#Award in Scaffolding for Manager

[safetycourses2022]

[sinclarify]

yap session 1: minori kamiya the ult poet

the spinny wheel of fate told me to talk about minori so here we are!!!

minori kamiya is my darling ultimate poet and actuallly i love them so freaking soooo freaking much. let me get up their official description lalalala. tw for talk about suicide:

As the Ultimate Poet, Minori is nothing but a total hopeless romantic. They’re famous for their love poems, with every word going straight from their heart to the page. Of course, every artist needs a muse, and Minori’s is none other than their lover! Ah, young love – Minori's feelings for their beloved are the scaffold for every poem, and they’re so poignant and powerful that it’s earned Minori both national and international commendation, evident from just how many literary awards and accolades they’ve won. For Minori, however, the fame that follows their craft is utterly insignificant when placed up against the emotions that they evoke in a reader. Their poems are a beacon of hope and inspiration, a beam of light in a world so often obfuscated by darkness, and Minori is so happy that they’re able to provide that sort of comfort to readers all around the world. 

These feelings aren’t just limited to the page, either - Minori’s just as romantic and gentle in person as their words make them out to be, an air of kindness and warmth around them that’s impossible to not be drawn in by. They have nothing but compassion in their heart for their peers, and is always willing to extend a helping hand, or a shoulder to cry on, or to just talk to whoever needs it. Truly, Minori is one of those rare, pure souls – something that’s desperately needed in a situation where tensions run wild. 

Of course, that’s not to say that everything in their life is as perfect as it seems. Underneath those swathes of positivity and tenderness is a whole host of anxieties that plague their mind - but through their poetry and the thought of their lover, they manage to maintain their optimism in hopes of a brighter future. A future where they and the one they love so much can be happy and safe…together. It’s always going to be them, together. And Minori would do absolutely anything to cling onto that future. 

OKAYY THERE WE GO :3 i forgot how much i put in those descriptions ummmm lalalala anyway ya. minori's just a little silly. a silly with a whole lotta problems! before we get into those i think i should proooobably talk about their life outside of the killing game so that we shall do. next topic: their lover!

right so their lover doesn't exactly… have a name? or a face? oooh so mysterious. i had a reason for that but i cant remember what it is so just think of something cool and interesting. ANYWAY YEAH!!!! their lover.

it's important to note that my dgr fanclass IS aged up from actual canon dgr characters, i know there's like… vagueness surrounding their ages but it's like widely considered the canon dgrs are minors but mine are NOT they are all over 18+ !! minori is 21. and i'm saying that because it puts it into perspective when i say that they've been together with their lover for around 4 years up until the beginning of my canon!! so a long time. a real long time. and in that time, the two of them have built up a devotion and trust between them that's completely unshakeable. they've held each other through their highs and lows, hidden absolutely nothing, and they justf… theyre in LOVE okay!!!! for minori, their lover is the most important person in their life… and they want to stay together forever.

the only issue is, they don't have forever. minori's lover was diagnosed with a terminal illness, one that doesn't seem to have a cure in sight. minori had always looked forward to spending the rest of time by their side, but now time is gradually slipping through fingers, and there's nothing they can do to stop it. that's why every single poem that minori crafts is dedicated to them; that's why they spend so much time prescribing their every feature and every nuance onto paper, to preserve their life and keep their spirit immortal long after they inevitably pass. it's painful, having to look at the one you love every single day, knowing that soon, they won't be by your side anymore, but minori pushes down any hurt, using it to fuel their art, to capture their muse indefinitely. they're scared, of course they are. who wouldn't be scared? but they'll be fine, as long as they have each other…

…which is why being put in the killing game isn't really the best case scenario for minori! flung into an unfamiliar environment with total strangers, then being told they had to kill to escape, it's totally insane!! like, they could die here! though, minori's not thinking about their own survival. the whole time, all they can think about is their lover back home. their lover, alone, scared, and wondering why minori left. the thought of their lover being in such a vulnerable position is much more devastating to minori than the thought of losing their own life, and god, they're completely TERRIFIED.

but they've gotten used to pushing their fears down, so they swallow the lump in their throat and wipe their hands on their yellow cardigan and put on a soft, gentle smile, hoping that, while their own anxieties may not be soothed any time soon, they can at least put the others at ease. they maintain an aura of complete composure, not allowing themself to outwardly give into the heavy fear that threatens to suffocate them, because they've got to carry everyone else's fears instead! they provide comfort. they provide hugs to the ones that need it. they provide a shoulder to cry on. even the ones that brush them off at least recognise that they're there to help… and it's all completely genuine. with minori around, things don't seem too bad.. it's almost like they have nothing to worry about at all.

then the first killing happens, and everyone realises that comfort and smiles and hugs mean absolutely nothing. this is real. the killing game is real. and while kaori izumi's death may have been a suicide, that doesn't rule out the possibility of there being real killers later down the line… because the seed has already been planted. desperation hangs in the air, heavy, like a toxic gas waiting to be inhaled, waiting to corrode from the inside out… and everyone can feel it, everyone can smell the blood, everyone's on edge.

especially minori.

kaori was so, so desperate… that poor girl. so desperate to leave this rotten place, so paralysed by fear that she took her own life. minori could never forget the look on her cold face, that harrowing contortion of pain and sorrow and last-minute regret permanently inscribed on her features forever. and they wonder… could that be me? is that me?

they could never imagine killing themself. they can't. they can't die and leave their lover alone. no, no, that's completely unfathomable! that's crazy! hah, dying? in a place like this? no way. no fucking way. besides, a poet's suicide would be so cliche! so no, that's not them. it'll never be them. never, never, never, never. never never never never neverneverneverneverneverneverneverneverneverneverneverneverneverne-

and then the next motive is revealed.

minori wakes up with a video tape and a cassette player next to their bed and a piece of paper with the words 'WATCH ME' crudely scribbled onto it in red crayon. they know they shouldn't. they've seen the movies. alice eats and alice drinks because she got told to and alice is big and alice is small and alice nearly gets her head chopped off by a queen with a head far too big for her body and wonderland really isn't that wonderful and one really shouldn't go chasing rabbits but what if she was meant to? minori, you're alice. watch the tape. watch the tape and you won't almost get your head chopped off. go on, minori. go on. go on, minori.

so they do.

the video starts off fuzzy and unfocused. minori can make out nothing but the faint glow of a yellow light that flickers sporadically, and then, out of the light, comes a voice.

mino…ri? minori, where… i'm.. cold, minori. it's really cold here.

the faint glow covers the whole screen, almost blindingly, before it fades out. and into focus comes a hospital bed. minori recognises that bed. they recognise that voice.

cough i don't know where you are, minori, but, i- cough it's bad again. real bad. doctor yoshida's trying his best.. and so are the nurses, but… i don't know. it's.. i'm hurting. everything hurts. physically, but… being without you hurts. where are you, mino? i sleep and dream of you, and i find that when i wake, i end up dreaming of you still… it's- i don't like this, minori. cough. please, i… i don't know how long i can- cough without you, i… cough. minori. cough. mino.. cough. sniff. sob. please… come back to me. please. i miss you. don't leave me here. don't leave me here to die. cough. i can feel it settle in, minori. it's… coming. please come before it does. cough i… lo-

and then it cuts to black.

minori's not sure when it started, but a strange chill has overtaken their whole body, their hands shaking and their heart beating so hard against their ribcage it's sure to puncture or burst out, their head light, their mouth dry and their eyes glazed, and god, god, god, help, god save them, god save them, god do something do something god? God? God's not listening. God can't do anything.

but minori… can. minori can.

[healthandsafety79]

Working at Heights Training in St. Catharines by Fast Rescue

Working at Heights Training St. Catharines: Your Approved Provider with F.A.S.T. Rescue

F.A.S.T. Rescue offers a comprehensive Working at Heights Training Program in St. Catharines, fully compliant with the latest Ontario training standards. Our program equips workers with the essential knowledge and skills needed for the safe use and operation of equipment when working at heights.

Course Benefits and Objectives:

Upon successful completion of our course, participants will be able to identify fall hazards and implement effective safety measures. The primary goals of the training include:

Understanding workers' rights and responsibilities when working at heights.

Learning how to work safely at heights in accordance with regulatory requirements.

Mastering the selection, inspection, and use of industry-standard personal fall arrest equipment, such as harnesses and lanyards.

Booking Your Training Session:

To schedule your Working at Heights Training session in St. Catharines, please contact us with your preferred date and the number of participants. You can reach out via our website or by phone. Once we receive your details, we will guide you through the booking process and finalize your reservation. After confirmation, we will send an email with all the relevant training session information, including the start time and additional details.

Course Outline:

Throughout this course, participants will cover the following topics:

Legal Requirements:

Overview of the Occupational Health and Safety Act (OHSA) and related regulations.

Understanding the roles and responsibilities of competent persons and workers.

Familiarization with employer safety policies, worker rights, the Internal Responsibility System, and regulatory enforcement.

Fall Protection Systems Training:

Identifying fall hazards and methods to eliminate them.

Working alone safety considerations.

Implementing the Hierarchy of Control Measures and fall prevention regulations.

Conducting workplace inspections.

Fall Prevention Techniques:

Utilizing guardrails, protective covers, warning barriers, and travel restraint systems.

Personal Protective Equipment:

Selection, inspection, and setup of fall protection equipment and anchor points.

Understanding and managing emergency rescue procedures and suspension trauma.

Ladders and Access Equipment:

Proper use of ladders, scaffolds, powered elevating work platforms, and suspended access equipment.

Certification and Compliance:

Our Working at Heights Training in St. Catharines is approved by the Chief Prevention Officer (CPO).

MLITSD Approved Training Provider ID: PRO-34854.

MLITSD Program ID for Working at Heights: WAH-34854.

Certificate Awarded:

Participants who successfully complete the 8-hour training session will receive a CPO-approved certificate of completion.

Materials Provided:

All necessary course materials and workbooks are supplied.

Breaks and Lunch:

The course includes several 10-minute breaks and a 30-minute lunch break. Participants should arrange their own lunch.

Public Training:

For public training sessions, visit our Working at Heights training program page. Choose your preferred date and the number of seats you require, then click "Book Now" to complete your reservation.

[iehs-academy]

On Successful Completion of Scaffold training Learner will be awarded an online verified Certificate, The scaffolding Inspection training program will help participants learn and improve upon the basic skills, techniques and record keeping of scaffolding inspections.

Module 1: Introduction to Scaffolding

Understanding the importance of scaffold safety

Types of scaffolding and their applications

Scaffold components and terminology

Legal and regulatory requirements for scaffold inspection

Module 2: Scaffold Design and Planning

Reading scaffold drawings and specifications

Calculating load capacities and weight distribution

Identifying suitable scaffold types for specific projects

Evaluating ground conditions and environmental factors

Module 3: Scaffold Assembly and Dismantling

Step-by-step scaffold erection procedures

Proper use of scaffold fittings and connections

Safe dismantling practices and potential risks

Hands-on demonstrations of scaffold assembly and disassembly

Module 4: Scaffold Inspection Guidelines

Understanding the roles and responsibilities of a scaffold inspector

Pre-inspection preparation and safety checks

Inspection frequency and documentation requirements

Identifying common scaffold defects and hazards

Module 5: Inspection Techniques and Tools

Conducting visual inspections effectively

Use of specialized inspection equipment (e.g., plumb bobs, spirit levels)

Non-destructive testing (NDT) methods for advanced inspections

Reporting and recording inspection findings accurately

Module 6: Scaffold Safety Regulations and Standards

Familiarization with national and international scaffold safety standards

OSHA (Occupational Safety and Health Administration) regulations

ANSI (American National Standards Institute) guidelines

Local codes and best practices

Module 7: Case Studies and Practical Exercises

Analyzing real-life scaffold incidents and accidents

Problem-solving exercises to identify potential hazards

Conducting mock scaffold inspections in a controlled environment

Collaborative group activities for hands-on learning

Certification and Assessment:

To receive the Certified Scaffold Inspector designation, participants must successfully complete the following requirements:

Attendance: Attend all course modules and practical sessions.

Assessments: Pass quizzes and evaluations at the end of each module.

Practical Evaluation: Demonstrate competence in conducting scaffold inspections.

Final Examination: Successfully complete a comprehensive written examination.

Who Should Attend:

Construction site supervisors and managers

Safety officers and inspectors

Engineers and architects involved in scaffold design and implementation

Occupational health and safety professionals

Anyone interested in improving scaffold safety knowledge and skills

Course Benefits:

Acquire essential knowledge and skills to inspect scaffolding structures effectively.

Enhance workplace safety and reduce the risk of scaffold-related accidents.

Meet legal and regulatory requirements for scaffold safety compliance.

Gain a competitive edge in the job market with a recognized certification.

Contribute to a safer work environment and protect the well-being of workers.

Course Duration:

The Certified Scaffold Inspector Course is typically conducted over 3 days. This includes a combination of classroom lectures, practical exercises, and assessments to ensure a comprehensive learning experience.

Instructors:

Our instructors are experienced professionals with extensive expertise in scaffolding, safety regulations, and inspection practices. They are committed to providing high-quality training and supporting participants throughout the learning journey.

Enrollment:

To enroll in the Certified Scaffold Inspector Course, please fill out the registration form on our website or contact our training coordinator at Call +91 9494441108. Limited seats are available for each session, so early registration is recommended.

Note: Course content and schedule are subject to change to enhance the learning experience and meet industry standards.

Join us in becoming a Certified Scaffold Inspector and play a crucial role in ensuring the safety of scaffolding systems on construction sites 

[foreverengineering]

Scaffolding Awards: 8 Reasons Why They Don't Work & What You Can Do About It

Scaffolding Awards: 8 Reasons Why They Don't Work & What You Can Do About It

Scaffolding awards, designed to acknowledge incremental progress and motivate continued effort, often fail to achieve their intended outcomes. This article explores eight common reasons why these awards fall short and offers actionable solutions to enhance their effectiveness.

1. Lack of Clear Criteria

Problem: When criteria for receiving scaffolding awards are ambiguous, employees may feel the awards are arbitrary or biased. Solution: Establish transparent, specific, and measurable criteria. Ensure everyone understands what is required to earn the award and how their progress will be assessed.

2. Infrequent Recognition

Problem: Awards given too infrequently fail to reinforce the desired behaviors consistently. Solution: Increase the frequency of recognition. Small, regular acknowledgments can be more effective than occasional, grand gestures. Consider implementing weekly or monthly awards to maintain momentum.

3. Non-Tangible Rewards

Problem: Awards that lack tangible benefits or meaningful incentives may not motivate employees. Solution: Offer rewards that are valued by your employees. This could include gift cards, extra time off, or professional development opportunities. Tailor the rewards to meet the preferences and needs of your team.

4. One-Size-Fits-All Approach

Problem: A uniform award system fails to account for individual differences and preferences. Solution: Personalize awards to suit the unique contributions and motivations of each employee. Some may prefer public recognition, while others might value private acknowledgment or material rewards.

5. Inconsistent Implementation

Problem: Inconsistent application of awards undermines their credibility and fairness. Solution: Standardize the award process across all departments and managers. Provide training to ensure leaders understand how to implement the awards consistently and fairly.

6. Overemphasis on Individual Performance

Problem: Focusing solely on individual achievements can foster competition over collaboration. Solution: Balance individual recognition with team-based awards. Highlighting collective accomplishments can enhance teamwork and create a more supportive work environment.

7. Ignoring Long-Term Impact

Problem: Awards that only recognize short-term achievements may neglect long-term goals and sustained performance. Solution: Develop a balanced award system that acknowledges both immediate successes and long-term contributions. This approach encourages sustained effort and commitment to ongoing projects.

8. Failure to Connect Awards to Broader Goals

Problem: If employees don't see how their efforts contribute to the organization's larger mission, awards can feel disconnected and meaningless. Solution: Clearly link awards to the company's strategic objectives. Help employees understand how their individual and team efforts drive the organization forward, reinforcing the value of their contributions.

Conclusion

Scaffolding awards can be a powerful tool for motivation and recognition if implemented thoughtfully. By addressing these common pitfalls and adopting the suggested solutions, organizations can create an effective award system that truly acknowledges and encourages employee progress.

[fhvsydney]

Elevating Safety: The Crucial Role of Working at Heights Courses

In industries where tasks are performed at elevated heights, prioritizing safety is non-negotiable. Working at Heights Courses emerge as vital resources, offering comprehensive training to equip individuals with the knowledge, skills, and certifications necessary to navigate the challenges of elevated work environments safely and efficiently.

Foundational Knowledge and Risk Awareness

1. Understanding the Hazards: Working at Heights Courses kick off by instilling a profound understanding of the potential hazards associated with tasks performed at elevation. Participants delve into the nuances of fall risks, precarious environments, and equipment limitations. This foundational knowledge provides the basis for a heightened awareness of potential risks and fosters a proactive mindset toward risk assessment.

2. Compliance with Standards: Navigating the intricate web of safety regulations is paramount. Working at Heights Courses ensure that participants are well-versed in local and international safety standards, including guidelines set forth by regulatory bodies like OSHA, HSE, or WorkSafe. Compliance is not merely a legal requirement; it is a fundamental element of creating a secure and standardized working environment.

Skill Development for Working in Elevated Spaces

1. Proficient Use of Safety Equipment: Mastery of safety equipment is central to the training program. Courses focus on the correct usage of harnesses, lanyards, and other fall protection gear. Through practical exercises, participants learn how to properly don and secure safety equipment, emphasizing the significance of regular inspections and maintenance to ensure optimal functionality.

2. Climbing Techniques and Rigging Skills: For those engaging in activities that involve ascending structures or working on scaffolding, climbing techniques and rigging skills are crucial. Working at Heights Courses provide hands-on training in these areas, ensuring participants are adept at maneuvering safely in elevated spaces. Rigging exercises enhance their ability to secure tools and equipment, minimizing the risk of accidents caused by falling objects.

Emergency Response Preparedness

1. Crisis Management Training: Beyond accident prevention, courses place a strong emphasis on crisis management. Participants undergo intensive training in emergency response procedures, first aid, and rescue techniques specific to working at heights. This proactive approach ensures that individuals are not only equipped to prevent accidents but are also prepared to respond effectively in the event of an emergency.

2. Realistic Scenario Simulations: To enhance the practical application of knowledge, Working at Heights Courses incorporate realistic scenario simulations. Participants engage in exercises that replicate the challenges of working at heights, allowing them to apply their training in a controlled environment. This hands-on approach reinforces key concepts and builds the confidence needed to address real-world situations.

Certification and Lifelong Learning

1. Recognition of Competence: Upon successful completion of the course, participants are awarded a certification that validates their competence in working at heights safely. This certification serves as tangible proof of their commitment to safety and can be a valuable asset in professional development and career advancement.

2. Commitment to Continuous Learning: Acknowledging the dynamic nature of safety protocols and industry advancements, Working at Heights Courses encourage ongoing education. Participants are urged to stay informed about the latest safety standards, technological innovations, and changes in regulations. This commitment to continuous learning ensures that individuals remain at the forefront of safety practices in the ever-evolving landscape of working at heights.

Cultivating a Culture of Safety

Working at Heights Courses are not merely instructional programs; they represent a holistic approach to cultivating a culture of safety. By providing foundational knowledge, fostering skill development, and emphasizing emergency preparedness, these courses empower individuals to navigate elevated work environments with confidence and competence. With their focus on certification and lifelong learning, these courses stand as cornerstones in elevating safety standards and ensuring the well-being of those working at heights.

[zov911]

Title: Stay Ahead of the Game: Lead Generation Strategies That Transform the Construction Industry The construction industry stands tall as one of the most fundamental sectors, shaping not only the city skylines but also the economic landscape. Yet, it often grapples with the intrinsic challenges like cyclical stagnation and intense competition. Staying ahead in such instances is no child's play. However, a well-crafted lead generation strategy can be a game-changer. It can lend wings to your construction business, helping it soar new heights. Lead Generation – The Cornerstone of Business Expansion In today's tech-driven marketplace, the significance of lead generation extends beyond the traditional methods like word of mouth or network referrals. It's about building a steady stream of potential clients interested in availing of your construction services. The right approach to lead generation can result in rewarding business relationships, making it an immensely strategic facet in the contemporary construction industry. Climbing the Digital Scaffold: SEO and PPC With 63% of customers starting their search online when hunting for a contractor, digital platforms play a pivotal role in lead generation. SEO, or Search Engine Optimization, provides organic traffic to your website by enhancing visibility to search engines. Ensuring your business appears in localized searches can be influential in gaining potential leads. Meanwhile, Pay-Per-Click (PPC) allows your business to stay on top of search engine results for selected keywords. It's an expedited way to catch the eye of prospects, thereby aiding in fast-paced lead conversions. Building Trust with Content Marketing Constructing an office or a house is a significant investment; potential clients undertake detailed research before zeroing in on a contractor. Hence, establishing yourself as a resourceful, authoritative figure is paramount. Content marketing does precisely that. Publishing informative blogs, long-form articles, whitepapers, or even video tutorials on your website can create trust, nurturing leads to conversions. Reflecting Industry Credibility through Social Proof Word of mouth carries colossal weight in the construction sector, and digital platforms have given it a new form – social proof. Showcasing customer testimonials, industry awards, before-after project photos, or even membership to reputable construction bodies on your website or social media channels can exhibit your credibility, nudging potential leads towards a positive decision. Leveraging the Power of Social Media Reluctance to embrace social media can be a hindrance to penetrating newer markets. You never know where your next client comes from, hence being visible on platforms like LinkedIn, Facebook, Instagram, or even TikTok, is critical. Use these spaces to showcase your work, share client testimonials, provide useful tips, and engage with your audience – a potential lead generator, indeed! Investing in a Customer Relationship Management (CRM) System A Customer Relationship Management (CRM) system is more than just a tool managing customer interactions. It helps analyze past client information to forecast future leads, identifies potential customers, and systematically moves them through the sales cycle. It also provides useful metrics to gauge the effectiveness of your lead generation strategies, ensuring you are on the right path. To stay ahead in the fierce construction industry, adopting leading-edge strategies is indispensable. Investing in a dynamic lead generation strategy can help unravel potential prospects, paving the way for sustained business growth. Remember, it's not just about building structures; it's also about constructing robust business relationships. By embracing the above strategies, you gain that competitive edge, transforming your business from just another construction company to a revolutionary entity capable of steering the direction of the industry. Stay committed to innovation, stay ahead of the game!

Title: Revolutionizing the Construction Industry: Lead Generation Strategies and Digital Marketing Paradigms In the rapidly evolving digital landscape, the construction industry needs innovative strategies for lead generation and digital marketing. This article explores various successful techniques and discernible strategies that are specifically tailored for the construction industry. Strong Digital Presence The first step to lead generation is establishing a robust and compelling digital presence. A case in point is that of Balfour Beatty, a leading international infrastructure group based in the UK. The company has an extensive online presence, including a website, social media handles, and a company blog. This provides them a platform to showcase their project portfolio, share updates, and engage with potential customers. Actionable Strategy: Construction companies should invest in building a professional, user-friendly website that showcases their work portfolio, testimonial, and contact information. Consider also maintaining a company blog and staying active on social media channels — particularly LinkedIn and Instagram — which are popular platforms for construction professionals. SEO Optimisation Search Engine Optimization (SEO) is no longer a nice-to-have but a must-have for construction companies. A good example of this is Bechtel Corp, an American engineering, procurement, construction, and project management company. They have executed an excellent SEO strategy that includes keyword optimization, back-linking and ensuring their website is mobile-friendly. As a result, their website ranks high in search results for terms like "global engineering services" and "construction company." Actionable Strategy: Conduct keyword research to identify terms which potential clients might be using to search for services like yours, and embed these within your website content. Also, ensure that your website is mobile-friendly, as Google gives preference to mobile-optimized sites in search results. Leveraging Social Media Social media platforms have emerged as practical tools for lead generation in the construction industry. Take the example of Skanska, a Swedish construction and development company. They have strategically used LinkedIn to post high-quality content, interact with their audience, and highlight their projects. This has significantly increased their online visibility and attracted potential leads. Actionable Strategy: Regularly update your social media profiles with engaging content. Make use of the various features like live videos, stories, and posts to showcase your ongoing projects, company culture and team members. Engage with your audience regularly through comments and direct messages. Paid Advertising While organic strategies are important, paid advertising can give you a quick boost. Turner Construction Co, one of the largest construction management companies, leverages pay-per-click (PPC) advertising effectively. They use this strategy to feature their ads on Google's search results, significantly increasing their visibility and ultimately generating more leads. Actionable Strategy: Start with modest budgets on PPC advertising channels like Google AdWords. Always monitor your campaigns and tweak them for optimal results. Experiment with different ad copies, targeting options, and bidding strategies. Email Marketing Lastly, email marketing remains an underused yet effective lead generation strategy in the construction industry. McCarthy Building Companies, Inc., uses email marketing to share company news, updates on ongoing projects, and other valuable content with industry professionals, thereby staying on top of mind and nurturing potential clients. Actionable Strategy: Build an email list through your website and social media channels. Send regular newsletters with relevant and helpful content. Include clear calls-to-action within the emails to make it easy for potential clients to reach out.

In summary, successful digital marketing strategies for the construction industry involve a mix of different channels and tactics. The examples mentioned above illustrate how construction companies can effectively adapt and thrive in the digital arena. The next step? Start implementing these strategies today and stay ahead of your competition!

[adtomall1998]

ADTO Group Won the "2022 China's High-quality Brand of Ringlock Scaffolding"

On December 28, 2022, the 2023 China Ringlock Scaffold Summit Forum was held in Shanghai. ADTO Building Materials Group was invited to attend and won the two awards of "2022 China's high-quality buckle-type scaffolding brand" and "2022 China's characteristic brand of construction industry · century-old craftsman star · high-quality material manufacturer".

With the theme of "industry integration, interconnection of supply and demand, and promotion of the stable development of the deduction industry", this forum will discuss the current macro policy environment, real estate development trends, infrastructure construction trends, opportunities and challenges, enterprise management and operation, new technology applications, and industry development. Hot topics such as the current situation and the market trend of coiled scaffolding were shared and exchanged.

At the meeting, awards such as "2022 China's Disc Scaffold Quality Brand" and "2022 China Disconnect Scaffold Quality Service Provider" were awarded. These award-winning companies have been recommended by many merchants, associations, and users in the construction industry. ADTO Building Materials Group, as a veteran enterprise that has been deeply involved in the formwork industry for more than 20 years, stands out with its excellent quality and dedicated service, fully demonstrating its reputation and strength in the industry.

The ADTO ring lock scaffolding is a new type of scaffold vigorously promoted by the country. It has the advantages of high safety performance, strong bearing capacity, high efficiency of erection and disassembly, and many turnover times.

[pannimanagementteam]

Why Combine Sage X3 Together With Your Crm?

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ADSS Global, a Sage North America business partner, has been named a Sage North America Top Five Business Partner for high sales revenues for the 2011 business yr. Sage business partner ADSS Global is ranked 14 out of the 100 prime worth added resellers in North America by Accounting Today magazine. ADSS Global, has been selected as a member of the Bob Scott’s VAR Stars for 2012, a bunch best sage x3 partner of one hundred organizations honored for his or her accomplishments in the area of midmarket financial software program. ADSS Global has been a high performing Sage Business Partner and Sage’s high Business Partner for the Sage 300 ERP product line for the last 5 plus years.

If you want to find the right steadiness between big business ERP functionality and simplicity/affordability, then Sage X3 is a great choice for your corporation. It offers all the capabilities you have to successfully handle your corporation in a single place. You can take care of every little thing from Sales and Finance to Inventory and Purchasing.

With QuickBooks free and unlimited customer support, assistance is always only a click away. GPS fleet tracking Equipment and asset tracking Electronic logging device Dashcam Dispatch and scheduling Proof of delivery Roadside Assistance Please choose at least one of these choices. With Verizon Connect, I was able to implement the metrics that I wanted to control my job price and revenue. Emergency roadside assistance offers quick, cost-effective protection, whether or not you need gas supply or a flat tire replaced.

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[gvsanjjayreddy]

G V Sanjay Reddy - The Vice Chairman of GVK

G V Sanjay Reddy is the Vice Chairman of GVK, a combination with interests in Energy, Airports,   GV Sanjay Reddy  Transportation, Real Estate, Hospitality and Life Sciences. While he is engaged with all spaces of organizations, he is instrumental in making GVK the main private administrator in India with Mumbai Airport and now with the advancement of the Navi Mumbai Airport.

 In acknowledgment of his broad profession achievements, he was announced the "Arising Business Leader of the Year" by AIMA Managing India Awards and is one of the 25 Indians picked as Young Global Leader by the World Economic Forum.

 G V Sanjay Reddy is the Vice Chairman of GVK, a combination with interests in Energy, Airports, Transportation, Real Estate, Hospitality and Life Sciences. While he is engaged with all spaces of organizations, he is instrumental in making GVK the main private administrator in India with Mumbai Airport and now with the advancement of the Navi Mumbai Airport.Dr GVK Reddy is the Founder and Chairman of GVK, a broadened business combination with a dominating spotlight on framework improvement. He started his profession by contracting significant water system projects including scaffolds, dams and water system trenches. GVK has today arisen as one of the central participants in India's framework advancement. Aside from Airports, Energy and Expressways, GVK has a critical presence in Hospitality and Urban Infrastructure.

 Dr GVK Reddy has been a pioneer in India's framework area. Guided by his vision and administration, GVK has effectively executed a large group of activities in record time, including India's first Independent Power Project at Jegurupadu in Andhra Pradesh; India's initial six path interstate interfacing Jaipur-Kishangarh in the province of Rajasthan and the activity and modernization of Mumbai's worldwide air terminal. GVK is right now dealing with the development and improvement of the primary period of the 60 million travelers for every annum Greenfield Navi Mumbai International Airport.

[safetycourses2022]

[giftedsupport]

“In the previous article, we discussed superstimulabilities and the potential for intrinsic or extrinsic negative emotional impact. Characterizations of gifted people often include representations of oversensitivity and outsized feelings. While not all gifted people experience extreme emotional states, a grain of truth remains in the oversized emotional processing in the gifted brain. Indeed, there’s something to be said for the brain structure of areas of emotional processing in the gifted brain.

As previously discussed, the gifted brain has larger specific regional brain volume in areas associated with intelligence, as well as more connectivity. According to Ohtani, individuals with a higher IQ have larger volume in two regions of the limbic system known to be associated with emotional processing. The greater connectivity in these regions may explain why gifted individuals seem to process all information through an emotional filter.

This more extensive emotional integration may also explain some of the more qualitative hallmarks of giftedness, including the intense demand for truth and justice, existential depression, a more emotional lens, and, for some gifted children and adults, a more emotional or empathic link than other people. While this can become emotionally overwhelming for both children and adults (you don’t become ungifted at the age of majority!), it could explain why gifted kids want their schoolwork to mean something and why gifted adults search for meaning. A study by Penny et al  explored the possible connections between anxiety, worry, and intelligence. The study found that verbal intelligence was a unique positive predictor of worry and rumination severity.

Consider the interplay between emotional sensitivity and what educators and parents often call “whole-to-part learning,” which describes the child who can understand large concepts, but does not have the underpinning concepts in place. For a child who sees bigger issues through a filter of exceptional empathy, the level of emotional intensity can become just too much to handle. Homelessness, climate change, and even the unfairness of being unheard simply because, as a child, they are not considered worth listening to, may combine further with the inability to break these issues down into emotionally manageable pieces and thus lead back to existential depression. This may also explain why gifted people are more sensitive to perceiving emotions in the room. Gifted children in particular may pick up on an emotional undercurrent which others deny exists, leading to a feeling not unlike gaslighting. Or, they may mistake the emotional undercurrent as about them (“the adult is upset, it must be my fault or aimed at me”). As would be expected, these situations increase anxiety, which seems to exacerbate sensory processing and superstimulabilities, trapping the gifted child in an emotionally damaging cycle.

... Adults can best help these gifted children to manage all of the impacts of their brain differences through understanding and scaffolding. Gifted adults, in particular, have the added benefit of communicating to the gifted child (or modeling for them) their own path to adulthood and some kind of life balance. After all, giftedness is not outgrown. Apparent challenges for gifted children become less extreme relative to their later stages in life and those of other people. Some challenges may even be reframed as superpowers, since adults have the opportunity to create a life where these many differences can be turned into advantages. The gifted creative may have been miserable in a typical school setting but thrives as a professional artist. A brilliant software programmer may have been uncomfortable in a group learning setting but succeeds as an entrepreneur where they get to dictate their environment and determine the extent of their human interactions. The child with taste superstimulabilities may become an award-winning food critic. Finally, the child who constantly cracks jokes in class later may becomes a well-known performer. Hope exists!

[sense-sans-sensibility]

Thought of the Day 7/9/19

I recently watched a Youtube video of a guy discussing why some really intelligent kids struggle in school and others excel without even trying. There are a lot of reasons, but this argument piqued my interest.

Now. I'm going to try to simplify the thing and remove it from the MBTI source lens because: (Edit: oh hell, I wrote a novel instead. Sorry everyone.)

1.) I'm definitely NOT an MBTI expert.

2.) I dont want to make this insular and

3.) The guy has a really good point and great ideas but he hella rambles on and it was hard to follow, lol. (Sorry guy, I still liked your video and it meant a lot to me!)

This is speaking specifically about "Introverted Thinkers" versus "Extroverted Thinkers." There are other ways of rationalizing, but we are focusing on these for the purpose of our argument.

I'm going to use "Needs Details" and "Needs Conclusions" instead cause its more descriptive.

American school systems (at least) are set up perfectly for the student who only needs the conclusion and hinder the student who needs details.

For example: A teacher says "this is this."

- The Conclusion seeker only cares that the teacher wants that answer, whether the fact is correct or not. They don't need to understand why "this is this" to get that A+. Results oriented!

- The Detail seeker, however, needs tangential information. If they can't make sense of the Where, Why, Who, What, When, they cannot absorb or produce an answer. They need to build a scaffold of related information to triangulate the answer because they do not use a simple database to store or interact with information.

It doesn't help that the detail seeker is more interested in how to organize the knowledge in that scaffolding in order to relate to and understand other knowledge than they are in producing one answer for a teacher.

I might analogize it this way: Teacher holds up some objects, bounces them and says "these are rubber balls" to the class.

- The seeing student is good to go. Things that look like this and bounce must be rubber balls. 

- But the blind student must experiment with it: hold it, hear it, smell it, (and well.. I wouldn't lick it, but whatever you need to do, buddy, I support you.) in order to recognize a rubber ball in the future.

Furthermore the blind person, in testing the objects, might realize. Oh, this ball is smoother than this other one, is it not the same? They will need to ask why there is a difference in order to understand why they're both considered "rubber balls". ("oh, that's actually a polymer ball, it is made of different materials but it acts the same way and has the same use. We call it a ‘rubber’ ball because rubber balls came first and has become a concept of its own. Oh ok.")

In a balanced world, blindness wouldn't be considered a disability, just an aspect. Not all places of society or nature can accommodate everything a blind person needs perfectly. But neither can it for that seeing person: the person who assumes "bouncy ball" might one day pick up a glass one and shatter it in their hand without thinking because they don't have that scaffolding of experience and understanding to pull from. I think they call this kind of disability the "Darwin Awards."

That is not to say I think these people are stupid. I mention it because this is a way in which society and nature do not accommodate these people.

Society is a construct that determines what is "stupid" and what is "disabled" and nature is generally incapable of caring one way or another. 

Recap:

A conclusion seeker only needs results to move forward and learns efficient strategies to get to these results.

A detail seeker wants to build their understanding so they can make sense of their world. They feel there are many conclusions to be had, not all of them are right/wrong, all may be important at some point, and most of them are found along the journey.

Both of these methods of reasoning are absolutely legitimate and excellent! There are advantages to both! And it is an extremely rare person who can manage both individually so it's important that they support each other for strength.

Getting into another area of this:

Many Neurodivergent and Disabled people tend to be detail people, whether by nature or nurture. What they are able to give to the world is often measured critically against the resources they need to take for accommodation, or ignored outright for efficiency's sake. But the things they CAN provide can be monumental and extremely important to success and progress. (They don’t NEED to provide these (results) in order to deserve accommodations. Their experience alone adds to that collective scaffolding)

The point however, is that schools and businesses are increasingly prioritizing one over the other. "Results results results. Progress is measured by results" (tests, bottom lines). "We only need ENOUGH details to get by." (most K-12 academics and corporate business.)

Oftentimes detail seekers aren't considered as important as the guys who make results; they tend to be undervalued even when they are lauded. Recognition does not pay the bills, Plaques and trophies are only a burden when you have no place to put them. Generally speaking, Details prevent losses and Conclusions produce revenue. They aren't mutually exclusive! They're. BOTH. Important. Together!

So if you're struggling in school, keep this in mind. Don’t be afraid to direct and specialize your interest. If you're doing really well in school, please keep this in mind too!

If you help to accommodate our need for structure and data, our slow, ambling walk toward your conclusion where we stop to catch our breath for a moment, smell and categorize all the roses, we'll help you... not get glass stuck in your hand if you keep us around I guess.

Kidding. We'll take care of the "boring bits" so you don’t have to and you can borrow our scaffolding if you find yourself falling off that tightrope you walk on so well.

Here’s that video if you want it: https://youtu.be/nxt-DZdVNm4

[celestialmazer]

Such an interesting history and evolution to an impressive and overlooked form of art, and now some of them are in Glasgow!

The Backstory on a Hollywood Backdrops - CBS

In Hollywood's Golden Age, hand-painted backdrops played a vital role in the magic of movies, creating cities, sunsets, or any other setting a director could imagine. These massive artworks were some of the largest paintings ever created, by artists whose work often went unappreciated. John Blackstone reports on the Backdrop Recovery Project, an effort to rescue these works of cinema history, and talks with Karen Maness, coauthor of "The Art of the Hollywood Backdrop," and with Lynne Coakley, whose family business, JC Backings, has been providing the backgrounds to movies and TV shows for generations.

https://www.jcbackings.com/index.php

https://youtu.be/qvVc2i4euQY

How 200 historic Hollywood backdrops were saved from the dumpster

https://www.latimes.com/entertainment-arts/story/2019-12-20/saving-the-lost-art-of-hollywood

By MARY MCNAMARA - CULTURE COLUMNIST AND CRITIC - DEC. 20, 2019

On top of a hill in Valencia, where the wind blows most days, the buildings are big, new and absolutely nonforthcoming. They could house anything — a doctor’s office, a car dealership, a secret government agency. Inside one, against the back wall, lies a pile of large equally nondescript pieces of canvas. Most are long and tied up with string; some have been folded into thick squares and stacked. They could be anything — enormous window treatments or very thin floor coverings.

For the record:

3:56 PM, Jan. 06, 2020 This article says several backdrops went to the Royal Scottish Academy. They went to the Royal Conservatoire of Scotland.

Hillsides, houses, airports and cathedrals; cityscapes, landscapes and the ocean rocking toward the horizon; courtrooms and bedrooms, bungalows and castles; gas stations, skyscrapers, apartment buildings; the roofs of Paris and New York, corridors, tapestries, train depots and a mineshaft burrowing into an icy mountains.

These are the 90 painted backdrops that remain of more than 200 saved through the Art Directors Guild Backdrop Recovery Project, a two-year attempt to keep a relatively few pieces of irreplaceable art and Hollywood history from the fate of so many sets, props, costumes and backdrops: the studio dumpster.

“Hollywood started as a green industry and then became brown,” says former ADG president and Recovery Project founder Tom Walsh. “Everything was used repeatedly; nothing went into storage. Then when studios began to decline, they got rid of everything, sold things in auctions or just threw them away. And the first to go were backings. We will never know how many were lost, and if I go down that road I will just start to cry.”

“These, though,” he says, “we were able to save.”

There is no more iconic Hollywood image than the backdrop. Backdrops, or backings, are the enormous paintings that make the movie and television industries possible by stretching the confines of a studio set into endless possibility. With a good backdrop, western plains can stretch to the horizon, snowy peaks of mountains create the suspense of dizzying heights, jungles bloom, skyscrapers loom and cities wink through apartment windows. Sets cradle the action; actors, writers and directors create characters and drama; but backdrops build worlds.

Many are imprinted on our collective memory — the Georgian sunset against which Scarlett O’Hara vowed never to be hungry again, the island beaches of “South Pacific,” the view of the Danube from the Von Trapp family’s terrace in “The Sound of Music,” Mt. Rushmore in “North by Northwest.”

In the early years of Hollywood, studios hired artists to paint their own backings, which were sometimes used repeatedly and sometimes thrown away, depending on need, space and the studio’s financials. In the 1950s, a few scenic artists realized this was not a great system, that studios somehow sharing backings might work better, and a few artists began striking out on their own, painting and purchasing various backdrops they would then rent out.

Nowadays almost all backings, painted and otherwise, are furnished by rental companies.

JC Backings is one of the best known of the now handful of rental companies with the most notable collection of historic backdrops in the business. A business that has increasingly shifted away from painted backings to photograph and digital versions. Over the years, JC Backings has regularly, and out of necessity, culled its collection. Even when rolled or folded, backdrops are big, difficult to move, and require temperature-controlled storage. Those not making money as rentals are literally just taking up space.

Two years ago, President Lynne Coakley decided the company no longer needed 207 of its older backings. But this time, instead of filling up an oversize dumpster, she donated them to the Art Directors Guild, which unrolled, photographed and cataloged each one, and then set about finding each one a home.

Most of the more famous images went quickly. The film academy took the backdrop from the “Fit as a Fiddle” number in “Singin’ in the Rain,” the eerie landscape of “Forbidden Planet,” the tapestried walls of “Marie Antoinette,” the office from “Adam’s Rib.” Others, like the Sistine Chapel from “The Shoes of the Fisherman” were given to colleges; the Autry Museum of the American West has eight (including two from the 1947 Katherine Hepburn/Spencer Tracy Western “The Sea of Grass”) and a few went to the Royal Scottish Academy. (George Gibson, the legendary head of MGM’s scenic design department, where many of the backdrops were painted, was Scottish.)

In their new homes, the backings function in a variety of ways — as exhibits, teaching tools and occasionally theatrical backdrops, but all, including the ones still in storage in Valencia, mark another important shift in Hollywood. For many who work in the cinematic crafts, the real tragedy of the digital revolution and the end of the studio system has been the loss of so many iconic props and artworks. Now, as more studios are dismantled, absorbed or re-purposed, there is a growing demand that the working assets of old Hollywood, be they research libraries, backdrops or remainders of sets, be preserved.

In the short version of the story, the Backdrop Recovery Project began with a phone call. In 2017, Walsh was working in New Mexico as production designer on the Netflix western series “Longmire” when he got a call from Coakley.

She said: “Well, Tom, we’re going to move.”

He managed to not drop the phone, but it was a big and upsetting announcement. JC Backings was founded by the Coakley family, which has been part of the scenic art world for five generations. Over the years, the company acquired the collections of MGM, Universal, 20th Century Fox, Disney and Paramount.

For 40 years, the company operated out of the famous MGM scenic paint studio on what is now the Sony lot in Culver City and had a history with the studio for even longer. Lynne’s great-grandfather, John Coakley, was a scenic artist there, working under Gibson’s tutelage, when, in 1936, he fell to his death from a studio scaffolding. MGM’s method of compensation was to hire his son, John Harold Coakley, as an apprentice. John Harold eventually went to 20th Century Fox and, after “Cleopatra” nearly bankrupted the studio, he bought its backdrop collection. In 1962, he formed JC Backings with his son, John Gary Coakley.

In 1972, the company moved to MGM and its still gold-standard scenic studio.

JC Backings remains in the painted backdrop business — a backing from the 1958 musical “South Pacific,” for example, was recently used on an upcoming Netflix series and several equally venerable backings were recently rented for new Marvel projects (none of which Lynne can name because she signed nondisclosure agreements). But at least half of the company’s inventory is photo and digital, and it made no sense to pay for the MGM studio, which was built for painting scenic backings and did not have the storage space the company needed.

When Lynne Coakley decided to move the headquarters to a larger facility in Culver City, with a warehouse equipped for painting in Gardena, she eyed the 3,000 or so painted backings in the company’s collection and realized that more than 200 of them had not been used in years.

A decade ago, she says, she would have just chucked them; some were faded or damaged, some so specific they could never be used again.

“It’s only in the last 10 years that we’ve started thinking of them as having historic value,” says Coakley. “For years, we thought of backings as a commodity; that’s our business.”

In the long version of the story, the conversation that resulted in the Backdrop Recovery Project occurred almost 10 years ago.

An award-winning production designer, Walsh had worked with JC Backings for much of his career. As president of ADG, from 2003 to 2013, he was committed to making the public aware of scenic artists and preserving the historic work that remained. “I started as a pot boy,” he says, referring to the young workers who mixed the paints that scenic artists used for backdrops. “It was the last days of the old ways, and ever since then, I have a soft spot for scenic artists.”

And not just as a preservationist. Walsh believes that old Hollywood arts are crucial in developing the new ones and bemoans the fact that many cinema schools now view scenic painting as an elective for their arts programs.

“A lot of people are going into the digital arts,” he says, “but the best artists I’ve worked with, digital or not, are the ones who can pick up a pencil, who can look at something and see it before they start re-creating it. No matter how they do it.”

In 2012, he founded the ADG archives, which contains resources gleaned from old studio research libraries — books and photos, paintings and advertisements, anything and everything that could help artists of all types make the sets, props and backings beautiful and believable.

That same year, he approached Lynne about publicly displaying some of the iconic backdrops and the small paintings from which they were created; over seven years, the ADG and JC Backings co-hosted five open-house nights at the historic MGM studio.

The events were so popular, Walsh says, that he wondered if there was a book to be done. While giving a guest lecture at the University of Texas, Austin, he had met Karen Maness, a former scenic artist who loved backdrops almost as much as he did.

“I grew up in San Diego,” Maness says, “and I fell in love with all the murals in Los Angeles. When I saw my first theatrical backdrop, I knew this is what I wanted to do: I wanted to work big.”

She had been teaching theatrical arts at UT Austin for several years when Walsh approached her about doing a book, and she immediately said yes. “It was a passion project to understand these artists, to help them be seen for their work.”

For the next four years, she and Richard M. Isackes interviewed Hollywood masters and in 2016 produced “The Art of the Hollywood Backdrop,” a gorgeous doorstop of a book that tells the story of an art form that is at its best when it does not appear to exist

“The publisher said it was the most beautiful book they had ever made,” Walsh says. “Certainly it is the heaviest.”

“Tom saw the urgency,” Maness says. “A lot of the artists we interviewed for the book are gone now, and I am so grateful that I got to speak with so many. It’s changed the way I paint and think about painting. I have never seen painting with such sensitivity to color, temperature and value structure. I am so embarrassingly in love with it.”

The Coakleys and their unique collection are a big part of “The Art of the Hollywood Backdrop,” in which the family’s story was told publicly for the first time. Lynne’s parents are, she says, very private and reserved individuals. Working with Walsh and Maness, Lynne began to think of JC Backings’ collection of painted backdrops as something more than company assets.

“After the book came out,” Walsh says, “we started hearing from a lot of people who were also interested in preservation.”

During the early years of the backdrop exhibitions, Lynne had been surprised when Anne Coco, the motion picture academy’s graphic arts librarian, had asked if she would be willing to donate some of the small paintings done as blueprints for the backings, which she happily did. So when Lynne decided there was no point in moving the 200-plus backings that were no longer in use, she called the academy first.

“The academy took about a dozen right away,” Lynne says. “The cream, obviously. The rest went to the ADG, and,” she adds laughing, “Tom got them to take about 10 more.”

Although the academy will not reveal anything about how, or which, backings will be displayed in its new Museum of Motion Pictures, Walsh says he put together an exhibit for architect Renzo Piano and his staff when they were in the designing phase.

For the remaining 207, she called Walsh, who was thrilled.

Thrilled and a little daunted. Moving more than 200 backings, some of which are more than 30 feet wide and, affixed to wooden battens, weigh several hundred pounds, is no joke. Nor is the work of unrolling each one and trying to identify the films for which it was used. Especially when you have only a couple of weeks to do it.

“There were some of backings that hadn’t been opened,” says Maness, who, along with a dozen or so ADG members, helped with the moving and cataloging. “The reason they survived when so many assets were lost or sold off in auction was that they were able to keep them at MGM so they were up and out of sight.”

But if the three weeks it took to catalog and move the backings were difficult, they were also exhilarating. There was gold in them there rafters.

“No one knew the ‘Fit as a Fiddle’ backing was in there,” says Walsh. “Or the tapestries from ‘Marie Antoinette.’ And the ‘Forbidden Planet’ landscapes were so amazing. But even the ones that weren’t famous, are gems. If it weren’t for JC Backings,” he says, “this library, which dates back to the 1930s wouldn’t exist.”

He has spent the past two years finding homes for the original 207 and then an additional 65 donated by Scenic Express. As of publication, there are still 50 or so in the Valencia warehouse that he hopes will find homes at some film or theatrical school. The University of Texas, Austin took 47, including the 24 from “The Shoes of the Fisherman,” which Maness uses to teach painting and design to her students; one of her classes is reproducing the Sistine Chapel.

“Everything you need to know about how to paint is in those backdrops,” she says. “I recognize that we are living in a digital world, but there’s so much power in the painting. “After the book came out, it raised consciousness about preservation. Photographic backings are fine — I use them, we all use them — but painted backdrops are art. Some are so simply drawn that when you look at them closely they don’t look like anything.

“And then you step back and you see the world.”

[auswidecorp-blog]

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Auswide has the experience and resources to offer ‘whole of project’ access, personnel, scaffolding and project management. We are the ‘go to’ company for all services related to height access and scaffolding including Skilled labour hire, Scaffolding material hire and sale, Site inspection reports, OHS Scissor Lifts 12t and16t crane trucks 4WD Vehicles, Scaffolding systems & associated materials skilled operators. Our inventory of access equipment, vehicles, and scaffolding enables us to provide our clients with almost any access related solution – on a short or long term basis.

[boonesfarmsangria]

FOALS WADE THROUGH THE FLAMES

Currently, Foals are back home in the UK, taking a brief respite from their monstrous world tour before hitting the road again in 2020. Frontman Yannis Philippakis is grateful for the break – not only for the band to rest up, but to mend his picking hand.

“I was in Greece, and I had my whole right hand cut open across three fingers,” Philippakis says.

“And it’s only just healing now, so I couldn’t play the Mercury Awards last week. I got stitched up without anaesthetic in a mountain village in Greece, so that was pretty grisly. I was actually kind of worried I wouldn’t be able to play guitar again. Thankfully that didn’t cut a tendon – this was one of the worst injuries I’ve had in quite a while.”

The incident near rivals one of the singer’s most lurid wounds. Philippakis is renowned for his stage antics; occasionally diving into the crowd from amplifiers, speakers, and even scaffolding at shows. It’s not hard to imagine, considering the band initially cut their teeth on chaotic Oxford house parties.

“But my worst stage-related injury is probably when I cut my shin open in Denver on a nail or something off the side of the stage,” he continues.

“It cut me right along the shin, you know where the skin’s quite soft? I went backstage, and I said, ‘Oh man, this doesn’t look good’. And my tour manager went, ‘Nah, it looks fine’. Then Jimmy [Smith] went and got vodka and started pouring vodka on it. And then I was like, ‘I- fine’. And then lo and behold, it got super infected, and now I’ve got this big, ugly scar when I should’ve just got it stitched up. What can you do? We don’t work with that manager anymore.”

The essence of Philippakkis’ feral energy is distinctly present in the band’s latest release, Everything Not Saved Will Be Lost – Part 2. It took over a year and a half to produce both albums, and for the first time in Foals’ history, Philipakkis took on the role of both songwriter and producer, lending a fresh take to the band’s vibrant discography.

“Walter’s departure meant we couldn’t actually operate in the exact same way we did in the prior records,” explains Philipakkis.

“We relied on the studio a lot more – in fact, we started recording in the studio for the album way before the songs were even written. We were essentially discovering the song while capturing them, whereas normally in the past we would’ve had relatively finished songs. We had Edwin and myself playing bass, and I produced the record. We wrote 20 songs – double the amount of stuff – and we all sat in the studio for about a year and a half. We kinda just went into the studio with no real idea of what the end product should be. We just wanted to be creative – I’d not written anything for quite a few months on purpose – so we just went in to see what would happen.”

“The whole idea of splitting the material into two came right towards the end, once almost everything was completed. I guess the thing that’s the same is obviously that it’s a Foals record. The remaining four of us making music that we feel like fits within the body of work. But in terms of approach, it was quite different.”

Even with today’s music culture of streaming and playlist-shuffling, the band aren’t afraid to construct extended narratives across the span of two companion records – especially when their themes are anything but anodyne.

“Part One is more like a conceptual record,” muses Philipakkis.

“Pretty much every song on that album is referencing the themes that I wanted the record to deal with. Societal and environmental themes and fears about the future – every song on Part One hits that. On Part Two it becomes more personal, and I feel like those songs are set in the aftermath. You know at the end of Part One – ‘Sunday’ and ‘I’m Done with the World (& it’s Done with Me)’ – they’re quite apocalyptic and the album ends with lots of fiery imagery. Part Two just takes place right after it. It’s more about picking yourself up, dusting yourself off and finding a way forward, while Part One is just being lost among the sea of problems, if that makes sense.”

While Edwin Congreave’s synthesisers dance jubilantly on the forefront of Part One, Philipakkis and Jimmy Smith’s tight guitarwork take centre stage on Part Two. It’s an undeniably heavier and more aggressive record compared to its predecessor, released earlier this year. Of particular note is the epic ten minute closer ‘Neptune’, a cinematic number that morphs into a sultry, stripped-back instrumental jam, before finally returning to what Foals do best: explosive, rowdy catharsis.

“To be honest, that song structure was loosely defined when we were in the studio,” Philipakkis says

“We knew what the verse and chorus was, and when we were recording, we just jammed out. That whole middle section in ‘Neptune’ is unedited improv, so that’s literally just what happened in the studio. We added some synths in there, but nothing’s actually been cut from the recording. We left the bass part and we just fell in love with that passage. For a while we thought ‘Oh, we’ll edit it down later’, but we just never did, and I think the song’s better for it. It’s a proper journey, that one.”

Despite the departure of bassist Walter Gervers last year, the band – now a four piece – look to enter a new phase in their seemingly interminable career.

“We’re quite a different band now. I look back at Antidotes and that era, and it was an awesome time,” says Philipakkis.

“But musically, it was quite strict. I basically had rules – we didn’t really use any pedals, no reverb, no distortion, everything clean. All the guitar lines above a certain fret, everything just being like little pointers. That was really fun, but you have to break those rules as you go on. We came from such a narrowly defined project, and it was inevitable that we would stray quite far from that over ten years.”

Interview || Eddy Lin || MixdownMag