Several hundred cars were parked outside a food bank in San Antonio on Good Friday — the food bank fed 10,000 people that day. Such scenes, increasingly common across the nation and evocative of loaves and fish, reflect the cruel facts about the wealthiest nation in the world: 80 percent of Americans live paycheck to paycheck, and 100 percent of Americans were unprepared for the COVID-19 pandemic. People are hungry due to macroeconomic and environmental factors, not because they did something wrong. Although everyone is at risk in this pandemic, the risk is not shared equally across socioeconomic classes. Universal basic health care could resolve this disparity and many of the moral and economic aspects associated with the pandemic.

Increases in the total output of the economy, or the gross domestic product (GDP), disproportionately benefit the wealthy. From 1980 to 2020, the GDP increased by 79 percent. Over that same time, the after-tax income of the top 0.01 percent of earners increased by 420 percent, while the after-tax income of the middle 40 percent of earners increased by only 50 percent, and by a measly 20 percent for the bottom 50 percent of earners. At present, the top 0.1 percent of earners have the same total net worth as the bottom 85 percent. Such income inequality produces poverty, which is much more common in the U.S. than in other developed countries. Currently 43 million Americans, or 12.7 percent of the population, live in poverty.

At the same time, 30 million Americans are uninsured and many more are underinsured with poorly designed insurance plans. The estimated total of uninsured and underinsured Americans exceeds 80 million. In addition, most of the 600,000 homeless people and 11 million immigrants in the U.S. lack health care coverage. Immigrants represent an especially vulnerable population, since many do not speak English and cannot report hazardous or unsafe work conditions. Furthermore, many immigrants avoid care due to fear of deportation even if they entered the country through legal channels.

Most people in poverty and many in the middle class obtain coverage from federal programs. On a national level, Medicaid is effectively a middle-class program and covers those living in poverty, 30 percent of adults and 60 percent of children with disabilities as well as about 67 percent of people in nursing homes. In Iowa, 37 percent of children and 48 percent of nursing home residents use Medicaid. Medicaid also finances up to 20 percent of the care provided in rural hospitals. Medicare, Medicaid and the Children’s Hospital Insurance Program (CHIP) together cover over 40 percent of Americans.

In addition to facilitating care, health care policy must also address the “social determinants of health,” since the conditions in which people live, work, and play dictate up to 80 percent of their health risks and outcomes. This means that health care reform requires programs in all facets of society. Winston Churchill first conceptualized such an idea in the early 20th century as a tool to prevent the expansion of socialism, arguing that inequality could persist indefinitely without social safety nets. Since that time most developed countries have implemented such social programs, but not the US.

All developed countries except the U.S. provide some type of universal basic health care for their residents. Universal basic health care refers to a system that provides all people with certain essential benefits, such as emergency services (including maternity), inpatient hospital and physician care, outpatient services, laboratory and radiology services, treatment of mental illness and substance abuse, preventive health services (including vaccinations), rehabilitation, and medications. Providing access to these benefits, along with primary care, dramatically improves the health of the community without imposing concerns regarding payment. Perhaps not coincidentally, the U.S. reports a lower life expectancy and higher rates of infant mortality, suicide and homicide compared to other developed countries.

Countries such as Canada, Great Britain, Denmark, Germany, Switzerland, Australia, and Japan all produce better health care outcomes than the U.S. at a much lower cost. In fact the U.S. spends about twice the percentage of its GDP on health care compared to these countries. With that being said, the Affordable Care Act of 2010 (ACA), which facilitated a decrease in the rate of the uninsured in the U.S. from 20 percent to 12 percent, also decreased the percentage of the GDP spent on health care from 20.2 percent to 17.9 percent in just 10 years. For this reason, most economists agree that universal basic health care would not cost more than the current system, and many would also argue that the total costs of the health care system cannot be further reduced unless everyone has access to basic care.

Achieving successful universal basic health care requires a serious long-term commitment from the federal government — contributing to Medicaid and financing its expansion are not enough. It requires courage from our elected leaders. The ACA took several important steps toward this goal by guaranteeing coverage for preexisting conditions, banishing lifetime maximums for essential services, and mandating individual coverage for everyone, though Congress repealed this final provision in 2017. At present, the ACA requires refinement and a public option, thereby preserving private and employer-based plans for those who want them.

Without universal basic health care the people living at the margins of society have no assurances that they will have access to basic health care services, especially during times of pandemic. Access to food and medications is less reliable, large families live together in small spaces, and public transportation facilitates frequent exposure to others. Childhood diseases such as asthma, chronic diseases such as diabetes, and diseases related to smoking such as COPD and cancer are all likely to worsen. Quarantine protocols also exacerbate the mental health crisis, further increasing rates of domestic violence, child abuse, substance abuse, depression, and suicide. In the last six weeks over 30 million Americans have applied for unemployment benefits, and as people become unemployed, many will lose health insurance.

Access to basic health care without economic or legal consequences would greatly enhance all aspects of pandemic management and response, from tracing contacts and quarantining carriers to administering tests and reinforcing supply chains. The COVID-19 pandemic has disproportionately affected minorities and the impoverished in both mortality and livelihood. Universal basic health care helps these vulnerable populations the most, and by reducing their risk it reduces the risk for everyone. In this way, universal basic health care supports the best interests of all Americans.

Like a living wage, universal basic health care aligns with the Christian tradition of social justice and is a moral and economic imperative for all Americans. Nurses, doctors, and other health care providers often observe a sharp contrast between the haves and have-nots when seeing patients. The homeless, the hungry, the unemployed, the working poor, the uninsured; people without families, patients with no visitors, those who live alone or lack support systems; refugees and immigrants — all of these people deserve the fairness and dignity provided by universal basic health care and programs which improve the social determinants of their health. The ACA moved U.S. toward this goal, but now it requires refinement and a public option. The COVID-19 pandemic highlights the urgency of this imperative by demonstrating how universal basic health care could decrease the risks to those less fortunate, thus significantly decreasing the risks to everyone.

James M. Levett, MD, serves on the board of Linn County Public Health and is a practicing cardiothoracic surgeon with Physicians’ Clinic of Iowa. Pramod Dwivedi, MS, DrPH (c), is the health director of Linn County Public Health.

Immigrants have been disproportionately affected by COVID-19 pandemic. They’re more likely than native-born Americans to be laboring to keep our essential services running, especially in the food processing sector that has been ravaged by the pandemic.

And yet immigrants living here illegally — including many food industry workers, their family members and people who have been living here since they were children — do not get the same coronavirus relief that legal citizens do, such as the $1,200 federal payment millions of Americans are receiving.

To remedy the situation, Iowa could coordinate direct cash payments to undocumented immigrants who were left out of the federal program. California announced such a program last month, offering $500 payments to thousands of undocumented Californians.

The public health crisis is tightly bound to the immigration crisis. It has exposed disparities in the workforce and also given rise to protectionists who want to restrict migration.

Iowa’s meat processing industry has been slammed by the virus, with at least one plant in Iowa reporting more than half of its workers have tested positive. Those production lines are heavily populated by immigrants. Well over 1,000 combined cases have been reported at four major packing facilities.

Nationally, 28 percent of agriculture workers and 29 percent of food processing workers are foreign-born, according to the pro-immigration New American Economy Research Fund.

Most immigrant workers have legal status, but many don’t. Some of those who are legal have family members who are undocumented. An influx of cash would help bring some stability to struggling families so they can weather the crisis.

At the same time we are asking essential workers to risk their health to sustain us, the anti-immigration lobby has used the pandemic as an opportunity to ramp up their campaign to cut off the flow of workers across borders. As one recent example, four GOP senators — including Iowa’s Sen. Chuck Grassley — sent a letter this week to the Trump administration, asking for guest worker visas to be suspended until next year.

In the pandemic, the idea of giving people money quickly gained political support. Direct payments are not mucked up by the corporate cronyism that plagues traditional economic development, a la checks to companies and targeted tax breaks. When politicians and bureaucrats pick certain businesses to stimulate, they do a bad job.

As long as the government is doing stimulus, the best avenue is writing checks to individuals. People need to buy stuff and as long as the economy limps on, they can buy stuff with money. Immigrants are people, even if they came here illegally. They are also workers, caretakers and taxpayers.

Direct payments would not be a special kickback or a reward for people living in the country illegally. It would be just like the $1,200 direct deposit I got from the government. It comes with a recognition that they are the same as us, important contributors of our culture and economy who are victims of an unworkable legal system.

If the federal government won’t do it, Iowa should.

adam.sullivan@thegazette.com; (319) 339-3156

When asked to recall something good about his week, Peter paused before declaring, “Well, I made a ham. And tonight, I will be making soup from the bone.” It was his father’s recipe, and one of the few warm memories between the irruptive Vietnam vet and his son. “He was meticulous about the recipe,” Peter remembers. “I thought it might help.”

As the coronavirus tightened its grip on the city of New York, Peter and his wife Sara fled their small Queens’s apartment for Long Island. Peter has been cooking from his father-in-law’s kitchen for five weeks now. “Our goal is to return home in five more,” he slowly adds.

Decades ago, scholars, futurists and government agencies were asked to predict what life might look like in the year 2020. They offered forecasts of 26-hour work weeks, missions to Mars, and lives stretching beyond 100 years. But as John Lennon sang, “Nobody told me there’d be days like these / Strange days indeed.”

Like many academics across the country, I have hastily converted my classes to an online platform, while fielding messages from concerned students. Not only is the pandemic stirring alarm, but a mounting economic crisis is threatening to derail an entire generation still struggling to see their dreams in color. As I wrote my classes, “When the current health crisis passes — and it inevitably will — the world will look much different.” I silently ask myself if we have prepared them for this time.

It has been written that hope and fear travel hand in hand and our fate is determined by which one we choose to befriend. Though I am still in the midst of completing the spring semester, my mind is already in pursuit, cutting through the neighbor’s backyard and down the alley, armed with a tool kit and firehouse … reassuring others that the darkness of the night is also the dawning of a new day.

As I was preparing for bed, I received a text from Peter. It included a photo of a simple bowl of soup, alongside two pieces of toast, on a bare wooden table. The broth hadn’t gone as planned, Peter explained. His father-in-law’s crockpot somehow couldn’t bring the ham bone to a full boil and Peter was forced to improvise. “It wasn’t the same soup I had as a kid,” Peter concluded, “but it was a damn good soup just the same.”

David Gould is a visiting associate professor at the University of Iowa’s Public Policy Center.

What does a localization specialist do? What is the concept of localization? If these questions are on your mind, then this article is for you. More

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If you own an AirPort base station, you can use the Timed Access feature to control the days and times when users access the Internet. This could come in handy in a variety of situations. For example, if you own a cafe and provide free wi-fi access, you can configure the AirPort to block all access to the Internet when your business is closed. And if you have children, you can set time limits for specific devices in your home.

There are two ways to use the timed access feature. You can create a default allow policy to allow all devices to access the Internet at any time, and then specify custom schedules for specific devices. Or you can create a default deny policy to prevent all devices from accessing the Internet according the schedule you specify, and then exempt specific devices by creating custom schedules.

Here's how to control AirPort network access with time limits:

1. Open the AirPort Utility application. (It's in Applications → Utilities.) The window shown below appears.
   
   
2. Click the AirPort Extreme's icon. The status pop-up window appears.
   
   
3. Click Edit. The settings window appears.
   
   
4. Select the Network tab. The window shown below appears.
   
   
5. Select the Enable Access Control checkbox.
   
   
6. Click Timed Access Control. The window shown below appears.
   
   
7. Select the Unlimited (default) option. By default, this allows all of the devices connected to your AirPort to access the Internet all day, every day, but you can change this to block Internet access for all devices (except the ones you specify later) during the times you set.
   
   
8. If you'd like to limit the days and times that a specific device can access the Internet, click the + button under the Wireless Clients field. The window shown below appears.
   
   
9. Enter a name for the device in the Description field.
   
   
10. Enter the device's MAC address in the MAC Address field. You can use the following tutorials to find the device's MAC address.
    
    • How to Find Your Mac's MAC Address
    • How to Find Your iPad's MAC Address
    • How to Find Your iPhone's MAC Address
    
    
11. Use the + button under the Wireless Access Times field to create a schedule for this device's Internet access.
    
    
12. Once you've added all of your devices and customized the schedules, click Save.
    
    
13. Click Update. The AirPort will restart to apply the changes.

Congratulations! You have successfully set time limits for the devices connecting to your AirPort network. The schedule you created is effective immediately.

Meet Your Macinstructor

Matt Cone, the author of Master Your Mac, has been a Mac user for over 20 years. A former ghost writer for some of Apple's most notable instructors, Cone founded Macinstruct in 1999, a site with OS X tutorials that boasts hundreds of thousands of unique visitors per month. You can email him at: matt@macinstruct.com.

Ayming is a global business performance organisation that has been operating across 15 countries for more than 30 years.

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At the turn of the 20th century, a vaccine had been developed for smallpox, a virus that killed millions in the 1800s. Those who survived the disease were often left badly scarred or blind.

The vaccine’s protection, though, lasted only five years and had to be renewed. And people forgot to do that, leading to occasional epidemics, including a serious outbreak on the Meskwaki Settlement near Tama.

In February 1901, three dozen Iowa communities reported smallpox outbreaks. When Des Moines reported 200 smallpox cases in late February, the mayor closed the schools and prohibited public gatherings. Still, no one died. That would not be the case at the Meskwaki Settlement.

Meskwaki Outbreak

On Oct. 22, 1901, an area resident told Dr. Benjamin Thompson of Tama, “I believe the Indians have the smallpox.”

Thompson went to the nearby Meskwaki Settlement, home to 309 people, to investigate.

He learned that an Indian from the Winnebago tribe had visited the settlement Sept. 23. He had become ill, but no doctor was called and he continued meeting with tribe members.

Two weeks later, the Meskwaki were becoming ill.

Thompson went back to the settlement with Dr. George Carpenter of Toledo. The first wickiup they visited had four active smallpox cases and three people recovering from the virus. Two Meskwaki who’d lived there had died.

The doctors found another five cases and were told of two other deaths.

The doctors that night reported to a joint meeting of the boards of health in Tama, Toledo and Montour.

William Malin, the Interior Department’s Indian agent for the settlement, insisted there was no problem. But after another medical visit to the settlement, the three cities quarantined themselves.

By Nov. 2, 70 Meskwaki had smallpox, and nine members of the tribe had died. Two weeks later, the totals had risen to 90 Meskwaki with smallpox and 35 deaths.

To complicate matters, the Meskwaki declined offers to go to the hospital, they refused smallpox vaccinations and they refused to stay on the settlement. If they became sick, they would hide from the doctors.

The Tama Herald reported, “It looks as though the disease must run its course through the tribe, carrying off the aged and the infirm and weakening the constitution of those who may survive.”

Quarantine Enforced

The Iowa governor appealed to Interior Secretary Ethan Hitchcock for authority to enforce the quarantine among the Meskwaki. Hitchcock complied, giving the state the authority to “take any necessary action.”

National Guard hospital tents and cots were shipped to the settlement. The Meskwaki were vaccinated, and they acquiesced to the quarantine.

The local towns began raising money for medicines and provisions not covered by the federal government.

Meanwhile, Congress appropriated $50,000 — more than $1 million in today’s dollars — to eradicate smallpox on the settlement. The bill gave the Interior Department the authority to quarantine the village and, if necessary, burn Meskwaki wickiups and clothing to halt the contagion.

The state of Iowa chipped in another $7,000 to burn the clothing, blankets, wickiups and other property belonging to the Tama tribe and to provide replacements for the Meskwaki.

The money paid for disinfectants — formaldehyde gas and corrosive sublimate fluid — to bathe tribal members and their dogs. Members of the tribe were forced to move to a camping ground while their village was decontaminated.

Malin, the Indian agent, reported to the Interior Department it took seven days to clean and renovate “the Indian camp.”

“During this process, a large number of the wickiups, where the disease had been prevalent, also large quantities of clothing, bedding and other infected property, were committed to the flames and new goods of similar character supplied,” he reported.

“Twenty-four new board houses, built of good lumber, and some 2,700 square yards of very heavy duck for tents, to those who preferred tents to houses, were given in lien of the wickiups destroyed. ... The Indians emerged from the trying ordeal through which they had passed and came out into the world again, after having been confined to the limited area of their camping grounds ... with a higher and better conception of the white man’s civilization.”

That assessment aside, the Meskwaki Settlement survived and grew. It now covers 8,000 acres and is home to 800 of the tribe’s 1,300 members.

It wasn’t until 1980 that smallpox was declared eradicated worldwide.

l Comments: d.fannonlangton@gmail.com

When it comes to content marketing, we live in extraordinary times. With cutting-edge tools such as live video, VR and AI at our fingertips, we can give our community behind-the-scenes access to our company, people and products.

We can showcase our best customers and bring our brands to life.

But what if your business had to close all of its physical locations? What if your people couldn’t go anywhere?

And what if your community was distracted by ... something? Not a little something. A very big, pandemic-level something.

These are the questions that content marketers find themselves grappling with in the midst of COVID-19. In the blink of an eye, we went from having the tools to do anything to a hobbling array of limitations. At least, that’s what it can feel like.

But what if we flipped that thinking the other way? Twitter co-founder Biz Stone once said, “Constraints inspire creativity. When are backs are against the wall, we come up with some amazing things.”

Where can we look for inspiration? If you flip the through the opening pages of that famed marketing handbook “Us Weekly” — hey, what else is there to look at in a waiting room? — you’ll find a section titled, “Stars — They’re Just Like Us!”

These pages feature celebrities doing “regular people” things such as walking down the street and getting groceries. However, these days, despite their fame and means, celebrities have our same quarantined constraints.

And some are using this as an opportunity to create some amazing content of their own.

During this odd interlude, we can learn some valuable content marketing lessons from celebrities working within these same limitations.

Create what your audience is looking for

Actor John Krasinski didn’t start a weekly web show in the middle of a pandemic to mug to the camera like his character Jim Halpert from “The Office.” Nor did he do it tout his Jack Ryan action-hero status.

Instead, in the midst of all of the bad news, he saw that what many people were hungry for was some good news. And that’s literally what he’s delivered with his aptly titled video series, “Some Good News” or “SGN.”

Featuring homemade title cards crafted by his children and set in his home office, Krasinski’s weekly show features a roundup of happy stories about creative kids, salutes to health care workers, unique ways to celebrate graduates and more. He also has concise weather reports from the likes Robert DeNiro and Brad Pitt.

While special appearances from famous friends might be out of your reach, you, too, can find ways to serve up more of what your audience needs right now.

Note: This might not necessarily be exactly what you sell. Ask yourself instead, what do they really need right now and how can we help?

For example, Don’t Panic Management is a team of virtual assistants. However, they saw that the small businesses they serve need help applying for government relief programs, so they started creating content around this.

Homemade content can be relevant, special

On a recent episode of his WTF podcast, host Marc Maron talked about watching episodes of “Saturday Night Live At Home,” saying these shows were “touching.”

With segments shot by various individual cast members at home on their laptops and phones and featuring costumes from closets and cameos from kids and pets, SNL “At Home” shows how you can push our quarantined limitations to produce creative content.

In a recent episode, cast member Kate McKinnon shot an installment of her long-running “Whiskers R We” cat adoption sketch at home on her phone. Normally, this would feature several cute cats in studio introduced as McKinnon quips things like, “A cat is a smile with hair.”

The “At Home” installment features McKinnon in a homemade version of her costume with hand-drawn signs and her one pet cat playing nearly a dozen cats thanks to camera filters, mustaches and face masks.

SNL initially announced it would end their season early due to COVID-19. A few weeks later, the cast came back with their first “At Home” show.

They recognized the power of the moment and the outsized impact homemade content can have.

Another example of relevant, homemade branded content is a new ad from L’Oreal Paris, with spokeswoman Eva Longoria dying her gray roots at home in a video she shot on her iPhone. When you get hung up trying to make something polished and perfect, you often miss the opportunity to make something relevant and special.

Get creative with collaboration

Another SNL “At Home” sketch introduces characters struggling with the new normal of Zoom meetings shot with — wait for it — Zoom! The recent “Parks and Recreation” reunion special developed an entire half-hour script around a series of virtual meetings between Leslie Knope, Ron Swanson and others, all shot at home by the actors using iPhones.

We can use the same tools we rely on for virtual meetings to collaborate with others on content. Many already use Zoom and Skype for podcasts and videos.

You also can get creative in your content collaboration as actor and stunt professional Zoë Bell did. She challenged celebrity friends such as Scarlett Johansson, Margot Robbie, Drew Barrymore, Rosario Dawson and Zoe Saldana to help her stage an elaborate fight scene.

The resulting video stitches together individually shot fight scenes from the phones of 38 different actors and stunt workers to create one big knockout fight. The viral video garnered over a million views in just a few short days.

Just because we can’t get together doesn’t mean we can’t collaborate. Whether you’re simply using Zoom or storyboarding out something more elaborate, involving others always expands the reach of your content.

Yes, the content creators profiled here are celebrities. But they’re also more than that. They’re creative artists and problem solvers.

A frequent refrain in the early days of blogging and content marketing was, “think like a publisher.” This served as a reminder to write like a journalist, schedule content and publish regularly. However, with our current lockdown limitations, we should amend this as a reminder to think like creative artists — those who’ve used these limitations to spark bold, interesting new ideas for connecting with others.

What can you create that people need? Can you do it right now — today? From home?

Can you creatively involve others?

Thinking like a creative artist means focusing less on what you can’t do in these unusual times and more on what you can.

Nick Westergaard is a marketing strategist, keynote speaker and author of “Band Now” and “Get Scrappy”; nick@branddrivendigital.com; @NickWestergaard.

When Joe Sample started posting photos of his takeout food stops in the days after Iowa restaurants were ordered shut down to dine-in service in March, he didn’t think much of it. He just wanted to get some good food while supporting restaurants.

“I have a lot of friends in the food business. My wife worked at Elevate Salon and Emil’s Deli, so she’s not working right now,” he said. “I felt it was a great way to support local businesses.”

But then a new Facebook group dedicated to promoting curbside, delivery and takeout food options in Cedar Rapids sprung up — this week, it had more than 15,000 members — and Sample started sharing photos there. The 46-year-old Cedar Rapids resident quickly found himself having a new experience — going viral.

In a pandemic, that phrase could have negative connotations, but this was the positive kind of viral spread. The kind where hundreds of people liked his photos and commented on them. Then a Cedar Rapids T-shirt maker, Ivory Pearl Designs, started selling “Be Like Joe” T-shirts and other people started showing up to order takeout in the shirts. Soon, restaurants were asking if he would come take a photo at their restaurant.

“I just started it to have fun and posted a few fun pictures, and then I started having restaurants reach out to me,” Sample said.

He decided to dedicate his stimulus check from the federal government to the effort. Sometimes, he said he hits up more than one restaurant a day.

“I’ve hit close to 60 restaurants,” he said.

He’s leaned into the enthusiasm and found ways to play up the efforts. One day he dressed as Oscar the Grouch while visiting’ Oscar’s Restaurant in Hiawatha. On another day, he and one of his daughters bought plastic pig noses to wear on a stop at the Blind Pig in Cedar Rapids. He wears a Superman costume to some stops.

“I was totally surprised at how viral it went,” he said. “Now I’m just trying to keep it exciting.”

In his day job, Sample is a salesman for American Building Components in Mount Pleasant. He normally spends a lot of time on the road, selling metal roofing, siding and steel frame structures around the Midwest. These days, he’s working from home, making sales over the phone instead. He said going out to get carryout is a chance to see other people and get out of the house.

“It brings some normalcy to my life,” he said.

He has two daughters at home, age 9 and 15, and one son, 22. When he’s not eating out, he likes to spend time outdoors with his family, fishing, camping, hunting and coaching soccer. He admits his last name is a bit on-the-nose for his newest hobby.

“A lot of people ask, ‘Is that really even your real name?’” he said with a laugh.

Sample was born and raised in Cedar Rapids, which fuels his desire to support his town.

“My dad had Sample Pharmacies when I was growing up. People helped support us, so I figured it was the least I could do, to support other local businesses,” he said. “I think the biggest thing is, we want to keep them here. There are so many great restaurants in Cedar Rapids, and we don’t want to lose half of them. I’m going to try to keep going with this until they open the places back up, as much as I can.”

He also has helped do deliveries of donated meals to area hospitals and long-term care facilities. That effort started when his younger daughter’s Girl Scout troop had dozens of boxes of unsold cookies and few options to sell them once the pandemic hit. Sample’s family purchased them and sent them to staff at Mercy Medical Center. Since then he’s dropped off boxes of pita, hummus and gyro meat from Pita’z Mediterranean and American Cuisine, trays of cinnamon rolls from Oscar’s and other places.

“People seem to be very supportive in Cedar Rapids,” he said.

He gave a lot of credit to the Cedar Rapids Facebook group, which was started by Lindsay Leahy, Brooke Murphy-Fitzgerald and Shannon Hanson. Others like it have sprung up in Marion, North Liberty and Iowa City.

“I think this has opened a lot of people’s eyes; it has given people an opportunity to try new things,” Sample said. “I’ve seen more restaurants on here than I’d ever tried before.”

He’s also started to promote nonprofits like the Freedom Festival. He is helping sell the $5 commemorative buttons — even though the 2020 festival was canceled, the buttons will help support the organization’s operations. And he helped with a Big Brothers Big Sisters fundraiser, an effort which inspired him so much he signed up as a volunteer.

He said he hopes his efforts, and others like it inspire others to support the community.

“Keep supporting local, do your best to stay healthy, and when restaurants open back up, keep going to them,” he said. “They’re going to need our help for a long time to come.”

Comments: (319) 398-8339; alison.gowans@thegazette.com

Gazette awards more than $60,000 in marketing grants

The Gazette has awarded more than $60,000 in grants to help local businesses market themselves during the coronavirus pandemic, and there’s more help available.

“We awarded $50,000 in the first 10 days,” said Kelly Homewood, Director of Operations at The Gazette. “That tells us the need is real. The help necessary. We’re a locally owned business too, and in Iowa we lift each other up in challenging times.”

The grant program, which launched April 17, awarded $50,393 to more than 60 businesses in the first 10 days. To date, almost $68,000 has been awarded to 75 businesses.

“The Gazette’s Matching Program is a true testament to their commitment to our community and their small business advertisers,” said Annie Hills, marketing manager at Destinations Unlimited. “As a local small business, this program will be a huge benefit to our agency in such an unprecedented time so that we can continue to connect with our clients.”

The program allocates up to $100,000 in matching advertising dollars to assist local businesses that apply. There’s still approximately $32,000 in matching grants still available to award by July 31. Businesses can apply online at www.thegazette.com/marketinggrant.

FEMA awards $78 million to Iowa for COVID-19 response

The Federal Emergency Management Agency (FEMA) has obligated $78 million to the state of Iowa to help reimburse eligible expenses for emergency protective measures that the state has incurred as a result of its response to COVID-19.

The grant funds, awarded by FEMA’s Public Assistance (PA) Grant Program, were made available Thursday. FEMA has provided nearly $150 million to date in support of the state’s COVID-19 efforts.

The money reimburses 75 percent of projected eligible costs associated with buying essential Personal Protective Equipment (PPE), and medical supplies and equipment during the months of May and June 2020.

This obligation also includes: $19.5 million in contract services for TestIowa, $35,000 in contract services associated with overseas PPE purchases and $13.7 million for additional medical supplies and equipment for the month of April. All figures represent the 75 percent federal share. The 25 percent is paid by the grant recipient.

Linn County Conservation campgrounds to open Friday

Iowa Gov. Kim Reynolds issued a new proclamation allowing campgrounds in the state of Iowa to open.

The proclamation states:

“Any public or private campground may reopen provided that the campground implements reasonable measures under the circumstances of each campground to ensure social distancing, increased hygiene practices, and other public health measures to reduce the risk of transmission of COVID-19 consistent with guidance issued by the Iowa Department of Public Health (5/6/20).”

Linn County Conservation has continued to seek guidance from local and state health officials and are announcing that campgrounds will open Friday with certain restrictions and limitations.

At 5 a.m. on May 8, Buffalo Creek Park, Morgan Creek Park, Pinicon Ridge Park and Squaw Creek Park campgrounds will open to campers in self-contained units. This also includes primitive (non-electric) camping areas at Matsell Bridge Natural Area (including Mount Hope) and Wakpicada Natural Area.

Campers may camp only with a self-contained camping unit that has a functioning restroom, as showerhouses with flushable restrooms will remain closed. Self-contained is defined as a tent or pop-up camper with a portable toilet or an RV or camping trailer with a functioning, self-contained bathroom.

Occupants are limited to six or less per camp site (unless household is more than six). No visitors are allowed. Campground showerhouses with restrooms will remain closed.

Reserving campsites is not allowed as campgrounds continue to be first-come, first-served. The exception to this is Squaw Creek Park A-Loop which normally accepts online reservations at LinnCountyParks.com, starting Friday at 1 p.m.

Linn County Conservation’s lodges, shelters, cabins and group camps remain closed.

Hy-Vee offers two-hour express grocery pickup

Hy-Vee Inc., announced Friday that it is now offering a two-hour express pickup option as part of its Hy-Vee Aisles Online grocery ordering service, allowing customers to pay a fee to pick up their order faster.

Customers will see a “Get It Faster” option on Aisles Online time slots where the two-hour pickup option is available. A limited number of two-hour pickup orders will be available for $9.95, from 8 a.m. until 8 p.m. daily, at all Hy-Vee store locations offering Aisles Online services.

Cedar Rapids-area students honored with light display during Graduation Week

The lights on Alliant Energy’s Cedar Rapids Tower will change colors to recognize area high schools and honor the Class of 2020.

“In this time of uncertainty, it’s important to remember that brighter days are up ahead,”

said Linda Mattes, Vice President of IT and Customer Operations. “Changing the lights on our tower is our way of celebrating this important milestone in the lives of these students and their families.”

Each Cedar Rapids-area high school’s colors will be on display. The schedule:

May 21 — Washington High School — Red and blue

May 22 — Jefferson High School — Blue and white

May 23 — Kennedy High School — Green and gold

May 24 — Linn-Mar High School — Red and black

May 25 — Marion High School — Crimson and gold

May 26 — Prairie High School — Orange and black

May 27 — Xavier High School — Navy and silver

May 28 — Metro High School — Purple and black

MusicIC Festival cancels June in-person programming

What was planned to be the 10th annual MusicIC Festival has been canceled. Programming planned for June 18-20 will be pushed to summer 2021.

The festival, presented by the Iowa City UNESCO City of Literature, will offer alternate programming. In place of the in-person performances this year, the festival will offer video performances from musicians to be highlighted in the 2021 season.

Details about these video performances will be forthcoming.

Grounds and grandstand entertainment canceled at 2020 Linn County Fair

Due to the ongoing social distancing guidelines and additional precautions taking place to help slow and reduce the spread of COVID-19, the Linn County Fair Association is canceling the grounds and grandstand entertainment for the 2020 Linn County Fair, scheduled for June 24-28.

The Linn County Fair Association, in partnership with the Iowa State University Extension and Outreach of Linn County and Linn County 4-H, still plan on providing opportunities to 4-Her’s, FFA members, and youth of Linn County to showcase their talents and accomplishments at this year’s fair.

Details regarding the 4-H/FFA exhibits and events are still being finalized and Linn County 4-H plans to email details to 4-H/FFA members in mid-May.

Bike to Work Week Postponed Until September

To encourage safe and responsible social distancing practices during the COVID-19 pandemic, Cedar Rapids’ Bike to Work Week activities — traditionally held in May — will be postponed and are tentatively scheduled for September 21-27.

This will include events such as the Mayor’s bike ride and proclamation, pit stops, group rides, and wrap-up party.

Von Maur stores reopening Friday

Von Maur announced it will reopen stores in Cedar Rapids, Coralville and Cedar Falls using reduced hours and safety measures starting Friday.

The reduced hours will be from 11 a.m. to 7 p.m. Monday through Saturday and 12 p.m. to 6 p.m. on Sundays.

Von Maur said it will be implementing daily employee health screenings, social distancing measures, contactless payments, curbside service options and sanitizing and cleaning procedures in common areas and after each customer transaction. Its aforementioned stores are at Lindale Plaza, Iowa River Landing and College Square Mall.

Online Czech language lessons offered

The National Czech & Slovak Museum & Library recently partnered with Anna Cooková, an instructor with CzechTalk, to offer online Czech language and culture lessons.

Beginner’s Czech Language & Culture I begins on Thursday, June 4. Each class will be held from 8 to 9:30 p.m. every Thursday from June 4 through August 6. During the 15 hours of instruction over 10 weeks, participants will learned to read, write, and speak in Czech.

The cost is $210 for NCSML members, $235 for non-members. This fee includes all course materials. The class size is limited to 20 students, so interested individuals are encouraged to register early to secure a spot.

Contact Cooková for a registration form at annacookova@gmail.com or 715-651-7044.

Imperfect Foods, an online surplus-stock grocery delivery company aimed at eliminating food waste, has begun is offering JetBlue Airline cheese and snack trays — $2.99 for three ounces of mixed cheeses, dried cherries and crackers.

Imperfect Foods CEO Philip Behn says the cheese and snack trays were an early casualty of the coronavirus pandemic.

“Almost two months ago, before it became a nationwide pandemic, this catering and airplane meal supplier said they saw a decline in economy and business-class seats,” he said. “This was one of our first COVID-19 food waste recovery opportunities. We could only take a fraction of what they had.”

Behn said his company has sold 40,000 cheese and snack trays.

“We call that ‘breaking bulk,’” Behn said. “We have stepped up with co-packers to try to repackage some of those products — it’s hard work and it’s slow, given the importance of food safety.”

Yet there are bright spots. Imperfect Foods is a budget-conscious company, so high-end products such as pineapples are usually too expensive to offer their customers.

Where do people eat pineapples? Hotels. And with hotels stalled, Imperfect Foods has been able to buy and offer them for a fair price.

It has redistributed popcorn kernels previously destined for movie theaters and broccoli florets usually reserved for restaurants. Since the beginning of March, Imperfect Foods has doubled the volume of food it was previously buying, the JetBlue snacks among many.

Julianna Bryan, communications specialist for JetBlue, said the airline has had to dramatically reduce its in-flight food and beverage service to minimize contact between customers and crew members.

“We have temporarily suspended the sales of buy-onboard products including our EatUp Snack Boxes, EatUp Café fresh food items, beer, wine and liquor,” she said.

JetBlue has donated leftover inventory of snacks to Feeding America and other food banks, as well as hospitals.

JetBlue has worked with its business partners to sell unused inventory, such as the cheese trays, at a heavily discounted price with the goal of moving it quickly and minimizing waste, Bryan said.

JetBlue is not the only airline to have to find new outlets for its in-flight overflow.

Delta has had to unload its Biscoff cookies — and it serves 80 million to 85 million of these spiced shortbread favorites each year.

At United, the Dutch stroopwafels have been piling up.

In addition to selling some of their excess, airlines have put donation programs in place. Southwest has donated more than $400,000 in snacks and other in-flight items to not-for-profit organizations and nearly 13 tractor-trailers full of groceries to 15 food banks that are a part of the Feeding America network.

Delta has donated 500,000 pounds of food around the world in the past six weeks. Front-line workers and hospitals get the Biscoff cookies along with coffee and other in-flight beverages, while other perishable food has gone to Feeding America’s partner agencies like Georgia Food & Resource Center and Missouri’s Carthage Crisis Center.

And United has donated 173,000 pounds of food to food banks and charities, pulling from airport lounges and catering kitchens. United volunteers have also processed more than 428,000 pounds of food and household goods for the Houston Food Bank.

IOWA CITY — The University of Iowa on Thursday unveiled new sustainability goals for the next decade that — if accomplished — would cut its greenhouse gas emissions in half from a decade ago and transform the campus into a “living laboratory for sustainability education and exploration.”

But the goals fall short of what a collective of Iowa City “climate strikers” have demanded for more than a year — that the UI end coal burning immediately at its power plant, commit to using only renewable energy by 2030 and unite with the city of Iowa City in a “town-gown” climate accord.

“It’s ridiculous for the UI to announce a 2030 climate plan as it continues to burn coal for years and burn methane-spewing natural gas for decades at its power plant,” said Massimo Paciotto-Biggers, 14, a student at Iowa City High and member of the Iowa City Climate Strike group.

The university’s new 2030 goals piggyback off its 2020 goals, which former UI President Sally Mason announced in 2010 in hopes of integrating sustainability into the campus’ mission.

Her goals included consuming less energy on campus in 2020 than in 2010, despite projected growth; diversifying the campus’ energy portfolio by using biomass, solar, wind and the like to achieve 40 percent renewable energy consumption by 2020; diverting 60 percent of solid waste; reducing the campus transportation carbon footprint with a 10 percent cut in per capita transportation and travel; and increasing learning and research opportunities.

The university, according to a new report made public Thursday, met or surpassed many of those goals — including, among other things, a slight dip in total energy use, despite 15 new buildings and major additions across campus.

The campus also reported 40 percent of its energy consumption comes via renewable energy sources, and it reduced annual coal consumption 75 percent.

As for waste production, the university diverted 43 percent from the landfill and reported diverting 70 percent more waste than in 2010.

2030 Plan’s first phase HAS FEWER HARD PERCENTAGES

In just the first phase, the new 2030 goals — a result of collaboration across campus involving a 2030 UI Sustainability Goal Setting Task Force — involve fewer numbers and hard percentages. Aside from the aim to cut greenhouse emissions by 50 percent compared to a 2010 baseline, the phase one goals aim to:

• Institutionalize and embed sustainability into campus culture, allowing individual units across campus to develop plans to meeting campus sustainability goals.

• Expand sustainability research, scholarship and other opportunities.

• Use the campus as a “living laboratory” capable of improving campus sustainability and ecosystems.

• Prepare students to live and work in the 21st century through sustainability education.

• Facilitate knowledge exchange among the campus community and with the state, nation, and world.

PHASE 2 EXPANDS ON GOALS

As the campus moves into phase two of its 2030 plan, it will expand on first-phase goals by identifying specific and measurable tasks and metrics.

Leadership plans to finalize that second phase later in the fall semester.

“This approach has meant including units engaged in activities such as academics, research, operations, planning, engagement, athletics, and student life,” Stratis Giannakouros, director of the Office of Sustainability and the Environment, said in a statement.

‘Ambitious and forward-looking’

Sen. Joe Bolkcom, D-Iowa City, who serves as outreach and community education director for the UI Center for Global and Regional Environmental Research, told The Gazette the new goals are “ambitious and forward-looking.”

“The new goals will engage students and research faculty to help build a sustainable path for the campus and broader community,” he said.

The university recently made big news on the utilities front by entering a $1.165 billion deal with a private French company to operate its utility system for 50 years. The deal nets the university a massive upfront lump sum it can invest and pull from annually. It gives the private operator decades of reliable income.

And the university, in making the deal, mandated its new provider pursue ambitious sustainability goals — promising to impose penalties if it failed to do so.

Comments: (319) 339-3158; vanessa.miller@thegazette.com

Thanks to enough people following guidelines on social distancing and avoiding large gatherings, Gov. Kim Reynolds said Thursday the state is able to shift its COVID-19 focus from mitigation strategies to managing the impact on Iowans.

Even as the state Department of Public Health reported 655 new cases and 12 more deaths, Reynolds said Iowa is successfully dealing with the disease, which has claimed 231 lives in less than two months.

As she continues to allow more businesses to partially reopen, Reynolds said credit goes to Iowans for responding to targeted mitigation efforts to slow the spread of COVID-19 and prevent health care systems from being overwhelmed.

“I’m proud to say that Iowans do what they always do and they responded,” she said during her daily news conference Thursday. “So since we’ve kind of really accomplished what we were trying to do ... now we have shifted our focus from mitigation and resources to managing and containing virus activity as we begin to open Iowa back up.”

That means that beginning Friday, dentists may resume providing services and campgrounds, drive-in movie theaters, tanning facilities and medical spas all may reopen statewide, but with restrictions.

Her latest proclamation also relaxes mitigation strategies in the 22 counties that remain under more strict orders because the virus is more widespread there.

In those 22 counties, beginning Friday, malls and retail stores may reopen provided they operate at no more than 50 percent of capacity and take other steps, and fitness centers may reopen for appointments only.

In a statement, Coralville’s Coral Ridge Mall said it would reopen under those conditions starting at 11 a.m. Saturday. Shoppers there should expect to see hand-sanitizing stations, frequent cleanings and social distancing directions among other precautions.

“As Coral Ridge Mall prepares for this ‘new normal,’ we are thankful for the opportunity to reopen our doors and look forward to welcoming guests back into the shopping center,” senior general manager Monica Nadeau said in a statement.

Representatives of another large mall in the Corridor — Lindale Mall in Cedar Rapids — did not return calls Thursday for comment on its plans.

The governor’s new guidelines are in effect until May 15 unless she changes them. Data about COVID-19 will continue to drive her decisions about reopening the state economy “in a responsible manner,” Reynolds said.

“Just as we can’t stop the virus completely, we also can’t keep businesses closed and our life restricted indefinitely,” she said.

According to the state’s newest version of its COVID-19 dashboard, at coronavirus.iowa.gov, 31 people were admitted to hospitals in the previous 24 hours, bringing the total to 417 with 107 on ventilators and 151 in intensive care.

There have been 66,427 people tested, with 16.6 percent of them testing positive for a total of 11,059. Another 4,266 people are recovering.

Although the number of Iowans dying and becoming infected with COVID-19 continues to increase, Reynolds, who met Wednesday with President Donald Trump and his coronavirus advisers, said she is proud of the state’s efforts.

“We are leading, and we’re leading by example. And we’re going to continue to lead,” she said. “We are in a pandemic. We have a rapidly changing environment. We are reacting and being proactive.”

That includes testing at hot spots, such as meatpacking plants, “so of course, our positive cases are going to increase,” she said.

Iowa’s COVID-19 response may not be perfect, Reynolds said, “but I think we’re doing everything we can to really take care of Iowans in a responsible way (and) also to get the economy up and going so Iowans can get back to work and we can do everything we can to get our life somewhat back to normal.”

Just as it will be up to business owners, churches and others to decide whether they are comfortable partly reopening, Reynolds said it will be up to Iowans to decide whether they want to venture out.

“Iowan to need to make those individual choices themselves,” Reynolds said. “They need to apply personal responsibility, take into account where they’re going, what they’re doing.”

Reynolds also said Trump asked Iowa Director of Public Health Caitlin Pedati to be a member of his coronavirus task force after Pedati briefed the president on Iowa’s efforts to mitigate COVID-19. However, later Thursday, White House officials told Bloomberg News Pedati is not “officially” a member of the task force, but may be consulted. The governor’s office declined to comment.

The Federal Emergency Management Agency has announced $78 million for Iowa in reimbursement for costs associated with COVID-19. The funds will cover 75 percent of the eligible cost of personal protective gear and medical supplies and equipment during May and June.

In addition, FEMA has obligated $44 million for similar costs in March and April; $17 million to cover deployment of the National Guard; $4 million to reimburse the state for costs associated with its response; and $4.2 million for the use of up to 20 beds at U.S. Department of Veterans Affairs facilities.

Comments: (319) 398-8375; james.lynch@thegazette.com

This Mother’s Day, April Kelley just wants to give her daughter Jessica Kelley a hug. But she can’t. Jessica, 21, works on the COVID-19 floor at Mercy Medical Center in Cedar Rapids.

To protect her family and still do her job, Jessica is living full time at the hospital, which has made housing available to staff who need to isolate from their families during the pandemic.

“Just based on the floor I’m on, I don’t want to put my family at risk. It’s not worth it,” she said.

Her mother has an autoimmune disorder, adding another layer to Jessica’s worries. Though she does not interact with patients with the coronavirus directly, she still knows exposure is a risk.

“It wasn’t too hard of a decision, but it’s hard on me sometimes,” she said. “I really miss her.”

Jessica is a telemetry monitor technician. For her eight- to 12-hour shifts, her job is to watch heart monitors of patients in the hospital’s intensive care unit. If any patient starts to have cardiac distress or irregular heart rhythms, she and her fellow technicians are the first ones to notice and can notify the doctors and nurses in the main ward.

“It was her choice to either work at the hospital or come home, which was really difficult for her,” April Kelley said. “She’s only 21, so I was pretty proud of her for choosing to help. I don’t think people realize the sacrifice people are making to be there, working in the hospitals right now.”

Jessica is finishing her junior year as a nursing student at Mount Mercy University in Cedar Rapids. When classes moved online and the dorms closed, she had to figure out what to do. While many of her classmates moved back home with their families, doing so would have meant quitting her job. Right now, she said, that job feels more important than ever. In addition to being a full-time student, she works 32 to 36 hours a week at the hospital.

She spent about a week at home with her mother and brother in Humboldt after the dorms closed, but even then, she stayed in her mother’s finished basement and didn’t interact directly with her.

Her older brother, 26, is staying at home with their mom, and she misses him, too. Jessica said to stay connected, she does FaceTime with her mom, a social worker, almost every day.

“She’s definitely one of my best friends, one of my biggest supporters. She is a single mom, and she’s worked two jobs for the last 12 years,” Jessica said. “She always provides for us, and she’s just wonderful in every single way. She’s very caring, she takes care of everybody, no matter where you are.”

This Mother’s Day, those roles have reversed. Now, Jessica is protecting her mother instead of the other way around.

“She said, ‘Mom, I just can’t come home again, I couldn’t put you in that kind of danger,’” April said. “I’m extremely proud of the young lady she is and how responsible she is, and what she is doing during this time, to make sure other people are safe.”

Jessica’s interest in nursing came from her family. Her grandmother, aunt and cousin are all nurses. She also had an experience as a child that stuck with her and inspired her current career goal of becoming a pediatric intensive care nurse after graduation.

In the second grade, she had encephalitis. At first, she said, doctors didn’t believe she was actually sick. Her mother had to take her to a different hospital to get help.

“They said I was making it up, that my screaming and vomiting was just trying to get attention. They said I was faking it,” she said. “At one point, I really did not know who my mom was, and that’s the scariest part, to have someone tell you that’s not real. That’s just not right, and I don’t want other people, especially children to have to deal with that.”

She became interested in the telemetry job after touring the hospital as a student. She said watching the monitors can be surreal, knowing each line she watches represents a patient she may never meet but whose life she is responsible for.

“You see their heart, but you don’t see them,” she said. “Sometimes you watch them die, but never see them. Other times, you see someone going into a fatal rhythm, and you call the nurses ... and when they finally get that person stabilized, you know they might not have made it if we weren’t there. It’s very rewarding.”

April stressed the need for people to follow public health guidelines on social distancing to stay healthy.

“I know they’re starting to open back up and people are eager to get on with their lives,” she said. “But there are a lot of people putting their lives on the line right now ... and I would hate for Jessica to have to go back and self-isolate again if there was a second wave.”

April’s sad she can’t spend this Mother’s Day with her daughter, but right now, that’s not what is important.

“Remember, there’s going to be another Mother’s Day, she said. “We all just have to take care of our people.”

Comments: (319) 398-8339; alison.gowans@thegazette.com

Some Eastern Iowans are ready to go camping.

With Gov. Kim Reynolds allowing campgrounds across the state to open Friday, some people wasted little time in heading outdoors.

“They’re already starting to fill up,” said Ryan Schlader of Linn County Conservation. “By about 7 this morning, we had a dozen at Squaw Creek Park. People were coming in bright and early to camp. We’re not surprised.”

Schlader said Linn County Conservation tried to have the campgrounds open at the county’s Squaw Creek, Morgan Creek and Pinicon Ridge parks at 5 a.m. Friday. He expected all of them would be busy.

“I think people were ready to go,” he said.

Lake Macbride State Park in Johnson County didn’t see quite as much of a rush for campsites, park manager Ron Puettmann reported Friday morning, saying he’d had six walk-ins for the park’s 42 campsites.

Camping this weekend will be done on a first-come, first-served basis. Sites won’t be available for reservations until next week, though online reservations can be made now, Puettmann said.

“I’m quite sure people were waiting anxiously to get on,” he said.

While Reynolds’ campground announcement came Wednesday, Schlader and Puettmann said they had no issues having the campgrounds ready for Friday.

Schlader said county staff have been in touch with the Iowa Department of Natural Resources and other county conservation boards to discuss protocols for reopening to ensure a safe experience for campers and employers.

“We anticipated at some point the order would be lifted,” Schlader said. “We were anticipating maybe May 15. The campgrounds were in good shape and ready to go.”

For now, camping comes with some limitations:

• Campers can camp only in a self-contained unit with a functioning restroom, such as a recreational vehicle.

• Shower houses with restrooms will remain closed for the time being.

• Campsites are limited to six people unless they are from the same household.

• No visitors are allowed at the campsites.

Puettmann said staffers and a DNR officer will be on hand to make sure guidelines are followed, but he didn’t anticipate enforcement would be an issue.

“For the most part, we’re going to allow people to police themselves,” he said.

It’s hard to gauge demand, Schlader said.

The weather isn’t yet deal for camping, and some people might not be ready to camp, given the continuing coronavirus.

“There is a lot of uncertainty,” he said. “Do people feel like they need to get out and enjoy a camping experience within their own campsite, or do people still feel under the weather and think it’s not a good idea for my family to go right now? ... We just want this to be an option for people.”

Comments: (319) 339-3155; lee.hermiston@thegazette.com

A 10th wedding anniversary traditionally is celebrated with a gift of aluminum or tin.

For Sondy Daggett, her 10th year of marriage to Liz Hoskins was marked with a gift of Champagne and chocolate-covered strawberries shared through a window.

Employees at Bickford of Marion, the assisted living and memory care center where Hoskins is a resident, surprised the couple with the anniversary gift on May 1. Despite the current coronavirus-related mitigation practices, the staff had created a special moment for the couple, who have been partners for 24 years.

Daggett burst into tears as employees played their wedding song — Billy Joel’s “The Longest Time.”

“It just touched my soul,” Daggett said.

Across the state, moments like this are relegated through windows or over a phone call. As the novel coronavirus pandemic sweeps through the country, long-term care facilities have locked down in an effort to keep residents healthy, which means their families are no longer able to hug their loved ones, or sit with them in their rooms.

For many families, the feelings at such times this time are conflicted. Typical Mother’s Day celebrations have been placed on hold, and recent milestones have been missed by those living in long-term care facilities. Simple visits through windows feel distant.

“Those are the moments you remember and you miss,” said Daggett, recalling memories of visits to Bickford of Marion from Hoskins’s grandchildren and family gatherings during the holidays.

Hoskins, who has dementia, has been a resident at Bickford since August 2019.

“The pandemic has taken this away,” Daggett said.

But beyond this new dynamic with which family members are left to grapple, they also have the constant worry that their loved one could fall ill.

So far, Bickford of Marion has not seen any cases.

“Every time you read about another outbreak — whether it’s close to home or anywhere in the country — it brings home how fortunate we are so far,” said Matt Hoskins, Liz Hoskin’s son. “I can’t imagine the anxiety the residents and staff are having once it breaks through the wall.”

As of Friday, 29 long-term care facilities across the state, which includes skilled nursing facilities and senior living centers, among others — have reported outbreaks of COVID-19 among hundreds of their staff and residents.

As a result, for some Iowans, that fear has become a reality.

‘I have to trust’

Ruth Brackett’s son Jamie Degner, a 38-year-old resident at Harmony House Health Care Center in Waterloo, tested positive for COVID-19 this past week.

Degner, who has severe autism and intellectual disabilities, has been a resident there since he was 15 years old.

More than 60 residents and staff have tested positive for COVID-19 at Harmony House, an intermediate care facility. It’s one of two long-term care facilities in Black Hawk County reporting an outbreak, defined as three or more positive tests among residents.

Degner received his test results on Tuesday. He’s had lower-than-normal oxygen levels, but otherwise has recorded his usual vital signs and has not experienced symptoms.

Brackett said it is “unbelievably difficult to not be able to go be with him through this.”

As with many facilities across the state, Harmony House closed its doors to visitors in early March, when the first cases of COVID-19 began being reported across Iowa and the nation. Brackett said her son’s cognitive abilities make it impossible for him to understand that she is unable to visit because she might make him sick, so the staff instead tell Degner his mom is “at work.”

While she’s optimistic he’ll improve, Brackett worries whether Degner’s virus would take a turn for the worse.

“It’s tough because I have to trust” the staff, Brackett said. “There’s nothing I can do, so I can’t spend a lot of time dwelling on what I might do differently.”

The families that spoke to The Gazette believe the leadership at long-term care facilities are doing what they can to keep its residents safe and healthy.

At Bickford of Marion, officials have taken the unique step of promising public transparency of possible COVID-19 cases in its facility. On the website of every Bickford location is a feature recording the number of residents who have tested positive for COVID-19.

“Whether it’s COVID-19 or not, we want to be transparent with families about their loved ones’ care,” Bickford of Marion Executive Director Jacobi Feckers said. “I don’t know why other nursing homes haven’t taken that step because I haven’t spoken to other facilities, but I’m thankful that’s the route we’ve taken.”

It’s not just families who are placing their trust in management. Ron Moore is an independent living resident at Cottage Grove Place, one of the largest senior living centers in Cedar Rapids that has reported an outbreak of COVID-19 this past week.

According to the latest data from public health officials, five residents and staff there have tested positive.

The outbreak originated in the skilled nursing unit, and officials said they are working to ensure the virus doesn’t spread to the assisted-living and independent-living portions of the facility. They restricted movement between the facilities and conduct frequent temperature checks of staff.

So far, the general feeling among residents at Cottage Grove Place’s independent-living housing is that management has “done a good job” of controlling exposure.

“The feelings of the residents here are positive,” Moore said. “They appreciate what management has done to protect us.”

‘Any opportunity to celebrate’

Still, life looks much differently at Cottage Grove Place. Moore said his schedule typically is packed with weekly book clubs and coffees with friends. Now he and his wife take walks, or try to connect with friends over email.

“I’ve found (residents) are not depressed at this time,” he said. “But in the future, if this goes on for many months? My prediction is yes, depression will be a serious thing.”

Local senior living centers have come up with unique ways to allow visitors to see their loved ones. Gina Hausknecht, a 55-year-old Iowa City resident, was able to see her mother in person for the first time in weeks after her assisted-living home, Oaknoll Retirement Community in Iowa City, created a “drive up” visit option this past weekend.

While Hausknecht sat in the car, she was able to speak with her mother, 93-year-old Ellen Hausknecht, for an hour outside the facility. Before this, it had been emotionally difficult for Hausknecht not to see her mom weekly as she usually does

“It sunk in that I don’t know when I’m going to see my mom again, and that felt really terrible,” Hausknecht previously told The Gazette.

Hausknecht said she hopes to take this year’s Mother’s Day as an opportunity to do something special, particularly given the difficult past few weeks.

“Our family isn’t super-big on these kinds of holidays but we do like to acknowledge them, and this year it feels important to take hold of any opportunity to celebrate,” she said.

Other facilities, including Bickford of Marion, also have eased restrictions on sending food and gifts to residents in time for Mother’s Day. Matt Hoskins, Liz’s Hoskins’ son, said the family’s usual Mother’s Day plans are impossible this year, so they hope to send Liz’s Hoskins artwork from her grandchildren along with other gifts.

Brackett, who will be apart from her son Degner this year, said she hadn’t planned anything for the holiday. She looks forward to her first in-person visit with him after the pandemic, when she will bring his favorite meal from McDonald’s and a new deck of Phase 10 cards.

Despite the feelings of being separated, their wedding anniversary on May 1 likely is something Daggett will cherish, she said. With Daggett acting as Hoskins caregiver since her dementia diagnosis in 2016, their wedding anniversary has been something the couple hasn’t celebrated in a significant way in some time, she said.

But that worry still creeps in the back of her mind. Daggett said she’s trying to remain “as confident as anyone can at this point.”

“I learned a long time ago you can’t worry about what you can’t control,” Daggett said. “But does that mean I still wake up at 2 in the morning worried about it? Of course I do.”

Comments: (319) 398-8469; michaela.ramm@thegazette.com

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Missing Berlin’s gorgeous buildings again. ???? (at Berlin, Germany)

And while we’re in the process of missing European architecture… ????
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4 more days left to catch my Lightroom presets for 50% off! ⌛️ (at Copenhagen, Denmark)

This might as well be a Herschel ad. ???? (at London, United Kingdom)

Wow, this has been a busy period. I’m just back from the Ampersand web typography conference in Brighton, and having a catch-up day in Mild Bunch HQ. Just before that I’ve been working flat out. First on Mapalong which was a grass-roots sponsor of Ampersand, and is going great guns. Then on an article for The Manual which is being published soon, and on 8 Faces #3 which is in progress right now. Not to mention the new talk for Ampersand which left me scratching my head and wondering if I was making any sense at all. More on that in a subsequent post.

In the meantime two previous events deserve a mention. (This is me starting more of a journalistic blog. :)

First of all, an interview with Simon Pascal Klien, the typographer and designer who’s curating the Design Festival podcast at the moment. We talked about all things web typography. Pascal cheekily left in a bit of noise from me in the prelude, and that rant pretty much sets the tone for the rest of the conversation. Thanks for your time, Pascal! If anyone reading this would care to listen in, the podcast can be downloaded or played from here:

Secondly, Daniel Bogan of The Setup sent me a few questions about my own tools. My answers are pretty clipped because of time, but you may find it interesting to compare this designer’s setup with your own:

I should note that in the meantime I’ve started writing with Writer, and discovered the great joy of keeping a journal and notes with a Midori Traveler’s Notebook. The latter is part of an on-going search I’m having to find Tools for Life. More on that, too at some point. Here’s my current list of topics I want to write about shortly:

• Ampersand, the aftermath
• Marrying a FujiFilm X100
• No-www
• Tools for life
• Paper versus pixels

There, I’ve written it!

Facebook is not only a social media giant, the company also provides valuable tools for broadcasting. Today we release a connection to Facebook, which allows to use the Facebook tools for video/audio production and publishing within Auphonic and our connected services.

The following workflows are possible with Facebook and Auphonic:

• Use Facebook for live streaming, then import, process and distribute the audio/video with Auphonic.
• Post your Auphonic audio or video productions directly to the news feed of your Facebook Page or User.
• Use Facebook as a general media hosting service and share the link or embed the audio/video on any webpage (also visible to non-Facebook users).

Connect to Facebook

First you have to connect to a Facebook account at our External Services Page, click on the "Facebook" button.

Select if you want to connect to your personal Facebook User or to a Facebook Page:

It is always possible to remove or edit the connection in your Facebook Settings (Tab Business Integrations).

Import (Live) Videos from Facebook to Auphonic

Facebook Live is an easy (and free) way to stream live videos:

We implemented an interface to use Facebook as an Incoming External Service. Please select a (live or non-live) video from your Facebook Page/User as the source of a production and then process it with Auphonic:

This workflow allows you to use Facebook for live streaming, import and process the audio/video with Auphonic, then publish a podcast and video version of your live video to any of our connected services.

Export from Auphonic to Facebook

Similar to Youtube, it is possible to use Facebook for media file hosting.
Please add your Facebook Page/User as an External Service in your Productions or Presets to upload the Auphonic results directly to Facebook:

Options for the Facebook export:

• Distribution Settings
  • Post to News Feed: The exported video is posted directly to your news feed / timeline.
  • Exclude from News Feed: The exported video is visible in the videos tab of your Facebook Page/User (see for example Auphonic's video tab), but it is not posted to your news feed (you can do that later if you want).
  • Secret: Only you can see the exported video, it is not shown in the Facebook video tab and it is not posted to your news feed (you can do that later if you want).
• Embeddable
  Choose if the exported video should be embeddable in third-party websites.

It is always possible to change the distribution/privacy and embeddable options later directly on Facebook. For example, you can export a video to Facebook as Secret and publish it to your news feed whenever you want.

If your production is audio-only, we automatically generate a video track from the Cover Image and (possible) Chapter Images.
Alternatively you can select an Audiogram Output File, if you want to add an Audiogram (audio waveform visualization) to your Facebook video - for details please see Auphonic Audiogram Generator.

Auphonic Title and Description metadata fields are exported to Facebook as well.
If you add Speech Recognition to your production, we create an SRT file with the speech recognition results and add it to your Facebook video as captions.
See the example below.

Facebook Video Hosting Example with Audiogram and Automatic Captions

Facebook can be used as a general video hosting service: even if you export videos as Secret, you will get a direct link to the video which can be shared or embedded in any third-party websites. Users without a Facebook account are also able to view these videos.

In the example below, we automatically generate an Audiogram Video for an audio-only production, use our integrated Speech Recognition system to create captions and export the video as Secret to Facebook.
Afterwards it can be embedded directly into this blog post (enable Captions if they don't show up per default) - for details please see How to embed a video:

It is also possible to just use the generated result URL from Auphonic to share the link to your video (also visible to non-Facebook users):
https://www.facebook.com/auphonic/videos/1687244844638091/

Important Note:
Facebook needs some time to process an exported video (up to a few minutes) and the direct video link won't work before the processing is finished - please try again a bit later!
On Facebook Pages, you can see the processing progress in your Video Library.

Conclusion

Facebook has many broadcasting tools to offer and is a perfect addition to Auphonic.
Both systems and our other external services can be used to create automated processing and publishing workflows. Furthermore, the export and import to/from Facebook is also fully supported in the Auphonic API.

Please contact us if you have any questions or further ideas!

The new Auphonic Audio Post Production Add-ons for Adobe allows you to use the Auphonic Web Service directly within Adobe Audition and Adobe Premiere (Mac and Windows):

Audition Multitrack Editor with the Auphonic Audio Post Production Add-on.
The Auphonic Add-on can be embedded directly inside the Adobe user interface.

It is possible to export tracks/projects from Audition/Premiere and process them with the Auphonic audio post production algorithms (loudness, leveling, noise reduction - see Audio Examples), use our Encoding/Tagging, Chapter Marks, Speech Recognition and trigger Publishing with one click.
Furthermore, you can import the result file of an Auphonic Production into Audition/Premiere.

Download the Auphonic Audio Post Production Add-ons for Adobe:

• Audition: https://exchange.adobe.com/addons/products/20433
• Premiere: https://exchange.adobe.com/addons/products/20429

Auphonic Add-on for Adobe Audition

Audition Waveform Editor with the Auphonic Audio Post Production Add-on.
Metadata, Marker times and titles will be exported to Auphonic as well.

Export from Audition to Auphonic

You can upload the audio of your current active document (a Multitrack Session or a Single Audio File) to our Web Service.
In case of a Multitrack Session, a mixdown will be computed automatically to create a Singletrack Production in our Web Service.
Unfortunately, it is not possible to export the individual tracks in Audition, which could be used to create Multitrack Productions.

Metadata and Markers

All metadata (see tab Metadata in Audition) and markers (see tab Marker in Audition and the Waveform Editor Screenshot) will be exported to Auphonic as well.
Marker times and titles are used to create Chapter Marks (Enhanced Podcasts) in your Auphonic output files.

Auphonic Presets

You can optionally choose an Auphonic Preset to use previously stored settings for your production.

Start Production and Upload & Edit Buttons

Click Upload & Edit to upload your audio and create a new Production for further editing. After the upload, a web browser will be started to edit/adjust the production and start it manually.
Click Start Production to upload your audio, create a new Production and start it directly without further editing. A web browser will be started to see the results of your production.

Audio Compression

Uncompressed Multitrack Sessions or audio files in Audition (WAV, AIFF, RAW, etc.) will be compressed automatically with lossless codecs to speed up the upload time without a loss in audio quality.
FLAC is used as lossless codec on Windows and Mac OS (>= 10.13), older Mac OS systems (< 10.13) do not support FLAC and use ALAC instead.

Import Auphonic Productions in Audition

To import the result of an Auphonic Production into Audition, choose the corresponding production and click Import.
The result file will be downloaded from the Auphonic servers and can be used within Audition. If the production contains multiple Output File Formats, the output file with the highest bitrate (or uncompressed/lossless if available) will be chosen.

Auphonic Add-on for Adobe Premiere

Premiere Video Editor with the Auphonic Audio Post Production Add-on.
The Auphonic Add-on can be embedded directly inside the Adobe Premiere user interface.

Export from Premiere to Auphonic

You can upload the audio of your current Active Sequence in Premiere to our Web Service.

We will automatically create an audio-only mixdown of all enabled audio tracks in your current Active Sequence.
Video/Image tracks are ignored: no video will be rendered or uploaded to Auphonic!
If you want to export a specific audio track, please just mute the other tracks.

Start Production and Upload & Edit Buttons

Click Upload & Edit to upload your audio and create a new Production for further editing. After the upload, a web browser will be started to edit/adjust the production and start it manually.
Click Start Production to upload your audio, create a new Production and start it directly without further editing. A web browser will be started to see the results of your production.

Auphonic Presets

You can optionally choose an Auphonic Preset to use previously stored settings for your production.

Chapter Markers

Chapter Markers in Premiere (not all the other marker types!) will be exported to Auphonic as well and are used to create Chapter Marks (Enhanced Podcasts) in your Auphonic output files.

Audio Compression

The mixdown of your Active Sequence in Premiere will be compressed automatically with lossless codecs to speed up the upload time without a loss in audio quality.
FLAC is used as lossless codec on Windows and Mac OS (>= 10.13), older Mac OS systems (< 10.13) do not support FLAC and use ALAC instead.

Import Auphonic Productions in Premiere

To import the result of an Auphonic Production into Premiere, choose the corresponding production and click Import.
The result file will be downloaded from the Auphonic servers and can be used within Premiere. If the production contains multiple Output File Formats, the output file with the highest bitrate (or uncompressed/lossless if available) will be chosen.

Installation

Install our Add-ons for Audition and Premiere directly on the Adobe Add-ons website:

Auphonic Audio Post Production for Adobe Audition:
https://exchange.adobe.com/addons/products/20433

Auphonic Audio Post Production for Adobe Premiere:
https://exchange.adobe.com/addons/products/20429

The installation requires the Adobe Creative Cloud desktop application and might take a few minutes. Please also also try to restart Audition/Premiere if the installation does not work (on Windows it was once even necessary to restart the computer to trigger the installation).

After the installation, you can start our Add-ons directly in Audition/Premiere:
navigate to Window -> Extensions and click Auphonic Post Production.

Enjoy

Thanks a lot to Durin Gleaves and Charles Van Winkle from Adobe for their great support!

Please let us know if you have any questions or feedback!

We are pleased to announce a new Audio Inserts feature in the Auphonic API: audio inserts are separate audio files (like intros/outros), which will be inserted into your production at a defined offset.
This blog post shows how one can use this feature for Dynamic Ad Insertion and discusses other Audio Manipulation Methods of the Auphonic API.

API-only Feature

For the general podcasting hobbyist, or even for someone producing a regular podcast, the features that are accessible via our web interface are more than sufficient.

However, some of our users, like podcasting companies who integrate our services as part of their products, asked us for dynamic ad insertions. We teamed up with them to develop a way of making this work within the Auphonic API.

We are pleased therefore to announce audio inserts - a new feature that has been made part of our API. This feature is not available through the web interface though, it requires the use of our API.

Before we talk about audio inserts, let's talk about what you need to know about dynamic ad insertion!

Dynamic Ad Insertion

There are two ways of dealing with adverts within podcasts. In the first, adverts are recorded or edited into the podcast and are fixed, or baked in. The second method is to use dynamic insertion, whereby the adverts are not part of the podcast recording/file but can be inserted into the podcast afterwards, at any time.

This second approach would allow you to run new ad campaigns across your entire catalog of shows. As a podcaster this allows you to potentially generate new revenue from your old content.

As a hosting company, dynamic ad insertion allows you to choose up to date and relevant adverts across all the podcasts you host. You can make these adverts relevant by subject or location, for instance.

Your users can define the time for the ads and their podcast episode, you are then in control of the adverts you insert.

Audio Inserts in Auphonic

Whichever approach to adverts you are taking, using audio inserts can help you.

Audio inserts are separate audio files which will be inserted into your main single or multitrack production at your defined offset (in seconds).

When a separate audio file is inserted as part of your production, it creates a gap in the podcast audio file, shifting the audio back by the length of the insert. Helpfully, chapters and other time-based information like transcriptions are also shifted back when an insert is used.

The biggest advantage of this is that Auphonic will apply loudness normalization to the audio insert so, from an audio point of view, it matches the rest of the podcast.

Although created with dynamic ad insertion in mind, this feature can be used for any type of audio inserts: adverts, music songs, individual parts of a recording, etc. In the case of baked-in adverts, you could upload your already processed advert audio as an insert, without having to edit it into your podcast recording using a separate audio editing application.

Please note that audio inserts should already be edited and processed before using them in production. (This is usually the case with pre-recorded adverts anyway). The only algorithm that Auphonic applies to an audio insert is loudness normalization in order to match the loudness of the entire production. Auphonic does not add any other processing (i.e. no leveling, noise reduction etc).

Audio Inserts Coding Example

Here is a brief overview of how to use our API for audio inserts. Be warned, this section is coding heavy, so if this isn't your thing, feel free to move along to the next section!

You can add audio insert files with a call to https://auphonic.com/api/production/{uuid}/multi_input_files.json, where uuid is the UUID of your production.
Here is an example with two audio inserts from an https URL. The offset/position in the main audio file must be given in seconds:

curl -X POST -H "Content-Type: application/json" 
    https://auphonic.com/api/production/{uuid}/multi_input_files.json 
    -u username:password 
    -d '[
            {
                "input_file": "https://mydomain.com/my_audio_insert_1.wav",
                "type": "insert",
                "offset": 20.5
            },
            {
                "input_file": "https://mydomain.com/my_audio_insert_2.wav",
                "type": "insert",
                "offset": 120.3
            }
        ]'

More details showing how to use audio inserts in our API can be seen here.

Additional API Audio Manipulations

In addition to audio inserts, using the Auphonic API offers a number of other audio manipulation options, which are not available via the web interface:

Cut start/end of audio files: See Docs

In Single-track productions, this feature allows the user to cut the start and/or the end of the uploaded audio file. Crucially, time-based information such as chapters etc. will be shifted accordingly.

Fade In/Out time of audio files: See Docs

This allows you to set the fade in/out time (in ms) at the start/end of output files. The default fade time is 100ms, but values can be set between 0ms and 5000ms.
This feature is also available in our Auphonic Leveler Desktop App.

Adding intro and outro: See Docs

Automatically add intros and outros to your main audio input file, as it is also available in our web interface.

Add multiple intros or outros: See Docs

Using our API, you can also add multiple intros or outros to a production. These intros or outros are played in series.

Overlapping intros/outros: See Docs

This feature allows intros/outros to overlap either the main audio or the following/previous intros/outros.

Conclusion

If you haven't explored our API already, the new audio inserts feature allows for greater flexibility and also dynamic ad insertion.
If you offer online services to podcasters, the Auphonic API would also then allow you to pass on Auphonic's audio processing algorithms to your customers.

If this is of interest to you or you have any new feature suggestions that you feel could benefit your company, please get in touch. We are always happy to extend the functionality of our products!

In late August, we launched the private beta program of our advanced audio algorithm parameters. After feedback by our users and many new experiments, we are proud to release a complete rework of the Adaptive Leveler parameters:

In the previous version, we based our Adaptive Leveler parameters on the Loudness Range descriptor (LRA), which is included in the EBU R128 specification.
Although it worked, it turned out that it is very difficult to set a loudness range target for diverse audio content, which does include speech, background sounds, music parts, etc. The results were not predictable and it was hard to find good target values.
Therefore we developed our own algorithm to measure the dynamic range of audio signals, which works similarly for speech, music and other audio content.

The following advanced parameters for our Adaptive Leveler allow you to customize which parts of the audio should be leveled (foreground, all, speech, music, etc.), how much they should be leveled (dynamic range), and how much micro-dynamics compression should be applied.

To try out the new algorithms, please join our private beta program and let us know your feedback!

Leveler Preset

The Leveler Preset defines which parts of the audio should be adjusted by our Adaptive Leveler:

• Default Leveler:
  Our classic, default leveling algorithm as demonstrated in the Leveler Audio Examples. Use it if you are unsure.
• Foreground Only Leveler:
  This preset reacts slower and levels foreground parts only. Use it if you have background speech or background music, which should not be amplified.
• Fast Leveler:
  A preset which reacts much faster. It is built for recordings with fast and extreme loudness differences, for example, to amplify very quiet questions from the audience in a lecture recording, to balance fast-changing soft and loud voices within one audio track, etc.
• Amplify Everything:
  Amplify as much as possible. Similar to the Fast Leveler, but also amplifies non-speech background sounds like noise.

Leveler Dynamic Range

Our default Leveler tries to normalize all speakers to a similar loudness so that a consumer in a car or subway doesn't feel the need to reach for the volume control.
However, in other environments (living room, cinema, etc.) or in dynamic recordings, you might want more level differences (Dynamic Range, Loudness Range / LRA) between speakers and within music segments.

The parameter Dynamic Range controls how much leveling is applied: Higher values result in more dynamic output audio files (less leveling). If you want to increase the dynamic range by 3dB (or LU), just increase the Dynamic Range parameter by 3dB.
We also like to call this Loudness Comfort Zone: above a maximum and below a minimum possible level (the comfort zone), no leveling is applied. So if your input file already has a small dynamic range (is within the comfort zone), our leveler will be just bypassed.

Example Use Cases:
Higher dynamic range values should be used if you want to keep more loudness differences in dynamic narration or dynamic music recordings (live concert/classical).
It is also possible to utilize this parameter to generate automatic mixdowns with different loudness range (LRA) values for different target environments (very compressed ones like mobile devices or Alexa, very dynamic ones like home cinema, etc.).

Compressor

Controls Micro-Dynamics Compression:
The compressor reduces the volume of short and loud spikes like "p", "t" or laughter ( short-term dynamics) and also shapes the sound of your voice (it will sound more or less "processed").
The Leveler, on the other hand, adjusts mid-term level differences, as done by a sound engineer, using the faders of an audio mixer, so that a listener doesn't have to adjust the playback volume all the time.
For more details please see Loudness Normalization and Compression of Podcasts and Speech Audio.

Possible values are:

• Auto:
  The compressor setting depends on the selected Leveler Preset. Medium compression is used in Foreground Only and Default Leveler presets, Hard compression in our Fast Leveler and Amplify Everything presets.
• Soft:
  Uses less compression.
• Medium:
  Our default setting.
• Hard:
  More compression, especially tries to compress short and extreme level overshoots. Use this preset if you want your voice to sound very processed, our if you have extreme and fast-changing level differences.
• Off:
  No short-term dynamics compression is used at all, only mid-term leveling. Switch off the compressor if you just want to adjust the loudness range without any additional micro-dynamics compression.

Separate Music/Speech Parameters

Use the switch Separate MusicSpeech Parameters (top right), to see separate Adaptive Leveler parameters for music and speech segments, to control all leveling details separately for speech and music parts:

For dialog intelligibility improvements in films and TV, it is important that the speech/dialog level and loudness range is not too soft compared to the overall programme level and loudness range. This parameter allows you to use more leveling in speech parts while keeping music and FX elements less processed.
Note: Speech, music and overall loudness and loudness range of your production are also displayed in our Audio Processing Statistics!

Example Use Case:
Music live recordings or dynamic music mixes, where you want to amplify all speakers (speech dynamic range should be small) but keep the dynamic range within and between music segments (music dynamic range should be high).
Dialog intelligibility improvements for films and TV, without effecting music and FX elements.

Other Advanced Audio Algorithm Parameters

We also offer advanced audio parameters for our Noise, Hum Reduction and Global Loudness Normalization algorithms:

For more details, please see the Advanced Audio Algorithms Documentation.

Want to know more?

If you want to know more details about our advanced algorithm parameters (especially the leveler parameters), please listen to the following podcast interview with Chris Curran (Podcast Engineering School):
Auphonic’s New Advanced Features, with Georg Holzmann – PES 108

Advanced Parameters Private Beta and Feedback

At the moment the advanced algorithm parameters are for beta users only. This is to allow us to get user feedback, so we can change the parameters to suit user needs.
Please let us know your case studies, if you need any other algorithm parameters or if you have any questions!

Here are some private beta invitation codes:

jbwCVpLYrl 6zmLqq8o3z RXYIUbC6al QDmIZLuPKa JIrnGRZBgl SWQOWeZOBD ISeBCA9gTy w5FdsyhZVI qWAvANQ5mC twOjdHrit3
KwnL2Le6jB 63SE2V54KK G32AULFyaM 3H0CLYAwLU mp1GFNVZHr swzvEBRCVa rLcNJHUNZT CGGbL0O4q1 5o5dUjruJ9 hAggWBpGvj
ykJ57cFQSe 0OHAD2u1Dx RG4wSYTLbf UcsSYI78Md Xedr3NPCgK mI8gd7eDvO 0Au4gpUDJB mYLkvKYz1C ukrKoW5hoy S34sraR0BU
J2tlV0yNwX QwNdnStYD3 Zho9oZR2e9 jHdjgUq420 51zLbV09p4 c0cth0abCf 3iVBKHVKXU BK4kTbDQzt uTBEkMnSPv tg6cJtsMrZ
BdB8gFyhRg wBsLHg90GG EYwxVUZJGp HLQ72b65uH NNd415ktFS JIm2eTkxMX EV2C5RAUXI a3iwbxWjKj X1AT7DCD7V y0AFIrWo5l

We are happy to send further invitation codes to all interested users - please do not hesitate to contact us!

If you have an invitation code, you can enter it here to activate the advanced audio algorithm parameters:
Auphonic Algorithm Parameters Private Beta Activation

If listeners find themselves using the volume up and down buttons a lot, level differences within your podcast or audio file are too big.
In this article, we are discussing why audio dynamic range processing (or leveling) is more important than loudness normalization, why it depends on factors like the listening environment and the individual character of the content, and why the loudness range descriptor (LRA) is only reliable for speech programs.

Photo by Alexey Ruban.

Why loudness normalization is not enough

Everybody who has lived in an apartment building knows the problem: you want to enjoy a movie late at night, but you're constantly on the edge - not only because of the thrilling story, but because your index finger is hovering over the volume down button of your remote. The next loud sound effect is going to come sooner rather than later, and you want to avoid waking up your neighbors with some gunshot sounds blasting from your TV.

In our previous post, we talked about the overall loudness of a production. While that's certainly important to keep in mind, the loudness target is only an average value, ignoring how much the loudness varies within a production. The loudness target of your movie might be in the ideal range, yet the level differences between a gunshot and someone whispering can still be enormous - having you turn the volume down for the former and up for the latter.

While the average loudness might be perfect, level differences can lead to an unpleasant listening experience.

Of course, this doesn't apply to movies alone. The image above shows a podcast or radio production. The loud section is music, the very quiet section just breathing, and the remaining sections are different voices.

To be clear, we're not saying that the above example is problematic per se. There are many situations, where a big difference in levels - a high dynamic range - is justified: for instance, in a movie theater, optimized for listening and without any outside noise, or in classical music.
Also, if the dynamic range is too small, listening can be tiring.

But if you watch the same movie in an outdoor screening in the summer on a beach next to the crashing waves or in the middle of a noisy city, it can be tricky to hear the softer parts.
Spoken word usually has a smaller dynamic range, and if you produce your podcast for a target audience of train or car commuters, the dynamic range should be even smaller, adjusting for the listening situation.

Therefore, hitting the loudness target has less impact on the listening experience than level differences (dynamic range) within one file!
What makes a suitable dynamic range does not only depend on the listening environment, but also on the nature of the content itself. If the dynamic range is too small, the audio can be tiring to listen to, whereas more variability in levels can make a program more interesting, but might not work in all environments, such as a noisy car.

Dynamic range experiment in a car

Wolfgang Rein, audio technician at SWR, a public broadcaster in Germany, did an experiment to test how drivers react to programs with different dynamic ranges. They monitored to what level drivers set the car stereo depending on speed (thus noise level) and audio dynamic range.
While the results are preliminary, it seems like drivers set the volume as low as possible so that they can still understand the content, but don't get distracted by loud sounds.

As drivers adjust the volume to the loudest voice in a program, they won't understand quieter speakers in content with a high dynamic range anymore. To some degree and for short periods of time, they can compensate by focusing more on the radio program, but over time that's tiring. Therefore, if the loudness varies too much, drivers tend to switch to another program rather than adjusting the volume.
Similar results have been found in a study conducted by NPR Labs and Towson University.

On the other hand, the perception was different in pure music programs. When drivers set the volume according to louder parts, they weren't able to hear softer segments or the beginning of a song very well. But that did not matter to them as much and didn't make them want to turn up the volume or switch the program.

Listener's reaction in response to frequent loudness changes. (from John Kean, Eli Johnson, Dr. Ellyn Sheffield: Study of Audio Loudness Range for Consumers in Various Listening Modes and Ambient Noise Levels)

Loudness comfort zone

The reaction of drivers to variable loudness hints at something that BBC sound engineer Mike Thornton calls the loudness comfort zone.

Tests (...) have shown that if the short-term loudness stays within the "comfort zone" then the consumer doesn’t feel the need to reach for the remote control to adjust the volume.

In a blog post, he highlights how the series Blue Planet 2 and Planet Earth 2 might not always have been the easiest to listen to. The graph below shows an excerpt with very loud music, followed by commentary just at the bottom of the green comfort zone. Thornton writes: "with the volume set at a level that was comfortable when the music was playing we couldn’t always hear the excellent commentary from Sir David Attenborough and had to resort to turning on the subtitles to be sure we knew what Sir David was saying!"

Planet Earth 2 Loudness Plot Excerpt. Colored green: comfort zone of +3 to -5LU around the loudness target. (from Mike Thornton: BBC Blue Planet 2 Latest Show In Firing Line For Sound Issues - Are They Right?)

As already mentioned above, a good mix considers the maximum and minimum possible loudness in the target listening environment.
In a movie theater the loudness comfort zone is big (loudness can vary a lot), and loud music is part of the fun, while quiet scenes work just as well. The opposite was true in the aforementioned experiment with drivers, where the loudness comfort zone is much smaller and quiet voices are difficult to understand.

Hence, the loudness comfort zone determines how much dynamic range an audio signal can use in a specific listening environment.

How to measure dynamic range: LRA

When producing audio for various environments, it would be great to have a target value for dynamic range, (the difference between the smallest and largest signal values of an audio signal) as well. Then you could just set a dynamic range target, similarly to a loudness target.

Theoretically, the maximum possible dynamic range of a production is defined by the bit-depth of the audio format. A 16-bit recording can have a dynamic range of 96 dB; for 24-bit, it's 144 dB - which is well above the approx. 120 dB the human ear can handle. However, most of those bits are typically being used to get to a reasonable base volume. Picture a glass of water: you want it to be almost full, with some headroom so that it doesn't spill when there's a sudden movement, i.e. a bigger amplitude wave at the top.

Determining the dynamic range of a production is easier said than done, though. It depends on which signals are included in the measurement: for example, if something like background music or breathing should be considered at all.
The currently preferred method for broadcasting is called Loudness Range, LRA. It is measured in Loudness Units (LU), and takes into account everything between the 10th and the 95th percentile of a loudness distribution, after an additional gating method. In other words, the loudest 5% and quietest 10% of the audio signal are being ignored. This way, quiet breathing or an occasional loud sound effect won't affect the measurement.

Loudness distribution and LRA for the film 'The Matrix'. Figure from EBU Tech Doc 3343 (p.13).

However, the main difficulty is which signals should be included in the loudness range measurement and which ones should be gated. This is unfortunately often very subjective and difficult to define with a purely statistical method like LRA.

Where LRA falls short

Therefore, only pure speech programs give reliable LRA values that are comparable!
For instance, a typical LRA for news programs is 3 LU; for talks and discussions 5 LU is common. LRA values for features, radio dramas, movies or music very much depend on the individual character and might be in the range between 5 and 25 LU.

To further illustrate this, here are some typical LRA values, according to a paper by Thomas Lund (table 2):

Program	Loudness Range
Matrix, full movie	25.0
NBC Interstitials, Jan. 2008, all together (3:30)	9.4
Friends Episode 16	6.6
Speak Ref., Male, German, SQUAM Trk 54	6.2
Speak Ref., Female, French, SQUAM Trk 51	4.8
Speak Ref., Male, English, Sound Check	3.3
Wish You Were Here, Pink Floyd	22.1
Gilgamesh, Battle of Titans, Osaka Symph.	19.7
Don’t Cry For Me Arg., Sinead O’Conner	13.7
Beethoven Son in F, Op17, Kliegel & Tichman	12.0
Rock’n Roll Train, AC/DC	6.0
I.G.Y., Donald Fagen	3.6

LRA values of music are very unpredictable as well.
For instance, Tom Frampton measured the LRA of songs in multiple genres, and the differences within each genre are quite big. The ten pop songs that he analyzed varied in LRA between 3.7 and 12 LU, country songs between 3.6 and 14.9 LU. In the Electronic genre the individual LRAs were between 3.7 and 15.2 LU. Please see the tables at the bottom of his blog post for more details.

We at Auphonic also tried to base our Adaptive Leveler parameters on the LRA descriptor. Although it worked, it turned out that it is very difficult to set a loudness range target for diverse audio content, which does include speech, background sounds, music parts, etc. The results were not predictable and it was hard to find good target values. Therefore we developed our own algorithm to measure the dynamic range of audio signals.

In conclusion, LRA comparisons are only useful for productions with spoken word only and the LRA value is therefore not applicable as a general dynamic range target value. The more complex a production gets, the more difficult it is to make any judgment based on the LRA.
This is, because the definition of LRA is purely statistical. There's no smart measurement using classifiers that distinguish between music, speech, quiet breathing, background noises and other types of audio. One would need a more intelligent algorithm (as we use in our Adaptive Leveler), that knows which audio segments should be included and excluded from the measurement.

From theory to application: tools

Loudness and dynamic range clearly is a complicated topic. Luckily, there are tools that can help. To keep short-term loudness in range, a compressor can help control sudden changes in loudness - such as p-pops or consonants like t or k. To achieve a good mid-term loudness, i.e. a signal that doesn't go outside the comfort zone too much, a leveler is a good option. Or, just use a fader or manually adjust volume curves. And to make sure that separate productions sound consistent, loudness normalization is the way to go. We have covered all of this in-depth before.

Looking at the audio from above again, with an adaptive leveler applied it looks like this:

Leveler example. Output at the top, input with leveler envelope at the bottom.

Now, the voices are evened out and the music is at a comfortable level, while the breathing has not been touched at all.
We recently extended Auphonic's adaptive leveler, so that it is now possible to customize the dynamic range - please see adaptive leveler customization and advanced multitrack audio algorithms.
If you wanted to increase the loudness comfort zone (or dynamic range) of the standard preset by 10 dB (or LU), for example, the envelope would look like this:

Leveler with higher dynamic range, only touching sections with extremely low or extremely high loudness to fit into a specific loudness comfort zone.

When a production is done, our adaptive leveler uses classifiers to also calculate the integrated loudness and loudness range of dialog and music sections separately. This way it is possible to just compare the dialog LRA and loudness of complex productions.

Assessing the LRA and loudness of dialog and music separately.

Conclusion

Getting audio dynamics right is not easy. Yet, it is an important thing to keep in mind, because focusing on loudness normalization alone is not enough. In fact, hitting the loudness target often has less impact on the listening experience than level differences, i.e. audio dynamics.

If the dynamic range is too small, the audio can be tiring to listen to, whereas a bigger dynamic range can make a program more interesting, but might not work in loud environments, such as a noisy train.
Therefore, a good mix adapts the audio dynamic range according to the target listening environment (different loudness comfort zones in cinema, at home, in a car) and according to the nature of the content (radio feature, movie, podcast, music, etc.).

Furthermore, because the definition of the loudness range / LRA is purely statistical, only speech programs give reliable LRA values that are comparable.
More "intelligent" algorithms are in development, which use classifiers to decide which signals should be included and excluded from the dynamic range measurement.

If you understand German, take a look at our presentation about audio dynamic processing in podcasts for further information:

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