#Billing Software Features

[bholasidhu]

How Can Tavolope Billing POS Software Enhance the Customer Checkout Experience

In today’s retail world, the checkout can make or break a customer’s opinion of a business. A smooth, fast, and pleasant checkout experience ensures customer satisfaction and repeat business. Tavolope Billing POS (Point of Sale) software is designed to change how businesses transact. Here’s how we do it and what it means for customers and retailers.

Quick and Easy

Speed is one of the key elements of the checkout experience. Long queues and slow transactions will frustrate customers and deter them from coming back. Tavolope Billing POS software is designed to process transactions quickly and efficiently. The simple interface allows cashiers to process sales with minimal clicks, so customers don’t have to wait.

The software supports multiple payment methods, cash, credit/debit cards, mobile payments, and even loyalty points. This means customers can pay however they want without delay and have a better experience.

Easy to Use

An easy-to-use interface is for both customers and staff. Tavolope Billing POS software has a clean and simple design so new staff don’t have to learn a lot. The simplicity of the interface means cashiers can focus on customer service not struggling with complicated systems.

For customers, an easy-to-use interface means fewer errors and faster service. When cashiers can process transactions quickly and accurately customers have a smoother checkout experience. Tavolope’s interface is designed to handle high-volume transactions so you don’t slow down during peak hours.

Inventory Management and Live Updates

Nothing annoys customers more than finding out an item is out of stock after they’ve waited in line. Tavolope Billing POS software has robust inventory management features that give live stock levels. This means cashiers can tell customers instantly if an item is in stock.

The software can auto-reorder stock when it hits a certain threshold so you don’t run out of stock and popular items are always available. By keeping optimal stock levels Tavolope helps you meet customer demand.

Customized Customer Experience

Personalization is a powerful way to increase customer satisfaction. Tavolope Billing POS software collects and analyses customer data so businesses can tailor their services to individual needs. By tracking purchase history and preferences the software allows cashiers to offer personalized recommendations and promotions.

For example, if a customer buys a certain brand of coffee frequently the cashier can suggest related products or upcoming sales on that brand. This level of personalization makes customers feel valued and have a better shopping experience.

Loyalty Programs and Discounts

Loyalty programs are a great way to reward repeat customers and get them to come back. Tavolope Billing POS software has loyalty programs built in so customers can earn and redeem points easily. The software tracks points automatically so no manual calculations are required.

In addition to loyalty points, Tavolope can manage multiple discount schemes and promotions. Cashiers can apply discounts at checkout so customers get the best value for their money. This easy management of loyalty programs and discounts means customers are more satisfied and come back more.

Additional Security Features

Security is a top priority for both customers and businesses during transactions. Tavolope Billing POS software has advanced security features to protect customer data and prevent fraud. The software does encrypted transactions and complies with industry standards for data security.

For customers knowing their payment info is secure means they feel confident and at ease. For businesses less chance of data breaches and financial loss. Tavolope’s commitment to security means a safe checkout experience.

Integrates with E-commerce Platforms

In today’s digital world, many customers shop online. Tavolope Billing POS software integrates with e-commerce platforms so businesses can unite their online and offline sales channels. This integration means a consistent and seamless checkout experience no matter where the transaction happens.

For example, customers can buy online and pick up in-store or return online purchases in-store. Tavolope’s integration means inventory levels are updated across all channels so no discrepancies and a smooth customer experience.

Sales Reports and Analytics

Understanding customer behavior and sales trends is key to a better checkout experience. Tavolope Billing POS software has detailed sales reports and analytics so you can see customer preferences, peak hours, and product performance.

These insights will help you make informed decisions on staffing, inventory, and promotions. By aligning your operations to customer needs and preferences you can have a more efficient and better checkout experience.

Training and Support

And finally, training and support are key to getting the most out of any POS system. Tavolope has extensive training resources and 24/7 support so businesses can get the most out of the software. Well-trained staff means better service and a better customer experience.

Tavolope’s support team is always available to help with any issues or questions so downtime is minimized and the checkout process runs smoothly. This support network is key to high customer satisfaction.

Summary

Tavolope Billing POS software is a powerful tool to improve the customer checkout experience. Speed, user-friendly, real-time inventory, personalization, and security features mean a smooth and satisfying transaction. By integrating loyalty programs, multiple payment methods and analytics Tavolope helps businesses meet and exceed customer expectations. In today’s competitive retail world investing in a robust POS like Tavolope can make a big difference to customer satisfaction and business success.

[smaketsolutions]

How to Integrate Invoice Maker Tools with Your Accounting Software

In today's fast-paced business world, efficiency and accuracy are paramount when managing financial data. One essential aspect of this is invoicing. As businesses grow, manually creating and managing invoices becomes more cumbersome. That's where invoice maker tools come into play, allowing you to quickly generate professional invoices. However, to truly streamline your financial workflow, it’s important to integrate these tools with your accounting software.

Integrating invoice maker tools with your accounting software can help automate the process, reduce human error, and improve overall productivity. This article will walk you through how to integrate your Invoice Maker Tools with accounting software effectively, ensuring smoother operations for your business.

1. Choose the Right Invoice Maker Tool

Before integration, ensure you have selected an invoice maker tool that suits your business needs. Most invoice maker tools offer basic features such as customizable templates, tax calculations, and payment tracking. However, the integration potential is an important factor to consider.

Look for an invoice maker tool that offers:

Cloud-based features for easy access and collaboration.

Customizable templates for branding.

Multi-currency support (if you do international business).

Integration capabilities with various accounting software.

Examples of popular invoice maker tools include Smaket, QuickBooks Invoice, FreshBooks, and Zoho Invoice.

2. Check Compatibility with Your Accounting Software

Not all invoice maker tools are compatible with every accounting software. Before proceeding with the integration, confirm that both your invoice maker tool and accounting software are capable of syncing with each other.

Common accounting software that integrate with invoice tools includes:

QuickBooks

Smaket

Xero

Sage

Wave Accounting

Zoho Books

Most software providers will indicate which tools can integrate with their platform. Check for available APIs, plugins, or built-in integration features.

3. Use Built-in Integrations or APIs

Many modern invoice maker tools and accounting software platforms come with built-in integrations. These are often the easiest to set up and manage.

If you choose a platform that does not offer a built-in integration, you can use APIs (Application Programming Interfaces) to link the two systems. APIs are a more technical option, but they provide greater flexibility and customization.

4. Set Up the Integration

Once you've confirmed that the invoice tool and accounting software are compatible, follow the setup process to connect both tools.

The typical steps include:

Access your accounting software: Log into your accounting software and navigate to the integration settings or marketplace.

Search for the invoice maker tool: In the marketplace or integration section, look for the invoice tool you are using.

Connect accounts: Usually, you’ll be asked to sign into your invoice maker tool from within the accounting software and authorize the integration.

Map your fields: You may need to map invoice fields (like customer names, amounts, or due dates) to corresponding fields in the accounting software to ensure the data flows seamlessly.

5. Test the Integration

After the integration is complete, it’s crucial to test whether the connection between the invoice maker and accounting software is working as expected. Generate a sample invoice and check if the details appear correctly in your accounting software. Confirm that invoices are synced, and ensure payment status updates automatically.

Test for:

Accurate syncing of client details: Ensure names, addresses, and payment history are transferred correctly.

Real-time updates: Check that any changes made to invoices in the invoice tool reflect in your accounting software.

Reporting features: Verify that your financial reports, such as profit and loss statements, include data from the invoices.

6. Automate Invoicing and Payments

Once the integration is up and running, set up automated workflows. With the right integration, you can automate recurring invoices, late payment reminders, and payment receipts. This reduces manual effort and ensures consistency in your accounting.

7. Monitor and Maintain the Integration

Just because the integration is set up doesn't mean it's a "set it and forget it" situation. Regularly monitor the syncing process to ensure everything is working smoothly.

Make sure:

Software updates: Regular updates from either your accounting software or invoice maker tool might affect the integration. Always check for compatibility after any software updates.

Backup and security: Ensure your data is securely backed up, and verify that integration tools comply with security standards.

8. Benefits of Integration

By integrating invoice maker tools with your accounting software, you’ll enjoy several key benefits:

Time Savings: Automating the invoicing process frees up time for you to focus on other important aspects of your business.

Improved Accuracy: With automatic syncing, you reduce the risk of errors that often come with manual data entry.

Better Financial Management: Real-time data syncing allows for accurate tracking of income, expenses, and cash flow, which helps with budgeting and financial forecasting.

Enhanced Customer Experience: Timely and accurate invoicing helps maintain a professional image and reduces confusion with clients.

Conclusion

Integrating invoice maker tools with Accounting Software is a smart move for businesses that want to streamline their financial operations. By selecting the right tools, following the integration steps, and ensuring regular maintenance, you can save time, improve accuracy, and focus on growing your business. Don’t let manual invoicing slow you down—leverage modern tools to automate your processes and boost efficiency.

[triridbilling]

TRIRID Biz accounting solution for small businesses in India

Why TRIRID Biz Is the #1 Accounting Solution for Small Businesses in India

Well, in today's fast-paced business world, being on top of your finances is super crucial for small businesses. Small businesses in India have to face such stringent requirements, from cash flow management to doing everything that's related to GST compliance. Well, this is where TRIRID Biz Accounting and Billing Software comes into play as a foolproof solution tailor-made specifically for small businesses. Let's explore why TRIRID Biz has emerged as an accounting solution at the #1 rank in India.

User-Friendly Interface

TRIRID Biz is designed specifically for small business owners. With its intuitive interface, whether a tech-savvy person or a beginner, you can find your way around easily. No more extensive training procedures; just download and start.

All GST Compliance

GST compliance for Indian businesses is non-negotiable. TRIRID Biz makes GST billing easy by auto-calculating GST rates, generating accurate invoices, and creating tax reports. The risk of error is reduced to a minimum while keeping your business compliant with the latest tax regulations.

Affordable Pricing

Unlike other accounting software that could put a strain on your budget, TRIRID Biz is very cost-effective while retaining quality. This makes it ideal for small businesses aiming to optimize their accounting without overspending.

Cloud-Based Accessibility

TRIRID Biz offers cloud-based access in an era where remote work is becoming the norm. This means you can manage your accounts anytime, anywhere. Whether you're at the office, at home, or on the go, your data is always within reach.

Customizable Features for Diverse Business Needs

No two businesses are alike, so the software has custom-made features that let you make it available according to your business requirements. It has features from inventory management to multi-currency billing. So, TRIRID Biz adapts to your needs.

Real-Time Financial Insights

Track your business's financial health closely. TRIRID Biz has reporting and analytics at real-time for you, hence clear revenue, expense, and profitability that helps you to make the best decisions and strategies.

Exceptional Customer Support

The standout feature of TRIRID Biz is its customer support team. Whether you need a technical question answered or you need help setting up, the support team makes sure you get prompt and effective solutions.

Secure Data Management

Any business would want data security to be at the top of the list. TRIRID Biz employs advanced encryption and security protocols that keep your financial data safe from unauthorized access and cyber threats.

Scalable for Growth

As your business expands, so does your accounting needs. TRIRID Biz is scalable and will help you to scale up and add features to it as your business grows. Thus, you are never likely to outgrow the software.

Small Business Owners Testimonials

Many small business owners across India have been appreciative of TRIRID Biz. They praise its usability, the fact that it saves time, and the reliability with which the software functions.

TRIRID Biz Accounting and Billing Software is the best accounting software for small businesses. It has a user-friendly design, rich features, and unmatched customer support to be deemed as the #1 accounting solution that your small business in India needs. It simplifies financial management, enhances productivity, and provides peace of mind so you can focus more on adding wings to the business.

Ready to take your business to the next level? Try TRIRID Biz today and see how it can change your accounting process.

Call us @ +91 8980010210

Visit Our Website:  https://tririd.com/tririd-biz-gst-billing-accounting-software

[foodivsystems]

What makes a restaurant billing software truly effective? In this video, we break down the must-have features that can help your restaurant run smoothly. Learn about the importance of user-friendly interfaces, integration capabilities, and real-time analytics to ensure your billing process is efficient and error-free.

[ifindtaxpro]

Elevate your business efficiency! Choosing the right billing software is key. Find an intuitive, secure, and scalable solution that streamlines invoicing and boosts productivity. #BillingSoftware #BusinessEfficiency

[raintech]

Raintech Software, a leading player in the software industry, has garnered attention due to its premium pricing for services offering advanced features such as digital privilege cards, Find more on -

[treasure-mimic]

So, let me try and put everything together here, because I really do think it needs to be talked about.

Today, Unity announced that it intends to apply a fee to use its software. Then it got worse.

For those not in the know, Unity is the most popular free to use video game development tool, offering a basic version for individuals who want to learn how to create games or create independently alongside paid versions for corporations or people who want more features. It's decent enough at this job, has issues but for the price point I can't complain, and is the idea entry point into creating in this medium, it's a very important piece of software.

But speaking of tools, the CEO is a massive one. When he was the COO of EA, he advocated for using, what out and out sounds like emotional manipulation to coerce players into microtransactions.

"A consumer gets engaged in a property, they might spend 10, 20, 30, 50 hours on the game and then when they're deep into the game they're well invested in it. We're not gouging, but we're charging and at that point in time the commitment can be pretty high."

He also called game developers who don't discuss monetization early in the planning stages of development, quote, "fucking idiots".

So that sets the stage for what might be one of the most bald-faced greediest moves I've seen from a corporation in a minute. Most at least have the sense of self-preservation to hide it.

A few hours ago, Unity posted this announcement on the official blog.

Effective January 1, 2024, we will introduce a new Unity Runtime Fee that’s based on game installs. We will also add cloud-based asset storage, Unity DevOps tools, and AI at runtime at no extra cost to Unity subscription plans this November. We are introducing a Unity Runtime Fee that is based upon each time a qualifying game is downloaded by an end user. We chose this because each time a game is downloaded, the Unity Runtime is also installed. Also we believe that an initial install-based fee allows creators to keep the ongoing financial gains from player engagement, unlike a revenue share.

Now there are a few red flags to note in this pitch immediately.

Unity is planning on charging a fee on all games which use its engine.

This is a flat fee per number of installs.

They are using an always online runtime function to determine whether a game is downloaded.

There is just so many things wrong with this that it's hard to know where to start, not helped by this FAQ which doubled down on a lot of the major issues people had.

I guess let's start with what people noticed first. Because it's using a system baked into the software itself, Unity would not be differentiating between a "purchase" and a "download". If someone uninstalls and reinstalls a game, that's two downloads. If someone gets a new computer or a new console and downloads a game already purchased from their account, that's two download. If someone pirates the game, the studio will be asked to pay for that download.

Q: How are you going to collect installs? A: We leverage our own proprietary data model. We believe it gives an accurate determination of the number of times the runtime is distributed for a given project. Q: Is software made in unity going to be calling home to unity whenever it's ran, even for enterprice licenses? A: We use a composite model for counting runtime installs that collects data from numerous sources. The Unity Runtime Fee will use data in compliance with GDPR and CCPA. The data being requested is aggregated and is being used for billing purposes. Q: If a user reinstalls/redownloads a game / changes their hardware, will that count as multiple installs? A: Yes. The creator will need to pay for all future installs. The reason is that Unity doesn’t receive end-player information, just aggregate data. Q: What's going to stop us being charged for pirated copies of our games? A: We do already have fraud detection practices in our Ads technology which is solving a similar problem, so we will leverage that know-how as a starting point. We recognize that users will have concerns about this and we will make available a process for them to submit their concerns to our fraud compliance team.

This is potentially related to a new system that will require Unity Personal developers to go online at least once every three days.

Starting in November, Unity Personal users will get a new sign-in and online user experience. Users will need to be signed into the Hub with their Unity ID and connect to the internet to use Unity. If the internet connection is lost, users can continue using Unity for up to 3 days while offline. More details to come, when this change takes effect.

It's unclear whether this requirement will be attached to any and all Unity games, though it would explain how they're theoretically able to track "the number of installs", and why the methodology for tracking these installs is so shit, as we'll discuss later.

Unity claims that it will only leverage this fee to games which surpass a certain threshold of downloads and yearly revenue.

Only games that meet the following thresholds qualify for the Unity Runtime Fee: Unity Personal and Unity Plus: Those that have made $200,000 USD or more in the last 12 months AND have at least 200,000 lifetime game installs. Unity Pro and Unity Enterprise: Those that have made $1,000,000 USD or more in the last 12 months AND have at least 1,000,000 lifetime game installs.

They don't say how they're going to collect information on a game's revenue, likely this is just to say that they're only interested in squeezing larger products (games like Genshin Impact and Honkai: Star Rail, Fate Grand Order, Among Us, and Fall Guys) and not every 2 dollar puzzle platformer that drops on Steam. But also, these larger products have the easiest time porting off of Unity and the most incentives to, meaning realistically those heaviest impacted are going to be the ones who just barely meet this threshold, most of them indie developers.

Aggro Crab Games, one of the first to properly break this story, points out that systems like the Xbox Game Pass, which is already pretty predatory towards smaller developers, will quickly inflate their "lifetime game installs" meaning even skimming the threshold of that 200k revenue, will be asked to pay a fee per install, not a percentage on said revenue.

[IMAGE DESCRIPTION: Hey Gamers!

Today, Unity (the engine we use to make our games) announced that they'll soon be taking a fee from developers for every copy of the game installed over a certain threshold - regardless of how that copy was obtained.

Guess who has a somewhat highly anticipated game coming to Xbox Game Pass in 2024? That's right, it's us and a lot of other developers.

That means Another Crab's Treasure will be free to install for the 25 million Game Pass subscribers. If a fraction of those users download our game, Unity could take a fee that puts an enormous dent in our income and threatens the sustainability of our business.

And that's before we even think about sales on other platforms, or pirated installs of our game, or even multiple installs by the same user!!!

This decision puts us and countless other studios in a position where we might not be able to justify using Unity for our future titles. If these changes aren't rolled back, we'll be heavily considering abandoning our wealth of Unity expertise we've accumulated over the years and starting from scratch in a new engine. Which is really something we'd rather not do.

On behalf of the dev community, we're calling on Unity to reverse the latest in a string of shortsighted decisions that seem to prioritize shareholders over their product's actual users.

I fucking hate it here.

-Aggro Crab - END DESCRIPTION]

That fee, by the way, is a flat fee. Not a percentage, not a royalty. This means that any games made in Unity expecting any kind of success are heavily incentivized to cost as much as possible.

[IMAGE DESCRIPTION: A table listing the various fees by number of Installs over the Install Threshold vs. version of Unity used, ranging from $0.01 to $0.20 per install. END DESCRIPTION]

Basic elementary school math tells us that if a game comes out for $1.99, they will be paying, at maximum, 10% of their revenue to Unity, whereas jacking the price up to $59.99 lowers that percentage to something closer to 0.3%. Obviously any company, especially any company in financial desperation, which a sudden anchor on all your revenue is going to create, is going to choose the latter.

Furthermore, and following the trend of "fuck anyone who doesn't ask for money", Unity helpfully defines what an install is on their main site.

While I'm looking at this page as it exists now, it currently says

The installation and initialization of a game or app on an end user’s device as well as distribution via streaming is considered an “install.” Games or apps with substantially similar content may be counted as one project, with installs then aggregated to calculate the Unity Runtime Fee.

However, I saw a screenshot saying something different, and utilizing the Wayback Machine we can see that this phrasing was changed at some point in the few hours since this announcement went up. Instead, it reads:

The installation and initialization of a game or app on an end user’s device as well as distribution via streaming or web browser is considered an “install.” Games or apps with substantially similar content may be counted as one project, with installs then aggregated to calculate the Unity Runtime Fee.

Screenshot for posterity:

That would mean web browser games made in Unity would count towards this install threshold. You could legitimately drive the count up simply by continuously refreshing the page. The FAQ, again, doubles down.

Q: Does this affect WebGL and streamed games? A: Games on all platforms are eligible for the fee but will only incur costs if both the install and revenue thresholds are crossed. Installs - which involves initialization of the runtime on a client device - are counted on all platforms the same way (WebGL and streaming included).

And, what I personally consider to be the most suspect claim in this entire debacle, they claim that "lifetime installs" includes installs prior to this change going into effect.

Will this fee apply to games using Unity Runtime that are already on the market on January 1, 2024? Yes, the fee applies to eligible games currently in market that continue to distribute the runtime. We look at a game's lifetime installs to determine eligibility for the runtime fee. Then we bill the runtime fee based on all new installs that occur after January 1, 2024.

Again, again, doubled down in the FAQ.

Q: Are these fees going to apply to games which have been out for years already? If you met the threshold 2 years ago, you'll start owing for any installs monthly from January, no? (in theory). It says they'll use previous installs to determine threshold eligibility & then you'll start owing them for the new ones. A: Yes, assuming the game is eligible and distributing the Unity Runtime then runtime fees will apply. We look at a game's lifetime installs to determine eligibility for the runtime fee. Then we bill the runtime fee based on all new installs that occur after January 1, 2024.

That would involve billing companies for using their software before telling them of the existence of a bill. Holding their actions to a contract that they performed before the contract existed!

Okay. I think that's everything. So far.

There is one thing that I want to mention before ending this post, unfortunately it's a little conspiratorial, but it's so hard to believe that anyone genuinely thought this was a good idea that it's stuck in my brain as a significant possibility.

A few days ago it was reported that Unity's CEO sold 2,000 shares of his own company.

On September 6, 2023, John Riccitiello, President and CEO of Unity Software Inc (NYSE:U), sold 2,000 shares of the company. This move is part of a larger trend for the insider, who over the past year has sold a total of 50,610 shares and purchased none.

I would not be surprised if this decision gets reversed tomorrow, that it was literally only made for the CEO to short his own goddamn company, because I would sooner believe that this whole thing is some idiotic attempt at committing fraud than a real monetization strategy, even knowing how unfathomably greedy these people can be.

So, with all that said, what do we do now?

Well, in all likelihood you won't need to do anything. As I said, some of the biggest names in the industry would be directly affected by this change, and you can bet your bottom dollar that they're not just going to take it lying down. After all, the only way to stop a greedy CEO is with a greedier CEO, right?

(I fucking hate it here.)

And that's not mentioning the indie devs who are already talking about abandoning the engine.

[Links display tweets from the lead developer of Among Us saying it'd be less costly to hire people to move the game off of Unity and Cult of the Lamb's official twitter saying the game won't be available after January 1st in response to the news.]

That being said, I'm still shaken by all this. The fact that Unity is openly willing to go back and punish its developers for ever having used the engine in the past makes me question my relationship to it.

The news has given rise to the visibility of free, open source alternative Godot, which, if you're interested, is likely a better option than Unity at this point. Mostly, though, I just hope we can get out of this whole, fucking, environment where creatives are treated as an endless mill of free profits that's going to be continuously ratcheted up and up to drive unsustainable infinite corporate growth that our entire economy is based on for some fuckin reason.

Anyways, that's that, I find having these big posts that break everything down to be helpful.

[triridbilling]

How to choose Billing Software

In order to utilize businesses transactions all you need to simple and effective Billing software. TRIRID-Billing software plays an effective billing system which includes a top notch billing software, so that your overall profitability improves significantly.

Remote Based

Remote based billing software is very convenient because you and your consumers can fill in the timesheets and expenses from any computer, mobile device, tablets with the help of internet connection. This is helpful when your team is working remotely, constantly travelling etc. So you no need to worry about buying the latest version of the software every time you will get an upgraded version.

User Friendly

TRIRID-Billing software operation and functionality is easy to maintain and track, so consumers don’t waste their valuable work time trying to figure out how to bill for transactions every week. The Dashboard should be navigation friendly tool and have instructions that guide everyone on how to use the TRIRID-Billing software.

Invoice Capability

With the help of TRIRID-Billing software you can produce invoicing and time tracking all your transactions from anywhere. It is easy and process to convert those timesheets and expenses into an invoice later you can send to the customer for payment.

Reporting

For any businesses the foremost task is generating the report for all your business transactions. Good billing software must have ability to generate reports on Purchases, Sales, GST and other valuable information. The bottom line is that it is important to choose the right billing software for your business so that you can manage your flow efficiently and analyze your business in a proper manner.

For More Information:

Call @ +91 8980010210

Visit @ https://tririd.com/tririd-biz-gst-billing-accounting-software

[mostlysignssomeportents]

Epic Systems, a lethal health record monopolist

Epic Systems makes the dominant electronic health record (EHR) system in America; if you're a doctor, chances are you are required to use it, and for every hour a doctor spends with a patient, they have to spend two hours doing clinically useless bureaucratic data-entry on an Epic EHR.

How could a product so manifestly unfit for purpose be the absolute market leader? Simple: as Robert Kuttner describes in an excellent feature in The American Prospect, Epic may be a clinical disaster, but it's a profit-generating miracle:

https://prospect.org/health/2024-10-01-epic-dystopia/

At the core of Epic's value proposition is "upcoding," a form of billing fraud that is beloved of hospital administrators, including the "nonprofit" hospitals that generate vast fortunes that are somehow not characterized as profits. Here's a particularly egregious form of upcoding: back in 2020, the Poudre Valley Hospital in Ft Collins, CO locked all its doors except the ER entrance. Every patient entering the hospital, including those receiving absolutely routine care, was therefore processed as an "emergency."

In April 2020, Caitlin Wells Salerno – a pregnant biologist – drove to Poudre Valley with normal labor pains. She walked herself up to obstetrics, declining the offer of a wheelchair, stopping only to snap a cheeky selfie. Nevertheless, the hospital recorded her normal, uncomplicated birth as a Level 5 emergency – comparable to a major heart-attack – and whacked her with a $2755 bill for emergency care:

https://pluralistic.net/2021/10/27/crossing-a-line/#zero-fucks-given

Upcoding has its origins in the Reagan revolution, when the market-worshipping cultists he'd put in charge of health care created the "Prospective Payment System," which paid a lump sum for care. The idea was to incentivize hospitals to provide efficient care, since they could keep the difference between whatever they spent getting you better and the set PPS amount that Medicare would reimburse them. Hospitals responded by inventing upcoding: a patient with controlled, long-term coronary disease who showed up with a broken leg would get coded for the coronary condition and the cast, and the hospital would pocket both lump sums:

https://pluralistic.net/2024/06/13/a-punch-in-the-guts/#hayek-pilled

The reason hospital administrators love Epic, and pay gigantic sums for systemwide software licenses, is directly connected to the two hours that doctors spent filling in Epic forms for every hour they spend treating patients. Epic collects all that extra information in order to identify potential sources of plausible upcodes, which allows hospitals to bill patients, insurers, and Medicare through the nose for routine care. Epic can automatically recode "diabetes with no complications" from a Hierarchical Condition Category code 19 (worth $894.40) as "diabetes with kidney failure," code 18 and 136, which gooses the reimbursement to $1273.60.

Epic snitches on doctors to their bosses, giving them a dashboard to track doctors' compliance with upcoding suggestions. One of Kuttner's doctor sources says her supervisor contacts her with questions like, "That appointment was a 2. Don’t you think it might be a 3?"

Robert Kuttner is the perfect journalist to unravel the Epic scam. As a journalist who wrote for The New England Journal of Medicine, he's got an insider's knowledge of the health industry, and plenty of sources among health professionals. As he tells it, Epic is a cultlike, insular company that employs 12.500 people in its hometown of Verona, WI.

The EHR industry's origins start with a GW Bush-era law called the HITECH Act, which was later folded into Obama's Recovery Act in 2009. Obama provided $27b to hospitals that installed EHR systems. These systems had to more than track patient outcomes – they also provided the data for pay-for-performance incentives. EHRs were already trying to do something very complicated – track health outcomes – but now they were also meant to underpin a cockamamie "incentives" program that was supposed to provide a carrot to the health industry so it would stop killing people and ripping off Medicare. EHRs devolved into obscenely complex spaghetti systems that doctors and nurses loathed on sight.

But there was one group that loved EHRs: hospital administrators and the private companies offering Medicare Advantage plans (which also benefited from upcoding patients in order to soak Uncle Sucker):

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8649706/

The spread of EHRs neatly tracks with a spike in upcharging: "from 2014 through 2019, the number of hospital stays billed at the highest severity level increased almost 20 percent…the number of stays billed at each of the other severity levels decreased":

https://oig.hhs.gov/oei/reports/OEI-02-18-00380.pdf

The purpose of a system is what it does. Epic's industry-dominating EHR is great at price-gouging, but it sucks as a clinical tool – it takes 18 keystrokes just to enter a prescription:

https://jamanetwork.com/journals/jamanetworkopen/fullarticle/2729481

Doctors need to see patients, but their bosses demand that they satisfy Epic's endless red tape. Doctors now routinely stay late after work and show up hours early, just to do paperwork. It's not enough. According to another one of Kuttner's sources, doctors routinely copy-and-paste earlier entries into the current one, a practice that generates rampant errors. Some just make up random numbers to fulfill Epic's nonsensical requirements: the same source told Kuttner that when prompted to enter a pain score for his TB patients, he just enters "zero."

Don't worry, Epic has a solution: AI. They've rolled out an "ambient listening" tool that attempts to transcribe everything the doctor and patient say during an exam and then bash it into a visit report. Not only is this prone to the customary mistakes that make AI unsuited to high-stakes, error-sensitive applications, it also represents a profound misunderstanding of the purpose of clinical notes.

The very exercise of organizing your thoughts and reflections about an event – such as a medical exam – into a coherent report makes you apply rigor and perspective to events that otherwise arrive as a series of fleeting impressions and reactions. That's why blogging is such an effective practice:

https://pluralistic.net/2021/05/09/the-memex-method/

The answer to doctors not having time to reflect and organize good notes is to give them more time – not more AI. As another doctor told Kuttner: "Ambient listening is a solution to a self-created problem of requiring too much data entry by clinicians."

EHRs are one of those especially hellish public-private partnerships. Health care doctrine from Reagan to Obama insisted that the system just needed to be exposed to market forces and incentives. EHRs are designed to allow hospitals to win as many of these incentives as possible. Epic's clinical care modules do this by bombarding doctors with low-quality diagnostic suggestions with "little to do with a patient’s actual condition and risks," leading to "alert fatigue," so doctors miss the important alerts in the storm of nonsense elbow-jostling:

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5058605/

Clinicians who actually want to improve the quality of care in their facilities end up recording data manually and keying it into spreadsheets, because they can't get Epic to give them the data they need. Meanwhile, an army of high-priced consultants stand ready to give clinicians advise on getting Epic to do what they need, but can't seem to deliver.

Ironically, one of the benefits that Epic touts is its interoperability: hospitals that buy Epic systems can interconnect those with other Epic systems, and there's a large ecosystem of aftermarket add-ons that work with Epic. But Epic is a product, not a protocol, so its much-touted interop exists entirely on its terms, and at its sufferance. If Epic chooses, a doctor using its products can send files to a doctor using a rival product. But Epic can also veto that activity – and its veto extends to deciding whether a hospital can export their patient records to a competing service and get off Epic altogether.

One major selling point for Epic is its capacity to export "anonymized" data for medical research. Very large patient data-sets like Epic's are reasonably believed to contain many potential medical insights, so medical researchers are very excited at the prospect of interrogating that data.

But Epic's approach – anonymizing files containing the most sensitive information imaginable, about millions of people, and then releasing them to third parties – is a nightmare. "De-identified" data-sets are notoriously vulnerable to "re-identification" and the threat of re-identification only increases every time there's another release or breach, which can used to reveal the identities of people in anonymized records. For example, if you have a database of all the prescribing at a given hospital – a numeric identifier representing the patient, and the time and date when they saw a doctor and got a scrip. At any time in the future, a big location-data breach – say, from Uber or a transit system – can show you which people went back and forth to the hospital at the times that line up with those doctor's appointments, unmasking the person who got abortion meds, cancer meds, psychiatric meds or other sensitive prescriptions.

The fact that anonymized data can – will! – be re-identified doesn't mean we have to give up on the prospect of gleaning insight from medical records. In the UK, the eminent doctor Ben Goldacre and colleagues built an incredible effective, privacy-preserving "trusted research environment" (TRE) to operate on millions of NHS records across a decentralized system of hospitals and trusts without ever moving the data off their own servers:

https://pluralistic.net/2024/03/08/the-fire-of-orodruin/#are-we-the-baddies

The TRE is an open source, transparent server that accepts complex research questions in the form of database queries. These queries are posted to a public server for peer-review and revision, and when they're ready, the TRE sends them to each of the databases where the records are held. Those databases transmit responses to the TRE, which then publishes them. This has been unimaginably successful: the prototype of the TRE launched during the lockdown generated sixty papers in Nature in a matter of months.

Monopolies are inefficient, and Epic's outmoded and dangerous approach to research, along with the roadblocks it puts in the way of clinical excellence, epitomizes the problems with monopoly. America's health care industry is a dumpster fire from top to bottom – from Medicare Advantage to hospital cartels – and allowing Epic to dominate the EHR market has somehow, incredibly, made that system even worse.

Naturally, Kuttner finishes out his article with some antitrust analysis, sketching out how the Sherman Act could be brought to bear on Epic. Something has to be done. Epic's software is one of the many reasons that MDs are leaving the medical profession in droves.

Epic epitomizes the long-standing class war between doctors who want to take care of their patients and hospital executives who want to make a buck off of those patients.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/02/upcoded-to-death/#thanks-obama

Image: Flying Logos (modified) https://commons.wikimedia.org/wiki/File:Over_$1,000,000_dollars_in_USD_$100_bill_stacks.png

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

[blogborsa]

CREVH - GOLD

QuickBooks is a renowned accounting software that offers a seamless solution for small businesses to manage their financial tasks efficiently. With features designed to streamline accounting processes, QuickBooks simplifies tasks such as tracking receipts, income, bank transactions, and more. This software is available in both online and desktop versions, catering to the diverse needs of businesses of all sizes. QuickBooks Online, for instance, allows users to easily track mileage, expenses, payroll, send invoices, and receive payments online, making it a comprehensive tool for financial management. Moreover, QuickBooks Desktop provides accountants with exclusive features to save time and enhance productivity. Whether it's managing income and expenses, staying tax-ready, invoicing, paying bills, managing inventory, or running reports, QuickBooks offers a range of functionalities to support businesses in their accounting needs.

Utilizing qb accounting software purposes comes with a myriad of benefits that can significantly enhance business operations. Some key advantages of using QuickBooks include:

- Efficient tracking of income and expenses

- Simplified tax preparation and compliance

- Streamlined invoicing and payment processes

- Effective management of inventory

- Generation of insightful financial reports

- Integration with payroll and HR functions

These benefits not only save time and effort but also contribute to better financial decision-making and overall business growth. QuickBooks is designed to meet the diverse needs of businesses, offering tailored solutions for various industries and sizes.

When considering accounting qb software options, QuickBooks stands out as a versatile and comprehensive choice. To provide a holistic view, let's compare QuickBooks with two other popular accounting software options - Xero and FreshBooks. quick book accounting package and offers robust features for small businesses, including advanced accounting capabilities, invoicing, payment processing, and payroll management. Xero, on the other hand, is known for its user-friendly interface and strong collaboration features, making it a popular choice among startups and small businesses. FreshBooks excels in invoicing and time tracking functionalities, catering to freelancers and service-based businesses. By evaluating the features, pricing, and user experience of these accounting software options, businesses can make an informed decision based on their specific needs and preferences.

[campaign-spotlight]

Season 4 launches June 11

This is our biggest season yet - more sit-down interviews, on-site recording at game nights and conventions, Jake and Reilly playing games together, custom music, and some big experiments. Our guests continue to be ridiculously thoughtful and interesting. Reilly is hard at work editing out Jake's incoherent tangents and Jake is hard at work tracking down all the games our guests mention offhand so that we can link to them in the show notes.

Our show is entirely produced, owned, and operated by the two of us. We've kept the show independent so that we can ensure our guest's privacy, our guests can speak openly about sex and drugs and piracy and other corporate-unfriendly topics, and we can have control over the advertisements. If you're enjoying Campaign Spotlight, and you want to support us as we keep paying the production bills and putting in the hours to make this show for all of you.

Subscribe and leave a review

Our show is a lot of unscripted audio-only long-form conversations, which is not optimized for virality. We'd like more people to keep finding the show, because that's how we find out about cool new campaigns and find more guests for subsequent seasons. Help feed the various algorithms by liking, subscribing, leaving a review, or whatever the options look like on whatever platform you're using.

Tell a friend about the show

If you've already done all of that, tell another human in your life about Campaign Spotlight! We're pretty much everywhere you find podcasts, including Spotify, Apple Podcasts, and YouTube - or even straight from the RSS feed. (If your friend is listening to podcasts on a platform that doesn't have Campaign Spotlight, let us know, because Jake needs to fix that.)

Call in and tell us about your character

Why not support Campaign Spotlight by actually coming on the podcast yourself? We've set up a hotline (724 320 2020) where you can call in and tell us about your cool character (or even about your campaign!) and we'll feature it on the show. If calling in and leaving voicemail seems daunting, you can send it to campaign.spotlight@gmail.com instead.

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If you're in a position to help pay for our hosting expenses, the con day passes, and all the software Reilly uses to make the show sound great, the best way to do that is supporting us on Patreon. It's $3 a month, and having that recurring financial support is invaluable in letting us plan out the show. We also have a Ko-Fi which does pretty much the same thing.

Advertise on the show

Have you published your own game? Are you a professional GM looking for clients? Do you have some other cool creative project you want people to know about? Advertise it on Campaign Spotlight! Our rates are reasonable, our audience is great, and your support will absolutely help us keep the lights on around here. Send us an email at campaign.spotlight@gmail.com for more information.

If you have any questions about any of this, feel free to DM us or email us at campaign.spotlight@gmail.com or send us an ask. Thanks so much for listening to the show. This project has become a huge part of our lives and it's sincerely such a joy to share it with all of you.

[mariacallous]

Oregon governor Tina Kotek yesterday signed the state's Right to Repair Act, which will push manufacturers to provide more repair options for their products than any other state so far.

The law, like those passed in New York, California, and Minnesota, will require many manufacturers to provide the same parts, tools, and documentation to individuals and repair shops that they provide to their own repair teams.

But Oregon's bill goes further, preventing companies from implementing schemes that require parts to be verified through encrypted software checks before they will function, known as parts pairing or serialization. Oregon’s bill, SB 1596, is the first in the nation to target that practice. Oregon state senator Janeen Sollman and representative Courtney Neron, both Democrats, sponsored and pushed the bill in the state senate and legislature.

“By eliminating manufacturer restrictions, the Right to Repair will make it easier for Oregonians to keep their personal electronics running,” said Charlie Fisher, director of Oregon's chapter of the Public Interest Research Group, in a statement. “That will conserve precious natural resources and prevent waste. It’s a refreshing alternative to a ‘throwaway’ system that treats everything as disposable.”

Oregon's law isn't stronger in every regard. For one, there is no set number of years for a manufacturer to support a device with repair support. Parts pairing is prohibited only on devices sold in 2025 and later. And there are carve-outs for certain kinds of electronics and devices, including video game consoles, medical devices, HVAC systems, motor vehicles, and—as with other states—“electric toothbrushes.”

Apple opposed the Oregon repair bill for its parts-pairing ban. John Perry, a senior manager for secure design at Apple, testified at a February hearing in Oregon that the pairing restriction would “undermine the security, safety, and privacy of Oregonians by forcing device manufacturers to allow the use of parts of unknown origin in consumer devices.”

Apple surprised many observers with its support for California's repair bill in 2023, though it did so after pressing for repair providers to mention when they use “non-genuine or used” components and to bar repair providers from disabling security features.

According to Consumer Reports, which lobbied and testified in support of Oregon's bill, the repair laws passed in four states now cover nearly 70 million people.

[justforbooks]

The Best Album Cover Shoots – in pictures

From the Beatles crossing a zebra to a naked Prince, via Grace Jones attempting the anatomically impossible and Led Zeppelin’s New York tenements, these cover designs became as famous as the music they enclosed 🎶🎵👏

Grace Jones – Nightclubbing, Island Records, 1981, by Jean-Paul Goude

Nightclubbing's iconic artwork is a 1981 painted photograph titled Blue-Black in Black on Brown, created in New York by Goude. This was the singular image that accompanied the original LP, as it "was concealed in a plain, black inner sleeve, no lyrics and with no photo on the back cover." Composed by right angles, the photograph shows Jones cut to waist, bare chested, and dressed in an Armani man's wide shouldered suit, with an unlit cigarette aiming downward from her lip. She is shot with her signature flat top haircut and her chest bones showing; her dark skin confers upon the image a violet, blue-black colour. The image is noted for its androgyny, with Jones not only "[unpicking] some of the boundaries of unconventionality, but [choosing] to confuse such boundaries." Rick Poynor writes: "Goude admired Jones for her mixture of beauty and threat, and the Nightclubbing portrait expresses this duality with absolute composure and no false histrionics." Piers Martin of Uncut felt the cover was "arresting", and wrote: "the indigo mood, cool gaze and cigarette suggested Marlene Dietrich, the gender-bending a touch of Bowie."

Prince – Lovesexy, Paisley Park, 1988, by Jean-Baptiste Mondino (design by Laura LiPuma)

The artwork of Lovesexy sparked as much interest as did the music. Mimicking The Birth of Venus by Botticelli, the cover shows Prince reclined naked with a lily stamen suggestively positioned above his groin. It is an image that captures the LP’s essence of spirituality perfectly. Prince had even denied Warner’s management sight of the cover prior to the album’s retail release. The image was deemed far too risqué for 1988 and prompted many retailers to conceal the artwork under black plastic wrapping (Wal-Mart refusing to stock it at all) or keeping it behind the counter, deeming it too provocative to display in store. It is likely this hindered sales of the album in the more conservative leaning US. The shot is the work of fashion photographer Jean-Baptiste Mondino, Prince’s first choice to direct Under The Cherry Moon but was unavailable. Mondino would instead direct the video Mia Bocca for Jill Jones which led to doing likewise with I Wish U Heaven for Prince. He would also shoot promos for Neneh Cherry (Manchild) and Madonna’s Justify My Love. During a breakfast in LA, Prince asked Mondino if he would shoot the album’s cover. The image was captured in LA, with the lilies and stamen added at Mondino’s studio back in Paris using Paint Box software, a forerunner to Photoshop.

Mondino’s cover is the sole promotional image shot for the album – its back cover and inner sleeves feature the tracklisting and lyrics hand drawn by Margo Chase. With no alternative shots available and keeping with the theme of nakedness, the singles Alphabet St. and Glam Slam were issued without artwork, their transparent sleeves labelled with a sticker. In April 2022 Lovesexy was exhibited at The Photographers’ Gallery in London staged in celebration of the art of iconic album designs.

Boz Scaggs – Middle Man, Columbia, 1980, by Guy Bourdin

Middle Man is the ninth studio album by Boz Scaggs, released by Columbia Records in 1980. Scaggs hired members of the band Toto as session musicians (as he did for Down Two Then Left and Silk Degrees) and shared songwriting credits with them, returning to the commercial, soul-influenced rock of the latter. It would take him eight years to release his following album Other Roads, again retaining the personnel of the three preceding it.

Tirez Tirez – Etudes, Aura, 1980, by Brian Griffin (design by Bill Smith)

Brian Griffin: ‘This photograph was taken in my studio/bedroom at Elsynge Road in Wandsworth [south London] using my bed. The model is Martin Cropper, who I used in my work at the time. It was originally taken for my book Brian Griffin Copyright 1978 and later purchased for the cover by Aaron Sixx of Aura records for Tirez Tirez’.

Tom Waits – Rain Dogs, Island Records, 1985, by Anders Petersen

Rain Dogs is the ninth studio album by American singer-songwriter Tom Waits, released in September 1985 on Island Records. A loose concept album about "the urban dispossessed" of New York City, Rain Dogs is generally considered the middle album of a trilogy that includes Swordfishtrombones and Franks Wild Years.

The album, which features guitarists Keith Richards and Marc Ribot, is noted for its broad spectrum of musical styles and genres, described by Arion Berger as merging "outsider influences – socialist decadence by way of Kurt Weill, pre-rock integrity from old dirty blues, the elegiac melancholy of New Orleans funeral brass – into a singularly idiosyncratic American style."

The album peaked at number 29 on the UK charts and number 188 on the US Billboard Top 200. Rod Stewart had success with his cover of "Downtown Train", later included on some editions of his 1991 album Vagabond Heart. In 1989, it was ranked number 21 on the Rolling Stone list of the "100 greatest albums of the 1980s." In 2012, the album was ranked number 399 on the magazine's list of "The 500 Greatest Albums of All Time", and at number 357 in 2020.

Though it has been remarked that the man on the cover bears a striking resemblance to Waits, the photograph is actually one of a series taken by the Swedish photographer Anders Petersen at Café Lehmitz (a café near the Hamburg red-light boulevard Reeperbahn) in the late 1960s. The man and woman depicted on the cover are called Rose and Lilly.

Thelonious Monk – Monk, Columbia, 1964, by W Eugene Smith

Monk. (1964) is the fourth studio album Thelonious Monk released on Columbia Records, and his seventh album overall for that label. It features two original compositions and several jazz standards.

The track "Pannonica" is a tribute to the jazz patron Pannonica de Koenigswarter. The track "Teo" is a tribute to the album's producer Teo Macero.

The album cover is a photo of Monk taken by W. Eugene Smith in 1959. Between 1957 and 1965, Monk and other prominent New York jazz musicians rehearsed at the photographer's home, nicknamed 'The Jazz Loft'.

Photographer and photojournalist W Eugene Smith demanded such perfection of his images that he destroyed most of his early work. He had a vast career and helped define photojournalism through his work at Life magazine, before joining Magnum Photos in 1955. He is remembered as a master both technically and in the darkroom. This photograph is titled Thelonious Monk Rehearsing in the Loft, 1959.

Madonna – True Blue, Sire/Warner, 1986, by Herb Ritts

The album cover was shot by photographer Herb Ritts. It shows Madonna in profile, with her head thrown back and eyes closed against a sky-blue background; her skin is bleached-out, and her hair platinum blonde. Jeri Heiden, who was working at the Warner Bros. art department, was given the task of editing the photos to adapt them into record covers. The final photo was selected by Madonna, Heiden and Jeff Ayeroff, creative director of Warner Bros. at that time. After the image was chosen, Heiden experimented with a variety of treatments of the original, which was shot in black and white, to go along with the album's title, and finally arrived at the final, blue toned, hand tinted version. The album's inner sleeve did not feature any photographs, and instead was dedicated to album credits and song lyrics, since Madonna wanted to be represented by her work rather than her image.

Lucy O'Brien described the cover as a "moment of Warholian pop art. A mixture of innocence [and] idealism […] Our first glimpse of Madonna as a classic icon". For J. Randy Taraborrelli, author of Madonna: An Intimate Biography, the artwork indicated how "[True Blue] was a vehicle of growth for [Madonna]"; the "washed out color photograph" cover was "understated", especially when compared to the "sexier poses" she had been associated with in the past. For Joe Lynch from Billboard, it is one of the greatest album covers of all time.

True Blue was released on June 30, 1986. In the United States and Canada, the cover did not include the singer's name. Heiden explained in an interview with Aperture magazine that the record company thought it would be "cool" to use a shrink wrap on American releases, so that when the public took it off, they'd be left with the photograph of Madonna. In Europe, Warner felt that the name was needed, as they did not want to risk messing with Madonna's popularity. The back sleeve and booklet feature the song titles in Heiden's own handwriting. About cropping the image for the cassette and vinyl releases, Heiden said: "I think the image became more interesting cropped into a square—and at that time we always started with the album cover configuration. It was like she was floating—her clothing was not visible. She took on the appearance of a marble statue—Goddess like. In the vertical cropping you see her leather jacket and the wall, and it becomes more typical, editorial, earthly". On May 22, 2001, Warner Bros. released a remastered edition of the album with two additional remixes of "True Blue" and "La Isla Bonita". Twenty years later, a 35th anniversary edition was released; it includes additional remixes, dub and instrumental versions. It was reissued on crystal clear vinyl on November 8, 2019.

The Rolling Stones – Goats Heads Soup, The Rolling Stones Records, 1973, by David Bailey (design by Ray Lawrence)

Goats Head Soup is the eleventh studio album by the English rock band the Rolling Stones, released on 31 August 1973 by Rolling Stones Records. Like its predecessor Exile on Main St., the band composed and recorded much of it outside of the United Kingdom due to their status as tax exiles. Goats Head Soup was recorded in Jamaica, the United States and the United Kingdom. The album contains 10 tracks, including the lead single "Angie" which went to number one as a single in the US and the top five in the UK.

The album cover was designed by Ray Lawrence and photographed by David Bailey, a friend of Jagger's who had worked with the Rolling Stones since 1964. The portrait of Jagger on the front cover was approximately life size in the original 12-inch LP format. Jagger was reluctant to be shot enveloped by a pink chiffon veil, which Bailey said was meant to look like "Katharine Hepburn in The African Queen". The album's gatefold has Taylor, Wyman and Watts wrapped in a similar fabric, and Richards on the back. The album's original rejected cover art featured the entire band as centaurs and an image of goat's head soup, a Jamaican dish made from a goat's body parts, such as the head, feet and testicles.

Serge Gainsbourg – Love on the Beat, Philips, 1984, by William Klein

Love on the Beat is the fifteenth studio album by French singer and songwriter Serge Gainsbourg. On this album, Gainsbourg used American musicians to achieve a funk-heavy rock sound. The album was controversial due to its very sexual lyrical content, with homosexuality and prostitution as the subject matters on many of the tracks. Perhaps the most controversial was "Lemon Incest", which was set to Frédéric Chopin's Étude No. 3 and sung as a duet with his then-13-year-old daughter Charlotte Gainsbourg.

French singer Serge Gainsbourg dressed in drag for the cover of Love on the Beat. Gainsbourg gave up alcohol for 12 days ahead of the shoot with legendary photographer William Klein to make himself beautiful.

Grace Jones – Island Life, Island Records, 1985, by Jean-Paul Goude (design by Greg Porto)

Island Life is the first greatest hits album by Jamaican singer and songwriter Grace Jones, released in December 1985, summing up the first nine years of her musical career. The album sits among Jones' best-selling works.

The cover picture is one of the most famous images of Grace Jones and was created by her then-partner Jean-Paul Goude. The impossibly graceful arabesque is actually a montage of separate images, following Goude's ideas on creating credible illusions with his cut-and-paint technique. The body position is "anatomically unlikely".

Jones assigned her then partner, Jean-Paul Goude, to create this cover image for Island Life. In what has become an iconic portrait, Goude compiled several separate snaps of Jones and constructed this lissom and elegant, if anatomically dubious, pose, all before Photoshop existed. ‘Unless you are extraordinarily supple, you cannot do this arabesque,’ Goude has said. ‘The main point is that Grace couldn’t do it, and that’s the basis of my entire work: creating a credible illusion’.

The picture was originally published in New York magazine in 1978 and subsequently used in the music video for Jones' hit single "La Vie en rose". It has been since described as "one of pop culture's most famous photographs". Also included in the album sleeve are other iconic images of Jones, among them the "twins" photograph, Grace Jones in a cage and wearing a "maternity" dress.

The cover picture was featured in Michael Ochs' 1996 book 1000 Record Covers and has been often imitated in works by other artists. The image was also referenced in Nicki Minaj's 2011 music video for "Stupid Hoe", with Minaj mimicking the pose.

Joe Jackson – Look Sharp!, A&M, 1979, by Brian Griffin (design by Michael Ross)

Look Sharp! is the debut album by Joe Jackson, released in January 1979. The album features one of Jackson's most well-known songs, "Is She Really Going Out with Him?", as well as the title track "Look Sharp", "Sunday Papers", "One More Time" and "Fools in Love".

The cover, featuring a pair of white shoes, ranked number 22 on Rolling Stone's list of the 100 greatest album covers of all time.

In 2000, it was voted number 865 in Colin Larkin's All Time Top 1000 Albums.

The photo used on the album's cover was shot by Brian Griffin on London's South Bank, near London Waterloo station. Upon arriving at the South Bank, Griffin noticed a shaft of light landing on the ground and asked Jackson to stand there: the whole process took no more than five minutes. According to Griffin, Jackson hated the record sleeve as it did not include his face, and vowed never to work with Griffin again. Nonetheless, the album artwork became one of the nominees for the 1980 Grammy Award for Best Recording Package.

Some observers didn't understand the tongue-in-cheek nature of Jackson's choice of title and cover art—an early reviewer in New Musical Express said they "suggest an obsession with style" and sniffed that Jackson sported "a pair of white side-lace Denson winklepickers that are, unfortunately, not nearly as cool as he evidently thinks they are". As time went on, journalists became more familiar with his youthful lack of interest in fashion, and The Face noted how most agreed with the general summation of him as a "sartorial disaster area".

Brian Griffin: ‘This was shot on London’s South Bank, which you could say was my open-air studio, as I did not have a studio then. I fell in love with the quality of light that pervaded there. It was the fastest album cover shoot that I ever did, maybe it took four minutes. I saw this patch of light making a pattern on the paving and said to Joe: “Stand there!”’

Diana Ross – Silk Electric, RCA, 1982, by Andy Warhol (photograph and design)

Silk Electric is the thirteenth studio album by American R&B singer Diana Ross, released on September 10, 1982, by RCA Records. It was Ross' second of six albums released by the label during the decade. It reached No. 27 on the US Billboard 200 (No. 5 R&B), No. 33 in the UK Albums Chart and the Top 20 in Sweden, Norway and the Netherlands. The album cover was designed by Andy Warhol.

The album contains Ross' US Top 10, Grammy-nominated single, "Muscles", which was written and produced by Michael Jackson. All other tracks were produced by Ross, including the US Top 40 follow-up single "So Close" featuring prominent background vocal arrangements by Luther Vandross.

The song "In Your Arms", written by Linda Creed and Michael Masser, was covered by Teddy Pendergrass and Whitney Houston as "Hold Me" the following year. The song "I Am Me" was co-written by Ross (and incorrectly listed as co-written by Cindy Birdsong instead of Janie Bradford on the Greatest Hits: The RCA Years compilation album). The album was certified Gold in the US and Silver in the UK.

The album was remastered and re-released on September 2, 2014 by Funky Town Grooves as an "Expanded Edition", with bonus material.

Rage Against the Machine – Rage Against the Machine, Epic, 1992, by Malcolm Browne

Rage Against the Machine is the debut studio album by American rock band Rage Against the Machine. It was released on November 6, 1992, by Epic Records, four days after the release of the album's first single, "Killing in the Name". The album was based largely on the band's first commercial demo tape of the same name, completed 11 months prior to the album's release. The tape contained earlier recordings of seven of the ten songs.

The cover features a crop of Malcolm Browne's famous photograph of the self-immolation of Thích Quảng Đức, a Vietnamese Buddhist monk, in Saigon in 1963. The monk was protesting against President Ngô Đình Diệm’s administration for oppressing the Buddhist religion. In 1963, Browne’s photography and coverage of the event earned him the World Press Photo of the Year award.

The songs on Rage Against the Machine all feature political messages. Activists such as Provisional IRA hunger striker Bobby Sands and Black Panther Party founder Huey P. Newton are listed in the "Thanks For Inspiration" section. Also thanked were Ian and Alec MacKaye.

The lyrics for each song were printed in the album booklet with the exception of those for "Killing in the Name", which were omitted; the booklet reads "2. KILLING IN THE NAME", skips the lyrics and continues with the next song.

The statement "no samples, keyboards or synthesizers used in the making of this record" can be found at the end of the sleeve notes. Similar statements were made in the band's subsequent albums. The band also refer to themselves as "Guilty Parties" for each album.

The album was a critical success upon release, with several critics noting the album's politically motivated agenda and praising frontman Zack de la Rocha's strong vocal delivery. Ranked number 24 on Rolling Stone's list of the "100 Greatest Metal Albums of All Time", the album peaked at number 1 on the US Billboard Heatseekers chart and number 45 on the US Billboard 200 and has gone on to achieve a triple platinum sales certification from the Recording Industry Association of America (RIAA) in the US. Multiple publications have ranked it as one of the best albums of the 1990s. In 2020, it was ranked 221 in Rolling Stone's updated list of the "500 Greatest Albums of All Time".

The Beatles – Abbey Road, Apple, 1969, by Iain Macmillan (design by John Kosh)

Abbey Road is the eleventh studio album by the English rock band the Beatles, released on 26 September 1969, by Apple Records. It is the last album the group recorded, although Let It Be (1970) was the last album completed before the band's break-up in April 1970. It was mostly recorded in April, July, and August 1969, and topped the record charts in both the United States and the United Kingdom. A double A-side single from the album, "Something" / "Come Together", was released in October, which also topped the charts in the US.

Apple Records creative director Kosh designed the album cover. It is the only original UK Beatles album sleeve to show neither the artist name nor the album title on its front cover, which was Kosh's idea, despite EMI saying the record would not sell without this information. He later explained that "we didn't need to write the band's name on the cover […] They were the most famous band in the world". The front cover was a photograph of the group walking on a zebra crossing, based on ideas that McCartney sketched, and taken on 8 August 1969 outside EMI Studios on Abbey Road. At 11:35 that morning, photographer Iain Macmillan was given only ten minutes to take the photo while he stood on a step-ladder and a policeman held up traffic behind the camera. Macmillan took six photographs, which McCartney examined with a magnifying glass before deciding which would be used on the album sleeve.

In the image selected by McCartney, the group walk across the street in single file from left to right, with Lennon leading, followed by Starr, McCartney and Harrison. McCartney is barefoot and out of step with the others. Except for Harrison, the group are wearing suits designed by Tommy Nutter. A white Volkswagen Beetle is to the left of the picture, parked next to the zebra crossing, which belonged to one of the people living in the block of flats across from the recording studio. After the album was released, the number plate (LMW 281F) was repeatedly stolen from the car. In 2004, news sources published a claim made by retired American salesman Paul Cole that he was the man standing on the pavement to the right of the picture.

Although Abbey Road was an instant commercial success, it received mixed reviews upon release. Some critics found its music inauthentic and criticised the production's artificial effects. By contrast, critics today view the album as one of the Beatles' best and one of the greatest albums of all time. George Harrison's two songs on the album, "Something" and "Here Comes the Sun", are considered among the best he wrote for the group. The album's cover, featuring the Beatles walking across the zebra crossing outside of Abbey Road Studios (then officially named EMI Studios), is one of the most famous and imitated of all time.

Graham Parker and the Rumour – The Parkerilla, Mercury, 1978, by Brian Griffin (design by Barney Bubbles)

The Parkerilla is a 1978 live double album by Graham Parker and The Rumour. It was recorded at Winter Gardens, Bournemouth, Manchester Opera House, Apollo Theatre, Oxford and The Palladium, New York City; and mixed at Rockfield Studios, Wales.

The album was recorded as a contractual obligation album as Parker had already signed with Arista and was preparing "Squeezing Out Sparks" for that label. The album was longer than a traditional record and Mercury elected to release it as a double album. The single "Hey Lord Don't Ask Me Questions" was a re-recording of a song from the first album (and slightly retitled) with the song occupying the fourth side.

The album met with a mixed reception from critics who were waiting for new material from Parker.

In 1991, Rolling Stone ranked The Parkerilla number 64 on its list of 100 greatest album covers. The cover photography was by Brian Griffin, with the artwork completed by Barney Bubbles.

Brian Griffin: ‘Dave Robinson of Stiff Records commissioned me for this. It was my first album cover and was shot on the South Bank in London next to the Hayward Gallery. The idea to make Graham Parker look like a gorilla was Dave’s, using prosthetics. This album was also my introduction to Barney Bubbles, who designed the cover’.

Led Zeppelin – Physical Grafitti, Swan Song, 1975, by Elliott Erwitt (design by AGI/Mike Doud/Peter Corriston)

Physical Graffiti is the sixth album by the English rock band Led Zeppelin. Released as a double album on 24 February 1975 in the United States and on 28 February 1975 in the United Kingdom, it was the group's first album to be released under their new label, Swan Song Records. The band wrote and recorded eight new songs for the album in early 1974 at Headley Grange, a country house in Hampshire, which gave them ample time to improvise arrangements and experiment with recording. The total playing time covered just under three sides of an LP, so they decided to expand it into a double album by including previously unreleased tracks from the sessions for the band's earlier albums Led Zeppelin III (1970), Led Zeppelin IV (1971) and Houses of the Holy (1973). The album covered a range of styles including hard rock, progressive rock, rock 'n' roll and folk. The album was then mixed over summer 1974 and planned for an end-of-year release; however, its release was delayed because the Peter Corriston-designed die-cut album cover proved difficult to manufacture.

The album was originally released with a die-cut sleeve design depicting a New York City tenement block, through whose windows various cultural icons could be interchangeably viewed. The album designer, Peter Corriston, was looking for a building that was symmetrical with interesting details, that was not obstructed by other objects and would fit the square album cover. He subsequently came up with the rest of the cover based on the idea of people moving in and out of the tenement, with various sleeves that could be placed under the main cover and filling the windows with various pieces of information.

The two five-storey buildings photographed for the album cover are located at 96 and 98 St. Mark's Place in New York City. The original photograph underwent a number of tweaks to arrive at the final image. The fourth floor of the building had to be cropped out to fit the square album cover format. (The front doorway and stoop at 96 St. Mark's Place is also the location used by the Rolling Stones for the music video promoting their single "Waiting on a Friend", from their 1981 album Tattoo You).

Eschewing the usual gatefold design in favour of a special die-cut cover, the original album jacket included four covers made up of two inners (for each disc), a middle insert cover and an outer cover. The middle insert cover is white and details all the album track listings and recording information. The outer cover has die-cut windows on the building, so when the middle cover is wrapped around the inner covers and slid into the outer cover, the title of the album is shown on the front cover, spelling out the name "Physical Graffiti". Images in the windows touched upon a set of American icons and a range of Hollywood ephemera. Pictures of W. C. Fields and Buzz Aldrin alternated with the snapshots of Led Zeppelin. Photographs of Lee Harvey Oswald, Marcel Duchamp and Pope Leo XIII are also featured. Per the liner notes, package concept and design was by AGI/Mike Doud (London) and Peter Corriston (New York). Photography was by Elliott Erwitt, B. P. Fallon, and Roy Harper. "Tinting Extraordinaire": Maurice Tate, and window illustration by Dave Heffernan. In 1976, the album was nominated for a Grammy Award in the category of best album package.

Physical Graffiti was commercially and critically successful upon its release and debuted at number one on album charts in the UK and number three in the United States. It was promoted by a successful U.S. tour and a five-night residency at Earl's Court, London. The album has been reissued on CD several times, including an expansive 40th anniversary edition in 2015. Physical Graffiti was later certified 16× platinum in the United States by the Recording Industry Association of America (RIAA) in 2006, signifying shipments of over eight million copies in the US.

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I called out Microsoft’s complicity in Gaza. They fired me | Vaniya Agrawal | Real Talk

“The point was to make people aware… The world knows now who [Microsoft] truly are, and what they’re doing.”

As Microsoft celebrated its 50th anniversary with a panel featuring Bill Gates, one employee stood up and disrupted the event. Her message: Microsoft is complicit in Israel’s war on Gaza.

The young software engineer, Vaniya Agrawal, was then fired by Microsoft. Now, she’s speaking out.

In this Real Talk interview, Vaniya is opening up about why she risked her job to protest, what happened behind the scenes, and the harassment she’s received from Hindu nationalists.

Real Talk is a Middle East Eye interview programme hosted by Mohamed Hashem.