Another quarter, another grim earnings statement from the Postal Service. As of now, savings afforded to publishers by the removal of the exigency surcharge have not translated to an increase in shipping. While overall volume remained stable, the periodicals class dipped 3.8 percent decline in the number of pieces shipped, to 1.43 billion, mirroring recent quarterly declines. Despite “encouraging numbers,” postmaster general Megan J. Brennan cautioned that the agency’s fiscal situation remains bleak. Regardless, renewed calls for a financial life preserver, perhaps in the form of a new surcharge or rate hike, will surely draw the attention of the publishing industry. The USPS argues that it needs around $12 billion in relief in order to return to solvency. Given the scope of the agency’s losses — $5.1 billion last year, and $5.5 billion the year before — those figures are difficult to dispute. Operating revenue saw another slight increase, to $16.64 billion (up 0.7 percent over last year), but the bump wasn’t nearly enough to offset a 12.4 percent increase in operating expenses and the termination of the exigency surcharge — a 4.3 percent premium which had applied to all classes of mail before expiring in April. The loss of the surcharge is expected to hurt USPS revenues by nearly $2 billion each year, according to the agency. “Net losses continue to mount,” Brennan said in a prepared statement. “Our results in the quarter further underscore the need for legislative reform that provides the organization with greater financial stability.” It’s the 41st consecutive quarter in which less periodicals were shipped than in the corresponding period the year before, and overall volume in the periodicals class has fallen 37.8 percent from a quarterly high of 2.3 billion in the third quarter of 2006. USPS chief finanical officer Joseph Corbett blamed lackluster revenue growth in the face of mounting losses on the termination of the exigency surcharge, which he termed a “mandated price reduction” in a statement. The Postal Service itself estimates that it lost $450 million during the quarter as a result of the surcharge’s expiration, still not nearly enough to approach profitability. “They have to understand that it’s a different age,” Cregan told Folio: in April, at the time the exigency surcharge was rolled back. “They’re not the only game in town anymore, and they have to improve their customer relations and understand that we — that is, the MPA — are their customers.” The agency posted a net loss of $1.57 billion for the third quarter of its fiscal year (April 1 to June 30), more than double the $586 million loss recorded over the same period in 2015. But representatives for the publishing industry, like the MPA’s EVP of government affairs, James Cregan, argue that the Postal Service needs to retain its clients more than it needs legislative assistance.
NETWORK ERRORCannot Contact ServerRELOAD YOUR SCREEN OR TRY SELECTING A DIFFERENT VIDEO Apr 28, 2015 – 10:23 am Every Genre, Please: Glasper’s GRAMMY Greed Just last year Glasper won his first Emmy Award, along with Common and Karriem Riggins, in Outstanding Original Music and Lyrics for “Letter To The Free” from the Netflix documentary 13th. His most recent GRAMMY win was for Best Compilation Soundtrack For Visual Media for the movie Miles Ahead at the 59th GRAMMY Awards. He has said he wants to win a GRAMMY in every genre. With soundtrack composing in his wide range as well, he seeks to join Common in Emmy-GRAMMY-Oscar territory someday.Regardless of awards, jazz’s rewards are legendary, spontaneous and rooted in U.S. cultural history, so these fresh fruits in October should be a welcome addition to anyone’s musical diet.Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? “Talk To GRAMMYs”Read more Jazz Alive! Inside Robert Glasper’s October Residency At The Blue Note Email News “I came to New York tracking other people’s footsteps, and now it’s me and the musicians that I came up with who are making footprints for the next generation to follow,” said Glasper. “New York is the reason everything popped off for me. It’s the only place in the world with this heavy traffic of quintessential, true jazz and quintessential, true hip-hop, the only place I could have met these people and made this music … I’m taking over the Blue Note to tell that story, my music milestones, in the place it all began.” Seven lineups of today’s jazz talent to be on display in an NYC residency like no otherPhilip MerrillGRAMMYs Aug 14, 2018 – 3:22 pm On Aug. 14 the Blue Note Jazz Club in New York City announced contemporary jazz exemplar Robert Glasper will host an exceptional residency in October, bringing together seven combinations of today’s outstanding jazz talents for 48 shows on 24 nights.GRAMMY winners sitting in on the multiple configurations include Chris Dave and Derrick Hodge, who’ve played and won with Glasper’s group the Robert Glasper Experiment, as well as Bilal, Christian McBride and Nicholas Payton. Exclusive details are at Billboard, and previous nominees in the lineups include Terrace Martin and Christian Scott. This ambitious residency not only shows Glasper’s devotion to the genre, but reminds us jazz is very much alive! Facebook Robert Glasper Taking Over The Blue Note In Oct. jazz-alive-inside-robert-glaspers-october-residency-blue-note Twitter https://www.instagram.com/p/Bmd1xumBCmi/?taken-by=bluenotenyc
Enlarge ImageGiven how long airbags have been around, it’s a little surprising it took someone until 2019 to figure out a multiple-collision solution. Hyundai According to Hyundai, three out of every 10 collisions involve secondary collisions with other objects. So Hyundai developed an airbag system that hopes to protect you beyond the first hit.Hyundai announced on Monday that it has developed and intends to commercialize a multi-collision airbag system, which the automaker claims is the first of its kind. In essence, it acts like a normal airbag, inflating to prevent injuries during a collision, but it’s unique in the sense that some airbags will deploy upon a second collision, as well.The tech depends on detecting movement of the occupants during and following the first collision. It can change the deployment strength of different airbags based on a person’s position, attempting to mitigate any potential injuries incurred in secondary crashes. “By improving airbag performance in multi-collision scenarios, we expect to significantly improve the safety of our drivers and passengers,” said Taesoo Chi, head of Hyundai Motor Group’s Chassis Technology Center, in a statement. “We will continue our research on more diverse crash situations as part of our commitment to producing even safer vehicles that protect occupants and prevent injuries.”According to Hyundai’s research, cars crossing the center line create the greatest opportunity for multi-stage collisions, followed by sudden stops at toll gates and sideswiping. The automaker didn’t say when this tech would reach production, only that it would eventually end up in both Hyundai and Kia vehicles, since the tech is too potentially important to relegate to a single half of Hyundai Motor Group. 2020 Hyundai Palisade SUV is big in Korea, and everywhere else 72 Photos Hyundai Kia Hyundai Tags Preview • 2020 Hyundai Palisade: Croc eyes, family-friendly SUV heart Comment 2020 BMW M340i review: A dash of M makes everything better More From Roadshow 1 Share your voice Review • 2020 Hyundai Palisade review: Posh enough to make Genesis jealous News • 2020 Hyundai Palisade, Widebody Chargers and more: Roadshow’s week in review Auto Tech Future Cars 2020 Hyundai Palisade review: Posh enough to make Genesis jealous 2020 Kia Telluride review: Kia’s new SUV has big style and bigger value More about 2020 Hyundai Palisade