescent feeling of trying to impress New York while longing to represent Jackson, Miss. Grey Skies introduced me to the feeling of pushing beyond impression and representation toward revision of New York and Mississippi conceptions of art and black boyness. At its best though neither New York or Mississippi were ready Grey Skies showed the world that we were diligent listeners and genius creators who could be responsible exemplars of hip-hop. But Jackson, Miss. would always be who and what was responsible for us. Kiese Makeba Laymon

Lil' Troy, "Wanna Be A Baller"

Distinctively shaped through an interwoven collection of highways, Houston and its hip-hop is intrinsically linked to the city's car culture: slabs. An acronym for slow, low and bangin, it is the baptism of an old Cadillac into a candy-dipped custom car on rims ("swangas") accompanied by a "fifth wheel" (encapsulated rim in fiberglass case) and accentuated with a neon trunk display (reading messages like Kornbread's "THI5 WHY YA HOE MISSIN"); yet its crown jewel is a powerful stereo system, the hustler's sole companion as he drives slowly across the interstate.

On long nights in the city, the soulfulness of "Wanna Be A Baller"'s hook, sung by Big T, comforts the lonely driver: "I hit the highway, making money the fly way / But there's got to be a better way! / A better way, better way, yeah." As Big T fades into the ether, Yungstar, Fat Pat, Lil' Wil and Big Hawk contribute their individual perspective on the hustler's mindset during his ride along I-10, set to a slowed-down sample of Prince's "Little Red Corvette." Although most of the rappers that appear on the track (Lil' Troy himself does not) are now deceased, their spirits are immortalized in one of the most recognizable songs in contemporary hip-hop a true Houston classic. Taylor Crumpton

The Last Mr. Bigg, "Trial Time"

If The Last Mr. Bigg's name isn't instantly recognizable, perhaps his voice is more familiar as the hook from Three 6 Mafia's "Poppin' My Collar." That hit netted the Mobile, Ala. rapper his biggest commercial success, but it was his 1999 single "Trial Time" (originally titled "Take That S*** to Trial") that first took the entire Southern region by storm, turning up every club, juke joint and hole-in-the-wall in between from Houston, Texas all the way to Charlotte, N.C. Having emerged from Mobile's thriving underground rap scene, the song is built around an irresistible beat made of hypnotic hi-hats, a booming 808-induced bass line and eerie synthesized horns a gritty but perfect backdrop for Mr. Bigg's vivid account of the pitfalls, legal and otherwise, of trapping. "Trial Time," which in fact shares its foundational DNA with trap music, helped kick open the door for a state with few breakout stars. Charlie R. Braxton

Project Pat, "Ballers (Outro)"

Nearly a decade before "Int'l Players Anthem" brought Atlanta, Memphis and Houston together for an intraregional marriage of Southern rap, Cash Money came up the Mississippi River from New Orleans to Memphis to create a Delta Voltron with Hypnotize Minds. It's an intentional collaboration of independent labels outside of Atlanta which had long had access to major label capital that acknowledges the exchange between the cities at the top and bottom of the river in the Deep South. A reprisal of a track that appears earlier on the Ghetty Green album and features Gangsta Boo, the outro version features Birdman, Turk, Wayne, Juvenile, Juicy J, DJ Paul and Project Pat in succession, with Pat helming the hook with his distinctive skill and cadence. It is a triumphant meeting of the gold and platinum grills, the river city ballers, and a prophecy of the divergent futures that were to come. The platinum Cash Money Records continues its success and major label relationship with Universal; the gold Hypnotize Minds essentially closed shop last decade, its former artists variously independent or signed to major label deals, including with Columbia. And like its predecessor Stax Records, Hypnotize Minds' catalogue is widely sampled.

As an artist whose influence has reached far beyond the container of record labels, Project Pat is the quintessential blueprint and anchor for so many Southern hip-hop hits. From "Int'l Players Anthem," which re-used a beat DJ Paul and Juicy J had produced for Pat's song "Choose U," to J. Cole's use of the "don't save her" hook on "No Role Modelz" from Pat's 2001 song "Don't Save Her"; to Cardi B's "Bickenhead," which famously references Pat's collaboration with La Chat, "Chickenhead" Pat might be the truest "most known unknown." His influence, foresight, and rich ethnographies of North Memphis have not seen nearly the depth and breadth of recognition, or understanding and critical engagement, they deserve. Nevertheless, his outsize presence in southern hip-hop, and hip-hop more generally, will be observable for decades. Zandria F. Robinson

C-Murder, "Down 4 My N's" (featuring Snoop Dogg and Magic)

"Down for My N's" is the anthem that trounces all anthems. The repetitive chorus "F*** them other n***** 'cause I'm down for my n*****" is straight-forward yet effective, a rallying call that's shouted across the nation. Built around a Herculean production effort by KLC, a member of No Limit Records' prolific in-house team Beats by the Pound, C-Murder and featured artists Snoop Dogg and Magic, concocted a song that rings out everywhere, from clubs and sporting events to stadium tours; no matter the setting, it's equally electrifying. "Down for My N's" starts with C-Murder's throaty, gritty bars, followed by Magic's amped-up and borderline unhinged delivery. The smoothness of Snoop's verse, which closes out the track, is juxtaposed against the others', proving there's more than one way to sound intimidating. The song ends by fading out, with the chorus still being chanted, the voices carrying on as though they could profess their loyalty forever. It's a Southern gem, but it sparkled brightly enough for the world to see. Kiana Fitzgerald

Playa Fly, Da Game Owe Me

After building a loyal fanbase with two underground classics (1996's Fly S*** and 1998's Movin On), Playa Fly's third offering, 1999's Da Game Owe Me, acted as Exhibit C in the case for the Memphis rapper being one of Southern hip-hop's most distinct voices. Exclusively produced by longtime collaborator Blackout, Da Game Owe Me features Fly delivering his patented flows at different speeds across a range of topics. On "Ghetto Eyes," he puts on his philosopher hat to explore racism and religion while dropping lines like "what does it mean when someone says they see a brighter day / All that I know is that it's not as dark as it was yesterday." He keeps this tone on other tracks like "N God We Trust," but he also takes plenty of opportunities to just rap circles around your favorite rapper with lyrical showcases like "Get Me Out" and "Talkin Cash On It." Rocking a full cap and gown on the cover, this album was supposed to be Fly's graduation from regional to national success. Unfortunately, that trajectory was interrupted by a prison stint that took him out of the game for seven years, but Fly's showing on Da Game Owe Me proves that originality has no expiration date; 20 years later, he's still filming music videos for songs off this album, and they are spreading and making an impact as if it came out yesterday. Maurice Garland

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The South Got Something To Say: A Celebration Of Southern Rap (1995-1999) - NPR

ATLANTIC SKIES: Young astronomers and the Perseid meteors – SaltWire Network

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If you are intrigued by the concept of space travel and exploration, no doubt you watched or read about the launch of NASA's Mars 2020 Perseverance spacecraft on July 30. NASA's 29th mission to Mars (22 of which have been successful), Perseverance is slated to arrive at the Red Planet in February 2021, after a 7-month, 480-million-kilometre journey, to continue NASA's ongoing exploration of Mars in preparation for its ultimate goal: landing humans on the planet's surface in the next decade or two.

I remember, as a very young child (I was 5 at the time), my mother telling me that one day, when I was grown up, people would walk on the Moon. Sure enough, in 1969, when I was 21, Neil Armstrong and Buzz Aldrin stepped onto the Moon's surface from the Apollo 11 spacecraft. Perhaps my mother was prophetic to foresee this event, or perhaps, as I suspect, she was just intuitive enough to understand that humankind's destiny ultimately lies out there, beyond Earth, among the stars.

Perhaps there is some component of the human genome that, like that which causes some animals to migrate, is responsible for humankind's celestial wanderlust. Having explored and settled most every corner of our planet, perhaps this innate instinct to move onward is now driving us to consider migrating outwards from Earth to distant worlds.

Perhaps there is some component of the human genome that, like that which causes some animals to migrate, is responsible for humankind's celestial wanderlust.

Whatever the genesis of my mother's statement, it ignited in me a burning desire and an insatiable curiosity to know more about what was "out there". It is a desire and curiosity that has lasted my whole life, and will, no doubt, remain with me until I draw my final breath. Without waxing too poetic, I like to think that, even then, some part of me will continue, as Star Trek's Captain James T. Kirk states, "to explore strange new worlds" across the eternity of outer space.

My granddaughter, Scarlet, has a fascination with outer space, constantly asking me what lies beyond the planets, our solar system, and the Milky Way Galaxy. Of course, it is a curiosity that I readily and happily feed, answering her questions (in greater detail and depth as she grows older), encouraging her to read my astronomy books (and columns), to pick out her own astronomy books ("space books" as she calls them) at the library, or to go on-line and look up the information herself.

It is both amazing and gratifying to not only watch her search for the answers by herself, but also to watch where those searches take her in terms of the array of astronomy topics she delves into. As her knowledge base expands, so does the distance she travels outward from Earth; she is currently focused on the Oort Cloud, the massive sphere of frozen ice bodies out beyond Pluto.

Her plan (at 8 years old) is to be the first woman astronaut to walk on Mars, or, should another woman beat her to that prize, to be the first woman to pilot a spaceship to another planet in a distant star system. "Attention, this is Captain Scarlet speaking."

If you have children and/or grandchildren who show an interest in astronomy, I urge you to encourage that interest. Just as my mother's insightful statement fostered my abiding love of and curiosity about outer space, your encouragement and support (and, perhaps, shared interest) may well result in your child, grandchild or great-grandchild one day walking on another planet or moon, or travelling out into space as a crew member on a fact-finding exploration. Perhaps, he or she may even be part of my granddaughter's crew.

One of the ways to foster an interest in outer space in your children/grandchildren is to get them outside to watch a meteor shower. Children of any age love to watch for "shooting stars", and the warm summer evenings of August are just the time to afford them that opportunity. The annual Perseid meteor shower (radiant in Perseus - the Prince) peaks during the pre-dawn hours of Aug. 11 - 13.

Though light from the Last Quarter Moon will, after it has risen, somewhat reduce the overall number of meteors observable on those dates, the Perseids are known for their large number of extremely bright meteors, many of which, in the absence of cloud cover, will still be highly visible.

Earlier in the evening, you may see some Perseid "earthgrazers" - colourful meteors that travel slowly and horizontally across the pre-midnight sky, when the meteor shower's radiant (apparent point of origin in the sky) is just below or just above the eastern horizon. While the main peak of most meteor showers usually occurs after midnight, starting to watch for the Perseids during the mid-to-late evening period (perhaps more conducive to maintaining the interest of your young, sleepy-eyed observers), before the Moon rises, could significantly increase the total number of meteors seen.

Go to thismoonrise and moonset calculator to find your local moonrise/set times. Also, watching for Perseids on the nights/mornings after the noted peak dates might produce a large number of viewed meteors. As the week progresses, there will be less moonlight to contend with, as the Moon phase changes from Last Quarter towards a gibbous phase. Finally, the well-known variableness of meteor showers, even a famous one such as the Perseids, sometimes brings surprisingly large numbers of meteors in the days following designated peak dates; it is always worth a try, particularly if you are clouded out during the predicted peak period.

Heading towards superior conjunction with the Sun on Aug. 17, Mercury is now too close to the Sun to be observed. Venus (mag. -4.32) is that wonderfully brilliant "morning star" visible in the eastern, pre-dawn sky. Rising in the east around 2:30 a.m., Venus will be observable 31 degrees above the eastern horizon until dawn breaks around 5:45 a.m.

Mars (mag. -1.3) is visible about 7 degrees above the eastern horizon around 11:45 p.m., reaching a height of 48 degrees above the southern horizon before fading in the dawn twilight. Jupiter and Saturn are both visible in the southeast evening sky by about 9 p.m. Jupiter (mag. -2.68) reaches its highest point (21 degrees) in the southern sky shortly after 11 p.m., remaining observable until about 2:30 a.m. when it sinks below 7 degrees above the southwest horizon. Saturn (mag. +0.2) hits its highest point in the southern sky shortly before midnight, disappearing from view around 3 a.m. when it dips below 10 degrees above the southwest horizon.

Until next week, clear skies.

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ATLANTIC SKIES: Young astronomers and the Perseid meteors - SaltWire Network

What Indias Space Activities Bill must address – Asia Times

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In June, Jitendra Singh, a minister in Indias federal cabinet, announced that space exploration and certain space activities would be open to the private sector. Previously, the Indian Space Research Organization (ISRO) was the only public organization that launched satellites and planned missions for space exploration.

After the success of private companies like SpaceX in the US, it is important for India to create favorable conditions for private companies to operate in the sector with appropriate regulations and clear laws.

On July 6, ISRO chief Kailasavadivoo Sivan announced that India would be coming up with a new space policy and Space Activities Bill. He added that the new bill would be more inclusive of the private sector.

The Space Activities Bill is much anticipated by Indian enthusiasts of space exploration because it will clarify the rules and regulations associated with operating in the space sector. Being a high-risk and a high-investment sector, policies and frameworks for operating in it need to be clarified by the government to boost private investment.

Currently, India follows various peaceful international treaties signed worldwide. The Committee on the Peaceful Uses of Outer Space (COPUOS) largely determines space policy in the international arena and ensures that no country exploits the usage of space for personal interests.

The Outer Space Treaty ensures that countries can explore space only for peaceful purposes and they cannot put any weapons of mass destruction in space. That policy, however, does not mention anything about the usage of conventional weapons in space.

According to the Liability Convention, in case any country launches into space and damages property in another country, it will be liable to pay reparations to the country that suffered the damages. With private players entering the market, it is not certain whether private companies or the government will bear the cost of any liability issues arising from damage of international property.

As such costs could be significant, there is a need to reassess risk distribution for private players in India.

The law firm Taylor Wessing explains that these rules are largely insufficient to cover all legal issues arising out of private activities in space, commenting on the international policy framework in reference to space exploration.

Its important to note that when most of the international treaties on space were signed, most countries did not allow private-sector activity in space. Hence the private sector was not taken into consideration. With private-sector activity in space, the Indian government may need to give further clarifications about the impact that international treaties will have on domestic companies.

Collaboration between international private companies will also need to be regulated. International collaboration could create defense, commercial and scientific benefits for the world.

The Space Activities Bill needs to address clearly the role the private sector will play in international space treaties and the associated liabilities. The space sector has limited accessibility because of the high costs involved. As we create policies to increase equality worldwide, we also need to create policies that increase accessibility and inclusivity.

In 2001, the first space tourist, American millionaire Dennis Tito, was charged US$20 million to fly to the International Space Station. Hence space travel may not be affordable to everyone because private companies will try to maximize their profits.

Moreover, exploring space has mostly been under the domain of scientists, engineers, researchers and other people from STEM (science, technology, engineering, and mathematics) domains. Policies need to be created worldwide to answer the question, Who gets to explore space first?

Space for Humanity, a non-profit organization based out of the US, is working toward increasing equality and inclusion in the area of space exploration. Space for Humanitys mission is based on the concept of The Overview Effect, that is, the humbling effect exploring space can have on people.

Looking at Earths surface from far above can make people realize their insignificance and interconnectedness. It prompts anyone who has this experience to see everyone on Earth as one, and create policies that are inclusive when they come back to Earth. Space for Humanity sponsors citizen flights to space for people all across the world without any discrimination based on race, nationality, gender, religion or any other factor.

Since space should be open to everyone to explore, non-profit organizations like Space for Humanity play an important role, including in the Indian context. Indian private companies could partner with such organizations to create more inclusivity.

India is at the brink of a new era in the space sector. Indias Space Activities Bill can be a precedent for various future bills in the sector created in Asia. As Indians look forward to the bill, we may see Indias own Elon Musk standing by to revolutionize space travel in the world in the near future.

Asia Times Financialis now live. Linking accurate news, insightful analysis and local knowledge with the ATF China Bond 50 Index, the world'sfirst benchmark cross sector Chinese Bond Indices.Read ATFnow.

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Front-line health care workers have mixed feelings watching sports amid COVID-19 – USA TODAY

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What I'm Hearing: USA TODAY Sports' Mike Jones breaks down the numerous fines and possible suspensions that the NFL is ready to issue to players if they don't follow proper safety protocols. USA TODAY

After spending parts of five years as a wide receiver in the NFL, anesthesiology resident Nate Hughes said he certainly plans to tune in to football season this fall. He still has friends in the league, after all, and relationships with some of the coaches.

But as the COVID-19 pandemic continues to spread, with more than 4.8 million confirmed cases across the country, Hughes admitshe probably won't watch NFL games in the same way. Not after working on the front lines of the fight against the pandemic.

"Im caught in the middle," Hughes told USA TODAY Sports."I love sports, but at the same time, I wish we would do more to protect each other.

Hughes is one of many front-line health care workerswho are now watching the return of professional sports leagues with mixed feelings, or a pit in their stomach a certain uneasinessas they try to reconcile theirfandom with the knowledge that playing games may put athletes and others at risk of transmitting COVID-19.

Nate Hughes, a former NFL wide receiver now training to be an anesthesiologist, poses for a 2017 photo.(Photo: Courtesy of University of Mississippi Medical Center Communications)

Doctors and nurses understand better than most the positive impact that sports can have on mental health, both for themselves and their patients. They love being able to watch a game after a long shift, or see a patientuse sports as a temporary escape from his or her hospital bed. But they also understand better than most what COVID-19 can do to the human body, leaving many of them torn.

"I think that sports are great, and I think theyre positive, and I think we need them," said Laura Rosenthal,a nurse practitioner at University of Colorado Hospitaland professor at the university's College of Nursing. "(But) when I hear, 'Oh were going to open up the stadium,'it gives me that kind of underlying prickly feeling like 'ugh, is that really a good idea?' "

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Rosenthal has been a nurse for two decades, but she's also a fan of Michigan football, and the Denver Broncos. When she thinks ahead to football season, she can't imagine watching two players collide in a game on TV and notwondering whether one of them has COVID-19. She can't think about seeing fans in the seats even in a limited capacity without also thinking of them streaming into and out of the stadium in crowds, or lining up at a bathroom or concession stand.

"It would always be in the back of my mind," she said."And then thinking, 'Now am I going to see half of these people in the hospital?' "

That feeling of uneasiness lingers even for some nurses and doctors who are not actively treating COVID-19 patients, but might have colleagues who do.

Keith Buehner, a retired nurse at Jackson Memorial Hospital in Miami, said he's been a Miami football season-ticket holder for 35 years. He's performed at Miami Heat games as part of the team's senior dance squad, "The Golden Oldies." But when he watches the Heat now, or thinks about going to a Hurricanes game in the fall, he thinks about the resources that sports leagues might be using that could otherwise be helping his former colleagues.

"I get it. I miss (sports), too," Buehner said."I just dont think its right."

Those views are hardly unanimous, however.

Chris Hutchinson,an emergency room physician at Beaumont Hospital in Royal Oak, Michigan, was an All-American defensive lineman for the Wolverines and now has oneson,Aidan, on the team. He knows how financially important sports like college football are to athletic departments, universities and local economies. He views the return of sports as vital, and has no qualms or concerns about his son playing this fall.

An undated photo of Chris Hutchinson, an emergency room physician at Beaumont Hospital in Royal Oak, Michigan.(Photo: Courtesy of Chris Hutchinson)

"Its a sport (but) it has a lot of other ramifications," Hutchinson explained."And as long as the risk is smalllets be honest, these (college athletes) are the healthiest kids. ... Im not going to mince words: Their risk is not zero. No ones risk is zero. But I think at some point you have to say what risk is acceptable?And again, everybodys going to have a different level of that."

Hutchinson acknowledged that there are other front-line health care workers who disagree with him including an older doctor at his own hospital, with whom he works regularly. Hughes, who now works at Robert Wood Johnson University Hospital and is training to be an anesthesiologist, would be another.

The former Jacksonville Jaguars and Detroit Lions wide receiver said his medical experience previously as a nurse, and now as a resident has shaped the way he watches sports these days. He said he's become a big fan of mixed martial arts over the past month, for example, in part because he's comfortable with the sport's COVID-19 protocols. There are no fans, two fighters at a time and only a handful of people in each corner. He can watch comfortably because he believes it's safe.

"I just kind of wish we could pause a little bit longer," Hughes said, "until we got things better controlled."

Contact Tom Schad at tschad@usatoday.com or on Twitter @Tom_Schad.

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Rx for health care inequities: More health professionals of color – CALmatters

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In summary

Mistrust in the health care system by people of color persists, which is why we need more doctors and nurses who look like the people theyre treating.

Dr. David M. Carlisle is president and CEO of Charles R. Drew University of Medicine and Science, president@cdrewu.edu.

When I was a young doctor, an older faculty colleague like me, an African-American made a request that I thought was unusual. He asked me to be his personal physician.

I said I would but reminded him that, since I was a researcher, it was unlikely, should he need to go to the hospital, that Id be the doctor who would make rounds on him on the floor and manage his day-to-day care.

I asked him why he wanted me to take care of him, and his response stays with me to this day: Because youre the only African-American physician here, and if I need a serious, or even life-or-death decision made about my care, I want someone I can trust.

Nearly 50 years after the end of the Tuskegee experiments that withheld syphilis treatments from African Americans, mistrust in the health care system by African-Americans and other people of color still persists for good reason. And until we have more physicians, nurses and other health professionals who look like the people theyre treating, it will continue.

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Just in case people think were past Tuskegee, there are many recent studies that prove otherwise. A 2016 study of residents our young doctors in training revealed that 50% had false beliefs about African-Americans. For instance, that they had thicker skin or were less sensitive to pain.

A 2019 study demonstrated that patients of color presenting in emergency rooms were less likely to get pain medication than white patients: African-Americans 40% less likely, Latinx 25% less likely. Even in the case of a diagnosed bone fracture an extremely painful condition African-Americans were 41% less likely to get pain medication than white people.

Theres plenty of evidence from the coronavirus pandemic that feeds into this distrust, too. According to testing data, African-Americans and Latinx are dying from COVID-19 at disproportionate rates. Social determinants of health, inability to social distance due to cramped living conditions, the economic need to stay at work in low-income, public-facing jobs and lack of access to health care explain some of it. However, its also due to failures of their interactions with the health care system, even while presenting with COVID-19 symptoms: patients of color being turned away from an ER, not being deemed ill enough for treatment or hospital admission or simply knowing, based upon experience, that they wouldnt be treated well in the hospital.

To address this mistrust, we need more health professionals of color: The demographics demand it. California is already a majority-minority state: 39% Latinx, 36% white, 15% Asian, 6.5% African-American. Yet, the percentage of Latinx and African-American physicians in California is very low: 5% Latinx; 5% African-American. Nationally, the figures are no more impressive: 5.8% of physicians are Latinx, 5% are African-American.

It isnt for simple cultural comfort that we need health practitioners of color though, given our diversity and the history of mistrust and mistreatment, that is a reasonable request of our health care system. It produces better health outcomes.

A 2018 study demonstrated that African-American patients were more likely to follow an African-American physicians orders, particularly on preventive measures, such as flu shots. So, when patients have a cultural rapport with a health provider, they are more inclined to pay attention and do what they are told to do.

All health practitioners need technical competence and good professional judgment to ensure their patients get the best care possible. Thats the essence of the Hippocratic Oath and other oaths that physicians and other health providers swear to uphold.

But in our diverse country, wrestling with both a pandemic and our painful history of systemic racism and gross health disparities, we have an obligation to do all we can to recruit and educate more physicians, nurses and other health professionals of color.

It will be better for everyones health.

As a nonprofit newsroom, we rely on the generosity of Californians like you to cover the issues that matter. If you value our reporting, support our journalism with a donation.

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Video & highlights from "5 Slides: The Health Care System’s Response To COVID in AZ" – State of Reform – State of Reform

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Michael Goldberg | Aug 6, 2020

On Monday, State of Reform hosted our 5 Slides: The Health Care Systems Response To COVID in AZ virtual conversation with Ann-Marie Alameddin: CEO, Arizona Hospital and Healthcare Association, Will Humble, Executive Director, Arizona Public Health Association, Roland Knox, CEO, Mt. Graham Regional Medical Center.

During this convening, the panelists discussed how the Arizona health care system, particularly hospitals, have responded to the pandemic across various fronts.

State of Reform contributed the first slide, which featured data from a Eurosurveillance epidemiological survey of COVID-19 cases in Jerusalem. In Israel, the school year began in May. Jerusalem experienced an early spike in cases before getting the virus under control for a period. But the week of May 17 24, the city experienced a significant spike in cases among 10-19 year olds, causing over 125 schools to close. School closures, in turn, resulted in more parents getting sick.

The panelists discussed each of their perspectives on what to consider as students prepare to go back to school, in one capacity or another.

The first panelist slide was offered by Alameddin, who wanted to underscore the work done and sacrifices made by health care workers on the front lines of the crisis.

To highlight the very human element of this and our clinical staff is not an endless resource were hearing from hospitals this week that a lot of staff are calling in sick, because they actually are sick or theyre just exhausted. Theyve been taking seven shifts in a row. We have a clinical staff shortage, and we need reinforcements. This is a finite resource that we need to make sure we are preserving and protectinga lot of staffing agencies are in Arizona. I think its difficult for hospitals to secure additional staff. Weve seen prices going up tremendously four times what they normally are. So some hospitals are unable to afford additional staff because of these price wars.

The next slide, presented by Knox, was a graphic displaying the Mount Graham Regional Medical Centers response to the pandemic for Provider Backup Coverage a focus for the Inpatient Medical Surgical Unit and the ICU Hospitalist Coverage.

This slide reflects the strategy put in place by the medical center to ease the strain on providers.

It became very nerve-racking for all the providers to know, what happens if I get sick or need a few hours of rest? What happens if our census goes up from the normal 40% up to 85%, and Im just exhausted because the acuity level is higher and we have more people on ventilators. It is their job is to manage all that and they need at least 4-5 good hours of sleep, so how can we help them? asked Knox.

Knox went on to point out that the pandemic has forced health care systems to translate concepts into action.

Humbles slide was a graph measuring Re-Opening Excursions. Specifically, the data compared original scenarios from April to current estimates.

This slide emphasizes the importance of public health officials and governors working with their academic partners to inform the really important policy decisions they need to make during events like this. What this slide representsis predictive modeling to inform the policy decisions at the very top of state governmentto show elected official how the various scenarios are likely to play out depending on the decisions they make intervention wise.

To hear about these slides in depth as well as a few more, a video of the full conversation is available above.

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Video & highlights from "5 Slides: The Health Care System's Response To COVID in AZ" - State of Reform - State of Reform

Nanotechnology in Energy Market is Thriving Worldwide By Size, Revenue, Emerging Trends and Top Growing Companies 2028 | Nano Dimension, Ablynx,…

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This detailed market study covers nanotechnology in energy market growth potentials which can assist the stake holders to understand key trends and prospects in nanotechnology in energy market identifying the growth opportunities and competitive scenarios. The report also focuses on data from different primary and secondary sources, and is analyzed using various tools. It helps to gain insights into the markets growth potential, which can help investors identify scope and opportunities. The analysis also provides details of each segment in the global nanotechnology in energy market

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According to the report, the nanotechnology in energy market report points out national and global business prospects and competitive conditions for Nanotechnology in energy. Market size estimation and forecasts were given based on a detailed research methodology tailored to the conditions of the demand for Nanotechnology in energy. The Nanotechnology in energy market has been segmented by material (nanostructured material, carbon nanotubes, fullerenes and others), by application (electrical (transmission and storage), manufacturing, renewable and nonrenewable energy production, others. Historical background for the demand of Nanotechnology in energy has been studied according to organic and inorganic innovations in order to provide accurate estimates of the market size. Primary factors influencing the growth of the demand Nanotechnology in energy have also been established with potential gravity.

This report provides:1) An overview of the global market for nanotechnology in energy market and related technologies.2) Analysis of global market trends, yearly estimates and annual growth rate projections for compounds (CAGRs).3) Identification of new market opportunities and targeted consumer marketing strategies for global nanotechnology in energy market .4) Analysis of R&D and demand for new technologies and new applications5) Extensive company profiles of key players in industry.

The researchers have studied the market in depth and have developed important segments such as product type, application and region. Each and every segment and its sub-segments are analyzed based on their market share, growth prospects and CAGR. Each market segment offers in-depth, both qualitative and quantitative information on market outlook.

Regional segmentation and analysis to understand growth patterns:The market has been segmented in major regions to understand the global development and demand patterns of this market.

Detailed information for markets like North America, Western Europe, Eastern Europe, Asia Pacific, Middle East, and Rest of the World is provided by the global outlook for nanotechnology in energy market . During the forecast period, North America and Western Europe are projected as main regions for nanotechnology in energy market . As one of the developed regions, the energy & power sector is important for the operations of different industries in this area

This is one of the key factors regulating nanotechnology in energy market growth in those regions. Some of the major countries covered in this region include the USA, Germany, United Kingdom, France, Italy, Canada, etc.

Make an Enquiry for purchasing this Report @https://www.quincemarketinsights.com/enquiry-before-buying/enquiry-before-buying-62545?utm_source=MA&utm_medium=Arshad

During the forecast period Asia Pacific is expected to be one of the fastest growing regions for the nanotechnology in energy market . Some of the fastest-growing economies and increasing energy & power demand to cater for high population & industries are expected to drive demand in this area. During the forecast period, China and India are expected to record large demand. During the forecast period, the Middle East which includes the UAE, Saudi Arabia, Iran, Qatar and others promises high market potential. In terms of market demand during the forecast period, the rest of the world including South America and Africa are developing regions.

With an emphasis on strategies there have been several primary developments done by major companies such as Nano Dimension, Ablynx, Advance reproductions corporation, Z-medica, LLC, InMat, Inc., APS material, Inc., SolarMar energy, Inc., Solar Botanic Ltd., Rogue Valley Micro.

Market Segmentation:By Material:o Nanostructured Materialo Carbon Nanotubeso Fullerenes and Others

By Application:o Electricalo Transmissiono and Storageo Manufacturingo Renewable and Nonrenewable energy productiono Others

By Region:North Americao North America, by Countryo USo Canadao Mexicoo North America, by Materialo North America, by Application

Western Europeo Western Europe, by Countryo Germanyo UKo Franceo Italyo Spaino The Netherlandso Rest of Western Europeo Western Europe, by Materialo Western Europe, by Application

Asia Pacifico Asia Pacific, by Countryo Chinao Indiao Japano South Koreao Australiao Indonesiao Rest of Asia Pacifico Asia Pacific, by Materialo Asia Pacific, by Application

Eastern Europeo Eastern Europe, by Countryo Russiao Turkeyo Rest of Eastern Europeo Eastern Europe, by Materialo Eastern Europe, by Application

Middle Easto Middle East, by Countryo UAEo Saudi Arabiao Qataro Irano Rest of Middle Easto Middle East, by Materialo Middle East, by Application

Rest of the Worldo Rest of the World, by Countryo South Americao Africao Rest of the World, by Materialo Rest of the World, by Application

Customization:This study is customized to meet your specific requirements:o By Segmento By Sub-segmento By Region/Countryo Product Specific Competitive Analysis

Contact:Quince Market InsightsAjay D. (Knowledge Partner)Office No- A109Pune, Maharashtra 411028Phone: US +1 208 405 2835 UK +44 144 439 0986 APAC +91 706 672 4848Email:[emailprotected]Web:www.quincemarketinsights.com

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Nanotechnology in Energy Market is Thriving Worldwide By Size, Revenue, Emerging Trends and Top Growing Companies 2028 | Nano Dimension, Ablynx,...

RedwoodConnect 2.0 Sets Sights On Simplifying TMS Integration – Yahoo Finance

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Logistics companies across the sector agree: Integrating transportation management systems (TMS) is cumbersome. Complicated wiring isn't the only thing leaving businesses tangled. Problems such as communication errors, tight deadlines and overwhelmed IT staff often make integration costs spiral out of control.

Chicago-based Redwood Logistics aims to eliminate these inefficiencies and simplify the integration of supply chain technologies with its latest advancement, RedwoodConnect 2.0. The software was first revealed at the FreightWaves LIVE conference in November, where it earned recognition as Best in Show.

In this Freight.Tech Update, presented by Redwood Logistics, FreightWaves Lead Economist Anthony Smith and Eric Rempel, chief innovation officer at Redwood Logistics, discussed the ambitious goal to streamline systems integration for logistics providers both large and small.

"Connect 2.0 has the chance to become the industry's de facto integration tool due to its incredible cost-effectiveness, security and scalability," said Rempel. "Our technology provides small and mid-sized businesses the same tool kit typically reserved for larger enterprises."

Rempel outlined Connect 2.0's objective to democratize supply chain management for logistics providers of all sizes. Users are presented with "plug and play" cloud-led supply chain functionality that simplifies workflows and provides greater avenues for data sharing.

"Connect 2.0 simplifies and streamlines the systems integration process," Rempel said. "It allows our customers to double down on their technology investment in one seamless place by mitigating integration risks and providing a clear path for eliminating legacy debt."

The Connect 2.0 conversation continues in the video below.

Photo by frank mckenna on Unsplash

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RedwoodConnect 2.0 Sets Sights On Simplifying TMS Integration - Yahoo Finance

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Commercial Aerospace Coatings Market Research Report by Type, by Application – Global Forecast to 2025 – Cumulative Impact of COVID-19 – GlobeNewswire

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New York, Aug. 05, 2020 (GLOBE NEWSWIRE) -- Reportlinker.com announces the release of the report "Commercial Aerospace Coatings Market Research Report by Type, by Application - Global Forecast to 2025 - Cumulative Impact of COVID-19" - https://www.reportlinker.com/p05913898/?utm_source=GNW

The Global Commercial Aerospace Coatings Market is expected to grow from USD 1,576.10 Million in 2019 to USD 2,060.12 Million by the end of 2025 at a Compound Annual Growth Rate (CAGR) of 4.56%.

Market Segmentation & Coverage:This research report categorizes the Commercial Aerospace Coatings to forecast the revenues and analyze the trends in each of the following sub-markets:

Based on Type, the Commercial Aerospace Coatings Market studied across Epoxy Resin and Polyurethane Resin.

Based on Application, the Commercial Aerospace Coatings Market studied across Maintenance, Repair & Overhaul and Original Equipment Manufacturer.

Based on Geography, the Commercial Aerospace Coatings Market studied across Americas, Asia-Pacific, and Europe, Middle East & Africa. The Americas region surveyed across Argentina, Brazil, Canada, Mexico, and United States. The Asia-Pacific region surveyed across Australia, China, India, Indonesia, Japan, Malaysia, Philippines, South Korea, and Thailand. The Europe, Middle East & Africa region surveyed across France, Germany, Italy, Netherlands, Qatar, Russia, Saudi Arabia, South Africa, Spain, United Arab Emirates, and United Kingdom.

Company Usability Profiles:The report deeply explores the recent significant developments by the leading vendors and innovation profiles in the Global Commercial Aerospace Coatings Market including Akzo Nobel, BASF SE, Henkel AG & Co. KGaA, Hentzen Coatings, Hohman Plating and Manufacturing, IHI Ionbond AG, Mankiewicz Gebr. & Co., PPG Industries, Inc., The Sherwin-Williams Company, and Zircotec Ltd..

FPNV Positioning Matrix:The FPNV Positioning Matrix evaluates and categorizes the vendors in the Commercial Aerospace Coatings Market on the basis of Business Strategy (Business Growth, Industry Coverage, Financial Viability, and Channel Support) and Product Satisfaction (Value for Money, Ease of Use, Product Features, and Customer Support) that aids businesses in better decision making and understanding the competitive landscape.

Competitive Strategic Window:The Competitive Strategic Window analyses the competitive landscape in terms of markets, applications, and geographies. The Competitive Strategic Window helps the vendor define an alignment or fit between their capabilities and opportunities for future growth prospects. During a forecast period, it defines the optimal or favorable fit for the vendors to adopt successive merger and acquisition strategies, geography expansion, research & development, and new product introduction strategies to execute further business expansion and growth.

Cumulative Impact of COVID-19:COVID-19 is an incomparable global public health emergency that has affected almost every industry, so for and, the long-term effects projected to impact the industry growth during the forecast period. Our ongoing research amplifies our research framework to ensure the inclusion of underlaying COVID-19 issues and potential paths forward. The report is delivering insights on COVID-19 considering the changes in consumer behavior and demand, purchasing patterns, re-routing of the supply chain, dynamics of current market forces, and the significant interventions of governments. The updated study provides insights, analysis, estimations, and forecast, considering the COVID-19 impact on the market.

The report provides insights on the following pointers:1. Market Penetration: Provides comprehensive information on the market offered by the key players2. Market Development: Provides in-depth information about lucrative emerging markets and analyzes the markets3. Market Diversification: Provides detailed information about new product launches, untapped geographies, recent developments, and investments4. Competitive Assessment & Intelligence: Provides an exhaustive assessment of market shares, strategies, products, and manufacturing capabilities of the leading players5. Product Development & Innovation: Provides intelligent insights on future technologies, R&D activities, and new product developments

The report answers questions such as:1. What is the market size and forecast of the Global Commercial Aerospace Coatings Market?2. What are the inhibiting factors and impact of COVID-19 shaping the Global Commercial Aerospace Coatings Market during the forecast period?3. Which are the products/segments/applications/areas to invest in over the forecast period in the Global Commercial Aerospace Coatings Market?4. What is the competitive strategic window for opportunities in the Global Commercial Aerospace Coatings Market?5. What are the technology trends and regulatory frameworks in the Global Commercial Aerospace Coatings Market?6. What are the modes and strategic moves considered suitable for entering the Global Commercial Aerospace Coatings Market?Read the full report: https://www.reportlinker.com/p05913898/?utm_source=GNW

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Commercial Aerospace Coatings Market Research Report by Type, by Application - Global Forecast to 2025 - Cumulative Impact of COVID-19 - GlobeNewswire

What’s Trending in Aerospace – August 2, 2020 – Aviation Today

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Check out the August 2 edition of What's Trending in Aerospace, where editors and contributors for Avionics Internationalbring you some of the top headlines and stories across various segments of the global aerospace industry that you should be aware of for the week ahead.

Boom Supersonic and Rolls-Royce publicly confirmed an agreement to explore the pairing of a Rolls-Royce propulsion system with the future supersonic passenger aircraft, Overture that is under development for entry into service in the mid 2020s.

The goal of the new agreement is to work together to identify the propulsion system that would complement Booms Overture airframe, the two companies said in a July 30 press release. The teams will investigate whether an existing Rolls Royce engine architecture can be adapted for supersonic flight, while Booms internal team continues to develop the airframe configuration.

JetBlue has received the first set of Honeywell's new UV cabin light system. (Honeywell Aerospace)

JetBlue has become the first U.S. airline to start using Honeywells new UV Cabin System, which the company describes as a UV light system capable of transversing an aircraft cabin in less than 10 minutes.

Under a pilot project, JetBlue will evaluate the effectiveness of the new system, and has received eight devices from Honeywell.

With the safety of our crew members and customers our first priority, JetBlues Safety from the Ground Up initiative is maintaining a layered approach to safety by ensuring healthy crew members, providing flexibility, adding space, reducing touchpoints, and keeping surfaces clean and sanitized, said Joanna Geraghty, JetBlues president and COO. As we look to add additional layers of protection by utilizing cutting-edge technology, we have identified the Honeywell UV Cabin System as a potential game changer when it comes to efficiently assisting in our efforts to sanitize surfaces onboard.

The Honeywell UV Cabin System is roughly the size of an aircraft beverage cart and has UV-C light arms that extend over the top of seats and sweep the cabin to treat aircraft surfaces.

A U.S. Air Force KC-10 Extender pilot performs preflight checks aboard an Extender last July in Australia during a U.S.-Australian exercise. The KC-10s are to receive ADS-B (Out) upgrades. (U.S. Air Force Photo)

L2 Aviation, a subcontractor to Collins Aerospace, in a July 29 press release announced that Mode-5 Automatic Dependent Surveillance Broadcast (ADS-B) upgrades for the U.S. Air Force KC-10 Extender Aerial Refueling Tanker Fleet have been completed.

The Texas-based avionics engineering and modifications company was awarded the contract by Collins Aerospace on Nov. 12, and completed each installation in just 4.5 days per aircraft on average which was quicker than the time originally set even during the outbreak, the company said. Upgrades were completed for a total of 58 aircraft, with the Mode 5 installation and software upgrade featuring APX119-0531 hardware, interfaces, ancillary equipment, and upgraded software along with removal of legacy hardware and wire harnesses, according to the Air Force.

"The project was delayed for eight days at the start and then we faced another delay of eight additional days while under quarantine for suspected COVID-19 exposure of a team member, said Adam Tsakonas, Program Manager for L2 Aviation. Even with the loss of 16 days the program pulled ahead of the original schedule and we were able to scale back to a single mod-line as we worked through the final aircraft."

Boeing recently signed a $265 million contract for nine more MH-47G Block II Chinook helicopters that employees in its Philadelphia plant will assemble for the U.S. Army Special Operations Aviation Command (USASOAC).

That brings Boeing to a total of 24 next-generation Chinooks on contract, which offer increased performance, commonality and capability for challenging missions.

The G-Model is a critical asset for the Army, our nation, and the defense industrial base, said Andy Builta, Boeing vice president and H-47 program manager. Were honored that the Armys special operators trust us to deliver it.

Gulfstream's G700 flight testing program is advancing toward its 2022 entry-into-service goal. (Gulfstream)

Gulfstream's new G700 long-range business jet has surpassed 100 test flights and finished company flutter testing, according to a July 28 press release.

The aircrafts flight testing program is also expanding the flight envelope being evaluated, as it also flew beyond its maximum operating speed and cruise altitude, reaching Mach 0.99 and an altitude of 54,000 feet. In typical operations, the G700 has a maximum operating speed of Mach 0.925 and a maximum cruise altitude of 51,000 feet.

Five fully outfitted production aircraft are being used for testing, and Gulfstream has already completed ground vibration testing, engine runs, loads calibration and structural testing for the G700s first flight. Gulfstream expects to make the first G700 customer deliveries in 2022.

Textron Aviation posted a $66 million loss in the second quarter and saw deliveries drop due to a decline in demand related to the pandemic and to a lesser extent, delays in the acceptance of aircraft related to COVID-19 travel restrictions.

Textron Aviation delivered 23 jets, down from 46 last year, and 15 commercial turboprops, down from 34 last year.

Wind River Linux has become the first General Purpose Profile (GPP) Operating System Segment (OSS) of any kind to conform to the FACE Technical Standard Edition 3.0.

FACE 3.0, published in November 2017, has, among other things, added system model metadata definition and introduced improvements to the data architecture area of the standard as well. The third version of the FACE standard technical standard now requires any operating system segment with support for multicore partitions to meet the requirements of ARINC-653 Part 1 Supplement 4.

The standard is published by the Open Groups FACE Consortium, a partnership between industry suppliers, government experts and operators to provide avionics that use an open system architecture. The consortium has continually updated their standard, which integrates and builds off proven standards like OpenGL, ARINC 729 and POSIX.

The company describes Wind River Linux as an advanced embedded Linux development platform that feature tools and lifecycle services to build and support intelligent edge devices.

EHang's two-seat 216 autonomous aircraft obtained a special flight operations certificate (SFOC) from Transport Canada, allowing trial flights of the aircraft to be conducted in Quebec Province.

We are pleased to see EHang 216 receiving such an important certificate from TCCA, following consecutive flight approvals received from aviation authorities in different countries, including the U.S. Federal Aviation Administration, the Civil Aviation Authority of Norway and the Civil Aviation Administration of China," said EHang Chairman and CEO Huazhi Hu. "It conveys a positive signal from global regulators to establish a supportive and sustainable regulatory environment for the UAM industry. As a leader in the industry, EHang will continue to work with our customers and partners to provide safe, autonomous and eco-friendly air mobility solutions to the world.

EHang also announced it will build a new production facility in Yunfu City, Guangdong, China, with a planned initial annual capacity of 600 autonomous aerial vehicles.

The increasing market demands and commercialization of AAVs in China are driving us to expand our production and upgrade our manufacturing capabilities," said Hu. "The EHang Yunfu facility serves as an expansion of our existing facility and will support the growth of our air mobility business in China.

EHang, listed on the Nasdaq as [EH], is currently trading down almost fifty percent from its price at the beginning of July.

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What's Trending in Aerospace - August 2, 2020 - Aviation Today

Howmet Aerospace eagerly awaits return of Boeing jets – Pittsburgh Business Times

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Pittsburgh-based Howmet Aerospace Inc., in line with many other Pittsburgh manufacturers in the aerospace supply chain, took a hit in the second quarter due to both impacts from the Covid-19 pandemic on the industry and ongoing issues around production and grounding of Boeings 737 Max planes.

Its a tough start for the company, which in April became an independent company upon the completion of Arconic Inc.s split into Howmet and Arconic Corp.

Howmet Aerospace reported $1.25 billion in revenue in the second quarter of the year, down 31% from the same quarter in 2019. In more detail, the company saw its revenue in the commercial aerospace industry decrease by 36% and its revenue in the commercial transportation industry decrease by 54%.

Despite ongoing uncertainty and volatility in the aerospace market due to the pandemic, Howmet CEO John Plant provided a financial outlook for the remainder of the year. Plant said he expects full year 2020 revenue to total between $5.1 billion and $5.3 billion. In the third quarter, he said he anticipates revenue to total between $1 billion and $1.1 billion.

I wish we could be more certain, Plant said. I think the one thing that should be recognized is that we have done our best to give you guidance.

Howmet announced plans to reduce its previously stated capital expenditure expectations for 2020 from $200 million down to $175 million. Plant said the company expects volume in the third quarter to be lower again and then start to recover in the fourth quarter of the year.

Much of the outlook, however, depends on the unknown future of the Covid-19 pandemic and its impact on the production levels of aerospace giants like Boeing and Airbus. Its also, in part, hinged on Boeing recertifying and getting its 737 Max jets back in the air, since theyve been grounded after two deadly crashes in recent years.

Assuming recertification goes ahead then that will be good news, and Boeing plans to resume deliveries and increase build rates as we go into 2021, Plant said. That is the time we are looking forward to. I think the whole industry is looking forward to that time.

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Howmet Aerospace eagerly awaits return of Boeing jets - Pittsburgh Business Times

UK Aerospace Research and Technology Program Awards Funding to TT and Other Members of the AEPEC Project in Effort to Foster the Nation’s Competitive…

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TT Electronics, a global provider of engineered electronics for performance critical applications, announced it will receive Innovate UK funding for furthering innovation in the nations civil aerospace industry. These funds have been awarded to participants in the Aerospace Electric Propulsion Equipment, Controls & machines (AEPEC) project led by Safran. The project also brings together 3T PRD, MEP, Midland Tool and Design and the University of Bristol as part of the consortium being supported by Innovate UK.

Over the next five years, TT will receive an overall award of 620,157 with the majority funded within the next three. TTs Innovate UK grant will be allocated primarily to support and accelerate the development of more electric aircraft via the companys increasingly integrated power electronics solutions designed specifically for deployment in propulsion and control system applications.

Engineering Director at TT Electronics, Julian Thomas, notes TT is firmly committed to ensuring we play our part in creating and supporting the future of the Aerospace and Defence industry. This Innovate UK recognition supports our pledge to advance industry progress with more electric aircraft an initiative that is of critical environmental importance, especially over the next few years.

TT Electronics being a recognized and competent supplier of electronic power conversion equipment to the aerospace industry, has been selected as part of the consortium to work on the pivotal AEPEC project, which will deliver key technologies for the future of flight, said Naveed Sheikh, Head of R&T, Rotating Machines Business Line, SAFRAN Electrical & Power UK Ltd.

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UK Aerospace Research and Technology Program Awards Funding to TT and Other Members of the AEPEC Project in Effort to Foster the Nation's Competitive...

Aerospace Tubes Market Analysis, Growth by Top Companies, Trends by Types and Application, Forecast to 2026 – AlgosOnline

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Aerospace Tubes Market Analysis, Growth by Top Companies, Trends by Types and Application, Forecast to 2026Published: Just now Author: Ashwin NaphadeCategory: #news

The latest report on 'Aerospace Tubes market' as Added by Market Study Report, LLC, offers comprehensive details on industry size, regional spectrum and revenue estimates of the business. In addition, the report stresses on major challenges as well as the latest growth strategies implemented by significant players of the industry.

This research study on the Aerospace Tubes market enumerates details about this industry in terms of a detailed evaluation and also an in-depth assessment of this business. The Aerospace Tubes market has been suitably divided into important segments, as per the report. A detailed overview of the industry with respect to the market size in terms of the volume and remuneration aspects, alongside the current Aerospace Tubes market scenario has been provided in the report.

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The study is inclusive of some of the major insights pertaining to the geographical spectrum of this vertical in conjunction with the firms that have gained an appreciable stance across the marketplace.

A brief of the Aerospace Tubes market scope:

A basic synopsis of the competitive landscape:

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An in-depth breakdown of the regional expanse:

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2. Global Marine Actuators and Valves Market Insights and Forecast to 2026Read More: https://www.marketstudyreport.com/reports/global-marine-actuators-and-valves-market-insights-and-forecast-to-2026

Related Report : https://www.marketwatch.com/press-release/electronic-sphygmomanometer-market-set-to-record-72-cagr-raising-to-usd-26572-million-by-2026-2020-08-07

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Aerospace Tubes Market Analysis, Growth by Top Companies, Trends by Types and Application, Forecast to 2026 - AlgosOnline

Aerospace Fan Cases Market 2020: What are the new innovations by companies? -Top Key GE Aviation, Magellan Aerospace – The Daily Chronicle

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Aerospace Fan Cases Market Scenario 2020-2028:

This detailed market study covers Aerospace Fan Cases Market growth potentials which can assist the stake holders to understand key trends and prospects in Aerospace Fan Cases market identifying the growth opportunities and competitive scenarios. The report also focuses on data from different primary and secondary sources, and is analyzed using various tools. It helps to gain insights into the markets growth potential, which can help investors identify scope and opportunities. The analysis also provides details of each segment in the global Aerospace Fan Cases market

Sample Copy of This Report: https://www.quincemarketinsights.com/request-sample-62328?utm_source=TDC/komal

Company profiled in this report based on Business overview, Financial data, Product landscape, Strategic outlook & SWOT analysis: GE Aviation, Magellan Aerospace, GKN AEROSPACE, Rolls-Royce, Frisa, Mecachrome, Pelonis Technologies, UMW AEROSPACE SDN. BHD, etc.

According to the report, the Aerospace Fan Cases market report points out national and global business prospects and competitive conditions for Aerospace Fan Cases. Market size estimation and forecasts were given based on a detailed research methodology tailored to the conditions of the demand for Aerospace Fan Cases. The Aerospace Fan Cases market has been Segmented By Type (Ac Fans, Dc Fans, Other), By Application (Military Airplane, Civil Airplane, Other). Historical background for the demand of Aerospace Fan Cases has been studied according to organic and inorganic innovations in order to provide accurate estimates of the market size. Primary factors influencing the growth of the demand Aerospace Fan Cases have also been established with potential gravity.

Aerospace Fan Cases

Regional segmentation and analysis to understand growth patterns: The market has been segmented in major regions to understand the global development and demand patterns of this market. By region, the Aerospace Fan Cases market has been segmented in North America, Europe, Asia Pacific, Middle East & Africa, and South America. The North America and Western Europe regions are estimated to register a stable demand during the forecast period with market recovery from recent slowdowns.

North America region includes the US, Canada, and Mexico. The US is estimated to dominate this market with a sizeable share followed by Canada, and Mexico. The industrial sector is a major contributor to the US and Canada economies overall. Hence, the supply of advanced materials in production activities is critical to the overall growth of industries in this region.

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Europe region is dominated by Germany, the UK, France, Italy, and Spain. These countries also have a strong influence on the industrial sector resulting in sizeable demand for Aerospace Fan Cases market. Asia Pacific is estimated to register the highest CAGR by region during the forecast period. The presence of some of the high growth economies such as China and India is expected to propel the demand in this region. Besides, this region has witnessed strategic investments by major companies to increase their market presence. The Middle East and Eastern Europe are estimated to be other key regions for the Aerospace Fan Cases market with a strong market potential during the forecast period. Rest of the World consisting of South America and Africa are estimated to be emerging markets during the forecast period.

This report provides: 1) An overview of the global market for Aerospace Fan Cases market and related technologies.2) Analysis of global market trends, yearly estimates and annual growth rate projections for compounds (CAGRs).3) Identification of new market opportunities and targeted consumer marketing strategies for global Aerospace Fan Cases market.4) Analysis of R&D and demand for new technologies and new applications5) Extensive company profiles of key players in industry.

The researchers have studied the market in depth and have developed important segments such as product type, application and region. Each and every segment and its sub-segments are analyzed based on their market share, growth prospects and CAGR. Each market segment offers in-depth, both qualitative and quantitative information on market outlook.

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Objectives of this report: To estimate market size for Aerospace Fan Cases market on regional and global basis. To identify major segments in Aerospace Fan Cases market and evaluate their market shares and demand. To provide a competitive scenario for the Aerospace Fan Cases market with major developments observed by key companies in the historic years. To evaluate key factors governing the dynamics of Aerospace Fan Cases market with their potential gravity during the forecast period.

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