Mediaboss Marketing

EDINBURG, Texas Rio Grande Valley (RGV) Sector Border Patrol agents locate a missing juvenile and seize $64,000.

On March 24, Kingsville agents seized over $64,000 in bulk cash after a driver attempted to circumvent the Javier Vega Jr. Immigration Checkpoint. Agents conducted a vehicle stop on the SUV and escorted the driver and occupant, both U.S. citizens, back to the checkpoint. Further investigation of the subjects revealed the occupant was a missing juvenile registered in the National Center of Missing and Exploited Children database. Kenedy County Sheriffs deputies took custody of the subjects, bulk cash, and the vehicle. The missing juvenile was turned over to the Texas Juvenile Probation Office by deputies.

Very proud ofour Rio Grande Valley Sector Border Patrol agents, who through their diligent work encountered a missing juvenile, further avoiding risk to her life and safety, said Chief Patrol Agent Gloria I. Chavez.

Please visit http://www.cbp.gov to view additional news releases and other information pertaining to Customs and Border Protection. Follow us on Twitter @CBPRGV and @USBPChiefRGV.

Visit link:
RGV agents find a missing juvenile | U.S - Customs and Border Protection

Ouachita Baptist University has sustained momentum in equipping students for postgraduate success, consistently reporting career outcomes rates that far exceed the national average. Graduates are pursuing opportunities in a variety of fields, including technology. For example, five alumni working at Apptegy, an education software company in Little Rock, Ark., are developing software for K-12 school marketing. Their contributions include software engineering, designing user-friendly interfaces and ensuring client success with Apptegy products.

According to its company website, Apptegy is dedicated to powering a K-12 schools identity by building its schools brands with an ADA compliant school marketing strategy. For seven years, Apptegy has provided a tool called Thrillshare, an app and web platform that enables schools to share their story across multiple platforms with the tap of a button, allowing them to control the conversation regarding their brand.

Ouachita alumni at Apptegy include Jasmine Thomas 10, a studio art and communications & media graduate who is a user interface/user experience designer; Elva Rosas 16, a finance graduate working as client success manager; Seigen Caton 20, a business administration/entrepreneurship and Christian studies graduate leading the client success team; Sarah Yates 21, a mathematics and computer science graduate who is a software engineer; and LaCameria Clark 22, a communications & media/strategic communications major who joined Apptegy as a client support representative after her December graduation from Ouachita.

Each shared how Ouachita prepared them for their careers by cultivating a passion for education and the community, growing well-rounded individuals in the liberal arts tradition and building problem-solving skills.

Caton said professors at Ouachita taught her to work diligently, think critically and live a life in pursuit of walking with the Lord.

While at Ouachita, Yates recalled, I learned how to problem-solve, work with people and find meaning in the work I do.

As a student, Rosas said she developed real life skills, such as how to communicate effectively, build healthy relationships and manage a healthy lifestyle.She reported using lessons today that she learned in Ouachita classes such as Business Ethics, Business Law and Psychology.Beyond the classroom, she also valued the environment Ouachita cultivated.

Being able to meet people from all over the nation and world helped me understand the importance of being intentional at all times, she recalled. I made lifelong friends who I now consider family. I will always be grateful for my time at Ouachita.

Rosas is not the only one who came away with a fresh point of view.

I learned a lot about perspective during my time at Ouachita, Caton said. It wasn't something I gained from any single class, but more something I observed through multiple classes, professors, clubs and friends. Perspective is monumental to how you approach conversations, challenges and relationships, and the amazing thing is that you have the ability to choose it.

Catons Ouachita experience has impacted not only her, but also the team she leads in achieving client success.

At Ouachita, I was encouraged to ask questions and not settle for easy answers, she said. That's something I now coach my team on daily.

Ouachita helped mold me into a well-rounded individual. I gained valuable knowledge that goes beyond being a skilled professional in my industry, Yates reported. I learned the importance of investing in my spiritual growth and serving my community through my church.

When asked which Ouachita courses prepared her for Apptegy, Yates said, Specifically, I think about some of the concepts from Algorithm Design and Analysis. I focus a lot on performance and the efficiency of our programs.

Learning to manage a busy campus schedule that included mandatory chapel attendance, practicum, meetings and Arts Engagement activities helped prepare Clark for the fast pace of her work with Apptegy clients.

As a student, I thought it was too much, and sometimes unnecessary, but thats not the case in reality, she said. I realized how helpful it is, to be used to having a full day of events and balance everything.

The Ouachita alumni at Apptegy represent different degree programs and emphases, accounting for five of Ouachitas seven undergraduate schools, not including the core curriculum.

Job markets are shifting pretty quickly these days, but we are seeing our graduates find work that is meaningful and uses their skills and degree in ways they may have never dreamed, said Adam Wheat, director of career & calling at Ouachita. From Christian studies majors in technology, to musical theatre majors practicing law, to business majors in medical school, my team and I find joy in helping students think creatively about their next steps.

Ouachita Baptist University, a private liberal arts university, is in its 137th year as a Christ-centered learning community and is ranked nationally by U.S. News & World Report. Ouachita continues to break records for enrollment reporting its highest headcount in 56 years during the Fall 2022 semester and a Spring 2023 headcount that is its highest in 26 years and career placement rates, reporting that 99% of its 2022 graduates are employed or furthering their education. To learn more, visit http://www.obu.edu.

Lead photo: Ouachita alumni on the staff of the Little Rock, Ark., education software company Apptegy are (from left) LaCameria Clark 22, a communications & media/strategic communications major, client support representative; Jasmine Thomas 10, a studio art and communications & media graduate, user interface/user experience designer; Elva Rosas 16, a finance graduate, client success manager; Sarah Yates 21, a mathematics and computer science graduate, software engineer; and Seigen Caton 20, a business administration/entrepreneurship and Christian studies graduate, client success team leader. Photo by Bri Vongvilay

The rest is here:
Ouachita alumni further technology with Apptegy - Ouachita Baptist University News

When you're confronted with the whole world at once when you can fathom even the things you cannot see and are not prepared for it becomes impossible to hide from the truth. Clint Smith's new poems in Above Ground wash over like waves asking us to discern all the times we've trusted the world, even when it has not offered us a steady current.

Even though this collection addresses a subject as tremendous as the changing world we live in, the poems read with ease. It helps that Smith is writing about fatherhood and legacy both of which are marked by good, engaging narratives. Ultimately, these poems are attempting to answer the questions on every child's mind: Where did we come from? Where are we going?

The thread of time holding these poems together is not a straight line, but rather intertwined and then sewn back into itself. And as travelers, we are fully aware that this is an endless and often roundabout journey. This is, in one way, conveyed by the poem titles. We are at the genesis of the world in "Pangea," and later "Looking at a Photo" or at "Zoom School with a Toddler." Still, no matter where we are in time, we are faced with obstacles that challenge how we trust the world around us.

In "When People Say 'We Have Made It Through Worse Before'," Smith writes, "Sometimes the moral arc of the universe // does not bend in a direction that comforts us." He is choosing to validate a history burdened with pain and separation. But just after that line, he follows:

"...Please, dear reader,

do not say that I am hopeless. I believe there is a better future

to fight for, I simply accept the possibility that I may not

live to see it..."

This simultaneous, wave-like structure the swings and the downfalls, together is a core quality of this collection. Smith wrestles with the reality of the violence that took away those for whom things can't get worse, because they're gone against his faith in the ultimate goodness of the world in which he is raising his children.

In many ways, the poet's wonder at the world keeps him holding on to this faith in the way the universe works. In one poem he writes about a kind of jellyfish, and how the creature regenerates its cells, "which, in essence, makes the jellyfish immortal." But then he is angry at the jellyfish alive even though his own grandfather is no longer here. "What need does a jellyfish have / for an infinity that will only get lost in the current?"

In a later poem his son asks why giraffes have four ears. Of course, it only has two, the other two "ears" are simply horns, called ossicones cartilage left behind as a mark of evolution. The poet writes:

"...I look at my son,

and think of all the things I might try

to give him that he will one day have

no need for."

In Smith's narrative, nothing is static and yet there is a reason behind every change. That is not to say that it is all for a good reason, or that it all works out. Smith is not naively optimistic. In one poem he wonders about cicadas: "I remain astonished / by how cicadas live for seventeen years / underground and then die within weeks / of coming up to meet the world." Indeed the world tends to disappoint us. And these are moments when we might want to hide. But still there is faith as Smith writes in the poem "What I've Learned": "There are sixty-thousand miles of blood vessels in my body and every single centimeter keeps me alive."

Water is also a powerful force throughout the collection; it seems to both relieve and destroy, bring together and separate. In the collection's very first poem "All at Once" Smith writes, "The river that gives us water to drink is the same one that might wash us away." And then in "Pangea": "I wake up in love // with the ocean and fall asleep despising / all it has put between us." Where there is the possibility to float there is also the possibility to drown. This binary embodies the continuous volatility of the world.

Ultimately these poems point to our ability to trust in the face of this volatility. Trust that your unborn baby's heart is in fact beating, even if you cannot hear it. Trust that the sunset is a vision of beauty, even if you haven't stopped to look at it. Trust that the world will still be here when your children grow up, even though it seems to be burning right now. In one poem Smith writes "I fear everything I control / and know I control nothing" reminding himself that trust is sometimes the only way forward.

Jeevika Verma is a poet, journalist, and audio producer. She was a producer at NPR's Morning Edition and Up First before joining The Journal a podcast produced by Gimlet Media and The Wall Street Journal.

The rest is here:
In 'Above Ground,' Clint Smith meditates on a changing world ... - NPR

ASU's recently opened Media and Immersive eXperience Center has standardized its extensive facilities on Genelec monitors.

Tempe, AZ (March 27, 2023)The new Media and Immersive eXperience (MIX) Center, home to The Sidney Poitier New American Film School at Arizona State University (ASU), houses mix, scoring, ADR and Foley studios, audio post rooms, video editing and color grading suites and classrooms all outfitted with Genelec monitors.

A new 118,000-square-foot, state-of-the-art facility is in Mesa, AZ, seven miles from the Universitys main Tempe campus. Located within the Herberger Institute for Design and the Arts, it hosts The Poitier Film Schools 750 undergraduate film majors. The Poitier Film School offers students a curriculum in film and media production and filmmaking practices, as well as enabling students to earn a four-year degree in film with access to industry-standard production facilities and equipment.

The emphasis on audio at the facility, which opened for the fall 2022 semester, is made clear by how much of it is dedicated to sound: three main studios focused on mixing, ADR/scoring, and foley, are all equipped with immersive Dolby 7.1.4 Atmos systems. The main mix control room, which is also a 25-seat classroom, is capable of 3rd-order ambisonics monitoring. There are also three 5.1-surround-capable audio editing rooms, three 30-seat computer labs and 16 video edit bays with three of those focused on color grading, as well as a color grading classroom.

The components were sourced through the Burbank, California-based firm ALT Systems, who were also involved with the installation and calibration of the systems.

Every room, from the 7.1.4 spaces to the stereo-oriented video editing rooms, has Genelec active monitors which creates a sonically consistent environment through the entire facility. For instance, the three largest mixing rooms use Genelec 8351B Smart Active Monitors as their LCR array and 8341As for the surrounds and overheads, with a pair of 7370A subwoofers.

The 5.1 audio-editing studios and two video-forwarded computer labs, which are heavily used for film, TV, streaming, game design and a diverse set of student projects, each use five 8330A monitors and a 7360A subwoofer. The audio-forwarded computer lab has a 7.1.4 Dolby Atmos set with additional side and overhead monitors.

The color grading and QC classroom is Atmos-capable. The video editing bays are set up for 7.1, and the rest are configured for stereo monitoring with a combination of Genelec 8020D, 8030C, and 8040B monitors, plus 7360A subs.

Ive been using Genelec monitors for about two decades, says Prof. Rodrigo Meirelles, Clinical Assistant Professor of Sound Design/Film and Media at The Poitier Film School at ASU. Monitoring choices can be a matter of personal taste, but here we needed a near-field monitoring solution that we not only trusted but also could apply as seamlessly as possible to the entire facility, that could quickly switch between monitor combinations and configurations that our projects might call for.

Read the original post:
Genelec in the Mix at MIX Center in Arizona - Mix

Czech Radio - Khalil Baalbaki

Thank you for inviting me to address you all today.

It is always a pleasure to join you at Radiodays Europe, and Im especially delighted to be with you here in Prague as your host partner and our Member Czech Radio prepares to celebrate its centenary in May. Czechoslovakia was only the second country in Europe - after the UK - to have regular radio broadcasts, and Czech Radio has long been a pioneer in broadcasting - both in terms of the content it produces and its technical innovation and Im glad to say that continues today.

Radio has been a part of our lives for over 100 years. But we need to constantly resist the temptation to lazily classify it as a legacy media. We need to challenge those who view it and portray it as some old style, safe medium that you cuddle up in the corner with while having a nice cup of tea.

I am sure there are those who like nothing more than doing that but that doesnt reflect the dynamism and also continued relevance of so much of radio output.

In terms of relevance, the figures speak for themselves.

Its a relevance that was hard earned during Covid and now during the war in Ukraine.

Particularly in the area of News and Current Affairs, which I have been asked to concentrate on today, Radio has really come into its own in the last few years. Anyone who forgot the decades-old lessons we learned about audio content being more flexible, faster, and easier to produce and distribute than TV got a daily wake-up call from the frontlines of Covid and Ukraine.

The radio output produced at this critical time has been nothing short of outstanding.

But this hasnt been just a technological or production triumph. It was a triumph of accessibility, immediacy and intimacy.

It was also one built on the editorial talent and innovation of radio producers and journalists.

Always at the heart of radios output news and current affairs make up over a quarter of all public broadcasters radio content and it has never been more vital.

Providing immediate, accurate information to Ukrainian citizens has been critical. Well hear shortly from Andriy Taranov from our Ukrainian Member UA:PBC and Id like to pay tribute to all the team at UA:PBC for the incredible work theyve done to keep the news on-air in the most challenging of circumstances.

Id also like to take the opportunity today to express my thanks to all our Members and the many commercial broadcasters that stepped up to help support Ukraine by re-transmitting Ukrainian public radio signals, embedding feeds, or launching new services for those who had to flee the country.

This appalling war has taken a huge toll on life and lives in Ukraine. But we also must not forget the huge risks all our journalists are also taking to keep the news on-air. According to alerts published on the Council of Europes Safety of Journalism platform, to date, twelve journalists and media workers have been killed while covering the war in Ukraine and 23 others have been injured. We know those figures will rise so we must fight to ensure journalists operating in areas of armed conflict are treated and protected as citizens and allowed to work without interference if we are to defend the publics right to information.

But as I said at the start, when we talk about radio we need to be careful not to just emphasize its relevance and trust but also its dynamism in terms of production and new audiences.

We know nearly two-thirds of young Europeans listen to podcasts.

And the strongest growing demographic for spoken-word audio is the 13-24-year-old age range.

Great audio content is still IN demand but it is now consumed ON demand with the listener in control.

We need strong multiplatform distribution strategies to ensure radio continues to provide a reliable voice for millions of citizens, particularly for in-car audio.

In a world where young people are increasingly getting news from social media, what are the opportunities to offer them a real alternative and ensure they still understand and value the power of radio?

Well, firstly there are some.

We have no shortage of online and platform content offerings but we all know trust in many of those offerings is incredibly low. Amongst all ages. We have a unique opportunity here if radio can transfer the extraordinary trust it enjoys with the public into the online space.

Podcasts can help us to jump off the negative news cycle and offer more solution-based journalism that young people can engage with.

We see the way they also provide us with an opportunity to refresh and reinvigorate traditional radio formats in news and current affairs. To experiment and play. To create more immersive experiences. To engage new listeners and reach out to more niche audiences without alienating the mainstream.

For example, Frances Salut linfo! was born out of a partnership between France Info and Astrapi to deliver weekly news bulletins tailored for our youngest audiences.

Weve also seen Swedish Radio actively exploring new digital audio formats for news focusing on short news clips customized for digital platforms and collated as playlists where listeners can easily access the clips they want to listen to.

But podcasts also allow us to go deep into topics, to tell stories from start to finish and to provide context which is particularly important for younger audiences.

I know well be hearing later from our Italian Member Rai on the success of their 14-part documentary podcast Io ero il milanese (I am from Milan). Told in the protagonists own words, this story of one mans redemption is also now being made into a television series such was the power of this audio story to engage with audiences.

We shouldnt worry so much about podcasts cannibalizing the audience for linear radio. Our wider strategy must be to reach listeners with quality audio content on any platform in the format that works best for them.

And I do think one genre enriches the other. Weve seen many examples of shows starting life as podcasts and going on to become radio hits. Take a look at the BBCs Brexitcast & Electioncast podcasts, which were rebroadcast not only on radio, but on TV, all the time managing to retain their more informal, light-hearted podcast sensibility.

We need to invest wisely on third-party platforms to remain visible and win over audiences. But we shouldnt be afraid to build and promote our own environments for audiences to experience our content.

Weve seen many of our Members investing in audio destinations such as BBC Sounds or SR Play in recent years so they have better control over the audience experience and onward recommendations, as well as the ability to build brand awareness and attribution.

We need to continue to be bold and build our own distribution platforms. Keeping the volume for ourselves. Sharing only when it makes sense to share.

This is a critical time because the rules and terms of trade are being laid down today. Once established, they will be hard to shift.

We have an opportunity right now to advocate for the right regulatory framework to allow our industry to continue to thrive both offline and importantly online.

For this to be really effective, public and private media need to find common ground. We know this is possible. We worked together on the Digital Services Act and Digital Markets Act with key successes on issues like virtual assistants. We are working together on the battle for spectrum ahead of the key WRC conference at the end of this year.

I know there are differing views in this room on the new European Media Freedom Act. We at the EBU have welcomed it but want to see changes in what has been proposed. But even if you disagree completely with it, the Commission are determined to push ahead so we need to influence it. We have to take every opportunity to ask for strong prominence rules, brand attribution guarantees, and procedural safeguards.

We in public service media want to find that common ground. There is much at stake for all of us.

But we have a lot to be very proud of as an industry.

We have a decades-old legacy - but also a dynamic future.

We have hard-earned trust - but also now an opportunity to extend that even further in the online world.

We have some of the best producers and journalists in the world but also a growing need to protect them and believe in their ability to win new listeners.

But, most of all, we have the most extraordinary medium for connecting with our audiences and we share a responsibility to adapt, innovate and work together to ensure it continues to do so for the next 100 years.

Read the rest here:
Director General Noel Curran's welcome address at Radiodays ... - European Broadcasting Union