There are now two Perfetto jackets, the warmer and heavier duty Perfetto 4 and the lighter Perfetto Pro, and the classic Gabba jersey/jacket hybrid has had a makeover to incorporate Polartec's windproof and waterproof AirCore fabric

The San Francisco Planning Commission will meet tomorrow to discuss a proposed project expanding the Glide Foundation’s facilities at 330 Ellis Street in San Francisco’s Tenderloin neighborhood. SF YIMBY first reported on the project in March of 2022. Since then, the proposal has undergone revision, including a reduced plan in scale. The conditional use permits to be discussed at the meeting would allow the project to move forward under a design plan in line with their revisions from September of last year. The Glide Foundation is self-sponsoring the project.

updated: Monday, September 21, 2026 - 2:45pmfull name / name of organization: Northeast Modern Language Association (NeMLA)contact email: nsurendr@nd.educategories (up to 5): poetrytheorydeadline for submissions: September 30, 2026Amidst the collective and intimate violations of authoritarianism (and its contemporary attendants like neoliberalism, genocide, and geocide), devotees of poetry and the arts face pressures to justify the value of their study. This pressure comes not only from the regimes that depend on circulating demonizing platitudes and the profit-oriented institutions that host our studies, but also from the telescoping scales of suffering itself. To what extent can poetry actually “empower communities”? What fantasies do academics often indulge about the “power” of their work, and how might poetry help us experience ways of being and valuing that scramble binaries like power/weakness, large/small, global/local, innocence/irony? While the micro-scenes in which poetry is most often composed and shared are not inherently revolutionary, poetic attention can open into counter-intuitive devotion to the small and apparently trivial: the precise image, the breath-catching syncopation, the aural recall of rhyme. In this roundtable, we invite papers centered on contemporary poetry that investigates the ambivalence of “innocence” as (paradoxically) strategy: as a myth of purity that masks the drive to dominate, naïve idealism that denies the reality of suffering, and perhaps a radical commitment to communal care despite defeat. How does troubling the notion of poetic “innocence” complicate visions of Edenic pasts, utopian futures, or post-apocalyptic worlds? Elaborations on the theme may include, but are not limited to: the lyric or the epic poem, poetic media, the local and the global in contemporary poetry, gendering of apocalypse and innocence, children’s or child-like poetry, empire and postcoloniality, post-apocalyptic poetry and/or the fetishization of linguistic world-making. Submit your abstracts here:https://cfplist.com/nemla/Home/S/22537 Email nsurendr@nd.edu (Nidhi Surendranath) or sh9525@nyu.edu (Sally Hansen) with any questions.

GravityView adds Search Bar default values, Multiple Forms reaches 1.0 with joined-form search, and GravityBoard gets keyboard, security, and performance fixes. The post by Casey Burridge at Launch Log: Search Bar default values, Multiple Forms 1.0, and a keyboard-friendly GravityBoard appeared first on GravityKit.

Dutch Prime Minister Rob Jetten is pressing Washington to avoid another round of export restrictions on ASML's China business as US lawmakers pursue legislation that could tighten controls on the chip-equipment maker's immersion lithography systems and servicing activities.

When a European company expands into the U.S., its executives generally expect to deal with a business environment quite different from the one they know. Read also: Mexico-US Trade Talks Postponed, Fourth Round May Move to October They prepare for unfamiliar regulations, study American consumers, develop new marketing strategies and try to understand how American business relationships work. What they may not anticipate is the U.S.’s different media culture—and that matters more than some companies realize. A business can have an excellent product, a carefully developed U.S. market-entry strategy and a substantial marketing budget and still struggle to gain attention in the U.S.’s enormous and highly competitive media landscape. Finding the Right Niche Successfully approaching American journalists may require different tactics from the ones that worked well back home. Sure, they ostensibly do the same things. They interview people on television or radio, and they write stories to be published in print or online. But journalistic traditions vary widely from country to country. Journalists can have different expectations about what constitutes a newsworthy story, how companies should approach them, and even what kind of relationship should exist between reporters and the people seeking media coverage. One of the most important things foreign companies need to understand about the American media is that a company’s desire for publicity is not, by itself, a reason for a journalist to cover it. Media Coverage Is Not Marketing That may sound obvious, but it is not unusual for a company entering a new market to think of media relations as just another part of its marketing plan. To be fair, publicity has become largely content for use in marketing. But it’s content with considerably higher credibility. Company management may believe that opening a new U.S. office or hiring a high-level executive should be reason enough for the media to take notice. But the media usually has a different take, and it may look something like this: “Why should my readers, viewers or listeners care?” A company may be much more likely to attract attention if its story illustrates a larger business trend, a shift within an industry or a development affecting consumers. For example, an Italian manufacturer expanding into the U.S. might have a more compelling story if its expansion reflects a broader effort by European manufacturers to establish a foothold in the American market. Similarly, a company executive may be a useful source for a journalist not because the executive wants to promote the company, but because he or she has firsthand knowledge of an issue the journalist is already covering. That requires companies to think less about what they want to announce and more about the conversations journalists and their audiences are already having. A Pitch Is Not a Sales Brochure American journalists tend to expect a fairly specific approach when they are contacted by companies and public relations professionals. A typical pitch is concise and targeted. It should quickly explain why a particular journalist might find the proposed story interesting and why it is relevant to that journalist’s audience. And that may require some homework before the pitch is made. A reporter who covers international trade is unlikely to be interested in exactly the same story as a journalist covering consumer products. A local business reporter may be interested in the economic impact of a company’s new American facility, while a national publication might instead focus on a broader industry trend. Sending the same generic announcement to dozens or hundreds of journalists is rarely an effective strategy. Nor is a pitch generally the place for an extended company history, a lengthy list of awards or a detailed description of every product the business sells. Journalists can find that information on a company’s website. Additionally, don’t assume that getting quoted or featured in top-tier publications such as The New York Times and The Wall Street Journal should be your main goals. So-called trade publications that speak to audiences in specific industries can go further in burnishing your credibility with potential customers and partners. Ditto for local business publications in whatever American city or town you have operations. What’s more, such publicity can help you with efforts to expand to new, bigger U.S. markets. Give the journalist a reason to want to know more This is another area where cultural assumptions can cause problems. What might be considered an appropriate professional introduction in one country can come across as overly promotional or insufficiently relevant in another. Companies accustomed to thinking primarily in marketing terms can also misunderstand the distinction between paid and earned media. Advertising allows a business to control its message. The company decides what it wants to say, where it appears and, within the limits of advertising regulations and platform requirements, how it is presented. Editorial coverage works differently. A journalist (not the company) ultimately decides whether a story is worth covering, which questions to ask and what information to include. The result may be valuable precisely because it represents an independent, third-party assessment rather than a message created by the company itself. That can make credible media coverage particularly useful for a foreign company trying to establish itself in the U.S. An unfamiliar business featured in a respected industry publication or quoted as an expert on an important issue can gain a level of recognition that traditional marketing alone may not produce. But the company must accept the basic rules of the editorial process. The goal should not be to persuade a journalist to reproduce a marketing message. It should be to determine whether the company has a legitimate story to tell, or useful expertise to contribute. Think Like a Participant, Not Just a Promoter The most effective media strategy is frequently not built around repeatedly telling journalists how successful a company is. Instead, it involves finding ways to participate in larger conversations. A European company entering the U.S. market may have executives who can offer insights into supply-chain challenges, changing trade policies, manufacturing trends or the practical differences between doing business in Europe and America. An Italian food company might have useful expertise on changing consumer attitudes toward authenticity and regional products. A manufacturer might be able to discuss the challenges of moving production or establishing new distribution networks across borders. Those perspectives can be interesting to journalists even when the resulting story is not primarily about the company itself. Over time, such contributions can also help establish executives as knowledgeable sources whom journalists may contact again when related stories arise. Learning the Culture Behind the Headlines None of this means that American media culture is inherently better or worse than the media culture of another country. It is simply different. And that is the larger lesson for companies expanding internationally. Businesses routinely invest significant time and resources in understanding foreign markets. They study consumer preferences, hire local experts and adapt their products and messages to different cultural environments. The same kind of adjustment may be necessary when they begin interacting with the media. International expansion involves more than translating a website, finding distributors and adapting a product for a new audience. Companies must also learn how the professional cultures of a new market operate, and that includes the culture of the journalists who help shape how industries, companies and ideas are discussed. Understanding that culture can be an important step toward something every foreign business wants: not simply arriving in a new market, but becoming part of the conversation there. Author bio Paul Abercrombie is president of Abercrombie Communications Inc., a public relations firm that works with companies and professional services firms in the U.S., Europe and elsewhere abroad. A former journalist, he has written for such publications as The New York Times, The Washington Post, the Chicago Tribune, National Geographic Traveler and Wine Enthusiast. The post How Foreign Companies Can Navigate the U.S. Media Landscape appeared first on Global Trade Magazine.

The Trump administration has now accused five University of California campuses of illegally discriminating against White and Asian applicants.

Deciphex today introduces CipherX, the AI engine behind its clinical diagnostic service, Diagnexia, and its pharmaceutical research business, Patholytix. CipherX has been in production since January 2026 and is launched publicly for the first time today.‍ A pathology foundation model is a large neural network trained on millions of tissue images to convert each image […] The post Deciphex launches CipherX: a step beyond foundation models, an AI engine for any pathology question first appeared on Tissuepathology.com.

Sustained recovery from addiction appears to depend on two connected elements — structured, evidence-based clinical care and a personal source of meaning that sustains motivation once formal treatment ends. Here's how full-continuum and faith-integrated treatment programs address both dimensions, and why neither functions well without the other.

Paris gold medallist Lizzi Jordan has called on the government to formally recognise tandems as adaptive bicycles, making them exempt from VAT

Compartment syndrome has a six-hour window for fasciotomy before permanent nerve and muscle damage occurs — and even for less acute workplace fractures and tendon injuries, operating before peak post-traumatic swelling produces measurably better outcomes. Here's why the traditional ER pathway creates structural delays that cost both workers and employers, and what specialised occupational trauma facilities do differently.

Tonight on CBS Big Brother airs with an all-new Sunday, September 24, 2026, season 28 episode 39 and we have your Big Brother recap below! In tonight’s exciting Big Brother season 28 episode 39 called, “Live Eviction, Who Was Vote Out?” as per the CBS synopsis, “The head of household nominates three fellow houseguests for possible eviction.” So, visit … Keep Reading

It’s no secret that I am a huge fan of grazing cornstalks. Lowering feed costs, extending the grazing season, and getting animals back out on the land are all reasons to graze cornstalks.

Who is showing a lot of leg? – Celebitchy Robert Pattinson talks The Batman 2 – Pajiba This 1971 song was recorded in a stairwell – Grunge These classic shows were only 2 seasons – Programming Insider Who is dancing to what on Dancing with the Stars – Paulette Cohn

Sunday Telegraph Cryptic No 3386 A full review by Rahmat Ali + – + – + – + – + – + – + – + This puzzle was published on 13th September 2026 BD Rating – Difficulty ** – Enjoyment **** Greetings from Kolkata.… Continue reading

Earlier today Bitmap Books confirmed via their website that their new title The Arcade 1971–1999: The Stories Behind Classic Coin-Ops, Told by Their Creators by Paul Drury will be available for purchase on October 1st. A source close to the publication has also informed Old School Gamer Magazine that a pre-order window will open a couple of days before the official launch for those interested readers who want to be sure they’re at the front of the queue. As Paul Drury, and Bitmap Books, are both located in the United Kingdom, readers in other parts of the world will likely have to wait a moment in any case to receive their copy. Now confirmed for a length of over 400 pages, The Arcade 1971–1999 profiles 120 classic coin-op titles. Among the many stories discussed, Drury identifies via interviews with original developers the answers to questions such as who actually created Donkey Kong, how Q*bert learned to swear, what really happened on the night when the very first Pong machine was placed in Andy Capp’s Tavern, and why Ms. Pac-Man was originally a man called Otto. Personal photos, design sketches, coding notes and all manner of ‘behind the scenes’ material are also included in the book which has been developed in a high-quality lithographic print. Among the industry luminaries giving firsthand information are Atari co-founder Nolan Bushnell and Eugene Jarvis of Defender and Robotron, who wrote the foreword and afterward respectively. The Arcade 1971–1999: The Stories Behind Classic Coin-Ops, Told by Their Creators is being sold on the Bitmap Books website for $48. Purchasers will also receive a free full PDF copy as they wait for their physical book to arrive in the mail. The post The Arcade 1971-1999 by Paul Drury to release next week from Bitmap Books appeared first on Old School Gamer Magazine.

full name / name of organization: Vrije Universiteit Brussel (VUB) contact email: p.verhulst@reading.ac.ukcategories (up to 5): cultural studies and historical approachesinterdisciplinarytheatre and performance studiestwentieth century and beyondworld literatures and indigenous studiesdeadline for submissions: October 26, 2026Call for papers Radiophonic Intermediality in Contemporary Theatre and Performance Theatre is generally considered a ‘hypermedium’ (Chapple and Kattenbelt 2006), able to assimilate a wide variety of other art forms through a process of ‘remediation’ (Bolter and Grusin 1998). As a result of this, the stage has become ever more ‘intermedial’ (Rajewsky 2005), gesturing towards, borrowing from and incorporating other technologies as well as their modes of expression. After the decentralization of the text or script in performance, following Hans-Thies Lehmann’s influential book on Postdramatic Theatre (1999/2006), more scholarly attention has been paid to physical movement, lighting and visual design, particularly video projection, digital graphics and the use of AI, but also to sound. While subsequent studies of postdramatic theatre have connected contemporary performance practices to the historical avant-garde and modernism’s fascination with sound technology (Ovadija 2013), the continuing effect of postwar radio broadcasting on the evolution of theatre has been somewhat overlooked. Nevertheless, many playwrights whose careers took off in these decades had a formative period of writing for the wireless, and directors often combined studio with stage work. The medium’s significance is often reduced to providing an outlet for adaptations of plays, but this ignores the role that radio drama fulfilled in reshaping theatre, through its own unique aesthetic affordances. Such cross-fertilization did not end with the dwindling of radio broadcasting in the traditional sense, first through the rise of television, then the internet and streaming. The latter even enhanced the evolution of theatrical sound, initially through the circulation of archival radio drama recordings on websites such as YouTube, Vimeo, UbuWeb and the Internet Archive, followed by platforms like Spotify and Audible. Last but not least, screen fatigue and the suspension of cinema as well as theatre during the COVID-19 pandemic, similar to ‘blackouts’ caused by air raids in World War II, allowed sound culture to thrive, reconnecting the stage with radio as a ‘sightless’ theatre, facilitated by podcasting. At the same time, several clichés surrounding the medium have been dispelled by theorists of the field. For example, Shingler and Wieringa abandoned the notion that radio drama is a ‘blind’ art form, recasting it as ‘entirely auditory’ instead (1998, 74), while Hand and Traynor suggest that it is ‘just a different way of seeing’ (2011, 36). This view has been further underpinned phenomenologically by scholars such as Soltani (2020) or Cazeaux (2026), who reject the medium’s reputation as ‘disembodied’ by pointing to the listener’s imaginative and affective engagement with it. Such new developments open up valuable points of contact with performance studies, yet they remain largely underexplored. Radio scholars and historians have long advocated the importance of the medium for postwar theatre, particularly in the UK (Drakakis 1981; Rodger 1982; Whitehead 1989). Yet their hypotheses have never been picked up outside of radio studies, and even within the field they are yet to be substantiated with case studies. While the rising importance of sound technologies in theatre and performance has been amply studied (Salter 2010; Kendrick & Roesner 2012; Curtin 2015; Home-Cook 2015; Kendrick 2017), links with radio are rarely made. The proposed call for papers aims to remedy this state of affairs, through various academic initiatives that bring together different international perspectives. Now that radio studies are experiencing a resurgence, due to the ‘New Modernist Studies’ in literary criticism and the growing multidisciplinarity of sound studies, but also the centenary of the wireless in media studies, it is time to integrate radio drama into the field of theatre and performance studies as well. Participants are free to focus on radio in the traditional or historical sense of ‘broadcasting’, but also on ‘audio drama’ in a more contemporary guise. The goal is to examine how present-day acoustic practices on stage can be usefully traced back to the medium and its later iterations as well as technological advancements (e.g. stereo, binaural sound, headphones, DAB, digital recording, etc). In addition to an emphasis on voice, sound or noise and listening, other aspects of radiophonic intermediality in the theatre can range from a highly imaginative use of the performative space to fragmented representations of the human body, as well as silence and diminished visibility (cf. stage ‘blackouts’), a strong sense of psychological interiority, even certain collage techniques. We invite contributors to reflect on drama from the late 1940s until today, through an interdisciplinary lens that encompasses radio, theatre and performance studies but also intermediality, building on recent publications in that field (e.g., Rippl 2015; Bruhn et al 2024). Possible topics include but are not limited to: - Case studies of playwrights or artists with backgrounds in radio - Theatrical collectives highlighting sound in their dramatic practices - Directors and other practitioners working across radio and theatre - Radiophonic techniques and sound design in contemporary drama - Radio plays adapted for the theatre or performed live on the stage - Acoustic performances during and after the COVID-19 pandemic While we are open to Anglo-centric case studies and contributions on Western Europe or North America, where the medium has a particularly strong history as well as established research traditions, the goal is to explore radiophonic intermediality from a transnational scope. As such, the focus lies on underrepresented areas, which include other regions of Europe and the Global South (Africa, Latin America, the Caribbean, Asia, Oceania). Papers will be workshopped with feedback at two academic events. The first is a hybrid symposium at the Centre for Literary and Intermedial Crossings (CLIC) of the Vrije Universiteit Brussel (VUB) on 1 April 2027. The second is a panel of the ‘Intermediality in Theatre & Performance Working Group’ at the IFTR conference on ‘Hybridity’ organized by the University of the Peloponnese in Nafplion, Greece, between 28 June and 2 July. Contributions will be eligible for publication, after positive peer review, in a special issue of the Journal for Literary & Intermedial Crossings (JLIC) and a dossier of Theatre Research International (TRI), guest-edited by Pim Verhulst, Inge Arteel and Danica Stojanovic. Please send your abstracts (ca. 200-300 words), with a title and a short bio (max. 100 words), to p.verhulst@reading.ac.uk by 26 October 2026, clearly indicating your wish to participate in the VUB symposium at Brussels, the IFTR panel in Greece, or both. This call is part of an MSCA Postdoctoral Fellowship, co-funded by the EU and the UKRI, titled ‘Entangled Theatre History and the Ephemerality of Radio: Tracing the BBC’s Intermedial Impact on British Postwar Drama’ (ETHER). The project’s Principal Investigator is Dr. Pim Verhulst, supervised by Prof. Jonathan Bignell and hosted at the University of Reading. References Bruhn, Jørgen, Asun López-Varela Azcárate, Miriam de Paiva Viera, eds. (2024), The Palgrave Handbook of Intermediality. Cazeaux, Clive (2026), The Phenomenology of Audio Drama, Routledge. Chapple, Freda, Chiel Kattenbelt (2006), Intermediality in Theatre and Performance, Rodopi. Drakakis, John, ed. (1981), British Radio Drama, Cambridge University Press. Grusin, Richard & Jay David Bolter (1999), Remediation: Understanding New Media, MIT Press. Hand, Richard, Mary Traynor (2011), The Radio Drama Handbook, Continuum. Home-Cook, George (2015), Theatre and Aural Attention: Stretching Ourselves, Palgrave Macmillan. Kendrick, Lynne (2017), Theatre Aurality, Palgrave Macmillan. Kendrick, Lynne, David Roesner, eds. (2011), Theatre Noise: The Sound of Performance, Cambridge Scholars Publishing. Lehmann, Hans-Thies (2006), Postdramatic Theatre, translated by Karen Jürs-Munby, Routledge. Ovadija, Mladen (2013), Dramaturgy of Sound in the Avant-Garde and Postdramatic Theatre, McGill-Queen’s University Press. Rajewsky, Irina (2005), ‘Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality’, Intermedialités / Intermediality, 6, 43–64. Rippl, Gabriele, ed. (2015), Handbook of Intermediality: Literature – Image – Sound – Music, De Gruyter. Rodger, Ian, ed. (1982), Radio Drama, The Macmillan Press. Salter, Chris (2010), Entangled: Technology and the Transformation of Performance, MIT Press. Shingler, Martin, Cindy Wieringa (1998), On Air: Methods and Meanings of Radio. Arnold. Soltani, Farokh (2020), Radio/Body: Phenomenology and Dramaturgies of Radio, Manchester University Press. Whitehead, Kate (1989), The Third Programme: A Literary History, Clarendon Press.

Bentley’s new retail concept debuted at Jack Barclay in London. Image credit: Bentley Motors British automaker Bentley is rethinking how clients experience the marque in person. The company has introduced a new global retail concept that trades the traditional linear showroom for a hospitality-inspired environment built around personalization. Debuting at Jack Barclay in London, the design will eventually shape Bentley’s network of more than 220 retailers across more than 60 markets. “Our retailers are one of the most important physical expressions of Bentley, and this new concept fundamentally rethinks how customers experience our brand in-person,” said Christophe Georges, board member for sales and marketing at Bentley, in a statement. Hospitality first Established in 1927 and named for 1920s Bentley racing driver John Donald “Jack” Barclay, the London retailer is the oldest Bentley dealership in the world. A new facade uses integrated lighting and a reworked version of the marque’s diamond pattern. Inside, a curved glass entry leads guests to a bar, which stands in for the traditional reception desk. At the center of the space is the Atelier, which brings materials from Bentley’s Crewe factory onto the retail floor. Clients can compare leathers, veneers, finishes and colors in person before viewing their specifications on an LED wall linked to a 3D configurator. A new global retail concept that trades the traditional linear showroom for a hospitality-inspired environment built around personalization. Image credit: Bentley Vehicles are displayed in gallery and lounge settings rather than rows, while dedicated handover areas use digital displays and curated lighting for deliveries and test drives. Curved forms reference the winged logo and the diamond motif recurs across architecture and materials, while Bentley Green appears throughout. Light is treated as a “fourth material,” guiding visitors through the space. The modular format can be adapted to different sites and architectural requirements. The reveal arrived one day after the launch of Torcal, Bentley’s first fully electric model line. Other automakers are also reworking physical retail. German automaker Mercedes-Benz opened Mercedes-Benz Studio Los Angeles in July, a private space where clients work one-on-one with product experts on bespoke specifications (see story).

This article was originally published in Chalkbeat. Enrollment in Indiana’s Choice Scholarship school voucher program slowed in overall growth for the second year in a row last school year, new data from the state shows, but the number of higher income families using the program increased. For the first time, more vouchers went to families making more than $100,000 than less than $100,000 this year. This change has drawn criticism from public education advocates who say vouchers benefit families who can already afford tuition. But some choice advocates say the criticism doesn’t take large families into account. Around 72% of Indiana families participating in the Choice Scholarship program have a household size of 4-6, according to the report. The program saw a slight uptick in the number of students who previously attended a public school before receiving a voucher, or around 2,000 students. But the majority of students in the program have never attended a public school, as in past years. Around 4,000 additional students received a voucher in 2025-26 than in 2024-25, bringing total enrollment to approximately 80,000. In 2024-2025, the program added about 6,000 students, and in 2023-24, the program saw a sharp increase of nearly 17,000 students after 2023 legislative changes made vouchers available to nearly all Indiana families. The 2025 legislative session approved vouchers for all Indiana families regardless of income, but those changes didn’t take effect until July 2026. Any affect on enrollment won’t be evident until the next school year. To qualify for a 2025-26 voucher, a family had to have an annual household income limit less than 400% of the amount used to qualify for subsidized school meals. That was around $238,000 for a family of four. Approximately 7,000 students from families making more than $200,000 received a voucher in 2025-26, compared to around 5,400 in 2024-25 and 3,700 in 2023-24. More vouchers were also awarded to families in the $100,000-$150,000 and $150,000-$200,000 income brackets than in past years. The number of vouchers given to students from families making less than $50,000 dropped from 16,000 in 2024-25 to around 12,000 in 2025-26. The state awarded $548 million for Choice Scholarships in 2025-26, according to the report, up from $497 million in 2024-225. The 2024-25 amounts were adjusted slightly because some students transferred out of their choice schools before the end of the year. The actual payments were around $491 million, according to this year’s report. Most students in the program do not receive the full tuition and fees charged by their private school, but rather an amount that is 90% of the per-pupil state funding for their assigned public school district. Around 20,000 students received the full tuition and fees, and that number that has steadily declined since 2023-24. This story was originally published by Chalkbeat, a nonprofit news site covering educational change in public schools. Sign up for their newsletters at ckbe.at/newsletters. Sign up for Chalkbeat Indiana’s free daily newsletter to keep up with Indianapolis Public Schools, Marion County’s township districts, and statewide education news.