text:
Teacher Education Accreditation Council
Updates and Clarifications
Appendices and Formats
Goals & Principles
Comment on Members and Programs
Accreditation Status Designations
TEAC Members
Accreditation Panel
Consulting Auditors
Mara B. Huber currently works at the University at Buffalo where she serves as Special Assistant to the President for Educational Initiatives and founding director of the UB Center for Educational Collaboration. Through these newly created positions, Huber oversees the University's commitment to strengthening the PreK-16 pipeline and directs its institutional partnership with the Buffalo Public School District. Her previous professional appointments include Assistant Professor in the School of Education at SUNY Fredonia, and Director of Special Programs in the Graduate School of Education at the University at Buffalo where she co-led the accreditation of UB's Teacher Preparation Program. Huber has continued her involvement in the TEAC accreditation process through her activities as consulting auditor and most recently serving on the accreditation panel.
Huber holds a PhD in Cognitive Psychology from the University at Buffalo with a focus on language perception and cognitive development. Her current research interests include school-university partnerships and strategic collaborations. Recent projects have focused on STEM-based extended learning opportunity programs; research and evaluation; and a developing project in the Mara region of Tanzania.
In addition to her University work, Huber is a frequent consultant and speaker on issues of school-university partnerships, and leveraging educational collaboration for maximal impact. She has also authored a number of education related articles and manuscripts with the most recent being "High Stakes Partnerships," to appear in the November 2008 issue of the American School Board Journal.
One Dupont Circle NW
101 Willard Hall
TEAC, One Dupont Circle NW Suite 320, Washington, DC 20036
© 2010 TEAC. All rights reserved.

redpajama_set_name: RedPajamaCommonCrawl


text:
Iowa Farmer's Lawyer Says Wife's Death Was Murder, But Defendant Didn't Do It
Alberto LuperonSep 17th, 2019, 12:41 pm
Both sides set the stage Tuesday in the murder trial of Iowa man Todd Mullis. Prosecutors say he killed his wife Amy Mullis last November using a corn rake, and attempted to pass it off as a farm accident. The defense is acknowledging that this was indeed a homicide, but say their client didn't do it.
Assistant Attorney General Maureen Hughes went up first for the state. She relied on details largely already conveyed in a probable cause statement. Todd Mullis stabbed Amy Mullis in the back with a rake, then left her to die on the floor in a shed on their hog farm, said the prosecutor.
Both sides agree the path leading up to the death was tumultuous.
"Amy was not happy," said Hughes. The victim was having a second affair, and was planning on leaving her husband, the prosecutor said. The defendant knew about the affair back on July 2018 at the latest, and while Amy denied it, there was still a lot of tension and distrust.
Prosecutors believe Todd Mullis killed his wife because he didn't want her to take half of his farm.
"Being a farmer means everything to him," Hughes said, explaining that the defendant came from a family of farmers.
On the day of the murder, he isolated the victim, and killed her, said the state. He used the corn rake to make it seem like an accident, left the scene, and pretending that nothing was wrong, sent out their 13-year-old son to discover Amy Mullis, said Hughes. The defendant told 911 that the victim fell on a rake. He expected people to feel sorry for him, and not ask questions, said the prosecution.
But people did ask questions. Doctors determined Amy Mullis was attacked at least two times with the corn rake. There's evidence the victim told friends and family that she planned to leave Todd, but worried he might kill her if he discovered the affair, said Hughes.
The defendant also did Internet searches in the months before his wife's death, looking up how to kill "unfaithful women."
Defense lawyer Gerald Feuerhelm point-blank said that Amy Mullis' death was indeed a murder. Evidence would show that his client didn't do it, he said. The defendant's claim that the victim died in an accident was a mistaken, on-the-spot attempt to explain the incident, said the attorney.
Amy Mullis was out on the farm that day despite having recently had a medical procedure, he said. It was her idea to be out there. She insisted on helping out on the hog farm. Both Todd Mullis and the son noticed she seemed dizzy and lost her balance at once point, said Feuerhelm. The defendant recommended she go back into the house, but she wanted to help, said the defense.
Feuerhelm also highlighted the "significant sexual affair" that Amy Mullis was having with another man, who was often on the premises as part of his job to service hog farmers. Todd Mullis did learn about it, and confronted this individual over the phone, but the man denied the affair allegation. The defense insists that Todd Mullis was focused on continuing to work on maintaining the marriage.
Note: An earlier version of the article misidentified the prosecutor as Denise Timmins.
[Screengrab via Law&Crime Network]
Todd Mullis


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Q: How to put the correct intent parameters? I tried to make a SceneView intent where a 3d-model can be viewed.
   Intent sceneViewerIntent = new Intent(Intent.ACTION_VIEW);
    sceneViewerIntent.setData(Uri.parse("https://raw.githubusercontent.com/KhronosGroup/glTF-Sample-Models/master/2.0/Avocado/glTF/Avocado.gltf"));
    sceneViewerIntent.setPackage("com.google.android.googlequicksearchbox");
    sceneViewerIntent.putExtra("mode","3d_only");
    mContext.startActivity(sceneViewerIntent);

When this intent opens, it gives the user an option to view the model in your own environment, but I want to turn this off and according to https://developers.google.com/ar/develop/java/scene-viewer#3d-or-ar you should be able to pass on a parameter called 'mode' which can have the value '3d_only' which should prevent the user from being able to view the model in AR.
I tried to pass on this value by means of sceneViewerIntent.putExtra("mode","3d_only"); but it doesn't work. Am I passing on the information correctly?

A: You're not sending any information anywhere. "3d_only" should be some variable, otherwise you're not sending anything. Also, you have to retrieve your code on the other end by doing String string = getIntent().getStringExtra("mode");

redpajama_set_name: RedPajamaStackExchange


I'm going through a buttermilk phase — using it to make this loaf and in scones. Buttermilk adds flavour and produces a lighter texture. This loaf makes a lovely dessert served with custard or is great for picnics.
Heat the oven to 180C. Grease and line a medium-sized loaf tin (about 21cm x 12cm x 6cm deep), with baking paper.
Sift the flour and sugar into a large bowl and add the orange zest.
Mix together the buttermilk, egg and vanilla extract. Fold into the dry ingredients with the melted butter then spoon into the prepared tin. Smooth the top. The mixture should be of a dropping consistency.
Place the apricots on top with the raspberries, pressing some down into the mixture.
Mix together the topping ingredients and sprinkle over the fruit. Place in the oven and bake for 40-45 minutes until a skewer inserted in the centre comes out clean.
Leave in the tin for 5 minutes before removing to a wire rack. Store in an airtight container, but the cake is best eaten on the day it is made.


As you probably know, the MoFi of Jazz goes for big bucks nowadays -- $500 and up. Is it worth it?
Are you kidding? It's a nice record as far as it goes, but it suffers from the same shortcomings as just about every Mobile Fidelity pressing we take the time to play these days (with some obvious exceptions of course). We have a test pressing, and knowing that the MoFi is the standard against which many audiophiles would prefer to judge our Hot Stampers, we listened to it first before going about our comparison test.
How Does the MoFi Sound?
How does the MoFi pressing sound? We have no idea; we've never bothered to order one. This is an album about rhythm. Half-Speed mastered records have sloppy bass and, consequently, lack rhythmic drive. Who is his right mind would want to half-speed master an album by Little Feat, one of the most rhythmically accomplished bands in rock and roll history?
The obvious answer is that it was a bad idea. But, if you're Mobile Fidelity, and that's the only idea you've ever had because you are in the half-speed mastering business, then what else can you do? As the old saying goes, to a hammer everything looks like a nail.
We do a lot of MoFi bashing here at Better Records, and for good reason: most of their pressings are just plain awful. We are shocked and frankly dismayed to find that the modern day audiophile still flocks to this label with the expectation of a higher quality LP, seemingly unaware that although the vinyl may be quiet, the mastering -- the sound of the music as opposed to the sound of the record's surfaces -- typically leaves much to be desired.
If you own the typical MoFi version of this album you happen to own one of the All Time Mastering Disasters of the modern era. Ridiculously boosted at both ends, their version is all but unlistenable on a high end stereo.
Some copies are worse than others, so we are conservatively giving MoFi's pressing a sonic grade of D. We've played some in the past that clearly deserved an F (F as in Failing), but we also once played one that sounded pretty good, which we describe below. If you've played half a dozen MoFi copies and plucked out the best one, yours might be good too. If you haven't heard a bunch, chances are slim that yours is any better than awful.
That weird boost around 10k that Stan Ricker liked to add to practically every record he mastered wreaks havoc on the sound of Tony Bennett's voice. I would be very surprised if the current in-print CD doesn't sound more tonally natural, and for us audiophile record lovers - not lovers of audiophile records, but guys who love records with audiophile sound - that's simply another nail in the coffin for one of the most laughably inept remastering labels in the history of that sad enterprise.
This is an IMMACULATE Mobile Fidelity LP with Virtually No Sign Of Play (VNSOP) and EXCELLENT SOUND. I'm surprised how good this copy is. The mids and highs are pretty close to Right On The Money (ROTM). The bass is not as deep and well defined as it should be, but that's the fault of Half-Speed mastering, not MOFI. One of their best titles! And quite rare to boot!
I played this record a while back -- it's one of the Mobile Fidelity's I remember liking from the old days -- and sure enough it still sounds good. It does not have the phony boosted bottom and top that most MoFis do. Since it's such a well recorded album, the sound is very impressive. Also the music is great. This is one of Previn's best piano trio records. And Shelly Manne drums up a storm here.
If anyone still thinks that pressing is anything but a bad joke played on the audiophile public -- so sucked out in the midrange, bass-shy and compressed to death -- that person has a way to go in this hobby. A very long way. You can hear how bad it sounds from another room.
But wait a minute. I liked the MoFi just fine when it came out. I guess I had a way to go in this hobby too. That was back in the early '80s. I like to think I've learned a thing or two in the last twenty five plus years. I'm pretty sure we can offer you a better record now.
It's just too damn compressed and lifeless. The Whomp Factor on this pressing is Zero. Since whomp is critical to the sound of Santana's music, it's Game Over for us. The review below is exactly what we wrote at the time the record came in.
Another Mobile Fidelity Pressing reviewed. Our Audiophile Scorecard has plenty more where this one came from.
This is actually a pretty good sounding record, all things considered. We put this one through our cleaning process and gave it a listen. Although our Hot Stamper copies do sound better, they're also quite a bit more expensive. This copy had the best sound we heard out of the three or four we played, which makes it a Hot Stamper I suppose, but we are instead just calling it a Very Good Sounding Copy.
Or Is It The Glade Spray Mist Septet?
Our good customer Roger wrote to tell us of his Chicago shootout which included the MoFi, some later pressings and our Hot Stamper. Here is his story.
Got a chance to listen to your Chicago Transit Authority hot stamper and compare it to regular US and MFSL pressings. It has been a while since I last listened to this recording, but I listened to a lot of Chicago; Blood, Sweat, and Tears; and The Ides of March when I was in high school and college. I loved this music back then, as short-lived as it was, unfortunately.
There is a Mobile Fidelity Half-Speed Mastered version of this album currently in print, and an older one from the days when their records were pressed in Japan (#052).
We haven't played the latter in years; as I recall it was as lifeless and sucked-out in the midrange as some other famous MoFis of that period, notably The Doors (#051) and Trick of the Tail (#062). Is there any doubt that the new MoFi will be every bit as bad or worse?
Another MoFi LP reviewed, and this one's pretty good for a change.
The Mobile Fidelity pressing of this album can actually be pretty decent (if you get a good one, that is). Audio perfection it ain't, but all in all it's a very enjoyable record. Its strengths are many and its faults are few. Let's give credit where credit is due; the MoFi is dynamic, transparent, sweet, and open, and you won't hear us saying that about very many MOFI pressings. It belongs in their Top Ten, toward the bottom I would guess, due to its own sloppy bottom, but that's half-speed mastering for you. Like most new audio technologies it was a giant step in the wrong direction: backward.
At the time of our last shootout in 2014 I still had the MoFi pressing of Powerful People in my personal, very small (at this point) record collection. Almost all the best sounding records from my collection had long ago been sold off, going to good homes that I can only assume would play them more than I had in the last ten years. If it's a record you see on our site, chances are good I have listened to it until I'd practically turned blue in the face.
In 2012 the new MoFi put out another remastered Big Pink. Since their track record at this point is, to be honest, abysmal, we have not felt the need to audition it.
It's very possible, even likely, that they restored some of the bass that's missing from the originals. But bad half-speed mastered bass -- poorly defined, never deep and never punchy -- is that the kind of bass that would even be desirable?
The last time I played a copy of the MoFi I could not believe how ridiculously bright it was.
Super Session is one of the best-sounding MoFi pressings. The midrange sounds wonderful -- silky sweet and transparent. Not having been cut by Stan Ricker, the top end doesn't have that SR/2 boost. Overall it's a very nice sounding record, and the music just can't be beat.
This is a very nice looking Mobile Fidelity LP with SURPRISINGLY GOOD SOUND. The transparency and presence in the midrange is OUT OF THIS WORLD. The bass actually sounds in control on this copy, there''s no typical bloated MOFI bass to be found here. This is the best sounding Mobile Fidelity American Beauty we have ever heard. It's not perfect by any means, but it's hugely better than we expected.
Just for fun about 10 years ago I pulled out a MoFi pressing of Deja Vu I had laying around. I hadn't played their version in a long time. I could have gone a lot longer without playing it, because what I heard was pretty disappointing. Playing their record confirmed all my prejudices. The highs sizzled and spit. The heart of the midrange was recessed and sour.
Of course our Hot Stamper pressings are going to be better than the Anadisq LP from the mid '90s. How much better? Words fail me. The MoFi was an out and out disaster. Perhaps some of the MoFi collectors didn't notice because they had nothing to compare it to. God forbid they would ever lower themselves to buy a "common" pressing such as one of our domestic Islands.
The last time I played the MoFi I could not believe how ridiculously COMPRESSED it was. On top of that, the midrange is badly sucked out (as is the case with most MoFi's) making the sound as dead as dead can be. You think 180 gram records are lifeless? Play this piece of crap and see just how bad an audiophile record can sound.
I have a theory about why MoFi's mastering approach here tended to work for the album when it failed so miserably for so many others. It goes a little something like this.
Back in their early days MoFi tended to add bass and treble to practically every record they mastered, regardless of whether or not the master tape they were using needed any such boost. A little extra sparkle up top and a little extra slam down below was what the audiophile public seemed to want. Truth be told, I was a member of that group and I know I did.
This MoFi Crime of the Century has two superb sounding sides. I have to admit I was DEAD WRONG about MoFi's Crime of the Century -- on this pressing, anyway. But I can tell you that this is one of the few I have ever played that sounded right to me.
It's not that MoFi couldn't cut a record that's tonally correct. It's just that most of they time they didn't. This time they did.
The comments about the music of course still apply -- it's brilliant -- but I recommend the Gold or regular CD over this audiophile Heavy Vinyl pressing.
A well-known reviewer has many kind things to say about this pressing, but we think it sounds like a hi-fi-ish version of a '70s London, which means it's opaque and the strings are badly lacking in Tubey Magic. The bass is like jello on the MoFi, unlike the real London which has fairly decent bass.
I was a big Mobile Fidelity fan in 1982 when they released this album, which, for some strange reason, I knew practically nothing about. I was 15 when the second album came out and I played that album all the time, but the first album had eluded me. How it managed to do that I cannot understand, not at this late date anyway. A major malfunction on my part to be sure.
At some point in the early '90s I got hold of an early British pressing of the album. Comparing it to my MoFi I was shocked to hear the singers in the band so present and clear. Having only played MoFi's remastered LP I had never heard them sound like that. The MoFi had them standing ten feet back; the Brit put them front and center. There was no question in my mind which presentation was right.
I comment below about the ridiculous sound of the MoFi pressing. When you have a recording that is already plenty bright, adding more top end and taking out more lower midrange is the last thing in the world you should be doing. Since that is standard operating procedure for MoFi (and other Half-Speed mastering outfits), that's exactly the approach they ended up taking.
We recently auditioned an excellent sounding Decca Purple Label British import LP, the same performance, the same recording that Mobile Fidelity remastered (#510), but, thankfully, it sounded A WHOLE LOT BETTER!
I just listened to both and a catalog of the faults of the MFSL pressing would be quite lengthy. I won't waste your time listing them. Although this recording is not perfect, the Decca pressing shows it in its proper light.
Our good customer Roger wrote us a letter years ago about his MoFi Tea for the Tillerman, in which he remarked, "Sometimes I wish I kept my old crappy stereo to see if I could now tell what it was that made these audiophile pressings so attractive then."
It got me to thinking. Yes, that would be fun, and better yet, it could be done. There are actually plenty of those Old School systems still around. Just look at what many of the forum posters -- god bless 'em -- are running. They've got some awesome '70s Japanese turntables, some Monster Cable and some vintage tube gear and speakers going all the way back to the '50s.
MoFi did two of the greatest Bowie albums of all time, Ziggy and Let's Dance, and neither one can hold a candle to the real thing. If you want to settle for a pretty poor imitation of either or both of those albums, stick with your MoFi. If you want to hear the kind of Demo Disc sound that Bowie's records are capable of, try a Hot Stamper.
The MoFi is thick, fat and murky, with much less transparency than the Classic release (which is no award winner either). Check out our Heavy Vinyl Scorecard to read all about the latest winners and losers.
Can you believe this bright and phony sounding piece of junk was once on the TAS Super Disc List? Sad, isn't it? At least Harry had the good sense to delete it way back in the '80s, along with all the rest of the awful MoFi's that were on it at the time.
Hey, I sure liked a lot of my MoFi's in the '80s too. Thank god I didn't have my own Super Disc list at the time. It would be every bit as embarrassing as Harry's list is these days, of that you can be sure.
The MoFi pressing is decent, probably better than the average domestic copy I suppose, but c'mon, this album is about punchy bass and drums. Since when does any half-speed mastered LP have punchy bass and drums? Blurry blobby bloated bass and drums is more like it. Compressed too.
A few years back we wrote the commentary you see below. We can't say if we would still agree with the sentiments expressed, so take what you read with a grain of salt, and remember that no two records sound the same. If your copy is better or worse on either side it will not come as a surprise to us here at Better Records!
The MoFi Standard Operating Procedure of boosting the top end does this album no favors; it's positively ruinous in fact. How dull does a system have to be to make this record sound right? Pretty damn dull. And the bad bass definition just adds to the phoniness. The average domestic copy is not that great either, so let's give the MoFi a somewhat forgiving grade of C minus.
Hall of Shame pressings and two more MoFi Half-Speed Mastered Audiophile LPs debunked.
The MoFi is a textbook example of their ridiculous affinity for boosted top end, not to mention the extra kick they put in the kick drum, great for mid-fi but a serious distraction on a high end system with low end.
UHQRs Actually DO Sound Good!
Mike Hobson finally figured out why his pressings often don't sound good and/or are noisy. We'll let him explain it. If you want the whole story (which goes on for days) you can find it on the Classic Records web site. While you're there, remember the sound.
One day, while out for a run, I had an epiphany and rushed home to dig out a JVC pressing from the 1980's pressed for Herb Belkin's Mobile Fidelity. The Mobile Fidelity UHQR pressings were always revered as sounding better than the standard weight pressings from JVC – but why I thought? To find out, I cut a UHQR pressing in half and guess what I found? First, it weighed 195 grams and IT WAS A FLAT PROFILE! I cut a 120g JVC pressing in half and found that it had the conventional profile that, with small variations, seems to be a record industry standard and is convex in it's [sic] profile – NOT FLAT.
This Is Your Idea of a Super Disc?
We here at Better Records would like to give a shout out to The Man, Harry Pearson, for putting one of the worst MoFis of all time on his so-called Super Disc List, which, as we all know, is still the delight of nitwits around the world.
We found a Hot Stamper copy for one of our best customers a while back and he wrote an incisive commentary which may be of interest to you. To see the results of his comparison between the Direct Disc Labs Half-Speed, the MOFI Anadisq, his original domestic pressing, and the Hot Stamper he bought from us, check out his letter.
As previously noted, the MoFi, one of those Jack Hunt turgid muckfests (check out City to City #058 for the ulitimate in murky MOFI sound), is incapable of conveying anything resembling the kind of clear, radio-friendly pop rock sound that Chris Thomas and the band were aiming for. The recording has copious amounts of Analog Richness and Fullness to start with. Adding more is not an improvement; in fact it's positively ruinous.
Cat Stevens and His Sparkling Acoustic Guitars?
The guitars on this record are a true test of stereo fidelity. ... most of the pressings of this record do not get the guitars to sound right. ... on a copy with a bit too much top end they will have an unnatural hi-fi-ish sparkle.
This kind of sparkle can be heard on practically every record Mobile Fidelity made in the '70s and '80s. Tea for the Tillerman, Sundown, Year of the Cat, Finger Paintings, Byrd at the Gate, Quarter Moon in a 10 Cent Town -- the list of sparkling MoFis would be very long indeed, and these are just the records with prominent acoustic guitars!
This is, I hope it goes without saying, one of the greatest rock records of all time, music that belongs in any collection. I've been playing this album for 30 years and I can honestly say I've never once been tired of hearing it. I do get tired of hearing bad copies. I become absolutely incensed when I have to play the Mobile Fidelity version of this album, because what they did to this record is a travesty. If you want to know what the guitars on this album are NOT supposed to sound like, play the MOFI. And if you want to hear an even worse version, play the UHQR.
This is a title Mobile Fidelity ruined, and having just played an early Riverside LP I can see how their mastering approach was -- as is so often the case -- misguided to say the least. First off, the guitar and the drums on the original are tonally right on the money. They sound like bass and drums should. They sound, in a word, correct. Mobile Fidelity felt it necessary to brighten up both and the results are a phony sounding guitar and phony sounding drums, with tizzy cymbals thrown in for good measure.
But we used to like the MoFi and DCC just fine. What could possibly have changed?
Boston MoFi = Crappy Soggy French Fries!
This week's letter comes from Ed, another satisfied and enthusiastic Hot Stamper fan. Apparently one of our Killer LPs made him want to take his MoFi pressing and turn the damn thing into a frisbee. When you hear what MoFi did to Boston you might want to toss their version out the window yourself. That pressing is bunk! We have a whole section of records like that that we've debunked to date, and if we had the time we could put hundreds more in it.
The MoFi pressing of this album is a complete disaster -- it's even fatter, muddier and more compressed than the standard domestic copy, as improbable as that may seem. It was mastered by Jack Hunt, a man we know to be responsible for some of the thickest, dullest, deadest MoFi recuts in the history of their shameful catalog. With mastering credits on this album, Gerry Rafferty (058) and Blondie (050) you have to wonder how this guy kept getting work.
MoFi's version of this recording (#507) is one of the worst sounding classical records they ever made, and that's saying something, because most of their classical catalog is awful. Thin, bright, with sloppy bass and completely unnatural string tone -- the MoFi makes the typical Classic Record sound good! And that's REALLY saying something.


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No indeed. Back in the Big Apple. Much the same as San Miguel except for the tacos. Constant activity, good food, and great friends.
All this for five pesos?
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