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USATT Membership
USATT Membership and Mass Mailing
USATT has about 8000 members. That's pretty weak in a country of 314 million.
A few days ago I received another brochure in the mail (regular mail, not email) from USTA (U.S. Tennis Association). For many years I played tennis on the side (and had a heck of a forehand!), and used to go to group training sessions twice a week for many years. I also played in their doubles leagues, and joined USTA to do so. Being a smart organization with 700,000 members, which are overwhelmingly league members, they have been trying to get me back ever since. Which is why I regularly receive both mail and email from them.
Is it cost effective? Of course it is; they are not idiots. I still get mail from many other organizations I used to belong to (and I bet you do as well), always encouraging me to rejoin or re-subscribe. Former members are probably the single best group of people to target when trying to increase membership. USATT should target this group.
USATT has a membership of around 8000 or so. (If you include life members who are no longer active or even alive, organizational memberships which were mostly given out for free, and club memberships, the number may shoot to something like 9000, but I don't have up-to-date figures, and USATT doesn't seem to publish them as they used to do.)
How many is 8000? Let's see:
It's one out of every 40,000 people in the U.S.
It's about one out of every 1900 recreational players in the U.S., according to surveys.
It's 1/90th the membership of USTA (tennis), even though throughout Europe and Asia the number of table tennis members is almost always higher than the number for tennis.
It's 1/250th the number of members of U.S. bowling leagues.
When you go to a baseball game, the average person pays nearly the same amount as the USATT annual fee of $49. Teams play 162 games per year, plus playoff, and yet average about 30,000 spectators per game. 8000 of them can fit in just one large section of the park.
It's a round-off error.
So how do we fix this problem? For years I've argued the obvious, that we should do what nearly every successful table tennis country does and what other successful sports in the U.S. do - focus on leagues and training centers. Setting up a nationwide system of regional leagues is about as obvious as you can get, if you any knowledge of how table tennis and other sports develop, but we haven't even begun to do such things. I've blogged about setting up these nationwide regional leagues many times; I just did a search of my blog entries, and here's one example. Bowling in the U.S. has about two million annual paid members in their bowling leagues; can you imagine how fast that would drop if they did what USATT does, and only had tournaments? The same is true of tennis, which focuses on leagues. Take away those tennis leagues, and their membership wouldn't be much higher than table tennis - it too would become a "round-off" error.
As to setting up training centers, the key there is to promote, recruit, and train coaches to be professional coaches who will set up such training centers. That's why I wrote the Professional Table Tennis Coaches Handbook. We've gone from 10 to 70 of these in eight years, but it's happened because coaches saw it as a way to make a living. Many of them copied the success of my club, MDTTC, which pioneered such a training center when it opened in 1992, with me, Cheng Yinghua, and Jack Huang as the coaches. (We now have seven full-time coaches and a number of part-time ones, and other centers have similar success.) While the focus of training centers tends to be junior programs, it's for all ages and levels. Guess what happens? Coaching turns recreational players who come and go into serious players who stay.
But USATT is a bureaucracy, where doing the obvious things is often difficult. No one seems to have the vision or will to do these things. I think many are scared of trying because if they failed, they'd be blamed. (Perhaps they should read the "Man in the Arena" quote by Teddy Roosevelt. Many leaders think they are in the arena because they deal with the day-to-day issues, mostly putting out fires, doing reports, answering email, and doing the daily running of a status quo sport, instead of actually going into the arena and striving to build the sport.)
I'll continue to argue for these obvious things. But perhaps it's also time for a one-time fix to increase membership. Here's a suggestion to any board members or staff who want to take initiative.
USATT has something like 50,000+ former members of USATT on the computer. That's a lot of mailing addresses just sitting there gathering computer dust. Why not do a one-time mass mailing to them all? Sure, it'd cost money, but takes money to make money, and you'd come out way ahead overall. Have it written by someone who knows how to write - for the love of God, do not have it written by a staffer without a strong writing background! Then have the letter come from a prominent U.S. table tennis star - a Dan Seemiller, Sean O'Neill, Jim Butler, or a Sweeris, for example, and include a picture. Have them personally invite these former members to rejoin USATT. Give specific reasons to rejoin. It's unfortunate we can't really offer them leagues as tennis can, and that we no longer offer the print magazine (!!!), but we can offer them tournaments, including the U.S. Open and Nationals. We can point out all the new full-time centers that have popped up.
As a side benefit, maybe, just maybe, as they create or think about this invitational letter, USATT leaders will realize that maybe, just maybe, we do need to think about what USATT really has to offer, and realize that we do, in fact, need that nationwide network of leagues and to start recruiting coaches to be full-time professional running junior and other training programs. These are the incentives you can use to attract members, and that's what we're aiming for, right? If you are aiming for Olympic medals and top players, then we have the same goals. Guess where they come from? Junior training centers. Guess where the money comes for USATT to develop them? Large members that come from leagues.
Multiball Training
Here's 25 sec of Stefan Fegerl doing multiball at the Werner Schlager Academy in Austria.
Slow Motion Table Tennis
Here's a video (4 min) of slow motion play of the top players. Great to watch and you can learn a lot from watching it this way.
Chinese National Team Show Up at Park
What would you do if you were playing Table Tennis at your local park and the Chinese National Team turned up to play? Here's the video (1:32)!
Wide Stance
I've written about using a wider stance, but this is ridiculous!
Energizer Battery Table Tennis Commercial
Here's the video (31 sec) - this is hilarious! It just came out this past weekend.
Chinese National Team at Park
Energizer Battery
Slow Motion TT
Stefan Fegerl
USATT Mass Mailing
Last Blog Until After the Teams
This will be my last blog until Monday. Tomorrow's Thanksgiving, so I'm taking the day off, and Fri-Sun I'll be coaching at the North American Teams in Washington DC. I'll have lots to write about when I return! Here's a picture of the facility as they are about to set up the tables.
Preparing for the Teams
This week I'm preparing players for the Teams. Compared to normal, that means fewer rote drills, and more random drills. I do a lot of multiball training, but the focus now is on random shots and simulating match play. We're also doing a lot of game-type drills, such as where the student serves backspin, I push back anywhere, he loops, and we play out the point. I'm also making sure they are ready to do the "little" things, such as pushing, blocking, and serving. And we play more games at the end of each session. There's also the psychological aspect. I keep reminding the players that they need to go into the tournament with their minds clear and ready to play. I also want to keep the sessions fun – I don't want the players too stressed out over getting ready for three days of almost non-stop competition. I want to see determination, but not grim determination.
USATT Magazine and Membership Rates
I blogged yesterday about the problem with USATT likely moving USATT Magazine in-house. A separate question that comes up periodically is whether it should continue as a print magazine or just go online. There's an easy solution: go online, with a print option. The editor simply does the magazine as if it's going to print, which means a PDF version. Then he puts the PDF version online, perhaps with a password required so only members can access it. Those who want a print version, such as myself, would pay extra – and with "print on demand" publishing, it's easy to send the PDF to the printer and print out only as many copies as needed. This is an obvious solution I've pointed out over the years.
The real question is whether current members who are already paying $49/year (too much) should pay still more for the print version, or whether those choosing not to receive the print version should get a discount. I'm for the latter. We keep raising our membership rates and keep wondering why membership stays stagnant; gee, I wonder why? I remember a while back when USATT raised the annual rate in one year from $25 to $40 – and they budgeted as if membership would stay constant! At the time membership had reached 8800. I got into a heated debate with the entire room – all 13 board members – both on the silliness of constantly raising the rates while simultaneously trying to find ways to increase membership, and on the even further silliness of expecting membership to stay constant. All 13 believed raising the rate would have little effect on membership numbers, with one of them explaining to me, "If they're willing to pay $25, they're willing to pay $40." I pointed out that based on that logic, every item in a store that costs $25 should cost $40 (and the logic really applies to all items), but I was told I was wrong. I'm just a coach and a writer, so what do I know about business?
One year later membership had dropped to 7000, and the USATT board spent a marathon session cutting everything since they had budgeted for 8800 members. I was in the room snickering as they did this. And you wonder why I can never convince USATT to do the obvious stuff, not to mention the more difficult things? Maybe if I'd worn a tie at that meeting instead of a warm-up suit I could have been more convincing. (I'm told that, after a decade of slowly recovering, membership is again now close to 9000 or so, though I haven't seen any membership reports anywhere. I'm guessing at any time the rates will go up again, and we'll see another big drop. Alas.)
USATT Tips of the Day
Below are the USATT Tips of the Day since last Friday. These are from the 171 Tips of the Week I did for them from 1999-2003 as "Dr. Ping-Pong." (Click on link for complete tip.)
Nov 26, 2013 Tip of the Day - Inside-Out Forehand Floppy Wrist Flip
When an opponent serves short to the forehand, many players reach in and return it with a nearly stiff wrist, and invariably go crosscourt with a forehand flip.
Nov 25, 2013 Tip of the Day - Back Up Slightly When Opponent Backs Up
Suppose you've hit a quick, hard shot, and your opponent has moved five feet back to return the ball with a counterdrive or soft topspin.
Nov 24, 2013 Tip of the Day - Aim One Way, Go the Other
Many players develop strong rally shots. However, they are often very, very predictable. An opponent can anticipate where each ball is going early in your stroke, and so always has lots of time to get to the ball.
Nov 23, 2013 Tip of the Day - Go Down the Line From Wide Forehand
When an opponent goes to your wide forehand, they give you an extreme angle into their wide forehand.
ITTF Coaching Course in Singapore
Here's the ITTF article on the ITTF Level 1 Course that was just taught in Singapore by USA's Richard McAfee. (I linked to the photos yesterday.)
Best of the Chinese Super League
Here's the video (7:31).
Xu Xin on the Mini-Table (and an Interview)
Here's the video (4:18) of world #1 Xu Xin of China versus TableTennisDaily's Dan, on a mini-table with over-sized rackets! (And yes, Xu the penholder is playing shakehands here.) And for the more serious-minded, here's Dan's interview with Xu.
Little Girl Phenom
Here's video (21 sec) of a girl, maybe five years old, drilling at a rather high level – watch out China! I believe she's from the Mideast; can anyone translate what the comments say?
Ma Long's Amazing Shots
Here's the video (42 sec), with four Chinese players all counterlooping crosscourt, including Ma Long (near right) with Wang Liqin. Watch what happens right after 30 sec. First, Ma Long does a rather interesting forehand sidespin chop-block. Then he switches hands and counterloops the other two player's ball.
Ping-Pong Trick Shots
Here's the video (1:57) of someone with a series of great trick shots! I especially like the very last one, where he's rallying with a girl with two balls, but catching each of her returns and quickly feeding it to continue. I may try that out in my coaching sessions today.
Happy First Birthday to Uberpong
Here's their birthday cake!
How to Make a Ping-Pong Ball Turkey
Here's the article!
Girl Phenom
Ping-Pong Ball Turkey
Richard McAfee
Uberpong Birthday Cake
USATT Magazine
USATT Tips
Xu Xin


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Meeting Coverage > AAN
Antidepressants May Help Cut Seizures
by Ed Susman, Contributing Writer, MedPage Today April 30, 2012
NEW ORLEANS -- Patients with epilepsy who experience more than one seizure a month appear to achieve a reduction in seizure activity when treated with antidepressants, researchers reported here.
In a retrospective study, 26.6% of 45 such patients given an antidepressant in addition to their anti-epileptic regimen achieved a reduction in seizure frequency, according to Ramses Ribot, MD, a resident in neurology at Rush University Medical Center in Chicago.
This study was published as an abstract and presented at a conference. These data and conclusions should be considered to be preliminary until published in a peer-reviewed journal.
This retrospective observational study suggests that the use of SSRIs and SNRIs is safe in patients with epilepsy and may possibly decrease seizure frequency in those with more than one seizure per month.
The 44 patients who had less than one seizure a month were not helped by the addition of antidepressants, Ribot told MedPage Today at his poster presentation at the American Academy of Neurology meeting.
"Depression is the most common psychiatric co-morbidity in patients with epilepsy with a lifetime prevalence of 30%," he explained. But because there have been concerns that antidepressants might worsen seizure activity, depression has been undertreated in these patients.
So, he and his colleagues decided to look at the impact taking the antidepressants had on seizure activity.
"There was no increase in seizure frequency among patients with greater than or equal to one seizure per month while on antidepressant treatment," Ribot concluded from his study of 100 consecutive epilepsy patients treated with selective serotonin reuptake inhibitors (SSRIs) or serotonin-norepinephrine reuptake inhibitors (SNRIs) for depression or anxiety disorders.
"We think this study shows that SSRIs and SNRIs are safe in patients with epilepsy," the researchers concluded. "The improvement in patients with more frequent seizure history may support data suggesting these medications could decrease seizure frequency."
"I am not sure we understand how all these anti-epileptic drugs work and we really aren't certain how antidepressants work either," said Allison Brashear, MD, chair of neurology at Wake Forest Baptist Medical Center in Winston-Salem, N.C. "There is a lot of overlap between these drugs with neurotransmitters and the effects they have on the brain. I can anticipate that there possibly is some crossover between those medications on the ways they impact neural systems. Both types of drugs are believed to work on neurotransmitters so there is a likelihood that there is an overlap between them in some patients.
"This would be an area worth pursuing," Brashear, a spokesperson for the American Academy of Neurology, told MedPage Today. "Understanding how these medications affect neural systems is very important."
In their exploratory study, Ribot and colleagues analyzed the patients' medical records 6 months prior to the introduction of antidepressant medication and at 3 and 6 months after treatment was initiated. All the patients in the study remained on antidepressant medication for at least 6 months. Due to changes in anti-epileptic medication, 16 of the patients in the study were not evaluated.
That left 84 patients who were stratified on the basis of seizure frequency. Although the 44 who had fewer than one seizure a month did not see a decrease in seizure activity, neither did they experience an increase in seizures.
Ribot had no disclosures.
Brashear disclosed commercial interests with Allergan, Merz Pharma, and Ipsen.
American Academy of Neurology
Source Reference: Ribot R, et al "Do antidepressant medications have antiepileptic properties?" AAN 2012; Abstract P06.099.

redpajama_set_name: RedPajamaCommonCrawl


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Filter: 2016 Season
Thea Moore
2016 Season, 2018 Season
CHRISTIANNE RUSHTON
Mezzo-soprano Christianne Rushton has delighted audiences with her engaging presence and versatility on both the operatic and concert stages. Dr. Rushton is a first prize winner of the Canadian National Music Festival, a prize winner at the prestigious Eckhardt-Gramatté Competition, a two-time grant recipient from the Canada Council for the Performing Arts, and a winner of the Canada Council's Bernard Diamant Prize in Voice. In recital, she has been a guest artist for the Royal Society of Canada, toured with Debut Atlantic, performed at the Indian River Festival, recorded with the Canadian Chamber Choir, sung with Baltimore Musicales and debuted at New York's Alice Tully Hall. Highlights of Christianne's numerous operatic roles have included Orpheus in Orpheus ed Euridice (Opera Nova Scotia), the title role in Ravel's L'Enfant et les Sortilèges (Juilliard Opera Center), Cherubino in Mozart's Le Nozze di Figaro (Opera North), and Filotete in the North American premiere and Italian revival (Spoleto) of Handel's Oreste (Juilliard Opera Center). Christianne is Associate Professor at Acadia University where she is head of vocal studies and Director of the School of Music. She is a graduate of the Juilliard Opera Center at The Juilliard School and completed her Doctor of Musical Arts degree from SUNY Stony Brook. She recently received an Emerging Leader Award, from the National Association of Teachers of Singing (NATS) for her innovation and success teaching voice. Dr. Rushton is President of two arts organizations on the East Coast; President of the Canadian Atlantic Provinces chapter of NATS, and the President of the Nova Scotia Federation of Provincial Music Festivals. As well as being active as an adjudicator, pedagogue, workshop clinician and performer across the country, she is a proud mom to two very busy boys, nine and six.
Tagged: Mezzo-Soprano
2016 Season, 2017 Season, 2018 Season, 2019 Season
JOSÉ SACIN
Known for his expressive voice of "liquid gold" and the "stage presence of a lion" Peruvian native José Sacin is considered one of the leading South American baritones of our time. He has performed and collaborated with the foremost figures of the opera and music world today including a nationally televised performance for Pope Benedict XVI alongside Placido Domingo at Nationals Stadium in Washington, DC; with Gregory Buchalter of the Metropolitan Opera; the Chilean soprano Veronica Villaroel; American soprano Alessandra Marc, Enrique Ricci and Will Crutchfield. He performed the world premiere of selected passages from the newly discovered version of Verdi's La Forza del Destino with Philip Gossett at the Caramoor International Festival. He has worked with the Washington National Opera, Opera de Lima, Opera Delaware, Baltimore Opera, Opera Camerata of Washington, Caramoor Opera Festival, Opera North, Choral Arts Society of Washington, Mediterranean Opera Studio, Maryland Opera Society, In Series, Opera New Hampshire, Opera NOVA, among others. Main roles include the title roles of Rigoletto, Macbeth, Gianni Schicchi and Don Giovanni, Germont (La Traviata), Tonio (Pagliacci), Alfio (Cavalleria), Figaro (Barber of Seville), Count Almaviva (Le Nozze di Figaro) and Rodrigo (Don Carlo). Sacin has extensive appearances in Spanish Zarzuelas like El Barberillo de Lavapies, Los Gavilanes, Luisa Fernanda, La Tabernera del Puerto, El Duo de la Africana and Bohemios.
Tagged: Baritone
PATRICK COOK
Described by the Washington Post as "imposing and promising," tenor Patrick Cook is earning praise for his performances across the country in venues including The Kennedy Center and Carnegie Hall. Cook recently debuted with the Baltimore Symphony Orchestra under the baton of Marin Alsop in a production of Bernstein's Candide. He has performed with opera companies throughout the Mid-Atlantic region including Annapolis Opera, Wolf Trap Opera, Washington Concert Opera, and Washington National Opera. Cook appears regularly as a concert soloist performing with the Annapolis Symphony Orchestra, Metropolitan Philharmonic, The Washington Chorus and the DC Wagner Society. A 2011 and 2010 DC District Winner of the Metropolitan Opera National Council Auditions, he can be heard on the American Symphony Orchestra's recording of Meyerbeer's Les Huguenots as Bois-Rosé. Cook holds advanced degrees from the University of Maryland, Bard Conservatory, and The Juilliard School. Cook teaches voice at Towson University and Northern Virginia Community College.
Tagged: Tenor
JU YOUNG LEE
Pianist Ju Young Lee performs actively as collaborative artist. In 2013, Lee was the finalist in the Liszt Garrison Competition as a Collaborative Artist and also received the Best Interpretation Award of American songs. As an assistant coach, she accompanied and coached for Hansel and Gretel, Cendrillon, Die Entführung aus dem Serail, Street Scene, and Così fan tutte, productions of the Peabody Opera Department. Lee completed a Master of Music degree and a Graduate Performance Diploma in vocal accompanying with a full tuition scholarship as a Graduate Assistantship in Peabody Opera Department at the Peabody Institute of Johns Hopkins University, where she studied with Eileen Cornett. Currently, she is a rehearsal pianist at Lyric Opera Baltimore.
Tagged: Pianist
ALEXIS MESCHTER
Award-winning violinist Alexis Meschter performs as soloist and chamber musician in the U.S. and in Europe. This season, Alexis was the winner of the William Marbury Competition at the Peabody Institute of the Johns Hopkins University as well as the first prize winner of the LISMA Foundation International Competition on Long Island, NY. He has studied and performed at the Summit Music Festival in Purchase, NY, Casalmaggiore International Music Festival in Italy, and the National Symphony Orchestra Summer Music Institute in Washington, DC. In past seasons, he has appeared with the Newark Symphony Orchestra and the Wilmington Community Orchestra. He is enrolled at the Peabody Conservatory in Baltimore and studies with the renowned Russian violinist and teacher Victor Danchenko.
Tagged: Violinist
KATERINA BURTON
Katerina Burton, soprano, has been praised for her "distinctly rich tones" and for her versatility in the art song and operatic repertoire. Ms. Burton was most recently seen as Lola Markham in Towson University's production of Gallantry and as the Fairy Godmother at Annapolis Opera in Cinderella: A Children's Opera, a collaboration with Towson's "Opera in a Can" program. Other roles include the title character of Suor Angelica at Towson and the role of Erste Dame in Towson's 2014 production of Mozart's Die Zauberflöte. Ms. Burton is a frequent competitor and was most recently awarded 3rd prize in Annapolis Opera's 29th Annual Vocal competition and won 1st place in the Shirley Rabb Winston Voice Competition for the D.C. Chapter of the National Society of Arts and Letters. In 2015, she was a recipient of the Metropolitan Opera National Council Auditions Encouragement Award for the Mid-Atlantic Region. Ms. Burton is also a first place winner in the 2017 NATS Maryland/D.C. District competition. She recently graduated from Towson University where she earned her Bachelor of Music in Vocal Performance, and she will be attending The Juilliard School in the fall.
Mezzo-soprano Christine Thomas has performed everything from the motets of J.S. Bach to the melodies of Irving Berlin to the minimalism of Philip Glass. The Milwaukee Journal-Sentinel called her voice "an amazing instrument." The Washington Post said, "her voice is lovely and her stage presence is natural and full of vitality." Recent performances include Marcellina in Le nozze di Figaro, Mrs. Paroo in Music Man and Mother Abbess in Sound of Music. In October 2015, she made her NYC debut in scenes from On The Town, Candide and Wonderful Town in a tribute concert entitled Bernstein Remembered. She is an alto soloist at Cathedral of Mary our Queen and at Temple Oheb Shalom in Baltimore. On recordings, Ms. Thomas may be heard on Mark Brymer's "Christmas Suite" with Milwaukee Children' s Choir, "Flight Box" with Present Music, "Cinq Poèmes de Tristan Tzara" with pianist Milton Peckarsky on the CD La Clé de L'Horizon and on comedian/singer Joel Kopischke's CD, I Got Yule, Babe. Ms. Thomas received an M.M. in vocal performance from the Peabody Conservatory. She is on the voice faculty at Howard Community College and Oldfields School and teaches privately at her home in Roland Park.
ELIZABETH SARIAN
Elizabeth Sarian, mezzo-soprano, is known for her unique vocal timbre, sensitive artistry, and refreshing sense of humor. She is currently a Master's student studying at Peabody Conservatory of the Johns Hopkins University. Originally from Long Island, New York, Elizabeth is a recent graduate of Hofstra University, where she earned her B.S. in Music Performance. In November of 2015, Elizabeth was seen performing the role of Mae Jones in Peabody Opera's production of Street Scene at the Modell Performing Arts Center at the Lyric in Baltimore. Elizabeth is also singing the role of 3rd lady in Peabody's Outreach production of Magic Flute, Papageno! Previous opera credits include the Sorceress in Purcell's Dido and Aeneas, Mathurine in Gluck's L'ivrogne corrige, Marie in Schubert's Die Verschworenen, and Melissa in Gilbert and Sullivan's Princess Ida. Elizabeth has also studied at several summer festivals such as the Westchester Summer Vocal Institute, Oyster Bay Music Festival, and mostly recently, Songfest, where Elizabeth performed in master classes with renowned artists John Aler, Susanne Mentzer, and Ann Murray.
2016 Season, 2017 Season, 2018 Season
JOSEPH REGAN
Joseph Regan is a successful singer and voice teacher based in the Mid-Atlantic region making appearances throughout the east coast. A specialist in French Mélodie, Mr. Regan is a deft interpreter of this exquisite art form and is frequently engaged around the region to perform in this capacity. Joseph can be seen on the opera stage where he has performed the roles of Fenton from Verdi's Falstaff, Tamino from Mozart's Magic Flute, Jenik from Smetana's Bartered Bride and many more. Mr. Regan is also an accomplished performer of musical theatre. He has performed Henrik in Sondheim's A Little Night Music, Nicely-Nicely Johnson from Loesser's Guys and Dolls, and has performed a number of cabaret and recital programs dedicated to the style. Additionally, Mr. Regan is well known for his work in the field of oratorio. He has sung Handel, Haydn, Mendelssohn, Mozart, Rossini, and is particularly notable for his expertise singing Bach. He has performed the St. John Passion solos on multiple occasions and has performed more than a dozen of Bach's Cantatas. Mr. Regan is also a highly sought after ensemble singer and sings regularly with top choral groups in the region, with whom he has toured much of the Eastern seaboard.
DARYL YODER
Virginia-born bass-baritone Daryl Yoder was raised in southern Africa and received hismusical training at the Oberlin Conservatory and Boston University. Highlights of recent seasons include concert appearances with the baroque ensemble Three Notch'd Road at Shenandoah University's Bach-Handel Festival, Monteverdi's Vespers of 1610 with Third Practice, Membra Jesu Nostri of Buxtehude at Emmanuel Church in Baltimore, and the D.C. premiere of Louis Andriessen's opera/oratorio La Commedia with the Great Noise Ensemble. On the opera stage, he debuted with Bel Cantanti Opera as Elviro in Serse (Handel) and returned to Opera Lancaster's production of Amahl and the Night Visitors for a second season as Balthazar. This past spring he created the role of Frank Spearman in Frances Pollock's acclaimed new opera Stinney. He has also been seen as Dulcamara (L'elisir d'amore), Tevye (Fiddler on the Roof), Micha (The Bartered Bride), Betto (Gianni Schicchi), and Daniel Webster (The Mother of Us All) in addition to roles in The Marriage of Figaro, The Barber of Seville, La Clemenza di Tito, H.M.S. Pinafore, The Mikado and more. His concert performances include the solos in the Requiems of Mozart, Brahms, Fauré and Duruflé, Handel's Messiah, Haydn's Creation, Rossini's Petite Messe Solennelle as well as many smaller works. A lover of art song, his recital programs range from the great cycles of Schubert and Schumann to Chabrier, Finzi and Mussorgsky.
Tagged: Bass-Baritone
GEORGE WILKERSON, JR.
Tenor George Wilkerson, Jr. hails from Wilmington, Delaware and was born into a large family of jazz musicians. While singing has always been an important part of his life, he was initially trained as a percussionist. It was during his undergraduate studies that he began concentrating on voice performance. He has extensive experience in opera and musical theater; most notably, performing the roles of Beppe in I Pagliacci, Alfred in Die Fledermaus, Tamino in Die Zauberflöte, Bill in A Hand of Bridge, Professor Bhaer in Little Women: The Musical, Chauvelin in The Scarlet Pimpernel, and Jake in Side Show. In addition to being a performer, Mr. Wilkerson thoroughly enjoys his careers as a voice teacher, conductor, and director and has taught band, choir, applied voice, and drama for over ten years. He holds the Bachelor of Science degree in Music Education from West Chester University of Pennsylvania and the Master of Arts degree in Music (Voice) from Morgan State University. He is currently pursuing the Doctor of Musical Arts degree in Voice Performance from the Shenandoah Conservatory at Shenandoah University in Winchester, Virginia under the tutelage of Dr. Byron Jones.
JESSICA SATAVA
"Soprano Jessica Satava lent great beauty and intensity of feeling to her performance." (The Baltimore Sun, 2015) Ms. Satava has appeared as both Lauretta and Nella in Gianni Schicchi, La Contessa in Le nozze di Figaro, Musetta in La bohème, Donna Elvira in Don Giovanni, Inez in Il Trovatore, Voce dal Cielo in Don Carlo, Julie in Carousel, Laurey in Oklahoma!, Polly in The Threepenny Opera, and as Mimí and Micaëla in concert performances of La bohème and Carmen. She has appeared with orchestra as the soprano soloist in Górecki's Symphony No. 3, Rutter's Requiem, Vaughan Williams' Dona nobis pacem, Brahms' Ein Deutches Requiem, Schubert's Mass in G, Bruckner's Te Deum, Handel's Messiah, Saint-Saëns' Oratorio de Noël, Dvořák's Stabat Mater, Mozart's Requiem and Bach's St. John Passion, Mass in B minor and Wie schön leuchtet der Morgenstern, BWV 1, and Meine Seel erhebt den Herren, BWV 10. The 2017-18 season will include a return to the soprano solos in Brahms' Ein Deutches Requiem for both LiveArts MD and the Maryland Choral Society, Bach's Mass in B minor, and Beethoven's Choral Fantasy with her husband Joseph Satava as piano soloist with The Annapolis Chorale and Chamber Orchestra.
ROB MCGINNESS
Baritone Rob McGinness has been praised by the Baltimore Sun for his "impressive singing . . . well-supported tone and supple phrasing." This season Rob is looking forward to both his Kennedy Center and Carnegie Hall solo debuts. His season will also include performances with New York's PROTOTYPE Festival, the Maryland Symphony Orchestra, and Washington National Opera. Often featured portraying opera's "bad boy," Rob's operatic credits include the title roles in Eugene Onegin and Don Giovanni, as well as Marcello in La bohème. He has also sung Enrico in Lucia, Count Almaviva in Le nozze di Figaro, and Eisenstein in Die Fledermaus, a performance lauded for a "bright baritone and winning jitteriness" by the Cleveland Plain Dealer. As a featured soloist, Rob has performed Mahler's Songs of a Wayfarer, the Duruflé Requiem with the Peabody Symphony Orchestra, and the Brahms Requiem with Portsmouth Pro Musica. Other concert credits include Carmina Burana with Columbia Pro Cantare and Schubert's Mass in G with Concert Artists of Baltimore, where Rob's performance was lauded by the Baltimore Sun's Tim Smith for its "poetic warmth." Next season Rob is thrilled to be joining Marion Roose Pullin Arizona Opera Studio, performing multiple roles including Schaunard in La bohème and Harlekin in Ariadne auf Naxos.
JARROD LEE
Bass-baritone Jarrod Lee, native of Sylacauga, Alabama, has received rave reviews from D.C. Metro Theater Arts, Opera News, and The Washington Post. This summer, Jarrod made his European debut in concert with the American Institute of Musical Studies in Graz, Austria. Upcoming performances include Amazing Grace concert presented by Annapolis Opera. Past performances include: The Baron, a Judge, and Señor in Candide with the Washington National Opera, Bailli in Werther with Opera Delaware, Sacristan in Tosca with the Maryland Symphony Orchestra, Bonze in Madama Butterfly with Annapolis Opera, Loud Speaker in Emperor of Atlantis with the In Series, Benoit and Alcindoro in La bohème with the Aspen Music Festival, Paulus and Hlabeni in Lost in the Stars with the Washington National Opera. Jarrod is a 2018 winner of the Annapolis Opera Vocal Competition, a semifinalist in the Meistersinger Vocal Competition in Austria, and a 2016 Finalist in the Harlem Opera Theater Vocal Competition. In 2013 Jarrod participated in Renée Fleming's American Voices at the Kennedy Center for the Performing Arts. As a soloist, Jarrod has performed for President Barack Obama during his visit to Metropolitan A.M.E Church, D.C. In newer works, Jarrod premiered the role of Joe Louis in Shadowboxer: An opera based on the life of Joe Louis by Frank Proto with Maryland Opera Studio, and Jarrod was featured with pianist Dana Kristina-Joi Morgan for In the Smoke of the Sting by Tom Minter, commissioned by Washington National Opera.
ANNIE GILL
Praised for "astounding technical vocal ability, solid song interpretation and stage presence," soprano Annie Gill continues to gain recognition as a distinctive emerging artist. Particularly excelling in the repertoire of Mozart and Puccini, Ms. Gill has been commended for having "a glorious voice–opulent from top to bottom" and possessing an extensive variety of vocal colors. Recently, Ms. Gill performed the role of Mabel in The Pirates of Penzance with Opera Camerata of Washington at the Ambassador of the United Kingdom's Residence in Washington, DC. Earlier in 2017, she sang the role of The Mother in Amahl and the Night Visitors with Opera AACC and the Maryland Concert Society. In 2016, she performed the roles of Lauretta in Gianni Schicchi with Opera Camerata of Washington and Serpina in The In Series' production of La Serva Padrona, receiving enthusiastic reviews for handling "the rollercoaster range from high to low of Pergolesi's score with aplomb." Other roles include the title roles in Madama Butterfly, Suor Angelica, and Massenet's Manon, La Contessa (Le nozze di Figaro), Micaëla in Carmen, Fiordiligi (Così fan tutte), Nedda (Pagliacci), Rosalinde (Die Fledermaus), Mimì and Musetta (La bohème), Donna Anna and Donna Elvira (Don Giovanni), and Pamina (The Magic Flute). In addition to her classical singing career, Ms. Gill is a voice-over artist and acts in commercials and television, notably appearing
as the "Opera Singer" in the Season 2 Finale of House of Cards.
CLAIRE GALLOWAY
British-American soprano Claire Galloway's theatricality covers the gamut of "palpable pain" and "splendid, funny moments" (B.I.T.R.). She has performed such roles as Dinah in Bernstein's Trouble in Tahiti, Contessa in Le Nozze di Figaro, and Donna Elvira in Don Giovanni. She has also premiered roles in Jonathan Dove's Mansfield Park and Frances Pollock's award-winning opera Stinney, seen in the 2019 Prototype Festival. In past seasons, Ms. Galloway has performed with Baltimore Concert Opera, the Savannah Voice Festival, Bel Cantanti Opera, and Stillpointe Theatre. This summer she will sing Vitellia in Mozart's La Clemenza di Tito and Blanche in Poulenc's Les Dialogues des Carmélites. This season she joined Baltimore Musicales in presenting a recital based on the life of Rosa Ponselle at the elegant George Peabody Library. Ms. Galloway is curator of the related exhibit of Ponselle's own piano, gowns, and photographs at the Peabody Institute, where she currently teaches. An avid recitalist, Ms. Galloway's innovative programing has resulted in the best attended concert event at the Baltimore War Memorial Arts Initiative in past seasons. A frequent soloist with Concert Artists of Baltimore, Ms. Galloway has also performed concert and oratorio works with Bach in Baltimore, the American Symphony Orchestra, and the Peabody Concert Orchestra.
2015 Season, 2014 Season, 2016 Season, 2017 Season, 2018 Season, 2019 Season
PATRICIA MCKEWEN AMATO
Patricia McKewen Amato's extensive operatic experience includes duties as conductor, coach, and accompanist at the AIMS Institute in Graz, Austria, Brevard Music Festival, Aspen Music Festival, Peabody Institute, Cumberland Valley Chamber Orchestra, and the Young Victorian Theatre. She served as assistant music director of the Baltimore Opera Company and music director of its touring company; music director/conductor for Annapolis Opera, Maryland Lyric Opera, Brevard Music Festival, Opera Americana, Washington Savoyards, Peabody Institute of Johns Hopkins University, and Rep Stage; and assistant conductor/chorus master for Washington Summer Opera and Opera AACC. A versatile pianist, Ms. Amato frequently performs with the Children's Chorus of Maryland, Annapolis Opera, Annapolis Chorale, Baltimore Choral Arts, Baltimore Symphony, Maryland Symphony, Baltimore Opera, Prince George's Opera and Philharmonic, Chesapeake Chamber Opera, and Metropolitan Opera regional competitions. She is a coach/accompanist and assistant music director of Music for the Stage at Towson University. She holds a BM from the Catholic University of America (magna cum laude), a MM from the University of Houston (magna cum laude), and certificates in lieder, opera, and chamber music from The American Institute of Musical Studies in Graz, Austria.
JOSEPH SATAVA
Pianist Joseph Satava has a diverse repertoire with performances spanning the standard repertoire, chamber music, and works just composed. Dr. Satava has collaborated with orchestras and conductors and performed at festivals across Europe, Canada, and the U.S. His performances have included appearances with the South Bend Symphony Orchestra, the Jefferson Symphony Orchestra, the Millennium Orchestra, the Susquehanna Symphony Orchestra, the Aspen Summer Music Festival, the Kneisel Hall Chamber Music Festival, Music Academy of the West, the American Conservatory of Fontainbleau, France, and the Banff Centre. Dr. Satava has appeared in Alice Tully Hall as part of the Focus! Festival for Contemporary Music and at Merkin Hall in New York City. In 2011, he received the Maryland State Arts Council Individual Artist Award in Classical Music Solo Performance, and was named a finalist in The American Prize for Piano. He has taken prizes in the Bradshaw and Buono International Piano Competition, the Miecyslaw Munz Piano Competition, the Jefferson Symphony Orchestra Concerto Competition, the Peggy and Yale Gordon Piano competition, and was named a Promising Young Artist by the National Society of Arts and Letters. Dr. Satava received his DMA from the Peabody Conservatory, a master's degree from the Juilliard School and a bachelor's degree from the Peabody Conservatory.
ANDREW MARINO
Guitarist and teacher Andrew Marino has performed throughout his native New York State, Maryland, and beyond as a soloist and in chamber groups. Andrew is a top prizewinner in several competitions, including the Crane School of Music Chamber Music Competition and Appalachian State University's GuitarFest Competition. He has also participated in master classes with prominent guitarists Benjamin Verdery, Johannes Möller, Stephen Aron, Stanley Yates and Jason Vieaux. Andrew is currently on the faculty of both the International School of Music in Bethesda, MD and Cockeysville Music Education Center in Cockeysville, MD. He teaches a variety of musical styles to students ranging in age from pre-school to adult. In addition to his studio teaching Andrew teaches the Guitar Methods course to Music Education majors at the Peabody Conservatory. Andrew holds the degree of Master of Music in Guitar Performance/Pedagogy from the Peabody Conservatory. He graduated summa cum laude from the Crane School of Music of the State University of New York at Potsdam, where he earned a Bachelor of Music in Guitar Performance. He is currently enrolled in the Doctor of Musical Arts program at the Peabody Conservatory, where he is a full-time graduate assistant.
Tagged: Guitarist


text:
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TWC Journal
Title Hell
by TWC Director Michelle Cameron
This is one of a continuing series as TWC Director Michelle Cameron goes through the publishing process with hybrid publisher, She Writes Press.
When Brooke Warner, publisher of She Writes Press, said these dreadful words during an author call, my blood froze. "We'll be talking to some of you about changing your book title."
Oh, hello, Title Hell. You write a book with a specific title in mind, and then someone comes along and says you need to change it.
I certainly experienced it with my first historical novel, The Fruit of Her Hands. My original title was admittedly lame: Daughter of Faith. My agent at the time wanted me to change it before sending it out to editors. I made lists, grimacing as I jotted down bad title after bad title. I solicited the help of friends – fellow writers and others. Nothing seemed to work.
Finally, I considered how many of my favorite books were named for the main character. Jane Eyre. Emma. The Great Gatsby. My heroine's name was Shira, and she was from an area of France and Germany that Jewish residents then called Ashkenaz. So Shira of Ashkenaz because the novel's title – one I actually liked.
But then the book sold. And lo and behold, the first conversation I had with my editor was: "We love what you've done with the chapter headings, including a quote from the Bible or the Talmud. Do something like that for the title."
Back to Title Hell. I'd done significant research in pairing the chapters with the right quotation – phrases that would resonate with that piece of plot. It was harder when I tried to encapsulate the entire book – one that spanned a lifetime – with a single title.
I turned to that old standby, Proverbs 31, which a husband is supposed to recite to his wife every Friday evening. This is where the term "Woman of Valor" comes from, and I spent about three minutes considering that for the novel. But it was too trite, too expected, too overused. So I went further into the verse and found my title in the proverb's last two lines: "Give her of the fruit of her hands, / And let her own works praise her in the gates." I didn't want to lose my hard-won "Shira of Ashkenaz," so the final title became: The Fruit of Her Hands: the story of Shira of Ashkenaz.
All good, right? Well, no. My editor was delighted, the publishing team was delighted, but none of us realized that the term "the fruit of her hands" is a talisman in the fundamental Christian community, signifying a woman who glories in being subservient to her husband. Which was neither my intent nor emblematic of my character's personality. Had I known this at the time, of course I would have chosen another title.
I'm not the only author who has had to endure Title Hell. TWC Founder/Director Judith Lindbergh's working title for her Viking Age Greenland novel was Bibrau's Saga, after the naming convention for traditional Viking sagas. When her publisher said, "No one's going to know who or what 'Bibrau' is," she provided a list of almost fifty additional options. They chose The Thrall's Tale, which she's not even sure was on her list. She argued that 1) no one knows what a "thrall" is either, and 2) it doesn't exactly trip off the tongue. But when you publish with a traditional press, they have final say. So it remained The Thrall's Tale. ("And that's nothing compared with my paperback cover debacle," Judith says. But that's a story for another time.)
Fast forward to my current book. Back when I was writing a trilogy – a first book set during the French Revolution, this one during Napoleon's Italian campaign, and a third (now being researched) when Napoleon took his troops to Egypt and Israel, I decided to be clever and take my titles from Dicken's famed opening to A Tale of Two Cities. The first title would be Season of Light, this one Spring of Hope, and the third Direct to Heaven.
But the first book was shelved for good and proper reasons, which meant that calling this novel Spring of Hope ultimately didn't make sense, didn't convey what the book was about, and didn't work for my new agent.
In fact, it was my agent who came up with the next candidate. She found an amazing quote by Bonaparte that fit the book incredibly well: "There are only two forces in the world, the sword and the spirit. In the long run the sword will always be conquered by the spirit." So she proposed I call the novel Sword and Spirit – insisted on it, in fact.
I loved the quote, hated the title: too fantasy-esque, it didn't convey the spirit (ha!) of the novel. But she felt it would help sell the book. When it didn't, I engaged a professional editor who agreed that the title wasn't working. She gave me the same advice I received from the editor of The Fruit of Her Hands – consider something spiritual, something from the Bible.
Ugh. I went back to my biblical resources and did my best. And what I came up with – paraphrasing Song of Songs 8:6: "Set me as a seal upon your heart" became A Seal Upon Her Heart. I didn't love it, but both agent and editor felt it worked.
So how did I end up with Beyond the Ghetto Gates? Well, when my agent couldn't sell the novel, and I decided to publish with She Writes Press, I reconsidered the title. And I started to think – what is the novel all about? It's about the tug of war of religion vs. assimilation, choosing between love or duty. My heroine is locked behind gates nightly until Bonaparte comes along and destroys them. I particularly liked the ambiguity of the term "beyond" with its Janus implications of referring to either inside or outside the actual ghetto.
Back to my frozen reaction to Brooke's assurance that they would probably ask about a third of our Spring 2020 cohort to change our titles. My own came up during the discussion of my cover design: it needed to convey that sense of ghetto or else the title wouldn't work. Luckily, it did and I was saved from another descent into Title Hell.
Titles are hard and getting them right is harder. You want simultaneously to intrigue a prospective reader while still managing to convey what the book is about. The title needs to feel natural, because you don't want to stumble over it every time someone asks you to describe the novel. And of course, it needs to work hand-in-hand with your cover.
So, fellow writers – those of you trusting that your working title will be your last – don't grow overly attached. Title Hell may very well await you.
Shouting in a Crowd
Written in support of Stuart Lutz, The Last Leaf: Voices of History's Last-Known Survivors, Stephanie Cowell, Claude & Camille: A Novel of Monet, and all my other friends who have, will, or long to be published. What's it like to be an author today? To […]
by Judith Lindbergh
At the Beginning – Again
Walking through fog. With the headlamp on. Low. Paraphrasing a quote from E.L. Doctorow. This is what it's like to write a novel. I keep telling myself that as I move forward, ever so slowly. These first infantile steps, as if I've never taken them […]
Publishing Trends and Why My Book Didn't Sell to the Big Five
Inward and Outward – Striving for a Creative Life in an Attention-Driven World
By Michelle Cameron
The Enchanted Writing Forest: TWC's Spring 2019 Retreat
By TWCwordpress
The Writers Circle Celebrates Poetry Month
How to Be a Good Literary Citizen
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Summit: MONDO
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Copyright © 2019 The Writers Circle, LLC


text:
Муртаза-хан (? — 1514) — хан Великої Орди у 1486—1491 і 1494 роках, астраханський хан у 1480—1482 роках, тюменський хан у 1495—1514 роках.

Життєпис
Син Ахмата, хана Великої Орди. Дата народження невідома. 1480 року його батько повалив астраханського хана Касима I, поставивши на трон Хаджи-Тархана Муртазу. Після загибелі Ахмат-хана у 1481 році Муртаза зміг втриматися при владу десь до 1482 року. Був вигнаний у степ разом з іншим зведеним братом Саїд-Ахмадом II ьа ногайський бієм Тимуром. З ними перебрався до Кримського ханства, де хан Менґлі I Ґерай прийняв втікачів, але ставився до них як до почесних бранців, ніж до гостей або союзників.

1485 року під час нападу на Крим Саїд-Ахмад II (на той час втік відк римського хана) звільнив Муртазу. Брати сплюндрували Ескі-Кирим і намагалися захопити Кафу, де перебувала османська залога (в цьому вони продовжили політику батька). Не досягнувши особливих успіхів, під час відступу з Криму вони були атаковані Менґлі I Ґераєм, який уже встиг зібрати військо, відбивши в Саїд-Ахмада II і Муртази-хана усіх бранців.

1486 року Муртаза оголосив себе ханом. Того ж року виступив на підтримку Нур-Девлета й проти Менґлі I Ґерая. Втім перший в цей час перебував у Москві, звідки йогон е відпустив Іван III, великий князь Московський. Ймовірно ця невдача завдала удару по авторитету Муртази в державі. Тому він 1490 року не брав участьу поході на Крим ханів Саїд-Ахмада II і Шейх-Ахмада. Після невдачі походу Муртаза виправдовувався перед осмнаським султаном Баязидом II, що не брав участі в поході.

1491 року внаслідок вторгнень тюменського хана Ібака, а потім кримського — Менґлі I Ґерая втратив владу у Великій ОРді. У 1492 і 1494 роках спробував повернутися на трон, але програв боротьбу Шейх-Ахмаду.

1495 року втік до Тюменського ханства на Тереку, де за невідомих обставин став володарем. Невдовзі оголосив свого брата Хаджи-Ахмада ханом Великої Орди, але той не мав жодної влади. 1504 році спробував відродити Велику Орду, але марно.

Діяв спільно з Шейх-Мухаммадом-бієм та Абдул-Керімом проти Алчагира-бія, проте перемоги останнього не дозволили втілити план з захоплення Надволжя. Помер Муртаза 1514 року. Йому в Тюмені спадкував Хаджи-Ахмад.

Джерела
 Почекаев Р. Ю. Цари ордынские. Биографии ханов и правителей Золотой Орды. — СПб.: Евразия, 2010. — 408 с. — ISBN 978-5-91852-010-9.
 Идрисов Ю. М. Тюменское владение между Волгой и Кавказом: рождение и гибель государства//Средневековые тюрко-татарськие государства. № 6. 2014 — С.80—83

Хани Великої Орди
Астраханські хани
Хани Тюмена

redpajama_set_name: RedPajamaWikipedia


AL PORTER opens a 4 night run in the Soho Theatre this Wednesday Jan 27th to Saturday 30th and already his debut London solo show is one of the hottest comedy tickets of the year!
2 days after his triumphant London performance Al returns home to Dublin to guest with SEAN HUGHES, ANDREW MAXWELL, FIONA LOONEY & KARL SPAIN on Comedy Showhouse live at The Project Arts Centre next Monday Feb 1st at 8pm. Also one of the hottest tickets in town.
See the main man himself live here in London before Xmas.
Next GET OUT THE BEERS? WILL YOUR WEEKEND END LIKE THIS?
Trainspotting – What could have been?


20 foreground recordings and 1 background recordings of Callocephalon fimbriatum . Total recording duration 11:39.
A wild immature male and a captive male from Healesville Sanctuary calling.
calls from a young male bird that was part of a small flock foraging high in tall trees. These calls are given as it sat high in a tree on an exposed perch without moving.
calls from a female bird that was part of a small flock foraging high in tall trees. The first calls are as the female flew from one tree to another, and then there are various quiet noises as it foraged in the treetops.
calls from a male bird that was part of a small flock foraging high in tall trees. In this cut the calls were given as the bird flew from one tree to another, and then a few calls as it foraged in the top of another tree.
calls from a male bird that was part of a small flock foraging high in tall trees. In this cut the calls were given as the bird flew from one tree to another.
Three birds present. Single bird calling.
A flock of males and females, some perching and some flying.
18 male and female Gang-gangs were seen in flight and perched. In appropriate habitat 350m asl on Berry Mountain. Recording of birds as flying off from a quick stop in tall eucalypts on fringe of rainforest. Spotted Pardalote heard several times on the recording. Moderately common at this location. Recorded from Android Galaxy 7 phone.
Immature bird mainly heard, with both parents in background.


text:
Q: Setting up NAT forwarding using iptables on ubuntu server 14.04 I have a server with 2 ethernet interfaces(em1 and em2). em1 is the internet facing interface(192.168.16.113) and em2 has a static address(10.1.1.100) connected to a switch. I have configured the gateway and dns nameservers for em2 to be that of em1(192.168.1.1). I want the systems connected behind the switch(all have ip addresses in 10.1.1.101 - 10.1.1.149) to have access to the internet via the server. I configured nat on the server using iptables as follows
sudo iptables -t nat -A POSTROUTING -o em1 -j MASQUERADE
sudo iptables -A FORWARD -i em1 -o em2 -m state --state RELATED,ESTABLISHED -j ACCEPT
sudo iptables -A FORWARD -i em2 -o em1 -j ACCEPT

I also configured the nameserver and dns of the system behind the switch to be 10.1.1.100. However when i ping google.com from behind the switch, the name is resolved but i dont get any response from the outside network. Can somebody please help me ?
I also want to mention that i can ping the server from behind the switch. I can also access the internet from the server.
I would also like to know how to save the configuration so that it is loaded on startup.
Edit: I have uncommented net.ipv4.ip forward=1 in /etc/sysctl.conf

redpajama_set_name: RedPajamaStackExchange


text:
Q: How can I find the Collection exist in MongoDB 4.2 ? using Node.JS I want to create collection in mongoDB 4.2 but I want to check that is exist or not? I'm using Node.JS and Express and I'm NOT using Mongoose.

A: Please try this ::
const MongoClient = require('mongodb').MongoClient;

// Connection URL
const url = 'your DB url';

// Database Name
const dbName = 'your DB name';

// Create a new MongoClient
const client = new MongoClient(url);

// Use connect method to connect to the Server
client.connect(async function (err) {
    if (err) console.log('Err::', err)
    console.log("Connected successfully to server");
    const collection = await client.db(dbName).listCollections({}, { nameOnly: true }).toArray()
    console.log('List of all collections :: ', JSON.stringify(collection))

    client.close();
});

A: You can use listCollections to find all the collection in your Database and loop over the returned array to get the names.
db.listCollections().toArray(function(err, items) {
    console.log(items)
        //and u can loop over items to fetch the names
  });


text:
Air pollution+
Policy initiatives+
EU air pollution policy+
The NEC directive
Air quality legislation
Legislation on vehicles and fuels
LRTAP Convention
Air pollution from ships
Do your bit!
Climate Change+
Warming is happening now
Expected effects
The greenhouse gases
How much must emissions be reduced?
EU and climate change
ACID NEWS+
Acid News Archive
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ACID NEWS
No. 2, June 2012 | Download this issue
Improvements from the revison
Emission cuts under the new Gothenburg Protocol are expected to reduce health damage in Europe from PM2.5 and ozone by 27 and 11 per cent, respectively, between 2000 and 2020.
Commitments under the revised Gothenburg Protocol will lead to significant reductions in the negative impacts of air pollution in Europe, according to a new analysis by IIASA. By 2020, mortality from exposure to PM2.5 and ground-level ozone will fall by 27 and 11 per cent respectively. Forest and freshwater ecosystem areas exposed to acid deposition above the critical loads will shrink by more than 55 per cent. Less improvement is however expected for eutrophication, where the ecosystem areas with nitrogen depositions in excess of the critical loads will decline only by about 20 per cent.
Using the GAINS (Greenhouse gas – Air pollution Information and Simulation) computer model, the environmental improvements calculated to result from the emission reduction commitments of the revised Gothenburg Protocol have been compared to those previously estimated for the current legislation (CLE) baseline scenario and the maximum technically feasible reductions (MTFR) scenario.
As the revised protocol contains provisions for possible adjustments of base year emission inventories and/or emission reduction commitments, there is some uncertainty about the expected levels of emissions in 2020.
For Europe as a whole, IIASA has estimated that the emission reduction commitments between 2005 and 2020 under the revised protocol imply a decrease in emissions of SO2, NOx, VOCs and PM2.5 of 41, 31, 33 and 22 per cent, respectively, while emissions of NH3 are expected to remain at the 2005 level (Figure 1).
Figure 1: Changes in European emissions in 2020 relative to 2005. The commitments of the revised Gothenburg Protocol are indicated by the bars, while the lines indicate the ranges between the 'current legislation' and the 'maximum technically feasible reduction' cases estimated by the GAINS model.
These numbers are clearly less ambitious than the ranges presented in 2011 to negotiators in the cost-effectiveness analysis (see AN 3/11). In fact, the agreed commitments are even less ambitious than those estimated to result in 2020 solely from implementing already existing emission control legislation.
It is pointed out that several factors may contribute to explain these differences, including differing views about the underlying projections for energy use and economic development, different assumptions about the effectiveness of emission control legislation, and uncertainties in emission inventories. Moreover, countries may also have introduced a "margin of safety" to safeguard against unexpected developments.
To facilitate comparisons with the original Gothenburg Protocol and the targets established in the EU's Thematic Strategy on Air Pollution (TSAP) from 2005, changes in impact indicators were calculated using year 2000 as the reference year (in contrast to the emission reduction commitments in the revised protocol, which use 2005 as the base year).
It is estimated that the new agreed emission cuts will lead to significant reductions in the negative impacts of air pollution in Europe. By 2020, mortality from exposure to PM2.5 and ground-level ozone will fall by 27 and 11 per cent respectively. Forest and freshwater ecosystem areas where acid deposition will remain above the critical loads will shrink by more than 55 per cent. Less improvement is however expected for eutrophication, where the ecosystem areas with nitrogen depositions in excess of the critical loads will decline by about 20 per cent (Figure 2).
Figure 2: Changes in impact indicators from the emission reduction commitments of the revised Gothenburg protocol compared to the TSAP targets of the EU.
There are, however, significant regional differences across Europe. In most cases improvements will be bigger in the EU than in the non-EU countries, primarily because several non-EU parties did not provide emission reduction commitments. In particular, health damage from ozone is expected to further increase in the non-EU countries compared to 2000.
While the cost-effectiveness analysis presented to negotiators demonstrated a potential for cost-effective abatement measures beyond the current legislation, for which the benefits exceeded costs by a factor of ten or more, the current protocol commitments do not even achieve the improvements estimated for the current legislation case.
The protocol commitments also fail to achieve several of the targets set in the TSAP. The revised protocol is expected to reduce the years of life lost (YOLLs) from exposure to PM2.5 by 35 per cent in the EU, which means that additional measures will be necessary to meet the 47 per cent target of the TSAP. For eutrophication, the revised protocol is expected to deliver about half of the TSAP target (15 per cent improvement instead of 31 per cent) and for forest acidification 60 per cent improvement instead of 74 per cent. For water acidification and health damage from ground-level ozone, the TSAP targets are however likely to be achieved.
Christer Ågren
Environmental improvements of the revision of the Gothenburg Protocol. CIAM report 1/2012, preliminary version May 2012. By M Amann, et al. IIASA.
Note: For those (non-EU) parties that did not provide figures on reduction commitments to the Executive Body in May, the calculations by IIASA assume that emission levels in 2020 will remain the same as in 2005. For international shipping, emission levels in 2020 in line with implementation of the 2008 MARPOL Annex VI agreement of the International Maritime Organization were assumed. The calculations presented in the IIASA report are based on the emission reduction commitments relative to the emission levels for 2005 that have been estimated in GAINS based on the EMEP 2011 inventory.
Editorial: Still a long way to go
In early May, after five years of negotiation, countries in Europe and North America agreed to take on new emission reduction commitments for the major air pollutants, by adopting a revised Gothenburg Protocol to the Convention on Long-range Transboundary Air Pollution ..
Health effects of black carbon
Reducing people's exposure to PM2.5 containing black carbon should lead to a reduction in the health effects associated with PM.
Air pollution from traffic kills 5000 a year in UK
Premature deaths due to PM2.5 are estimated to cost the UK between €7.5-77 billion every year, corresponding to 0.4-3.5 per cent of the country's gross domestic product.
Ozone levels still much too high
In the summer of 2011, the threshold for protecting human health from ozone was exceeded on more than 25 days in a significant part of Europe.
Europe's most polluting power plants
Eight of the twelve largest single sources of carbon dioxide in Europe are found in Germany.
The arrival of a new EU sulphur law
The sulphur content of ship fuels will be cut to 0.1% from 2015 in the Baltic Sea and the North Sea, and to 0.5% from 2020 in other EU waters. As a result, emissions of sulphur dioxide from shipping in Europe will come down by more than 80 per cent.
Welcome to the golden age of fracking
Fracking, exploitation of gas from shale, is growing fast. This is game-changing both for energy policy and climate policy. There is now more, and dirtier fossil gas around. The resistance is also growing, and fracking is banned in some countries.
Biggest environmental cause of mortality
A new OECD report says that by 2050 air pollution will become the biggest cause of premature death, killing an estimated 3.6 million people a year.
New Danish energy agreement
A massive expansion of wind power, reforms to promote biomass and an expansion of mandatory energy savings are the main features of the Danish energy agreement. The measures combined are estimated to reduce carbon dioxide emissions by 34 per cent by 2020.
New Gothenburg Protocol adopted
Between 2005 and 2020 the EU member states must jointly cut their emissions of sulphur dioxide by 59%, nitrogen oxides by 42%, ammonia by 6%, volatile organic compounds by 28% and particles by 22%.
NOx controls for the Baltic on the horizon
Baltic Sea nations have finalised their application to the International Maritime Organization (IMO) for a nitrogen oxides emission control area (NECA), but will ..
Largest ship sulphur scrubber
Dutch company Spliethoff has contracted Alfa Laval to retrofit an exhaust gas cleaning system on board one of its vessels. It is said to be the first retrofit to use just one scrubber to clean the exhaust ..
Brown seaweed can be turned in to ethanol
The common intestinal bacteria Escherichia coli has been genetically modified to break down brown Kombu seaweed to produce ethanol. One problem has been ..
Dutch subsidy for Euro VI trucks and buses
In the Netherlands, heavy-duty vehicles (trucks and buses) that meet the new Euro VI standards will be subsidised by up to 4500 euro each in 2012 and 2013. The Euro VI ..
New LNG-powered ferries in Scandinavia
Norwegian ferry operator Color Line has announced plans to replace an ageing vessel operating between Sandefjord in Norway and Strömstad in Sweden with a new ferry that will be ..
Calculate your "nitrogen footprint"
Now there is an online tool that can estimate your individual nitrogen footprint. By entering data on eating habits, energy use and travel patterns, users are given ..
Call for the EU to enforce air quality legislation
More than 200 European citizens' organisations from across the EU request that immediate action be taken against those member states that are in breach of the EU's ambient air quality legislation.
First ever limits on GHG emissions from power plants
The U.S. Environment Protection Agency (EPA) has issued the first ever limits on how much carbon dioxide can be emitted by fossil-fuelled power plants.
Ireland looks at extending 'smoky' coal ban
The Irish environment ministry is seeking to improve air quality and public health by extending restrictions on the use of bituminous coal ..
Briefing 16
Phasing out coal in Europe by 2025
An updated list of coal power stations throughout Europe and a proposal of phasing out coal by 20
A 1.5°C target is needed to save the Mediterranean Sea region
A short documentary produced by AirClim and the South East European Network for Energy and Transp
Ecological effects of ocean acidification
By absorbing CO2 the ocean is becoming more acidic, and this happens at a rate faster
What will it take to phase out greenhouse gas emissions from road traffic in the Nordic-Baltic region by 2030–2035?
A conceivable scenario in which the climate impact of road traffic in the Nordic and Baltic count
A vision for zero carbon emissions in the Nordic-Baltic region by about 2030
The Nordic-Baltic region can manage without any CO2 emissions from the electricity, he
Cost-benefit analysis of NOx control for ships in the Baltic Sea and the North Sea
The analyses show that a NOx levy and fund system would be a cost-effective complement to NECAs a
A critical guide to the new national emission ceilings directive.
Future Nordic Diets
Exploring ways for sustainably feeding the Nordics.
Air Pollution & Climate Secretariat
413 28 Göteborg, Sweden
E-mail info@airclim.org
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"It's a little bit like, is the Albanian army going to take over the world? I don't think so," Bewkes told a New York Times reporter.
Interesting comment from a CEO whose stock started the year at $30 a share and is ending it just below $32 a share; Netflix, by contrast, started the year at $53 and is ending it at $183. Who is it again, who is not going to take over the world?
I think what miffs media CEOs is that Netflix has spent the past decade developing a strong relationship with consumers, who view the site as delivering value for an $8, $10, or $20 per month plan. Meanwhile, most people have no connection or brand relationship at all with media companies and studios like Time Warner. Yes, they produce great content, but they've forgotten to build a digital relationship of their own with consumers.


In every meeting, decisions are to be made. Such decisions could affect the entire course of your business. It affects your resources such as your money, it also affects your time and business operations, and it would affect the people involved in the business operations. You may also see application writing examples.
There are a lot of important things that are put at stake during meetings, that is why there is a need for every meeting to be documented and that is through minutes writing. Through these meeting minutes, every single meeting you will conduct will have a record of what has been discussed and decided. It would also include the list of the people that have and have not attended the meeting. The minutes of the meeting can be a useful document for the next meetings to follow.
Aside from containing the decisions of the meeting, minutes of the meeting also include important details such as who is responsible for a particular task, when should the task be executed, how should the task be executed, and so on. Minutes are also helpful for those who have not attended the meeting. You may also like report writing examples.
Writing minutes of the meeting could help your business in saving time and money. Those resources are put at stake during meetings. Important motions and resolutions are made during meetings that you must be able to effectively take note and record of all these important discussions. You should also make sure that the minutes of the meeting were able to grasp all of the critical information. You may also check out abstract writing examples.
Minutes are, in fact, an official record that the participating members of the meeting should have to approve about the decisions of the motions and resolutions taken in a meeting. It is a brief but complete record of all discussions held among the members of the meeting. It is also defined as the official record of the proceeding of a meeting that should be needed to be approved by the participating members of the meeting. You might be interested in script writing examples.
The minutes of the meeting is simply defined as the official record regarding the proceedings that happened during a meeting.
Minutes are helpful when it comes to capturing and recording about what had transpired after a meeting. This official document is used as a reference for the future or follow-up meetings.
Minutes should be written in a clear and concise manner but its conciseness does not mean that it is deprived or compromised of vital information. Despite its brevity, it contains a complete record of all the important decisions and discussions made during a meeting. You may also see informative writing examples.
The information found on the meetings of a meeting is important not only to those who have attended the meeting that they would have a document to be used for future purposes but it would also be beneficial to those who have not attended the meeting so that the would be able to have an idea of what had transpired during the meeting that they were not able to attend. You may also like formal writing examples.
The minutes of the meeting are usually written by the secretary or an assistant but it does not restrict to that since any appointed individual can record the minutes of the meeting.
What Needs to Be Included on Your Minutes?
When you are to write the minutes of a meeting, you could not just write in verbatim the discussions made. You need to be able to know and distinguish what you should and should not include when writing the minutes of the meeting so that you would not waste your time in writing irrelevant matters and that you would not also waste the time of other people in reading the irrelevant matters that you have written on the minutes of the meeting. You may also check out narrative writing examples.
You have to prepare these details beforehand so that you would also save time and pour all your attention to the details that are yet to be known.
It is important to include the purpose of the meeting so that you would be able to identify what the meeting was all about.
It is important to know who and did not attend the meeting so that you will be able to easily identify who you should need to inform updates to.
List down the agenda items in bullet form so that you would not find it difficult to browse if ever you would write in a paragraph manner. Save both your time and the other people in the meeting. If you're interested, you can check out meeting agenda examples as reference.
You should make sure that you have effectively listed down the decisions that were made during the meeting. These decisions are the most vital information your minutes will ever have and forgetting about it could definitely put your business and the people involved at high risk. You might be interested in notice writing with examples.
People might forget the date of the follow-up meeting that has been decided on. Including the follow-up meeting date will also be helpful for those who have not attended the meeting so that they will be informed of when the next meeting will be and that they can finally attend. You may also see summary writing examples.
You might think that writing minutes is time-consuming. However, even if it costs you time, minutes can actually help you save up your other resources such as your money.
With minutes containing the written record of all the important discussions made during a meeting, you and the other attendees of the meeting about what had transpired and discussed during the meeting. You will not be able to forget about the decisions and the ideas that were discussed as well as the tasks that should be done by a certain and agreed date. You may also see paragraph writing examples.
Minutes are helpful when it comes to keeping your business in line with the laws of the country as well as in backing up your tax returns.
Minutes are considered as legal documents that help in representing the board's actions and if the said actions are not on the minutes, then it did not happen at all.
With the help of well-written minutes, it would encourage and drive action from the people involved. Minutes can provide an action plan that can improve or enhance an organization altogether.
A good minute of the meeting provides clear answers to the questions of how, when, why, and by whom the decisions were made. Even if there are members who were not able to attend the meeting, they would still be encouraged and driven once they get to read the minutes of the meeting. You may also like writing examples in doc.
There will always be people who forget things, even the most important ones that they should not miss. With detailed and completed minutes of the meeting, they would not anymore have any excuse why they were able to forget.
Minutes of the meeting provide the discussed key points of the meeting, the decisions made as well as the reason behind making it, and the actions agreed upon by the members of the meeting. It also sets you free from any ambiguity since all minutes are to be written with clarity, conciseness, and brevity. You may also check out paragraph writing examples.
The minutes of the meeting could be long and detailed and short or direct since it all depends on the nature of the meeting, but however the minutes of the meeting are presented, it must always never be void of the important discussions and decisions made during the meeting. There are meetings with a purpose or general agenda that is of critical importance and this is when you should invest in having a good know-how on how to write a good one.
1. Write the minutes of a meeting that you and everyone would be able to easily remember.
This means that you have to write the minutes of the meeting during the meeting and not when the meeting will already become a distant memory. Plus, you would also have to write it in a way that you would be able to easily remember such as writing it in a chronological manner. You may also see article writing examples.
2. Write the minutes of a minute by starting it with the review of any action done.
This is to ensure that everyone will be kept on track on how far or how close everyone is from the professional goal of the entire organization. You have to write down every single action and even the absence of action from the last meeting as well as its progress in case if it has not been completed yet.
3. Do not forget to mention the owners of the action.
Do not just settle on simply writing down the actions done during the meeting but you also have to include who was assigned to do or lead those. If possible, you also have to include the target date of the day when those people should be able to complete their assigned task.
Minutes, when viewed lightly, may seem to look just like an ordinary document. But if you would look at it closely, you could actually see that there's more to the mere recording of what had happened during a meeting. We hope that you have gained more insights regarding the minutes of the meeting with the help of this article and that the examples that we have collected and compiled here have actually inspired you to create your own. You may also like english report writing examples.


You may have come across La Rochelle in the school French textbooks because the town is so stereotypically French, with red and white striped parasols decking the cafés along the old port, and also because it was saved from unsightly architectural 'innovations' in the 1970s by a forward thinking mayor.
La Rochelle is becoming increasingly chic and popular, especially since the university opened in 1993, and young people and families head there in droves during the summer months because of the nearby beaches. La Rochelle was the last French city to be liberated in 1945 and it had also suffered much during the 16th and 17th centuries when Cardinal Richelieu laid siege to it. It has been an important trading port since the 14th century, and the founders of Montreal set sail from La Rochelle in the 17th century.
The centre of La Rochelle is largely pedestrianized and safe from traffic, making it a pleasant place to stroll and see the 17th and 18th century architecture. The Vieux Port is the focal point and pleasure boats are moored next to a few fishing boats under the auspices of two towers, Tour de la Chaine to the west and Tour St Nicolas to the east. Leading from the Vieux Port to place de Verdun is the charming rue du Palais lined with 18th century houses, including the fine Palais de Justice and Hôtel de la Bourse on the left, and the Maison Henri II on rue des Augustins that now houses the tourist board. The Musée du Nouveau Monde (€3.20) on rue Fleuriau contains artefacts from La Rochelle's rich shipping history and trade with the Caribbean (in everything from sugar to slaves), and it is a fascinating collection.
Whether you are French Camping Holidays or staying in a hotel, you must book well in advance to secure a bed in La Rochelle from May right through to September. Places like the Hôtel de l'Océan at 36 cours des Dames (05 46 41 51 12) are ideally placed with views of the port costing from €55 70. Cheaper accommodation is available at the Francois I, 15 rue Bazoges (05 46 41 28 46), which has a walled courtyard and rooms from €30 40. As for eating, there is a wide choice of eateries available in the rue St Jean du Pérot, the rue du Port and rue St Sauveur areas, including wonderful fish restaurants like Le Bistrot de l'Entr'acte at 22 rue St Jean du Pérot (05 46 50 62 60) with a great €23.63 menu. Le St Sauveur at number 24 on the same street (05 466 41 18 16) has fish tanks to amuse the kids and fish dishes to please the parents on €10 20 menus.


We're proud to present Teebs & Jackhigh's THE TROPICS EP in a highly limited edition of 23 unique items individually painted by Teebs himself.
Teebs uses thrift store album covers as a basis for his work, incorporating image or text elements from the original cover designs into the piece.
Because we have only 23 available for the world and it's hard to know what to charge for a unique piece of artwork, we've decided to do it like this: pay what you feel the pieces are worth and what you can afford. Since every piece is different and some will be more popular than others, we will give the first choice to the highest offer and so on down the line. Basically if there's one particular cover you really really want, then offer accordingly. Contrastingly, you should be able to manage to get one for a reasonable price even if it's not your first choice.
We've set a minimum price of £26 ($40/€30) because we feel it's fair.
We will receive offers for seven days until 1800 CET on Sunday 2 May.


What do you feel about the list?
First, this is not the final list. It is the complete draft with errors. So, there will be more checks, and the number may even change.
There are accusations that you are against Bengalis.
That's utterly wrong. Bengalis from India and Bangladesh talk the same language and dialect. But, we know how to differentiate between them. Because we have had protests against illegal immigrants, mostly from Bangladesh, it does not mean that we are against Bengalis. We love Bengalis, and there are many legitimate Bengalis living in Assam.
West Bengal Chief Minister Mamata Banerjee says the NRC is a ploy to push the Bengali-speaking community to Bangladesh.
Check her statements when she was in the NDA government, and when she was the opposition leader in West Bengal. She supported our cause and even took up the issue of Bangladeshi influx in West Bengal. What she is doing now is negative politics, which we, the people of Assam, dislike.
The draft is full of errors.
Yes, it is full of errors. Even indigenous Assamese were left out. I know that a former chief minister and her family members were left out. However, that does not take away the credit from the NRC employees engaged in this huge task. They have done a great job.
While signing the deal with Rajiv Gandhi, did you think that such a huge number of people would be out of the second NRC list?
When we fought for it, just seven districts of Assam had the problem. Today, it has spread almost all over the state. So one can believe that the influx was a continuous process.
But, it took more than three decades to prepare a draft.
It was stuck in the administrative logjam. Actually, the Congress was in power most of the time, and they were not eager to push it. Even after the Supreme Court order, they delayed it.
So, would you give the Modi government the credit for the turnaround?
No, it has nothing to do with Prime Minister Modi or the BJP. It is monitored by the Supreme Court and the Central government. The prime minister would have to abide by the Supreme Court [instructions]. Grass-root workers of the government worked hard and we got this list, though with errors.
A section of the people who did not feature in the list is saying that they might be allowed to live in India without rights.
That would be part of the discussion which would begin after the final list. I told you it will be a long-drawn process.
Will you demand that they be sent to Bangladesh?
Why not? Immigrants are immigrants. They should not stay in our country.
But the Bangladesh government said they will not accept as many people from Assam.
Have they officially told this to the government of India? I think they have not. So when the issue is taken up officially by the ministry of external affairs and the bilateral talks start, I think Bangladesh would understand the situation.


The liquidation procedure of a company.
The liquidation procedure of a company occurs in three stages.
The liquidation starts with the General Assembly of Liquidation1. This assembly must take place in presence of a notary for PLCs, LLCs and Partnerships Limited by Shares.
Following the operations of liquidation, the liquidator must present his report to the associates or shareholders of the company being liquidated2.
A second General Assembly is convened to consult the report and the accounts. This assembly does not require the services of a public notary and it must also appoint a statutory auditor.
The role of the statutory auditor is to examine if the accounts and the liquidator's report are in line with the company's documents and with the actions carried out by the liquidator.
When the task of the statutory auditor is over, a third General Assembly is convened. This assembly does not require the presence of a public notary and its purpose is the final approval, after verification by the auditor, of the liquidator's report and to adjudicate on the completion of the liquidation.
The liquidator can then publish the completion of the liquidation to the Trade Register and to proceed, if applicable, to the reimbursement of the capital and the payment of the liquidation surplus.
The documents of the liquidated company must then be kept for at least five years after the completion of the liquidator3.
• 1st February 2017 : General Assembly of Liquidation in presence of a notary.
• From 1st February to 30th September 2017 : the liquidator proceeds with the operations of liquidation.
• 1st October 2017 : the liquidator makes his report available.
• 8th October 2017 : General Assembly for the appointment of a statutory auditor.
• 20th October 2017 : General Assembly for the final approval of the liquidator's report after reading of the statutory auditor's report and completion of the liquidation.


Comfort and support are the 2 biggest factors to consider, when you are looking to buy a new mattress.When you lie on a mattress, it should do a few things. It should properly support your body. It should also sink and contour to your body in the right places; to ensure your spine stays aligned, as you rest through the night. To ensure you are getting a healthy rest at night, it is crucial that your alignment from head to toe is correct. This also greatly reduces any neck and back pain, which you may have. While being supportive of your body, a suitable mattress must provide stress relief. Stress points are what causes you to move around through out the night, while you are attempting to sleep. The reason memory foam mattresses have actually become so popular because late results from the fact they're exceptional at being equally supportive as well as comfortable.
This is along the exact same lines with comfort as well as support. A mattress should neither be too hard or too soft.In order to keep your body and spine in the correct alignment, your mattress should be as neutral as it can be.If you have a mattress that is too rigid, this causes stress points to get irritated. Resulting in the loss of blood flow, as well as pinched nerves. If you wake up frequently with the sensation of pins and needles, most likely your mattress is too rigid. And when the contrary happens, with a bed that is also soft, you will get a concaving"hammock" effect, which will certainly cause back pain from improper placement of your spinal column. This is why it's crucial to find a mattress that is close to neutral. You want your mattress soft in the right places, without being too soft. But you also want your mattress to be supportive, without being too rigid.


Award winning journalist and news presenter, covering some of the biggest news stories in the past two decades, including the Boxing Day tsunami, Bali nine drug trials, Beaconsfield Mine disaster and two Olympic Games.
Jessica has been part of the Seven News team for 17 years and in that time has forged a reputation as one of the finest journalists in the state.
She began her career at the Stock Journal Newspaper after completing her Journalism degree at the University of South Australia.
Jessica's upbringing on the family farm at Hallett, in the mid north of South Australia, gave her a solid background in rural affairs.
Jessica was the Seven News Crime Reporter for more than a decade but she has also amassed a great deal of experience covering national and international stories for the Seven Network.
In 2006 Jessica was announced as the SA Journalist of the Year.
She has also received the SA Institute of Justice of Police Media Award (2003) and a Citation from the Archbishop of Adelaide (2005).
As well as the role of weekend Seven News weekend presenter, Jessica continues to work as a journalist with the Seven News team. Away from work, Jessica is married to Dave and has twin boys, Angus and Louis, and a daughter, Sophie.
Jessica is a passionate ambassador for CanTeen, the Australian organisation for young people living with cancer, as well as the Royal Flying Doctor Service.
Gave a great overall understanding of issues that affect everyone and their workplace.
Jennifer Adams doesn't do things by halves!


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