Moderate to heavy rain continued to lash several districts of Odisha since Wednesday morning affecting normal life in the southern and coastal regions of the State.Triggered by a well- marked low pressure formed over the Bay of Bengal, heavy rain is likely over more areas of the State over the next three days.As less number of vehicles were seen plying on the roads, people living in slum clusters and low clusters faced difficulties in the urban areas of Berhampur, Puri, Bhubaneswar and Cuttack during the day.The Bhubaneswar Centre of the India Meteorological Department said that heavy to very heavy rain is likely to occur at isolated places over the districts of Koraput, Gajapati, Ganjam and Puri on Thursday. More rain forecastHeavy rain was also likely to hit the districts of Malkangiri, Rayagada, Kalahandi, Kandhamal, Nayagarh, Khurda, Jagatsinghpur, Cuttack, Sundargarh, Kendrapara and Bhadrak, the centre warned. The centre said that heavy to very heavy rain was expected at isolated places over the districts of Sundargarh, Bargarh, Sambalpur, Deogarh and Keonjhar on Friday. The low pressure area, formed over the west-central Bay of Bengal is likely to intensify into a depression by Thursday night, the centre said.
ATHENS — Olympiacos beat host PAOK 2-0 on Oct. 4 to maintain a perfect record after six games and a three-point lead in the Greek soccer league over arch-rival Panathinaikos.Costas Fortounis assisted on both goals, setting up Brown Ideye for a close-range shot in the 26th minute and then taking a corner which Luka Milivojevic headed home 10 minutes later.PAOK is joint fourth with Panionios, eight points behind Olympiacos.Also, newcomer AEK beat Atromitos 1-0 to move to third place, five points adrift of the defending champion, and the other newcomer, Iraklis, drew 2-2 at Giannena.TweetPinShare0 Shares
.It’s a typical late summer weekend in New York’s Times Square, and tourists from around the world are snapping pictures beneath the commercial hub’s iconic neon billboards-watched closely by a heavy contingent of police.Four cruisers are parked in the middle of the busy intersection, and pedestrian zones have been surrounded by barriers to stop cars from ramming the crowd, a mode of attack favored by violent extremists in recent years.“I don’t like to come to places like this,” says Sue Garcia, a massage therapist from Brooklyn. “Or anywhere where incidents have happened repeatedly-the fear comes to mind.”Fear of an attack. Fear of another 9/11, the deadliest terrorist assault in history, when almost 3,000 lives were extinguished, many in the rubble of the World Trade Center.For New Yorkers who lost loved ones, narrowly survived or just witnessed the event, memories remain fresh and old wounds are re-opened on its anniversary. And a perpetual state of high alert is the new normal.Garcia, now 33, was a high schooler when the planes slammed into the Twin Towers. She saw them burn then collapse, and walked all the way home like hundreds of thousands of New Yorkers that day after metro services were suspended.“I was there, I saw it over and over again, I don’t need to think about it,” she says.But her mind always drifts toward the horrors of that day, whenever it is mentioned on TV, or even “when I hear an airplane: it is like the trigger to the thought. It has subsided over the years but it is still there” she adds.Or while waiting to meet her sister in Times Square, “The Crossroads of the World,” that symbolizes the spirit of New York.Close calls -Twice in recent years, catastrophe loomed. In May 2010, police discovered a car packed with explosives and primed for carnage.In May, a mentally-ill ex-soldier deliberately drove his sedan into 23 pedestrians, killed a young American tourist.The episodes of anxiety described by Garcia are a burden borne by many New Yorkers.For those directly affected, the anniversary of the attacks are the “most dreaded date” of the year and post-traumatic stress can remain for an individual’s entire life, says Charles Strozier, a psychoanalyst and author of a book that documents the experiences of survivors and witnesses.“There was a collective trauma, the sense of having been proven to be not invulnerable,” he says.“To say that New Yorkers are still traumatized is an exaggeration. But they think about it, they are aware of it, they do have active fears just below the surface of consciousness about things like bombs in the subways,” adds the professor, who watched the destruction of the World Trade Center (WTC) from his office just off Union Square.Many are also convinced that, even though recent terror attacks have focused on Europe, it is New York, the beating heart of the Western world, that remains the prime target.Prime target -“What better target, unfortunately, than NYC?” asks Tim Lambert, an IT consultant.Then, as now, he worked on the southern tip of Manhattan near the WTC site. The city, he says, is a “magnet for people from all over the world… It symbolizes the freedoms that we have, the money that we have. What better way to make a statement?”The 52-year-old says a heavier police presence is now a fact of life that people have come to expect.“I am not comfortable with it, but it is the new norm. The world is changing and the terrorist threat is part of that change,” he adds.They are apprehensions shared by the city’s leaders.“Thank God this is not an act of terrorism. It is an isolated incident,” Mayor Bill de Blasio said in June when a doctor went on a shooting rampage in a hospital where he used to work in Bronx, killing one and injuring six.When the car ramming incident happened in May, police chief James O’Neill admitted “the worst went through my mind.”To protect its 8.5 million inhabitants, New York has to remain fully prepared.See something, say something -A 38,000 strong police force that keeps watch over the city’s public spaces, a massive network of cameras providing round-the-clock surveillance and a ubiquitous campaign to remind denizens “If you see something, say something,” are all reminders of the cost of security.Since 2001, the city has had its own anti-terrorist unit, which today has about 2,000 personnel and representatives in several foreign capitals, according to Robert Strang, president of the New York-based Investigative Management Group.The agency has at times courted controversy, notably for its programme that monitored citizens frequenting the city’s mosques which was criticized for being discriminatory.But the intelligence network is essential and overall and has been successful in preventing major new attacks, said Strang.The US financial capital also wants to set an example when it comes to honoring the victims of terror abroad.After recent attacks in Europe, authorities were quick to offer their condolences and assistance, and turned off the lights at the Empire State Building in a mark of solidarity.And the 11 September Memorial, with its two immense black granite craters, built on the site of the Twin Towers, has become a site of meditation and mourning not just for New York but for the entire world.It’s “a memorial to all the terror victims in a way,” said Monique Mol, a 52-year-old Dutch tourist.“It is like these people will live forever-like the pyramids and the mummified pharaohs in Egypt.”
The Music Modernization Act, which combines key provisions of what were four separate legislative initiatives into a single bill that will update how music rates are set and how songwriters and artists are paid, was passed unanimously by a House Judiciary Committee earlier this month. The bill now awaits consideration by the full House of Representatives. Variety has published guest posts both approving and criticizing the act. Here, Reps. Judy Chu (D-Calif.) and Doug Collins (R-Ga.) present their perspective. Last week, we were happy to join House Judiciary Chairman Bob Goodlatte (R-Va.) and Ranking Member Jerry Nadler (D-N.Y.) in introducing an historic bill for the music industry, the Music Modernization Act of 2018 (MMA), which passed unanimously out of the Judiciary Committee 32-0. As co-chairs of the Creative Rights Caucus, we have supported music creators since we came to Congress, and we’re gratified to see the MMA modernize music licensing law in a single bipartisan package that addresses a spectrum of issues currently undermining artistic innovation. The simple theme of these reforms is fairness: Songwriters deserve the opportunity to obtain fair rates for the use of their musical works, and music providers should be able to compensate creators with transparency in a way that makes sense for the 21st century.Beyond the provisions of the original Music Modernization Act, this week’s package settles once and for all the debate over whether creators should be compensated for use of work created before 1972. Artists like Smokey Robinson, Booker T. Jones and Emmylou Harris deserve to be compensated for use of their work as much as Outkast and Shawn Mendes do. The pre-1972 qualification reflects a distinction without a difference, one that the MMA resolves by incorporating the CLASSICS Act offered by our colleagues Reps. Darrell Issa (R-Calif.) and Jerrold Nadler (D-N.Y.).Finally, the MMA recognizes for the first time in law that studio producers play a key role in translating sheet music and live talent into sound recordings. From the days of 78 rpm recordings to the digital audio that flows from our smart phones, studio producers have helped lay down the tracks that we love. These professional catalysts are often compensated for use of their work today through private agreements, and the MMA includes language from the AMP Act to recognize this practice and extend it to all producers.Together, all of these provisions of the MMA modernize licensing on behalf of music creators and the people who love their work. The package has received wide bipartisan support from our colleagues — including a unanimous vote of support from the House Judiciary Committee this week — and enjoy overwhelming consensus among music publishers, songwriters, artists, labels, producers and digital music services.Support continues to flow from the Recording Academy, the Nashville Songwriters Association International (NSAI), the Association of Independent Music Publishers (AIMP), the National Music Publishers’ Association (NMPA), the Content Creators Coalition, the Recording Industry Association of America (RIAA), Songwriters of North America (SONA) and the Digital Media Association (DiMA), which represents Amazon, Apple, Pandora and Spotify, among others, and the Internet Association. ×Actors Reveal Their Favorite Disney PrincessesSeveral actors, like Daisy Ridley, Awkwafina, Jeff Goldblum and Gina Rodriguez, reveal their favorite Disney princesses. Rapunzel, Mulan, Ariel,Tiana, Sleeping Beauty and Jasmine all got some love from the Disney stars.More VideosVolume 0%Press shift question mark to access a list of keyboard shortcutsKeyboard Shortcutsplay/pauseincrease volumedecrease volumeseek forwardsseek backwardstoggle captionstoggle fullscreenmute/unmuteseek to %SPACE↑↓→←cfm0-9Next UpJennifer Lopez Shares How She Became a Mogul04:350.5x1x1.25×1.5x2xLive00:0002:1502:15 This week, as music creators travel to Washington for Grammys on the Hill, we are honored to receive the Recording Academy’s award for our work fighting for creators. And while “we thank the Academy” for that award, we want to use this opportunity to highlight the songwriters, artists and producers who have motivated a “coalition of unusual suspects” —as Rep. Jefferies terms us — to collaborate on a bill that brings fairness and transparency into an overregulated industry. With these creators in mind, we urge our colleagues to support the speedy passage of this bipartisan bill that protects music — which continues to be one of America’s greatest innovations and exports — for this generation and the ones to come. Popular on Variety Despite the fact that the music industry has already progressed deep into the digital age with streaming and downloads becoming the norm, it’s still bound by laws enacted before streaming even existed. Some of these laws make it impossible for stakeholders to respond to technological advancements and others thwart free-market forces. Yet asking songwriters to keep the market supplied with new anthems while the government holds payments for those songs below market value is like asking them to keep an anvil afloat in the ocean.To address these problems, the MMA includes several key provisions.The Music Modernization Act, which we introduced with our colleague Rep. Hakeem Jeffries (D-N.Y.) last December, accounts for the bulk of the language in the new MMA package and levels the playing field for songwriters while increasing operational efficiencies for digital music providers like Spotify and Amazon Music.Both of these goals are achieved in part through a new mechanical licensing collective governed by publishers and songwriters. The database would match songwriters to their songs, making it easier for creators to identify the use of their work and for music providers to fully compensate those creators and avoid copyright infringement.The bill also modernizes how compensation for mechanical licenses (which include digital streaming) is determined. Since 1909 — before music sound recordings even existed — Section 115 of the Copyright Act has regulated musical compositions. At present, the government determines the statutory rates for musical works through the Copyright Royalty Board (CRB), using a policy-based standard to set rates that don’t reflect market value for those works. To bring American values to bear on an American marketplace, the MMA establishes a willing buyer/willing seller standard for mechanical licenses.The process for determining performance royalty rates is similarly outmoded, and the MMA injects more fairness into that system by widening and randomizing the pool of federal judges who set performance royalties for the two largest performance rights organizations, ASCAP and BMI. These organizations represent songwriters in their quest for timely, appropriate compensation when their works are publicly performed. The legislation additionally reforms a provision of the Copyright Act that forbids the federal rate courts overseeing the consent decrees that govern ASCAP and BMI from factoring in sound recording royalty rates as a relevant benchmark. The federal government has had its thumb on these scales for too long, and that ultimately hurts producers or consumers.