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Cleanup begins on lake at Miry Run’s Dam Site 21

The first phase of development of a new passive-recreation Mercer County park began Nov. 1, with the dredging of the 50-acre lake at what is known as Dam Site 21.

Located in Hamilton, Robbinsville, and West Windsor, the 279-acre property was acquired by Mercer County in the late 1970s in order to build a dam to reduce downstream flooding and to develop the land into a publicly accessible park. The dredging will rid the lake bed of weeds, debris and sediment that has built up over the years, and improve access for boating and fishing.

“One of our longstanding goals was to take this diamond in the rough and create a gem of a park, and I’m thrilled that the Mercer County Park Commission’s plan is advancing,” said Mercer County Executive Brian M. Hughes.

The lake improvements are part of a larger Park Master Plan for the site, which was adopted by the Mercer County Park Commission in 2020. “The goal of our Master Plan is to make the largely hidden public site more accessible to County residents,” said Mercer County Park Commission Executive Director Aaron T. Watson. “But the first step in implementing our plan is to improve the lake’s flood capacity, water quality, wildlife habitat, and accessibility.”

After four years of planning, design, and permitting, the Park Commission recently awarded a contract to Capela Construction, which will begin lowering the lake and complete the dredging over the winter. During the course of this cleanup, there will be no public access to the lake area until the project is complete.

The larger Master Plan for Dam Site 21 calls for trails, parking and other park visitor facilities, and the conversion of farm fields into new natural areas for birds and other wildlife. When complete, the site’s natural features will be augmented through the establishment of up to 34 acres of new forest, which will contain an estimated 14,000 new trees, and 64 acres of new native meadows.

The Master Plan for the site, developed with Simone Collins Landscape Architecture and Princeton Hydro, was awarded the 2021 Chapter Award from the New Jersey Chapter of American Society of Landscape Architects.

For more information on the development of Dam Site 21, go to https://www.mercercounty.org/home/showpublisheddocument/24870/638066292391570000

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Locals should not feed the bears!

Residents are asked to be alert and watch for black bears as the bears forage for food ahead of their winter den season.

Though most of New Jersey’s black bears live in the northwest portion of the state, black bears have been sighted in all 21 counties.

Please take steps to secure trash cans and other potential sources of food.

Bears that find food in residential neighborhoods may learn to associate people with food. These bears may then become nuisances that cause property damage, seek handouts from people, or become dangerous. Intentionally feeding bears is illegal in New Jersey and carries a fine of up to $1,000.

Report black bear damage or aggressive bears to your local police department or to NJ Fish & Wildlife by calling 1-877-927-6337. Find more safety tips and information at the Department of Fish and Wildlife.

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A Twitter user since 2007 reflects on leaving due to Elon Musk swapping stasis at the company for chaos

Leaving Twitter

I was on Twitter since 2007, and built a meaningful part of my career on it, and I won’t be posting at all for the foreseeable future

Benedict Evans:

 

 

—  Twitter always used to look a lot like Craigslist.

 

It stumbled into something that a lot of people found very useful, with very strong network effects, and then it squatted on those network effects for a generation, while the tech industry moved on. Twitter, as a technology company, has been irrelevant to everything that’s going on for a decade. It was the place where we talked about what mattered, but Twitter the company didn’t matter at all – indeed it did nothing for so long that people got bored of complaining about it.

 

Meanwhile, lots of people tried to build a better Craigslist and a better Twitter, but though a better product was pretty easy, the network effects were too strong and none of them really worked. Instead, we unbundled use cases one by one. As Andrew Parker pointed out in 2010, a whole range of people from Airbnb to Zillow to Tinder unbundled separate pieces of Craigslist into billion dollar companies that didn’t look like Craigslist and solved some individual need much better. This is often the real challenge to tech incumbents: once the network effects are locked in, it’s very hard to get people to switch to something that’s roughly the same but 10% better – they switch to something that solves one underlying need in an entirely new way.

 

Hence, Mastodon has been around since 2016 without getting much traction, but slices of conversation, content or industry have been unbundled to Reddit, LinkedIn, Instagram, Signal, Discord or, more recently, Substack, which someone joked was Twitter’s paywall.

 

Meanwhile, Twitter itself drifted aimlessly for a decade, becoming known in Silicon Valley as a place where no-one could get anything done. This is a big part of why Elon Musk was able to buy it – $44bn was a top-of-the-market price, but even Snap was worth $75bn in January 2022, when he started building a stake – how much bigger should Twitter have been? And so, when he made his bid, there was, briefly, a lot of enthusiasm in tech: pent-up frustration with the existing product and a sense of how much better it could be; enthusiasm that there could be innovation and new product ideas (and, from a small but noisy group, frustration with the politics of Twitter’s content policies, of which more in a moment).

 

It didn’t work out like that. The last year swapped stasis for chaos. Stuff breaks at random and you don’t know if it’s a bug or a decision. The advertisers have fled, and no-one knows what will be broken by accident or on purpose tomorrow. The example that’s closest to home for me was that the in-house newsletter product was shut down – and then links to other newsletters were banned. Pick one! It’s hard to see anyone who depends on having a long-term platform investing in anything that Twitter builds, when it might not be there tomorrow.

 

There are various diagnoses for this. Tesla has sometimes been run in chaos as well, but the pain of that is on the employees, not the customers: you can’t wake up in the middle of the night and decide the car should have five wheels and ship that the next day, but you can make those kinds of decisions in software, and Elon Musk does, all the time. Perhaps it’s a fundamental failure to understand how you run a community. Or something else. But whatever the explanation, Twitter now feels like the Brewster’s Millions of tech – ‘Watch One Man Turn $40bn Into $4 In 24 Months!’

 

Meanwhile, beyond the chaos, there has been no sense for the actual users of where we’re going. There was a plan, both ruthless and chaotic, to reset a broken and grotesquely overstaffed company culture and turn it into a place that can execute, but no coherent sense of what it should be executing. What should those newly hard-core engineers be shipping? A ‘super app’? A universal content platform with no external links? Your financial life? Seriously?

 

And then, there are the Nazis.

 

This is a debate with baggage. Part of the criticism of Old Twitter was a perceived tendency to trigger-happy moderation, and there is in fact a pretty mainstream view in the content moderation world that you shouldn’t (or indeed can’t, practically) try to ban and block anything you don’t like (unless it’s actually illegal), but instead you should have a spectrum of what’s objectionable and control things within that by controlling visibility. Keep things out of the recommendations and suggestions, down-rank them in the feed and replies, and don’t let them monetise or advertise. There will be some bad stuff, but the worse it is the fewer people will see it. Meanwhile, pour your effort into stopping scammers and state manipulation, and think about how your product design might encourage or discourage the rest of us from being mean. Reasonable people can disagree about that. But.

 

But it didn’t work out like that. The teams that looked for bots, scammers and state actors were mostly fired, and the scammers, Nazis and propagandists all bought the ‘Blue Ticks’. These little badges used to mean ‘notable person’ (in a chaotic and inconsistent way typical of the old Twitter) and are now supposed only to mean ‘real person’ (but often don’t) – and they give you both amplification in all the algorithms and a share of revenue if you drive a lot of replies. The more you troll, and the more furious replies you generate, the more Twitter promotes you and the more Twitter pays you. We saw this at its logical conclusion in the last week, with deliberate misinformation promoted by what we used to call ‘fake accounts’ that now get promoted by the algorithm because they pay their $8/month. It turns out that social networks are harder than rocket science.

 

And then, there’s Elon.

 

I once called Elon Musk ‘a bullshitter who delivers’ – he says a lot of stuff, and yet, there are the cars and the self-landing rockets. People generally struggle with one or other of these – they will refuse to accept the problem in selling a car that can’t drive itself as ‘full self driving’, or they will say ‘he didn’t found Tesla!’, forgetting that he’s run it for the last 15 years. Most of what you see at Tesla or SpaceX really is his creation – but half of what he says is bullshit.

 

Until recently, though, the bullshit was mostly about cars or tunnels. It wasn’t repeating obvious anti-semitic dog-whistles. It wasn’t telling us that George Soros is plotting to destroy western civilisation. It wasn’t engaging with and promoting white supremacists. It wasn’t, as this week, telling us all to read a very obvious misinformation account, with a record of anti-semitism, as the best source on Israel. Of course, it had bought a Blue Tick.

 

In talking about this, I am reminded very much of talking about the last leader of the UK’s Labour Party, Jeremy Corbyn, who had somehow spent much of a career devoted to anti-racism, well, supporting and praising anti-semites (‘the world’s most unlucky anti-racist’). The Chief Rabbi declared that British Jews were afraid of a Labour election victory, and yet too many people with a tribal loyalty to the party just refused to read, see or hear any of this. They decided to blind themselves.

 

If you see a man claim that he’ll have ‘full self-driving’ working ‘next year’ for half a decade and can’t make fun of that just a little, you are probably blinding yourself too, but it does’t matter much. And maybe you don’t care much about this, or have decided not to see it. But I was on Twitter since 2007, and built a meaningful part of my career on it, and I won’t be posting at all, for the foreseeable future, because I think it does matter.

 

 

Techmeme

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The AZEK® Company named in 2024 best companies to work for: List by U.S. News & World Report

CHICAGO — (BUSINESS WIRE) — The AZEK Company Inc. (NYSE: AZEK) (“AZEK” or the “Company”), the industry-leading manufacturer of beautiful, low-maintenance and environmentally sustainable outdoor living products, including TimberTech® decking and railing, Versatex® and AZEK® Trim, and StruXure™ pergolas, was awarded a place on the U.S. News & World Report inaugural list of best companies to work for in the construction and materials category.

 

“It is an honor to be recognized for our continued focus on prioritizing employee growth and well-being as well as creating a workplace where our employees feel fulfilled, engaged, empowered, and valued,” said Sandra Lamartine, Chief Human Resources Officer at The AZEK Company.

 

“Each one of our team members makes our workplace special and I’m excited for what this means for them and for our future.”

 

The global authority in rankings and consumer advice, U.S. News & World Report ranked AZEK among the 349 best publicly traded companies to work for across 20 industries, considering quality of pay, work-life balance, belongingness and esteem, and opportunities for professional development and advancement by industry.

 

The evaluation of how a company performs on each metric was based on subjective analysis and editorially curated selections of publicly available employee sentiment and other data that demonstrates how a company supports the everyday experience of its workers. The editors compared each company to its peers in one of 20 broad industry groups, awarding “Best” status only to the top 20 percent.

 

The full U.S. News & World Report 2024 list of Best Companies to Work For is currently available here.

 

About The AZEK® Company

The AZEK Company Inc. (NYSE: AZEK) is the industry-leading designer and manufacturer of beautiful, low maintenance and environmentally sustainable outdoor living products, including TimberTech® decking and railing, Versatex® and AZEK Trim® and StruXure™ pergolas. Consistently recognized as a market leader in innovation, quality and aesthetics, products across AZEK’s portfolio are made from up to approximately 90% recycled material and primarily replace wood on the outside of homes, providing a long-lasting, eco-friendly and stylish solution to consumers. Leveraging the talents of its approximately 2,000 employees and the strength of relationships across its value chain, The AZEK Company is committed to accelerating the use of recycled material in the manufacturing of its innovative products, keeping millions of pounds of waste out of landfills each year, and revolutionizing the industry to create a more sustainable future. The AZEK Company has recently been named one of America’s Climate Leaders by USA Today, a Top Workplace by the Chicago Tribune and a winner of the 2023 Real Leaders® Impact Awards. Headquartered in Chicago, Illinois, the company operates manufacturing and recycling facilities in Ohio, Pennsylvania, Idaho, Georgia, Nevada, New Jersey, Michigan and Minnesota. For additional information, please visit azekco.com.

Contacts

AZEK Media Contact:
Amanda Cimaglia

312-809-1093

media@azekco.com

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Altus Power and Brightcore Energy announce completion of multiple solar projects across New Jersey

Clean electric power to benefit local residents through New Jersey’s Community Solar program

 

STAMFORD, Conn. — (BUSINESS WIRE) — Altus Power, Inc., (NYSE: AMPS), the leading commercial-scale provider of clean electric power, and Brightcore Energy, a leader in developing and implementing renewable energy solutions for the commercial and institutional market, on Thursday announced the completion of 19 solar arrays across New Jersey utilizing rooftops from Brennan Investment Group’s portfolio of logistics buildings. In total, the assets will represent 7.4 megawatts (MWs) of solar arrays which will be owned and operated by Altus Power and will offer the benefits of clean, electric power to the local community.

 

“New Jersey has one of the fastest growing community solar programs in the country and Altus Power and Brightcore Energy have been working together to make this program a reality,” said Gregg Felton, co-CEO and co-founder, Altus Power. “Brennan has proven to be an important partner for Altus in developing and constructing solar projects that will benefit the entire community.”

 

“We are pleased to have the opportunity to work with Altus Power and Brennan to develop this project to bring green, sustainable energy to the surrounding communities. This project was rather unique in that it encompassed so many locations within one project. There was quite a bit of coordination to align all the logistics,” said Mike Richter, President of Brightcore Energy.

 

The 7.4 MWs add to Altus Power’s total of 120 MWs across New Jersey as of June 30th of this year and is part of the expected 40 MWs to be completed in the state by the end of 2023. The Brennan assets are expected to produce clean electricity avoiding the equivalent of 5,200 metric tons of carbon dioxide annually.

 

Altus Power serves more than 20,000 Community Solar subscribers nationwide. Community Solar provides homeowners and renters of diverse income brackets access to the benefits of clean energy and power bill savings without the requirement of roof space or home-installation of solar panels. Customers interested in the benefits of clean energy can learn more by visiting www.altuspower.com.

 

About Altus Power

Altus Power, based in Stamford, Connecticut, is the leading commercial-scale provider of clean electric power serving commercial, industrial, public sector and Community Solar customers with end-to-end solutions. Altus Power originates, develops, owns and operates locally-sited solar generation, energy storage and charging infrastructure across the nation. Visit www.altuspower.com to learn more.

 

About Brightcore Energy

Brightcore Energy, based in Armonk NY, is a leading provider of end-to-end clean energy solutions to the commercial and institutional market. Solutions include high-efficiency heating and cooling systems (geothermal) for both new construction and existing building retrofits, commercial-grade solar, LED lighting and controls, energy storage, electric vehicle (EV) charging stations, smart building solutions, and other emerging technologies. Brightcore’s turnkey, end-to-end solutions encompass; preliminary modeling & feasibility, design & engineering, financing & incentive management, construction & implementation, and system performance monitoring. Visit www.BrightcoreEnergy.com to learn more.

Contacts

For More Information:
Chris Shelton

Head of Investor Relations

mediarelations@altuspower.com

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Director Rafael Primot on ‘Black Rain’ and the evolution of Brazilian story telling with The Creators Bridge

In a pivotal move underscoring the international appeal of Brazilian narratives, Rafael Primot’s “Black Rain” is set for an exclusive global launch through The Creators Bridge.

 

The series, which delves into contemporary themes such as unconventional families, fraternal love and diversity, does so with a mature and nuanced lens.  In the storyline, brothers Zeca (Marcos Pitombo) and Vitor (Rafael Primot) are entrusted with the care of their younger brother Lucas (João Simões), a 16-year-old with Down Syndrome, following the mysterious disappearance of their parents, Nancy (Julia Lemmertz) and Geraldo (Zé Carlos Machado).

 

Their journey is enriched by the support of characters like Julie (Vanessa Giácomo), Vitor’s wife; Micha (Leona Jhovs), a trans woman, and Aunt Yara (Denise Del Vecchio). Throughout the series, the intricate tale of Nancy and Geraldo unfolds through evocative flashbacks, offering viewers a deeper understanding of the family’s history.

 

The Creators Bridge, a boutique creative content agency, is the driving force behind this international venture. Founded by industry veteran Felipe Herz Boclin, the agency stands out for its innovative approach to curating and promoting Brazilian creative assets on the global stage. “Brazil, given its audience/viewers market size on subscription and media power, has a unique opportunity to attract international capital for production and also export valuable assets,” Bowline remarked.

 

At its core, The Creators Bridge operates as a creative-commercial nexus, adeptly navigating the vast audiovisual landscape. It specialises in identifying and marketing valuable Brazilian assets across the production spectrum, from original scripts by award-winning screenwriters to international co-productions. This holistic approach, combined with the expertise of former Globo executives, positions them as a bridge between creative studios and business, fostering collaborations that resonate both domestically and internationally.

 

Brazil’s audiovisual landscape is undergoing a transformative phase, evolving beyond its traditional stronghold in telenovelas.

 

“What we are witnessing is a new wave of talent with fresh storytelling references. Streaming platforms are driving a new pace of production, narrative styles, and genres. If the Brazilian audiovisual industry has to develop itself ten years in two, this is the right moment,” Boclin observed. He further emphasised the global influence shaping Brazilian content, noting the impact of diverse international productions from the Nordics to Chile. This global integration is pushing Brazilian creatives beyond the traditional melodrama school, heralding a “New Brazilian Drama wave all over the world.”

Despite past governmental setbacks and challenges faced by independent producers, the industry is blossoming. Agencies like The Creators Bridge stand as not just participants but catalysts in this evolution, championing narratives like “Black Rai” and underscoring Brazil’s burgeoning role in the global entertainment tapestry.

 

Variety interviewed Primot as his series launches into the global market.

 

Over the last few years, Brazilian telenovelas have showcased more naturalistic performances. How does Black Rain”[“Chuva Negra”] embrace this trend, and what opportunities does it offer actors in their portrayals?

“Chuva Negra” was crafted with a clear intention to mirror the complexities of real life. We wanted viewers to recognise themselves in the characters, to see their own perfections and imperfections reflected on screen.

 

The series delves into themes that might be considered delicate by some, but at their core, they’re fundamentally human, emerging from the tragedies and triumphs that life throws at us. Our narrative approach, the writing, and the performances all converge to treat these themes with empathy and generosity. We aimed to humanise every character, to showcase the naturalness of their experiences. The story unfolds, revealing that even the most traditional families have their secrets, their dark sides.

 

As the narrative progresses, we see that everyone, regardless of their background, has flaws. On a broader scale, the acting style in Brazil has been undergoing a transformation. Influences from modern cinema, international series, and even the raw authenticity of reality shows have reshaped expectations. Today’s audiences demand genuine portrayals; they want to immerse themselves in a story without being constantly reminded that they’re watching fiction.

Rafael Primot

The visual language of “Chuva Negra” is notably cinematic, more paused and observant. Can you discuss this choice and its influence on the narrative?

“Chuva Negra” is a series that, while addressing global themes and pressing social issues, primarily zeroes in on love, affection, and the intricacies of family dynamics. With the intent of discussing differences and promoting inclusion, I opted for a classic narrative style. This was juxtaposed with the more fantastical element of the dark, muddy rain, symbolizing impending transformations.

 

The cinematography was chosen to mirror the varying emotional climates of the characters. When they come together, there’s warmth, but each character also grapples with their own internal storms. The visual style was a deliberate choice to enhance the storytelling, making it resonate with audiences on a deeper level.

 

Working with João Simões, an actor with Down syndrome, must have presented unique challenges. How did you adapt your approach to ensure his outstanding performance?

João Simões is an extremely dedicated actor who loves what he does. I met him in the theater, in a small amateur group in which he participated alongside other actors with special characteristics. To ensure he could deliver the best performance and for his well-being, we had a few months of preparation and rehearsal just with him, alongside Rodrigo Frampton, my assistant who helped João both memorise his lines and understand them, which was, in my view, the main point of the preparation.

 

Variety (EXCLUSIVE)

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A look at the efforts of companies and governments to build their own satellite networks that can deliver internet connectivity anywhere on Earth

—  Elon Musk’s Starlink may soon face new competition from satellite companies offering internet service, available from anywhere on Earth where you can see the sky 

 

Christopher Mims / Wall Street Journal:

 

 

A new generation of satellites is redefining what’s possible in space.

They are radically different from what has been the standard for almost the entire history of humans hurling things into orbit. They tantalize potential customers—including governments, businesses and consumers—with the promise of fast, always-on internet access, anywhere on Earth, anytime.

Thousands of this new kind of satellite are already operational, most of them powering the Starlink satellite network from Elon Musk’s SpaceX, which counts more than two million customers in 60 countries around the world, including Ukraine, where it has been critical to that country’s war with Russia, and Iran, where the network is helping citizens get around that country’s internet blockade.

Starlink may soon have plenty of competition, as countries and companies race to build their own internet-delivering constellations of satellites using this technology.

Efforts to build such networks, often in a public-private partnership, are currently under way in China, Europe, Taiwan, Canada and Germany. And last week

launched the first two satellites of what the company has said will ultimately be thousands in a network that will go head-to-head with Musk’s offering.

 

Most of these new satellites will be just a few hundred miles above Earth’s surface, where they can communicate with the ground much more quickly than the older generation of satellites in higher orbit. Because they’re constantly passing over the horizon, receivers and transmitters on the ground—like Starlink’s pizza-size antennas—must constantly hop their connection to the next satellite to come into view, which adds to the technical challenge.

Engineers are meeting that challenge. Better rockets have enabled cheaper and more frequent launches. New software makes the satellites reprogrammable and upgradable from the ground. And new kinds of antennas and digital innards for satellites are allowing space-based networks to deliver fast internet connectivity to pretty much anyplace on Earth a person can get an unobstructed view of the sky.

Read more here:

A look at the efforts of companies and governments to build their own satellite networks that can deliver internet connectivity anywhere on Earth

 

 

Techmeme

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D&R Greenway Land Trust announces return to the ‘Speakeasy’ at the upcoming Masquerade Ball

D&R Greenway Land Trust’s Masquerade Ball, featuring musicians and visual artists, will be held at Hillside Farm on the evening of Oct. 28, from 5:30 – 9:30 p.m.

 

The Masquerade Ball will celebrate the vision and legacy of the late Betty Wold Johnson, in whose honor her family donated the 800-acre Hillside Farm to D&R Greenway in 2021.

 

A fierce champion of conservation and decades-long partner with D&R Greenway for land preservation, Betty Wold Johnson spent forty years assembling the estate, which encompasses extraordinary expanses of farm fields, meadows and forests, as well as historic structures and a Revolutionary War encampment site. She lived at Hillside Farm, where she built a distinctive home that uniquely interprets the past using modern materials and amenities.

 

The addition of Hillside Farm to the long list of properties preserved by

D&R Greenway is just one more example of why I am proud to support their work.  This incredible property will be a tremendous asset for everyone in our community and I am thrilled it will be there, preserved and cared for, for future generations to enjoy.” 

                                                                             Daniel Motto, Trustee, D&R Greenway Land Trust

 

The theme of the Masquerade Ball is a return to the “speakeasy” culture of the 20s, 30s and 40s. A “secret” password will open the door to the private estate residence for registered guests. Libations and hors d’oeuvres will be served in the house and can be enjoyed in hidden nooks and crannies guests may discover. Scrumptious cheesecake desserts from Maddalena’s will top off the evening.

 

Live music from the era will keep the mood swinging and toes tapping throughout the evening. Bassist Justin Lee will lead a talented jazz trio with guitarist Raúl Abbad and singer Monika Ryan, a New York style classic jazz singer who recently released her fourteenth album, “Playfully.”  The local trio is a D&R Greenway community favorite; most recently they wowed the crowd at September’s Harvest Moon Ball at Point Breeze.

 

Adding to the beauty of the evening, four artist members of the Garden State Watercolor Society will collaborate throughout the evening to paint watercolor landscapes depicting Hillside Farm. Guests may bid on a painting to take home, a memorable piece of artwork created before their eyes during an unforgettable evening.

 

As the sun sets over the Hopewell hills, specially designed Art Deco-style lanterns will add a soft glow to the ambience of the evening, “lighting the way to preservation.” The lanterns will also be available as keepsakes to the highest bidders.

 

Guests are welcome to attend attired in fashions of the era, or to come as they are, all in the spirit of fun and romance. This is a perfect opportunity to gather friends to experience another era with a cool vibe, all the while supporting land preservation.

 

“This event will be as exciting and vibrant as the significant property where it is being hosted. Layered with history and preserved in perpetuity, Hillside Farm is the perfect place to relive the best parts of the past as we celebrate its important future.”                  

                                                                             Diana Moore, Trustee, D&R Greenway Land Trust  

 

 

Tickets to the event are available starting from $250 and can be purchased at www.drgreenway.org or by calling D&R Greenway at 609-924-4646. Proceeds support D&R Greenway’s work to preserve and care for land and provide public trails where people can benefit from being outdoors in nature. Guests at the Masquerade Ball will enjoy first time access to the private estate home, formerly owned by philanthropist Betty Wold Johnson and donated to D&R Greenway by her sons, owners of the Jets football team.

 

Proceeds from sponsorships and auction items will support D&R Greenway’s work to open Hillside Farm as a public preserve in the future. The property, most of which lies in Hopewell Township, is larger than Hopewell Borough. It is contiguous with two other D&R Greenway preserves (Cedar Ridge and Sourlands Ecosystem) and has sweeping views of D&R Greenway’s St. Michaels Farm Preserve across town.  It provides critical habitat for birds and other wildlife.  Altogether, D&R Greenway has protected over 3,000 acres of land in the immediate area. The Masquerade Ball is a sneak peek at the beginning of a preserve and an opportunity to support its creation, while celebrating the legacy of Betty Wold Johnson to preserve land and forge community.

 

Admission to the Masquerade Ball on October 28 is by advance ticket purchase by October 23 at www.drgreenway.org or by calling (609) 924-4646.

####

 

About D&R Greenway Land Trust: D&R Greenway Land Trust is an accredited nonprofit that has reached a new milestone of over 22,000 acres of land preserved throughout central New Jersey since 1989. By protecting land in perpetuity and creating public trails, it gives everyone the opportunity to enjoy the great outdoors. The land trust’s preserved farms and community gardens provide local organic food for residents of the region—including those most in need. Through strategic land conservation and stewardship, D&R Greenway combats climate change, protects birds and wildlife, and ensures clean drinking water for future generations.

 

D&R Greenway’s mission is centered on connecting land with people from all walks of life.

 

 www.drgreenway.orginfo@drgreenway.org. Follow us on Facebook and Instagram.

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‘Gen V’ got ‘A Lot of Notes’ on that dolphin-blowhole sex scene, and EP explains all the bloody puppet mayhem

SPOILER ALERT: This article contains spoilers for Episode 5 of “Gen V,” titled “Welcome to the Monster Club,” now streaming on Prime Video.

 

Even superheroes can party a little too hard. The heroes of “Gen V” wake up wondering what the hell happened last night in this latest episode, but what seems like some alcohol-induced memory loss turns out to be diabolical mind wiping.

 

The culprit comes from within our core group of heroes, when it’s revealed that Cate (Maddie Phillips) was erasing people’s memories on Dean Shetty’s (Shelley Conn) command.

 

Last week’s episode ended abruptly, just as Marie (Jaz Sinclair), Emma (Lizze Broadway), Jordan (London Thor and Derek Luh), Andre (Chance Perdomo) and Cate were close to getting answers on the mysterious supe program called The Woods. But suddenly, the screen cut to black and the heroes found themselves waking up at a wild house party, with Marie in bed with Jordan and Cate with Andre. Huh?

 

The college kids assume it was just a night of blackout binge-drinking, but then their suspicions turn to Rufus (Alexander Calvert), the psychic creep who uses his powers to take advantage of women. Rufus denies the allegations, though, and Marie discovers a tracking device embedded in her neck. She then realizes it was Cate all along who had been using her mind control powers to wipe the memories of her classmates. Before Andre can kill Rufus, Cate confesses her complicity in Shetty’s scheme, shattering her friends’ trust.

 

The only person who doesn’t get his mind wiped is Sam (Asa Germann), who is on the run from Shetty’s Woods guards. Isolated and alone, Sam has mental break, and starts seeing the intruders as puppets. Yes, puppets. Fans of “The Muppets” should look away, because what follows is a brutal, bloody massacre, in which all the blood, guts and bones are made of felt and red confetti. Sam tears the puppet guards limb from limb in, and once the mayhem is over the show reveals the bodies and carnage left behind.

 

In an interview with Variety, executive producer Michele Fazekas breaks down the puppet fight scene, Cate’s betrayal and a couple of brand new supes who get a brief, but graphic, first appearance at the party.

 

Where did the idea for the puppet massacre come from?

Every outrageous, crazy thing you see on this show, or on “The Boys” comes from a real place of drama and emotion and character. We wanted to show Sam almost decompensating, and under so much stress. How can we show that in a way that we haven’t seen before? That came with the writers’ room. We had the scene with Jason Ritter and the puppet — that was great. I was really happy that everyone signed on to what on the surface sounds like a ridiculous idea, which is we’re going to shoot a fight sequence exactly as if it’s a visceral human action fight sequence, and the only differences is it’s also with puppets but treated exactly as if it’s a real fight sequence.

 

Where did you get the puppets?

The head of our makeup department goes, “Oh, I can do that. I’ve done this before.” How is that possible? So he built them all. We hired puppeteers to come in and help us, because we built that set. You can’t really go out on location and shoot something like that. The puppeteers wore a green sort of body sock and then we erased them in post. I couldn’t believe that.

 

How many unique puppets are there?

At least four or six guards. There’s the Sam puppet, the Emma puppet and we also have a Deep puppet.

 

Last week, you and Eric Kripke mentioned that the writers pulled a lot from their own college experiences. Was there any real-life inspiration behind the opening party sequence?

It’s like the supe-ified version of going on a bender in college and not remembering what you did. Eric Kripke talked a lot about his 21st birthday in college. A lot of what really works well in “Gen V” is taking those typical college experiences and putting our spin on it. That’s why for a little while they are chalking it up to “Oh, I guess I just got really sick last night.” But they quickly start to put pieces together, like maybe that’s not what happened. If you’re binge-drinking in college it’s probably not an uncommon experience. We liked the “Gen V” version of that, and it’s a great cover story for Cate.

 

We’re briefly introduced to two new supes while they’re hooking up. One is a guy who can make his hand vibrate incredibly fast, and the other is a girl with a dolphin blowhole on her back. Do they have names, and when will we see them again?

I don’t believe they have names. The dolphin girl, that was when we got a lot of notes for how much we could see, which is somewhat amusing because, I mean — it’s a hole in her back. So you’re not actually seeing anything. But I really love how it seems gross and graphic, but it’s also not a real thing, so it’s kind of perfect.

 

Marie and Jordan awkwardly navigate their new relationship in this episode. And it’s made more complex because Jordan can change their gender. How did you decide when to portray Jordan as a male and as a female when they’re with Marie?

We are really intentional about that. In a subsequent episode, you’re gonna see Jordan talk about that, and why they decide to become male for certain things and female for other things. It is intentional: Their powers are very gender specific. As a male, Jordan is like a brick wall, a tank, immovable and can withstand a really strong impact. As a woman, Jordan can expel this energy blast. It’s like offensive and defense. You heard in Episode 3, they were born male, but they see themselves as both, and it sort of depends on how they feel in a given moment.

 

In the end, it’s revealed that Cate is the one wiping her friends’ memories and causing the blackouts. It’s a major betrayal, — so can she really be trusted anymore?

It’s complicated. When Cate reveals herself to Marie and says “I’m so sorry,” she really is. There’s a part of her that really loves her friend. It’s really hard for her. A lot of this is going to come out in subsequent episodes, but is she trying to protect them?

 

I like that her motivations aren’t just like, “I’m evil.” No, she’s doing it for a reason.’I like that her motivations aren’t just like, “I’m evil.” No, she’s doing it for a reason.

 

This interview has been edited and condensed.

Variety

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Sumner County, Tenn., goes live with Tyler Technologies’ Community Readiness solution to reduce recidivism

Community Readiness will soon be live in more than 70% of all Tennessee correctional facilities

 

PLANO, Texas — (BUSINESS WIRE) — $TYL #TylerTechTyler Technologies, Inc. (NYSE: TYL) announced that the Sumner County Sheriff’s Office in Tennessee has successfully gone live with Tyler’s Community Readiness solution.

 

“We are proud to work with Tyler to bring these positive and impactful resources to incarcerated individuals who have not had access to them in the past,” said Jerry Scott, division administrator, Sumner County Sheriff’s Office. “Tyler’s Community Readiness solution will truly help to put these individuals on a path to a better life, ultimately improving and strengthening our local community.”

 

Community Readiness, powered by Amazon Web Services (AWS), is a comprehensive software application that bridges the gap between the jail and the community by connecting residents in jails with local support organizations. These connections will benefit incarcerated individuals in Sumner County by connecting them with resources to gain an education, find a job, locate housing, and otherwise prepare them to be active, healthy contributors to their community after being released from jail.

 

Sumner County’s Sheriff’s Office has deployed Community Readiness in its jail facility. The software offers information and assistance from numerous local community organizations, including the Tennessee Prison Outreach Ministry, American Job Centers, Project Return, Adult and Teen Challenge, and more. The solution not only serves as a crucial resource for those incarcerated, but it also benefits Sumner County’s staff by reducing physical paperwork, allowing them to focus on what is most important to the safety and effectiveness of the facility.

 

“Tyler’s Community Readiness solution is the most advanced re-entry software in the industry,” said Silas Deane III, Community Readiness manager at Tyler. “The software helps to build a future where second chances are not just possible but expected. We are pleased to work closely with Sumner County to break the cycle of recidivism and offer new beginnings to those incarcerated.”

 

Tyler continues to rapidly expand the use of Community Readiness in correctional facilities across the country. Soon, it will be live in more than 70% of jail facilities in Tennessee, including in Williamson County, Chattanooga, Johnson City, and Nashville, with other implementations in process in New Jersey and Florida.

 

About Tyler Technologies, Inc.

Tyler Technologies (NYSE: TYL) provides integrated software and technology services to the public sector. Tyler’s end-to-end solutions empower local, state, and federal government entities to operate efficiently and transparently with residents and each other. By connecting data and processes across disparate systems, Tyler’s solutions transform how clients turn actionable insights into opportunities and solutions for their communities. Tyler has more than 40,000 successful installations across nearly 13,000 locations, with clients in all 50 states, Canada, the Caribbean, Australia, and other international locations. Tyler has been recognized numerous times for growth and innovation, including Government Technology’s GovTech 100 list. More information about Tyler Technologies, an S&P 500 company headquartered in Plano, Texas, can be found at tylertech.com.

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Contacts

Jennifer Kepler

Tyler Technologies

972.713.3770

Media.team@tylertech.com