Monthly Archives: May 2022

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Global Coriolis Mass Flowmeters Market 2022 to 2028 Business Outlook and Innovative Trends | Top Players as Endress Hauser, Emerson, ABB, Yokogawa ...

Spin Room: John Chuldenko at the White House in 2010. Photograph by Aric Avelino.

One of the perks of being Jimmy Carters grandson is that you get to attend the familys annual trip, a gathering for the whole extended Carter clan thats organized by the former President and First Lady. John Chuldenkowhose stepfather is Carters son Jackloves to attend these events, which might involve fishing in the Gulf of Mexico or lounging on a beach in Panama. Much of the time is passed just hanging out, chatting, exchanging old stories.

It was during one such sojourn that Chuldenko first heard about the record collection. His uncle Jeff was talking about an incident that happened during a White House party back during the Carter administration. JeffJimmy Carters youngest son, who was in his twenties at the timewas hanging out upstairs in the residence with some friends, blasting a Rolling Stones album. Suddenly, the door flew open and there stood Rosalynn Carter and Second Lady Joan Mondale, who reacted to the music with

Wait, what do you mean there were records there? Chuldenko wanted to know. Where did you get records?

Jeff explained that an official selection of LPs was kept in the residence. So Im like, The White House has its own record collection? Chuldenko recalls. Like, permanently? Jeff said he didnt know anything more about it, and the conversation moved on. But when Chuldenko returned home to Los Angeles, he couldnt let it go. That started me down this rabbit hole, he says.

Chuldenko is a creative guy with his hands in a lot of projectsa writer, director, and producer who works on everything from commercials to magazine articles to feature films. Hes also a big collector of vinyl. So when he heard about the possible existence of an official White House record library, he got excited. Maybe this could be a documentary film, he thought. But mostly, he was just eager to know more. He found a few brief articles about the collection online; otherwise, information was sparse. Did the White House ever really have such a thing? Which albums were in it? And was it still there?

So Chuldenko did what any good researcher would and contacted the library. Except in this caseanother perk of being an ex-Presidents grandsonthe institution he reached out to was the Jimmy Carter Presidential Library. An archivist there passed along info for somebody in the White House curators office. Chuldenko sent off an email and soon got back an unpromising reply. Basically the response was Yeah, I dont really know what youre talking about, but well do some digging.

Chuldenko figured that might be the last he heard from them, but eventually he received another email:

Dear John: Yes, we do have a record collection stored at a secure offsite facility. Because its secure, I cannot pass along the exact location of where the records are being stored.

That was it. I must have read it seven times, Chuldenko says. I mean, at that point, all they had said was We have it. Its not Hey, come see it. It was just: It exists.

In a way, there are actually two White House album collections. The first was assembled in the early 70s by the Recording Industry Association of America, the DC trade group that represents record companies. The American Booksellers Association had donated tomes for a White House book library, the thinking went, so why not a similar collection of music?

The White House was receptive, and the RIAA put together a team to select music from the worlds of classical, jazz, popular music, and so forth. Johnny Mercer was tapped to oversee the pop picks. In retrospect, this was an odd choice. The idea was to build a library that reflected American tastes in the post-Woodstock era. Mercer, meanwhile, was the Moon River guyone of the all-time great songwriters, to be sure, but hardly the person to capture that eras seismic musical achievements.

Mercer and his team did their best to nod toward more modern soundsthe first Doors LP and Elton Johns US debut made the cutbut their choices leaned heavily on easy listening: Lawrence Welk, Don Ho, Perry Como. Chuldenko likes to point out that there was the same number of Pat Boone albums as entries from the Beatles.

That first collection of more than 1,800 LPs was presented to the White House in 1973. But its the second volume, put together at the end of that decade, thats most intriguing. Once again curated by the RIAA, it was intended to bring the record library up to date. This time, the selection process would be headed by John Hammond, a hugely influential figure who had signed Bob Dylan, Aretha Franklin, and Bruce Springsteen. Hammond enlisted experts to oversee each genre, including Modern Jazz Quartet pianist John Lewis, who was responsible for jazz, and Boston music critic Bob Blumenthal, who led the pop picks. The idea of helping choose the pop records for the music library at the White House just seemed like a gas, an enormous amount of fun, says Kit Rachlis, then music editor at the Boston Phoenix, who was one of Blumenthals advisers on the project. Who wouldnt want to do that?

Things kicked off with a celebratory lunch at the White House hosted by Rosalynn Carter. Blumenthal recalls that he took the opportunity to feel out the Presidents staff. I remember having visions of putting some fairly transgressive stuff on the list, he says. There was an album by Randy Newman at the time called Good Old Boys, and theres a song on there, Rednecks, which is one of the greatest critiques of both Southern and Northern racism. I wanted to put that in. His staff person said, Oh, the President loves that album. I thought, Okay! That sort of gave me license to make choices I thought would be a good, representative sampling rather than having to censor myself.

The list was hashed out during sessions in a Manhattan conference room, and true to Blumenthals vision, the selection was decidedly more adventurous this time around: soul, punk, salsa, gospel, funk, disco, and more. There were obvious picks representing rock-and-rolls history, with entries from the likes of Chuck Berry, Little Richard, and Elvis Presley. And popular tastes were well represented by artists such as Donna Summer, Fleetwood Mac, and Earth, Wind & Fire. Blumenthal pressed for a Latin-music section that had records from Beny Mor, Joe Bataan, and Johnny Pacheco, among others.

There were also plenty of left-field LPsmusic whose inclusion, Rachlis says, offered a certain kind of subversive joy. Funkadelics Hardcore Jollies made the cut, as did Never Mind the Bollocks, Heres the Sex Pistols and Captain Beefhearts Trout Mask Replica. A Gil Scott-Heron compilation. Talking Heads More Songs About Buildings and Food. The Ramones Rocket to Russia. And this time around, there were no selections from Don Ho, although Barry Manilows Greatest Hits did lend an easy-listening note to the proceedings. (I dont know whether I would have included that if I were doing it today, says Blumenthal.)

The second installment of the library was unveiled during a ceremony at the White House in early 1981, attended by the President and First Lady. At that point, the Carters were on their way out; Blumenthal remembers seeing moving trucks outside the residence. The collection was likely taken out of the White House not long thereafter and put into storage. Chuldenko thinks the Reagans were the ones who sent it awayperhaps even before the new LPs could be unpacked and added to the library. Its not like Ron and Nancy were ever going to be rocking out to Teenage Lobotomy.

Chuldenko was thrilled to learn that the music library was real, but what he really wanted was to see itand maybe actually listen to some of the records. Even an ex-Presidents grandson cant just walk into the White House, however, and anyway, the vinyl was socked away in that secret facility, which Chuldenko imagined looking like the vast government warehouse at the end of Raiders of the Lost Ark.

Undaunted, Chuldenko put in an official request to check out the collection, explaining that he was working on a documentary film. It took some time, but eventually the White House offered to dig the records out and give him access. So in December 2010, Chuldenko showed up at 1600 Pennsylvania Avenue with a film crew and a small group that included Blumenthal and Rachlis. He also brought a turntable and speakers.

After the group arrived, they were ushered into the White House screening room. And there, finally, was the collection: record-filled boxes stacked up in front of the movie screen. The LPs had been kept in their original sleeves, which were inserted into color-coded binders (light blue for pop, yellow for classical, etc.). Each was adorned with the presidential seal and a foil stamp that read WHITE HOUSE RECORD LIBRARY. The whole thing reeked of gravitas and respectabilityexcept that inside a binder, rather than some speech delivered by FDR in the 40s, you might find a mint-condition copy of Macho Man by the Village People.

What to play first? They agreed on Van Morrisons Astral Weeks, a profound and meditative record that has a way of transforming any listening session into a spiritual experience. As those extraordinary opening Richard Davis bass notes floated from the speakers, President Obama was upstairs, busy running the country.

It was a surreal scene, but there were thousands of records to explore and documentary footage to shoot, so they just kept digging. With every box, there was this new treasure inside, Chuldenko recalls. I knew what was in there on paper, but its different when you actually hold these records. They had never been played. It was like walking into a record store in 1979. They were absolutely pristine.

At one point, they decided to listen to a politically charged punk-rock landmark: the Clashs self-titled 1977 debut. Im so bo-o-ored with the U-S-A! Joe Strummer snarleda chorus that had almost certainly never rattled the walls of the presidential residence prior to that moment. We put that on, Chuldenko says, and it was just like, Oh, my gosh, Im playing the Clash . . . in the White House! I mean, what an incredible protest record. And its not like I brought it myself. I am playing the White Houses copy.

Perhaps about now youre wondering how you can watch this intriguing documentary about the worlds most exclusive record collection. Well, you cant. In the end, Chuldenko never did make the film; 12 years later, the footage remains unseen by the public. He wasnt able to drum up the financing, he says, and hes been busy with a long list of other projects.

But something happened at the end of that trip to the White House that has stuck with him all these yearsa moving moment that has kept him invested. It came at the end of the visit, when a staffer arrived to politely suggest it was time to wrap up and three guys in overalls appeared with hand trucks. They start packing up the boxes and carrying them away, Chuldenko says. And its kind of sad! I couldnt help but think, Wait a minute: These are going back into deep, dark storagequite possibly never to be seen again. And I dont want this to go away. That was when I was like, Weve got to do something. Ever since, Chuldenko has been playing around with an idea: He would love to somehow create a third installment of the library.

After all, the current collection is missing all of the crucial music thats been released over the last four decades. There is no rap or hip-hop in there, says Chuldenko. Theres no electronic music. There are no boy bands, no Madonna or Britney Spears. No Michael Jackson! I dont know how you do a third volume and not put in [Public Enemys] It Takes a Nation of Millions to Hold Us Back or NWA. These are landmark records that helped to shape our culture.

Recently, his idea has started to gain some momentum. The White House Historical Association contacted Chuldenko a few months ago, asking him if hed write about the record library for its quarterly journal and do a short interview on its podcast, The 1600 Sessions. That got him thinking about the footage hed shot and the research hed doneand also about that sadness hed felt when the collection was carted away.

Now hes starting to work on his long-gestating plan to do a new installment. Rather than assemble a physical library, though, Chuldenko is thinking this would be an extensive written playlist, which would be published as a book. One idea is to have prominent people contribute album picks. Chuldenko would then film them talking about their choices and incorporate that footage into his documentarywhich could be released in conjunction with the book. The White House Historical Association actually published catalogs for the first two record collections (these long-out-of-print books now bring big money online), so the idea makes a lot of sense.

Plus it would be a blast to bring the collection into the 21st century. The White House record library is a treasure, and people need to know about it, Chuldenko says. We need to update this. Weve got a lot of catching up to do.

This article appears in the May 2022 issue of Washingtonian.

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Politics and Culture Editor

A DC native, Rob Brunner moved back to the city in 2017 to join Washingtonian. Previously, he was an editor and writer at Fast Company and other publications. He has also written for the New York Times Magazine, New York, and Rolling Stone, among others. He lives with his family in Chevy Chase DC.

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Record Collection: The White House's Hidden Albums - Washingtonian

A woman has slammed Ryanair after her seats were reportedly allocated to someone else - even though she claims they had been paid for.

Sue Graham went on holiday to Benidorm with her husband Eric and step-daughter Sophie. Their problems began as they were about to embark on their return flight to Liverpool John Lennon Airport.

Ryanair has since responded claiming the issue occurred because the woman had booked with On the Beach travel company rather than directly with the airline.

It comes as cancelled flights and long queues have caused chaos for passengers travelling from UK airports over recent weeks. Staffing shortages and increased demand due to the removal of all Covid-19 restrictions have meant airlines have been struggling to cope.

"On getting to Alicante airport for our flight home we were told by the Ryanair attendant our seats had been cancelled and it would cost us another 30 Euros each to get on the flight we had already paid for," explained Sue. "When I told the attendant we had no money I was told 'It's not my problem, either pay a further 30 Euros each or sort yourself out'.

"I suffer with depression and anxiety so can you imagine my state of mind thinking we were going to be abandoned at the airport."

According to the Liverpool Echo, Sue said they only managed to secure their seats after husband Eric used money earmarked to pay his Sky bill to cough up the cash demanded by Ryanair.

She added: "I'm disgusted. I have been informed of this happening to other travellers due to the airline over selling seats. If someone gets there before you, they will sell them your seats."

Sue also claimed her husband was charged another 46 Euros after his hand luggage - which he had taken with him on the flight out without a problem - was turned back at the boarding gate and he had to pay for it to go in hold or else leave it behind.

A spokesman for Ryanair said: "This is a prime example of the issues faced when customers book flights through OTAs (online travel agents) and not directly with the airline.

"Ryanair did not cancel the seats in Ms. Grahams booking. Ms. Graham was charged a standard airport check-in fee of 90 (30 per passenger) as she failed to check-in online two hours prior to the scheduled departure time.

"Ryanair urges customers to always book directly, as OTAs may provide Ryanair with incorrect email addresses, contact and payment details, which block Ryanair from communicating directly with the customer to share essential flight information and updates, including check-in prompts, potential departure time changes, delays, cancellations and refund updates.

"To protect our customers, Ryanair has developed the Verified Seal and Price Checker to guarantee customers that they are booking directly with Ryanair. However, to avoid unnecessary complications, Ryanair advises customers to always book directly on the official Ryanair website/app.

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Family claims Ryanair forced them to 'pay for seats they've already bought' on flight - Daily Record

By Isabel TehanBoston University Statehouse Program

BOSTON Two months after its formation, the commission investigating the history and harm of theMassachusetts state sealplans to ask for an extension, which would allow them until 2023 to make their recommendations for changes to the seal.

The commission, made up of state legislators, tribal leaders, advocates, and historians, has been slow-moving. Previously given a Dec. 31, 2022 deadline, the group said they hoped to have recommendations by June.

Now, two months since their work began, the commission remains unclear even on the nature of the recommendations they have been tasked with making, and unanimously voted that they need more time. Determining how much of a change to recommend is still a top consideration, and the commission has reached no conclusion.

Since February, the commission has divided itself into subcommittees, one to examine the Histories and Usage of the seal, and the other for Public Consultation. Conceived of in the 1790s, the seal currently depicts an Indigenous man standing below a sword-wielding colonists arm.

The commission has a lingering point of confusion: is it an entire rework or tweaking of elements they are recommending, asked Michael Comeau, co-vice chair of the Massachusetts Archives, at a meeting Tuesday. This is a question he and the histories and usage subcommittee will continue to tackle, aiming to answer this for the broader commission by June.

The subcommittee is seeking out more Indigenous perspectives, and in their last meetings were slowed by differing opinions.

We didnt come to any great conclusions, Comeau reported to the commission at large. They continue to wrestle with intent, he said, as the historical record detailing the creation of the seal is lacking.

Cheryl Andrews-Maltais, chairwoman of the Wampanoag Tribe of Gay Head Aquinnah, asserted that historical intent is less important than the path forward. The focus, she said, should be on creating imagery that the constituents of the commonwealth can feel proud of.

When to consult the public also remains a question. It is imperative to include public opinion in the decision-making process, the commission agrees.

This is a change that can affect everyone in this commonwealth, said Brian Boyles, executive director of the Massachusetts Foundation for the Humanities, and co-chair of the commission.

He summarized the public consultation subcommittees discussions, which included identifying groups to consult. For now, the list includes educators and libraries throughout the state.

Comprehensive public inclusion is a priority, said Comeau, who is acting as the designee for Secretary of the Commonwealth William Galvin. The whole process needs to be as transparent as possible.

General public feedback will come once the bill, including the commissions recommendations, is eventually filed, said Rep. Antonio Cabral, D, New Bedford, who is the only member of the House of Representatives on the commission. For the groups recommendations to be accepted, there is need for support in the Legislature and from the general public, he said.

We have to be realistic about the legislative process.

What the commission will recommend, when, and how the public will respond, will not be determined for months. All that is certain now is that this group unanimously agrees they need an extension.

This article originally appeared in SouthCoast Today.

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Commission to request extension to deliver recommendations on the Massachusetts state seal - BU News Service

Three weeks ago, Peter Stetina broke his wrist after crashing just minutes into a 50-mile mountain bike race. He finished the event the first race in the LifeTime GrandPrix but knew something was wrong.

"It wasn't the smartest move," the former WorldTour pro said. "But I thought if it was just sprained, I could still ride. It was a trial by fire. It didn't worsen, so I figure it was pretty stable even though it turned out to be a decent fracture."

The fracture travelled up into a joint, which complicated things, but, as Stetina said gesturing to his bike, "this is my job."

Stetina made the choice to line up at the hotly contested Belgian Waffle Ride (BWR) in San Marcos, California, last Saturday, knowing he'd be on the back foot despite being the two-time defending champion.

In the three weeks leading up to the 212-kilometer race, he trained mainly on the road and on a stationary bike in his garage, focusing on intensity instead of endurance while resting his hand as much as possible. Last week, x-rays showed his hand was doing well, so he took a light gamble in minimizing his splint, which was already custom-designed around the hood of his handlebars, to allow for more movement during BWR.

"It's very much personal for me, so I wanted to give myself every chance I could to line up," he said. "That included an aggressive and alternative rehab protocol, meaning you have to let pain be your guide."

Knowing how to delineate between normal pain and 'this bone is starting to crack again' pain is a delicate dance. It requires an athlete to keep pushing while at the same time, remain conscious of how the body is responding, something that comes only with experience.

Peter Stetina with his wrist in a cast on the honor podium of the 2022 Belgian Waffle Ride.

(Image credit: Freddie Jimenez // Canyon Bicycles )

In Saturday's race, Stetina had to relinquish his reign when he finished fifth behind an all-star cast of Alexey Vermeulen (Jukebox Enve), Matt Beers (Toyota-Specialized), Griffin Easter (OpiCure Foundation-Orange Seal), and Alex Howes (EF Education-EasyPost).

The technical downhill descent was where Stetina eventually lost contact with the leaders, knowing he had to back off from pushing his body too far.

"It's sore right now, but I think that's just the bump abuse. I feel like it's okay. I knew I had to race differently. My fitness is fine, but bike racing is the sum of many different movements. I knew the downhill section was going to be difficult for me," Stetina said.

"I promised my wife and my doctors that I would back off if things were starting to feel out of control. I have to be smart. There are a lot of other races yet to come, but I wanted to be here and do this race, but at the same time, you have to look at the big picture."

Amber Neben during the Tokyo Olympic games, just weeks before she got hit by a car and sustained serious injuries

(Image credit: Tim de Waele/Getty Images)

Multi-time national and former world champion Amber Neben knows all about the big picture. The decorated veteran was hit by a car during a training ride after the 2021 Olympics. The impact broke her pelvis, giving her only a few months to heal before the world championships.

"It wasn't the first time I'd been through something traumatic," 47-year-old Neben recalled. "Coming back from an injury is a lot like being an athlete. When you first start on the bike, you're a completely different person compared to where you are three years later. You've learned things along the way. Throughout all my other injuries, mild or traumatic, I've learned to listen to my body and understand how to push it to create a stimulus for it to respond, and get stronger and healthier, versus pushing it so far you go backwards. It's a fine line between being able to push and listen and push and listen. And do a little more, a little bit more, without getting impatient and doing so much it sends you backwards."

Like Stetina, Neben used the tools she developed during her 20-year cycling career to navigate her recovery. Now that she's focused on a full gravel calendar in 2022, it's even more important to listen to the "whispers," as she calls it. Whether it's training and fatigue, balancing nutrition and hydration or recovering from an injury.

"I think early on as athletes, we're kind of in denial because you don't want to stop, and you don't want to get hurt, and you deny, deny," she said after finishing ninth at Saturday's Belgian Waffle Ride, some 48 minutes behind winner Mo Wilson.

"If you ignore those or deny them, your body starts yelling and eventually screaming, and you have nothing you've broken yourself, and you need to take a really long break. It's always a balance. That's perspective, and that's another tool."

Neben considers herself back to 100 percent after that horrible collision last year. Every once in a while, she'll hit something and feel where the break was, but it won't stop her from continuing that delicate dance.

"I like riding my bike. I like the people," Neben said. "It's a cool classroom. It's a great parallel to life."

Read more from the original source:

The delicate dance of discomfort: Finding balance between recovery and competition - CyclingWeekly