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Social Worker Led Frugal Life To Donate Nearly $11 Million To Children's Charities : NPR
July 6, 2019 Stacy Holt
Washington state social worker Alan Naiman, photographed in 2013, left most of his $11 million estate to children's charities when he died.
Shashi Karan/AP
Friends remember Washington state social worker Alan Naiman as being frugal. He wore old shoes held together with duct tape, bought his apparel at the grocery store, drove jalopies and ate at cheap restaurants. But when he died of cancer in January, at age 63, the people around him learned that he had quietly saved millions for a higher cause.
Naiman left most of his $11 million estate to organizations serving abandoned, impoverished, sick and disabled children.
"He left it all to charities — mostly to kids, the section of society that couldn't really help themselves," his friend Shashi Karan told NPR.
Naiman had no spouse or biological children. But his elder brother, who was disabled and died in 2013, "kind of colored the way he looked at things," his friend Susan Madsen The Associated Press.
Before spending two decades at Washington's Department of Social and Health Services, where he reportedly earned about $67,200 a year, Naiman was a banker.
"He made a career change into social services probably around the time he was fostering," Washington State Department of Children, Youth and Families spokeswoman Debra Johnson told NPR. A dedicated and valued employee, he shared fond memories of the children he fostered with colleagues, she said.
Despite living a modest life, he amassed a great deal of wealth by saving his work wages, taking on side jobs and inheriting millions from his parents.
Before he was diagnosed with cancer, Naiman thought about taking more road trips or moving to a new house with a view, Karan said. But those dreams receded after the diagnosis. Instead, he spent his time researching charities.
He would joke that he was doing "work at the foundation," alluding to Bill Gates, Karan said.
Naiman was buoyed by the knowledge that he was leaving the organizations with his money. Karan recalled to CNN that Naiman said, "'My gift is going to be bigger than their annual budget. It's going to blow them away.'"
Naiman gave a reported $2.5 million to a Washington state charity that helps newborns who were exposed to opiates, cocaine and other drugs.
"We first became aware of Alan's generosity last fall when we received a $10,000 donation from him online," the Pediatric Interim Care Center said. "Thinking that large amount might be a mistake, we called him to make sure he had entered the right number of zeroes! Yes, he told us, the donation was right, and there would be more to come in the future."
Naiman then wrote a letter to staff that explained why: One frantic night in the early days of his career at the Department of Social and Health Services, he was trying to find a home for a fragile baby. The center's founder came to his office to take the child.
The organization announced that it would use the funds to pay off the mortgage on its building.
Naiman also surprised a foster care group called Treehouse, Chief Development Officer Jessica Ross told NPR. He made a first-time donation of $5,000 in the months before he died — a lot of money to the organization. "Then, shortly after his passing, we learned he would be donating an additional $900,000. The donation is completely unexpected," she said.
He told staff that he brought his foster children on shopping sprees at Treehouse's free clothing store.
The money will help fund a planned expansion of a graduation support program as well as career services for fostered youth, Ross said.
Other children's charities that made Naiman's cut included Little Bit Therapeutic Riding Center, which provides therapeutic horseback riding for people with disabilities, and WestSide Baby, which distributes new and used items to low-income families.
Naiman also gave money to his parents' Catholic church and Disabled American Veterans, according to his friend Shashi Karan.
"For someone to live their life the way Alan did—and then leave a legacy like this to so many worthy organizations—is an inspiration," Ross said. "We're so thankful to be a part of this. What a generous, loving man."
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What a weekend! Conversations with Creative Women: Volume Two was officially launched, and good fun was had by all.
We raised $500 for Seven Women via our mammoth raffle, and our taste buds were tantalised thanks to our generous sponsors Ben Haines Wine, Two Birds Brewing and Sweet Valentyne.
Big thanks to our sponsors Good Grace and Humour for their beautiful floral display - it really made the space at Albert St Studios come alive! And extra high fives to my helpers on the night - Martina Gemmola, Caroline Kennon, Liz Ickiewicz, Sarah Chapman, Sean Box and Amy Vuleta.
Thanks again to everyone who pre-ordered a copy of the book... if you're based in Australia you should have received your copy by now, and if you're international it has been posted and is on its way.
One last thing... if you're so inclined you can also get Volume Two as an eBook for your iPad, Kindle or as a PDF. Save a tree, save storage space, save money! Ebooks are only available via our online store.


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IAN BLAKE: News
Luminous, Australia's scariest lullaby album, is now downloadable from Helen Rivero's Bandcamp site:
Luminous by Helen Rivero & Ian Blake
SANS - Kulku by SANS
The album's doing well, with a win at Finland's EMMA awards and a number one spot in the Transglobal World Music chart. The Finnish press has excellent reviews in the Helsingen Sanomat, Karjalainen, and the Finnish Music Quarterly: elsewhere, you can read about it in Sweden's Lira Musikmagasin, Armenia's Golos Armenii and the Australian Rhythms magazine.
SANS will be playing at the Kaustinen Folk Music Festival on July 11th and 12th. This is where the band first came together in 2011, and these will be our first shows with Erika Hammarberg, whose voice you can hear on the Bandcamp player above.
The band reconvenes in Portugal for a concert on July 22nd at the Festival Músicas do Mundo, Sines.
Bassoonist and singer Zoey Pepper has been performing my multibassoony karaoke work The River Daughter recently - here's a taste:
There's a new SANS CD: it's called Kulku and we had a grand time recording it in rural Suffolk with producer Jim Sutherland and engineer Les Mommsen - and new, additional singer Erika Hammarberg, whose voice beautifully complements that of Sanna Kurki-Suonio.
Here's a review courtesy of Rootsworld, and you can hear and buy the album via Bandcamp or direct from Cloud Valley.
And here's Robin Denselow's review in The Guardian.
And the fRoots review by Chris Nickson.
I've been reading Rostand's Cyrano de Bergerac in the Glyn Maxwell adaptation: I'll be doing the music for a production by Theatre in the Square which starts off in London in July, then goes to The Minack in Cornwall in September.
There'll be another piece for carillon and nonhuman performers coming up for a performance by Thomas Laue on July 2nd at the World Carillon Federation Congress in Barcelona. This one, Multiplex of Wing and Eye, features the backyard bees. My previous carillon works, Blood Sugar Fairy and Matins, had their first outings on an instrument firmly planted in Lake Burley Griffin: the latest will be played on this roving carillon.
It's fifty years since the release of Sgt Pepper, so Shortis & Simpson are celebrating with a well-researched lecture recital in Queanbeyan on March 18th. I'm attempting those McCartney basslines and dusting off Ethel the wind synthesiser to do a piccolo trumpet impersonation (Penny Lane).
SANS reconvenes in May to play at the Seoul Music Week, followed by a gig at Cheongju's Jazztonic festival. When the farflung members of SANS can't get together, there's still the gathering of the trio of Cronshaw, Alexanyan and Blake. We did a video shoot at The Preservation Room recently - here's a specimen:
Someone pointed out that nineteenth century Australia was, per capita, the most piano-infested country on Earth. Having recorded and composed for a semi-feral Renardi and a rather relaxed Victorian Broadwood in Canberra I was pleased to discover another nicely backslid vintage Broadwood in Llanwrtyd, mid Wales. So I recorded lots of improvising on this one: it clangs and groans well, and I expect it'll emerge in a new soundwork...
At the end of March there's a Sound Heritage Sydney event celebrating the musicking that went on in historic houses: following on from the Performing the Past project, we'll be heading to Elizabeth Bay House for the day and I'll be playing How many ships sail in the forest? on the resident Collard & Collard square piano and a historical laptop.
The SANS Sessions, in June, in London, attracted a nice line-up of musical guests including Louai Alhenawi playing ney and daf, fiddler Ric Sanders, and voice from Erika Hammarberg: all adding to that element of surprise that's essential to a SANS gig. (The only constant seems to be that - according to singer Sanna Kurki-Suonio - all the songs are about porridge. None of the rest of us have good enough Finnish to know if this is true…)
SANS visits Poland in July for the EtnoKraków festival on the 7th.
The soundworlds for the ACT's Historic Places are coming together: I've been recording pop music from the 1920s sung around the Calthorpes' House piano, and folksong in the kitchen of Lanyon Homestead along with fiddling on the verandah and some parlour music on the recently restored Broadwood. There'll be a concert in November featuring new music for this piano: all part of this project, Performing the Past, initiated by Canberra musician, curator and historian Jenny Gall.
Jenny, plus Canberra-connected composers Sandy France, Alistair Noble and myself will be writing and performing for this event. I'm working on a couple of pieces using recordings from the pianos at two of Canberra's historic houses, Lanyon and Mugga Mugga: the pianos had been left to themselves for years, preparing their own distinctive soundworlds, and recordings of them in this state contribute to an electroacoustic layer in compositions for those same instruments newly-restored. Here's a clip of Erin Helyard at the Lanyon Broadwood after its rejuvenation by piano whisperer Chris Leslie.
At this year's National Folk Festival I indulged in noisily nostalgic folk-rock, playing suitably trouserflapping bass lines for The Bluetongue Dance Band, while the bass ukulele had a bluesy outing with the Guitar Cases. And in the studio, I'm continuing with Lynne Pilbrow's FunMusic for Little Kids project. We've been working together on Animals, Transport and Christmas themes: now it's Down in the Garden, which means lots of fun field recording without going far afield. Here's a taste of the Transport collection:
(It's a Welsh seal, by the way: from Ynys Enlli...)
Lynne's Olympic song Light the Flame is youtubing well in the runup to the Games with around 28 kiloviews so far... another Blue Bear Studio production.
On October 30th Thomas Laue will be playing a new piece of mine for carillon and soundtrack, which is based on a recording of an insomniac magpie singing beautifully outside my window in the wee small hours. Hence the title, 'Matins'.
The Electrillon concert is a programme of new works by ANU School of Music people, and starts at 12.30pm, on Canberra's Aspen Island, home of the National Carillon.
In June I had my first trip to Iceland: to Akureyri for the VAKA festival. It was a welcome introduction to this country and its culture, and I especially enjoyed getting to grips with some traditional Icelandic vocalising: the language is beautifully chewy. I was playing with Tigran Aleksanyan and Andrew Cronshaw, and the trio has a couple of London gigs this summer at Rotherhithe's Sands Films and at St Ethelburga's in the City.
And The River Daughter had another performance in April by Zoey Pepper at the New Zealand Double Reed Festival.
The experimental music 'summer camp' at ANU was most enjoyable: for me, a chance to get to grips with Arduino and Pure Data programming which surfaced in a piece for feedback-driven piano with loops, plus soprano sax, two oboes and gratuitous crotales (there they were in the percussion store: how could you not use them?)
After three concerts with Coro in February, I'm singing with Clarion at the National Portrait Gallery on April 25th and 26th. It's Heritage Week earlier in April and I'll be doing the sound (and possibly concertina) component of a show on April 12th at Mugga Mugga with Jenny Gall: concerning music and sound in that house and the surrounds. The cottage's piano is being restored, but I was able to play and record it in its former state - which yielded some strange and beautiful sounds that are surfacing elsewhere, in a slowly unfolding video work by Marzena Wasikowska.
Pekka Mikkola is coming to Australia , and I'm brushing up on my Finnish tango chops for some gigs with him at the National Folk Festival this Easter. After several hours of bass playing with Cassidy's Ceili on St. Patrick's Day I feel well limbered up...
The ANU Old English reading group is working its way through Beowulf, and I'm chewing on the musical possibilities inherent in the language: looking at a couple of riddles from the Exeter Book, and that bee charm which I hope I won't need to deploy, as the garden bees are doing their thing quite contentedly at the moment. Here, courtesy of a contact mic on either side of the box, is a recording of them nibbling and munching away as they tidy up some sticky frames:
Some moments from the SANS concert at WOMAD below: and there's more SANS video at this playlist.
Studio stuff: I've been recording guitarist John Couch, playing a sonata by Campbell Ross and two pieces by Sally Greenaway. And I'm about to launch into another episode of Lynne Pilbrow's FunMusic for Little Kids project. This one deals with Snails and Slugs, Beetles and Bugs, so I expect there'll be a bit of garden soundgathering. Here's a magpie up late in the old gum tree out the front.
Here's SANS at WOMAD onstage in the Arboretum. A video clip will be along in a while which should capture some of the atmosphere of a great gig. A couple of days later we played at Petworth Festival on a very warm July evening: luckily, a couple of devoted fans at the front of the stage kept the band cool...
SANS returns to the south of England and Wales in early October: meanwhile, I'm working on a couple of new pieces involving (as a starting point) bats and sparrows.
And something for Christmas. Not long now...
It's from the latest FunMusic for Little Kids Christmas-themed project: but this tune started out as a song from Mr Garman of Forest Green in Surrey, heard and noted by Ralph Vaughan Williams. You can now see his MS notebooks and a wealth of other material at the online collection of the Vaughan Williams Memorial Library. A great resource!
Some music I wrote to go with artist Dianne Fogwell's work has surfaced in a revenant audio guide from How I entered there I cannot truly say: an exhibition at the State Library of Victoria a few years ago. Kern features a swarm of bees at the 'flying around in circles' stage: it was a mild-mannered swarm so the recording went uneventfully...
There's a new SANS CD on the way, recorded live on our Flanders tour back in December. It'll be released in time for the May tour of England. This summer we'll also be playing at Finland's Haapavesi Festival and at WOMAD.
Meanwhile in Canberra, Jackie Luke, Greg Wilson and Rita Woolhouse have been shimmering away in the studio recently with music for hammered dulcimer, harp and cello.
And thinking ahead somewhat: a Christmas-flavoured slice of Lynne Pilbrow's FunMusic for Little Kids project has just been wrapped up nicely. It includes some favourite songs and carols plus new pieces by Lynne.
Here's some background: 'FunMusic for Little Kids provides early childhood music education resources for teachers and those working with young children. These resources have been written and developed by Lynne Pilbrow, an early childhood music specialist with a passion to see children exposed to music education from a young age.
The FunMusic for Little Kids resources aim to introduce age-appropriate musical knowledge, skills and concepts to children, and are designed to foster an enjoyment and love of music, as well as develop children's musical creativity. The FunMusic for Little Kids resources draw on the methods of music educators such as Kodaly and Orff, taking the best of these approaches and forming them into a user-friendly music program which really works with young children. Lynne has trialled all of her resources with hundreds of children over many years and can attest to the fact they really do work!'
Just returned from a tour of Flanders with SANS: we were very well looked after, and the venues were part of a well co-ordinated network of cultural centres, all within an hour's drive of each other. So there was time to roam Ghent and Antwerp, taking in (among other things) the sound of the local bells: I'm writing a trio for tenor sax, marimba and carillon, to be played by the ensemble Parillax at a Canberra concert on January 21st at the National Carillon on Aspen Island. It'll be a somewhat damaged version of something familiar from The Nutcracker…
All those SANS gigs were recorded: there'll be a fair bit of listening and editing in January which we hope will yield an album's worth of material, ready for the next tour. That's to start in May, and we'll be in England this time.
Back in October I did some sound design for the Jigsaw Theatre show 'Michael Francis Willoughby in Elohgulp'. The under(bath)world of 'Elohgulp' was a real sonic meddler's playground: voicing a monstrous but lonely sludgebeast plus several Sad and Sorrowful Wails, a Great Big Snorkelling Roar, some Bellybees, and a darksome subplugholian soundscape including splishlets, the odd gratuitous intestinal rumble and the slow dripdripdripping of slimy stuff. Mostly realised vocally, but some bass clarinet crept in too. Very good at creeping in, bass clarinets are…
Here's a nice review.
Now working on the FunMusic for Little Kids Christmas collection. For next Christmas. In the never-ending quest for new sounds I've managed to inject bombarde, gardon and melodeon into this one. And the bass ukulele!
SANS had its first trip to Australia this Easter, to play at The National Folk Festival and take part in the Australian Folklore Conference. The band reconvened in England for some July concerts in Liverpool, Cheltenham, and Colchester. More UK gigs are planned for 2014, after a tour of Flanders in December.
Meanwhile at the Blue Bear Studio complex, some new projects have emerged: Thai Lee's Across Time is now available from iTunes. And The Guitar Cases' debut album of new bluesy songs got a grand review from Chris Johnson which said nice things about the way it sounded, so I'll definitely quote that right here: the 11 original tracks have been recorded so well they ooze an intimate small-venue feel that really works.
The Pocket Score Company was also doing some recording: thirty-five layers of male voice karaoke backing in four channel surround to blend with the five live chaps in our version of Thomas Tallis' Spem in alium (which whizzed up the charts last year following a mention in Fifty Shades of something or other...)
Some great SANS gigs in Europe this year: here's a longish bit (at least two cups of teasworth) from our concert at Croatia's EthnoAmbient Festival:
Glyn Phillips has posted a detailed review of our Home Festival gig at Dartington on his site worldmusic.co.uk .
Blue Bear Studio did some more recording for John Couch: guitar duos this time in the company of Matthew Marshall. The recording of the new Freyja's Rain project was finished just in time for the transit of Venus, ready for mixing in London along with songs from The Guitar Cases.
And while in London, I spent an enjoyable four days doing the MUSARC Field Studies course: dropping hydrophones in the Thames, contact-miking the Wobbly Bridge and and recording the hidden voices of parking ticket machines... Thanks to Lee Patterson and the rest of the Field Studies team and participants!
Since I've been back in Canberra I've been taking part in a couple of projects at The Street Theatre: sound design and music for The Burning Heart, which is working with Canberran artists on their experiences of the fires of ten years ago; while The Pocket Score Company is teaming up with the Canberra Academy of Dramatic Art for a multi-layered Shakespearian show: The Polyphonic Bard. There'll be forty layers of PSC in our karaoke version of Thomas Tallis' greatest (and densest) hit Spem in alium...
SANS, the new combo with Tigran Aleksanyan, Andrew Cronshaw and Sanna Kurki-Suonio, will be starting this year's European tour on June 23rd with the Home Festival at Dartington Hall in Devon, followed by gigs in Croatia and Norway and a couple of weeks in the depths of the English countryside working on new music and doing some recording.
But before that, some theatrical stuff: I've just been doing some creative development on a project by Zsuzsi Soboslay, Anthems and Angels, and I'm about to get into sound design mode for a project from Jigsaw Theatre. Plus playing for Canberra's Finnish dance group Revontulet and singing with Coro, a new chamber choir. The Blue Bear studio complex has been busy recording classical guitar and violin duo John Couch & Judith Hickel, and editing live concert recordings for The Oriana Chorale.
Here's the video of that SANS show at St Ethelburga's. I'm relaxing there at the end of the stage, just listening to Sanna finishing the concert with a beautiful Finnish lullaby. Because sometimes it's best to just listen.
Taedet Animam Meam by ianblake
...and The Pocket Score Company recently recorded this: we're working up to a CD to be released in 2012. It's from the Matins of the Dead, set by Tomás Luis de Victoria.
Now, this is Francis Pilkington's lute song 'Rest Sweet Nymphs' in a version for four voices:
Rest Sweet Nymphs by ianblake
Here's a new venture: SANS is a quartet which came together in Finland at this year's Kaustinen Festival. We liked the results! So we'll be doing some more shows, starting in London on October 23rd. The band includes Tigran Aleksanyan on the Armenian duduk, the voice of Sanna Kurki-Suonio, Andrew Cronshaw on electric zither and various interesting wind instruments, and myself on soprano sax and bass clarinet.
Andrew Cronshaw's new CD features the musicians of SANS and will be available then too.
The concert is at St Ethelburga's Centre. It's always great to play in a church: seems to be the natural habitat of The Pocket Score Company, and Lichfield Cathedral was a splendid setting for the concert with Andy and Tigran back in July at the Lichfield Festival.
On a recent trip to Paris I interviewed Kaija Saariaho and caught up with Richard Lewis, whose music you can listen to at Radio Delevine. Meanwhile, I'm back in Australia for a few weeks, working on forthcoming CDs. At the wisteria-clad Blue Bear Studio, Thai Lee is making an atmospheric keyboard and vocal-based album: if you like Enya's music, you'll enjoy this when it emerges. The Pocket Score Company will be recording a few rather old songs shortly plus something fresh from countertenor David Yardley.
And some new projects have been released: Fred Smith's 'Dust of Uruzgan' has been getting some great reviews; Peter Woodley's collection of Flute Tunes is out, as is Lynne Pilbrow's second volume of FunMusic for Little Kids which is all about Transport.
I've just visited Music for Everyone where rehearsals are now under way for a new performance of my music theatre piece for young players: The Gathering of the Animals, directed by Dianna Nixon. Written in 1998, it'll be great to hear it up and running with a new generation of performers.
And The Pocket Score Company is getting to grips with the new material for the Homecoming concert on June 5th at St.Pauls Church in Manuka ACT.
Over at the Blue Bear studio complex, we're busy with projects from Freyja's Rain, Andrew Cronshaw, Peter Woodley, Fred Smith and FunMusic for Little Kids, and will be recording the Oriana Chorale's concert One Foot in Eden on April 16th.
More tarogato activity: Nicole Canham has been recording an EP featuring the instrument, and I've just heard that I've now got funding from artsACT to write a piece for tarogato, strings and soundscape.
My music was featured in a recent talk given by Andy Ross of the Centre for Creative Industries, Shetland: he'd made the trip down to Wales for the Warp and Weft Symposium to speak on the links between weave and music.
If you're in Paris next week you can hear twmp: a piece I wrote for Nicole Canham and her tarogato Goldilocks, plus soprano sax, which will be played by Claude Delangle. This is the European premiere: twmp had its first outing back in June at Lyneham's Front Café and Gallery in our Sound Bites concert: 'Bite-sized pieces for winds, electronics and drums; by Bach, Blake, Piazzolla, Tsiavos and Edwards.'
It was a mix of improvised and pre-meditated music, including another of my tunes: The River Daughter, for voice and rather a lot of bassoons — all wielded by Zoey Pepper.
The concert also featured saxophonist Niels Rosendahl and the rapid-response creativity of improvisers Miroslav Bukovsky (trumpet/flugel) and drummer Col Hoorweg.
Marguerite Boland mentions the show in the new ANU School of Music publication Som.Times. Her article is unnervingly titled Irrelevant Music — but that's just a lead-in via some thoughts in Kenneth Gaburo's essay on the beauty of that irrelevance. For the more irrelevant the music, the greater the freedom of the maker to knit their own context and meaning. Existentialism for composers?
Here's The Pocket Score Company — Canberra's most compact fullrange male voice ensemble — rehearsing for a pair of concerts which we're sharing with the women of Polifemy. So we're going to be singing in stereo for some pieces by Orazio Vecchi, Tomás Luis de Victoria, Nicholas Gombert and Michael Praetorius.
The PSC on its own will sing Encina, Guerrero, Leonel Power and a new piece from countertenor David Yardley.
Both shows are in Canberra: at St. Margaret's/Holy Cross in Hackett on September 25th at 5pm, and St. Paul's in Manuka on the 26th at 3pm.
One of the nice things about having visitors from overseas is the chance to indulge in some local tourism: the sort of things you always mean to get round to but need that extra prod to actually do. So when friend and musical collaborator Andrew Cronshaw turned up for his first visit to Australia it was an excellent excuse to get out and about in the beautiful Canberran autumn and see the sights. Andy's a keen photographer, and the wildlife seemed to turn up right on cue.
We played at the National Folk Festival in Canberra and the Fairbridge Festival near Perth: two of my favourites.
Also at the National: the launch of Sunday at Sandy's, the new CD from Cassidy's Ceili.
I'll be heading to England in October to take part in the next Cronshaw recording, along with Svetlana Spajic and Sanna Kurki-Suonio: formidable singers both, so there'll be some suitably hair-raising vocalising going on.
I've had my recording and producing hat on recently: several projects are emerging from the Blue Bear Studio complex. Humbug will be at the Turning Wave Festival in Gundagai NSW on September 18th to launch their new Robbie Burns flavoured CD, and
The Rafael Jerjen Quartet has the Canberra launch of the new album on October 15th in the ANU Big Band Room.
The FunMusic for Little Kids book and CD is being unleashed by Lynne Pilbrow and myself on November 15th at St. Barnabas' in Charnwood, ACT.
Lynne says: "The FunMusic for Little Kids program aims to introduce musical knowledge, skills and concepts to children in a fun way, and is designed to foster an enjoyment and love of music. FunMusic draws on the methods expounded by music educators such as Kodaly and Orff, but has been developed to be relevant and accessible to children living in Australia. Lessons are based around themes appropriate to the age and experiences of young children." Here's a sample.
And some time or other, the latest collection from Canberra's most celtalicious combo, Cassidy's Ceili, will be showcased. We'll let you know.
My clarinet quartet Starling gets an airing with ABC Classic FM
on October 3. It's on the At Home programme at 7.05pm
I'll be improvising like mad this weekend: it's the Respect festival at The Street Theatre in Canberra, hosted by Impro Theatre ACT. Actually, I'm usually improvising but this time it's official...
The Blue Bear has been recording local hiphop people Young Proof and experimenting with bearish beats. Thanks here to Multicultural Youth Services ACT.
I'm knitting a soundwork from Moya Simpson's voice and some noises of London for the show Big Voice: at The Street Theatre starting May 13th. It features Moya and Sandy Evans, and is directed by John Bolton.
Rehearsals are well under way for NachtMusik, the latest concert from The Pocket Score Company. Australia's Renaissance blokes take on a slice of good music from German-speaking countries, from the thirteenth-century Neidhart von Reuenthal to JS Bach, via Senfl, Isaac, Hassler, Eccard, Othmayr, Gumpelzhaimer, Vulpius. We hadn't heard of some of these chaps either until we started nosing around a bit... and you can't go past a composer called Gumpelzhaimer. In fact, we were thinking of re-naming the group The Gumpelzhaimer Brothers. Or perhaps The Liederhosen.
The concert is at 3pm on July 5th at All Saints' Church in the Canberra suburb of Ainslie. So it's NachmittagsMusik rather than NachtMusik. We needed to change the time... but it's still full of good stuff like Heinrich Isaac's hit Innsbruck, ich muß dich lassen — here we are, rehearsing in tenor George's kitchen:
Innsbruck, ich muß dich lassen performed by The Pocket Score Company.
And on May 3rd you can hear Clarity Clarinet Quartet play my tune Starling live from Melbourne's Iwaki Auditorium courtesy of ABC Classic FM: Sunday Live starts at 3pm.
You can now hear some audio from recent Radio 3 adventures with Andrew Cronshaw, Tigran Aleksanyan and Svetlana Spajic at this year's WOMAD. Look for Track 6 at CronshawSpace.
And there's a hitherto unpublished review, by Bill Stephens, of Quantum Leap's show My Sister, My Brother in the online Canberra journal the riotACT.
I've been recording the distinguished rhythm section of Liz Frencham (bass) and Jon Jones (drums) for a project involving Fred Smith and The Spooky Men's Chorale in a collection of urban sea shanties. Which made a nice change from working on a chunk of sound art involving London's most melodically inclined tube train driver (with a unique intercom style) and the trains themselves, duetting with bass clarinet in a piece entitled '...the burning Thames I have to cross', featured at Canberra's M16 artspace in the exhibition The Gathering. The title alludes to the English ballad The Grey Cock aka The Lover's Ghost - another spooky man who might have found it 'quicker by Tube'... as they used to say in the old days, when in fact it wasn't at all. Back then I appreciated the rattle and hum of those Northern Line trains when they did eventually turn up, reeking of warm dust and electricity, stale smoke and an unidentifiable whiff that set the reptilian brain a-thrumming...
The Grey Cock, originally from the singing of Cecilia Costello, also turns up on the second Pyewackett album The Man in the Moon Drinks Claret. I was (pleasantly) surprised to find a Pyewackett Appreciation Society on Facebook a few days ago. Thanks Frances!
Other recent recording includes a new song, Kids at Heart by Johnny Huckle, and a concert at the National Gallery of Australia by The Griffyn Ensemble which involved chasing the band around various galleries as they matched music to artwork: field recording in comfort! And Lynne Pilbrow's early childhood music education resource Fun Music for Little Kids is coming along nicely, providing an excellent excuse to play a lot of the studio's instrument collection: mbira, banjo, bass clarinet, sax, ocarina, cittern, concertina, harp, zoob tube and ukulele so far. I'm awaiting the opportunity/excuse to break out the Stylophone again.
My years of experience making animal noises for BBC Schools radio programmes (The Song Tree) came in handy the other day when I sessioned at someone else's studio (David Pendragon) for Kathy Possum's new kid's music project. Lots of fun: I got to be a dinosaur. However, Jon Jones, drummer about town, got to be a belching dinosaur. From time to time we pretended to be a rhythm section...
© 2019 IAN BLAKE

redpajama_set_name: RedPajamaCommonCrawl


text:
High-school football | Top performers
• Isaiah Young, Worthington, Kilbourne
Rushed for 163 yards and a touchdown on 27 carries in a 15-14 win over Uniontown Lake.
• Stephen Markos, Watterson
Rushed for 139 yards and a touchdown on 17 carries in a 28-3 win over Hamilton Township.
>> High-school football results, box scores from Round 1 of the playoffs
• Micah Fliegel, Bexley
Rushed for 139 yards and a touchdown on 15 carries in a 49-14 loss to Jackson.
• Luke Krawczyk, North Union
Rushed for 116 yards and a touchdown on 26 carries in a 49-27 loss to Cincinnati Hills Christian Academy.
• Joey Harrell, Licking Heights
Rushed for 112 yards and a touchdown on 20 carries in a 27-0 win over Wooster.
• Alonzo Booth, DeSales
Rushed for 82 yards and four touchdowns on 11 carries — all in the first half — in a 56-7 win over Chillicothe.
• Ridge Durbin, Danville
Passed for 284 yards and five touchdowns and added 72 yards and a score on 10 carries in a 63-0 win over South Gallia.
• Rodney Myers, Jr., Harvest Prep
Passed for 130 yards and two touchdowns in a 21-19 win over Belpre.
• Kenton Mickley, Danville
Had 10 receptions for 114 yards and two touchdowns in the South Gallia victory.
• Cal Honaberger, Danville
Had eight receptions for 114 yards and three touchdowns in the South Gallia victory.
• Curtis Jones, Harvest Prep
Had three receptions for 108 yards and two touchdowns in the Belpre victory.


In the city where I used to live, there was a massive commercial building that was never finished. Whenever I drove by it, I looked for signs of progress but saw only deterioration. The bare wood walls became grey and weathered in the rain. The tattered wrapping around unused building materials waved in the wind. Tall grass obscured the foundation. The scene in today's reading is similar.
On their return from a 70-year exile in Babylon, the Jews had enthusiastically begun to rebuild the temple. But their efforts soon slowed under Samaritan opposition. The Samaritans eventually got an order from the ruling Persian king for the Jews to stop construction altogether. And so for twelve years the temple sat there a half-built sorry sight and reminder of their inability to finish the job.
It was into this situation that Zechariah spoke. His prophecies rekindled hope. His beautiful vision of angelic riders reporting on the peace of the earth (Zechariah 8:8-11) was followed by encouragement to again take up the temple project because God had determined it would be built - Zechariah 1:16,17.
"Understand that the New Testament believers are now the house of the Lord, the dwelling place of His Spirit. Receive God's mercy and comfort. Have confidence that the Lord will complete the good work He has begun in you (1 Corinthians 6:19; Philippians 1:6)" - New Spirit-Filled Life Bible, p. 1264.
"Being confident of this very thing, that He who has begun a good work in you will complete it until the day of Jesus Christ." - Philippians 1:6.
PRAYER: Dear God, I believe You will finish what you have started in my life. Show me how to cooperate with You to bring this about. Amen.


text:
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Are heat-resistant cattle a thing of the future?
Dale Hildebrant
You don't have to be in the cattle business long before you realize that both heat and cold stress have an impact on the welfare and productivity of your animals. The negative results caused by heat stress are becoming more apparent due to the changing global weather patterns – with heat stress is becoming a worldwide problem, especially during the summer months.
However, research has now started to develop genetics in cattle that ultimately improve heat resistance in cattle. Two groups, Acceligen, a subsidiary of Recombinetics, Inc., and Semex have joined forces to develop these heat resistance genetics for cattle.
On Aug. 31, 2020, the Foundation for Food and Agricultural Research (FFAR) awarded a research grant of over $740,000 to Acceligen, and Semex provided a matching grant of a similar amount to make a total investment of almost $1.5 million to conduct this research in its beginning stages.
"As global temperatures continue to increase due to climate change, cattle experience heat stress more frequently and more intensely – even in traditionally temperate, non-tropical environments," said Dr. Sally Rockey, FFAR executive director. "Adapting cattle to withstand the effects of heat stress is critical to ensuring global food security."
Rockey noted, cattle, if not adapted to heat, can exhibit an extreme physical reaction to heat stress, including reductions in feed intake and milk production, slowed growth and increased disease susceptibility. These reactions decrease sustainable production and can result in severe illness or even death.
Up to now, most research for heat stress reduction in cattle has centered on improving housing conditions, using feed additives and other non-genetic interventions. However, this research grant will open up the genetic approaches to reduce heat stress.
Beyond the direct impact that heat stress has on the health and productivity of animals, the economic impact on livestock producers also needs to be considered. In 2003, a study estimated that heat stress had an annual economic burden of between $1.69 and $2.36 billion on U.S. animal agriculture industries. Within this estimate, economic losses of $897 to $1500 million were attributed to the dairy industry, with $370 million for the beef industry.
An animal's genotype is a major contributing factor to its susceptibility or tolerance to heat load. It is widely acknowledged that Bos indicus breeds (humped cattle or Brahman cattle) have greater heat tolerance compared to Bos taurus breeds (the other main type of domestic cattle).
Acceligen researchers and collaborators at the University of Florida are focusing on cattle that carry mutations, or gene variants, in the prolactin receptor gene (PRLR) that result in a slick coat or short hair. The shorter hair improves heat tolerance; however, this research further examines the impact of the mutations on molecular, genetic and physiological parameters. One aspect of this project involves employing sophisticated monitoring techniques to detect molecular differences emanating from the liver to identify key molecules for controlling metabolism prior to the onset of heat stress. This information could result in the development of more effective feed additives to ease seasonal heat stress caused by climate change in temperate zones.
In addition, scientists at Acceligen and Semex are using gene editing to introduce the mutations into both elite beef and dairy cattle to study an animal's ability to adapt to extreme heat and humidity. After the edits are introduced, the productivity and well-being of the precision-bred cattle will be compared to those that do not carry any PRLR edits. By introducing these naturally occurring gene variations into non-adapted breeds, researchers can better understand how to control heat stress and ultimately improve animal health, well-being, fertility and economic return for producers.
"Tropically-adapted cattle from the Caribbean Basin have provided us a naturally occurring trait that can be leveraged to reduce the carbon footprint of cattle globally," said Tad Sonstegard, the principal investigator of this research. "We believe this is an exceptional opportunity to contribute innovative solutions to food security challenges related to animal protein."
Further consideration needs to be extended to the selection of breeding animals. Performance-based selection of livestock has been used for numerous decades in selection of breeding stock based on the phenotypic performance of economically important traits such as high growth rates. In future years, producers will continue to select replacement breeding stock based on individual performances for traits that are deemed economically important. However, there is the potential that this will decrease thermotolerance due to the relationship that is observed between animal productivity and increasing metabolic heat production. This increase in metabolic heat production typically reduces the thermoneutral zone of these animals, and in conjunction with climate change, it may present some difficulty in managing cattle during hot weather.
The commercial viability of selection for heat tolerance needs to be evaluated. It is also important to consider that the selection for one trait may have negative consequences for another trait. It is generally accepted that improved heat tolerance comes at the cost of growth and reproduction.
It is known that high-production cows produce a greater proportion of metabolic heat. This can be most easily figured from the milk production of a cow. Cows with milk yields of 18.5 kg/d and 31.6 kg/d had 27.3 percent and 48.5 percent greater metabolic heat production when compared to dry cows. Thus, high producing cows may be more susceptible to hot weather, regardless of genomic selection.
Sally Rockey
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It's rare to see mushrooms in the forest behind our house. But during a week this past summer, they were everywhere… and so many different types! Tiny and pancake sized ones; tight clusters and spread out villages; yellow, white, red, brown, and blue ones; some that looked like freshly baked buns; old ones; dying ones; freshly popped out ones; some with thin stems and others with thick ones.
All these varieties were just waiting for the right conditions so they could emerge. They needed rain, heat, plus the right type of soil to expand into their uniqueness.
I think that's what we do too. We need the right environment to flourish into our true selves.
South Korea has done that for me. There's something about this land, the people I've met, and the circumstances I've encountered that have helped me get back to my center. It's not easy to explain why.
Since moving to Korea twelve years ago, people have often asked me when I'm going to move back to Canada. I understand that my family and friends back home care about me, and want me closer. And it's not like I don't want to be close to them. It's also not like my proximity means I love them less.
In Korea, people ask me how long I plan to stay here. I understand. It makes sense to assume that the land where we grew up would be the land we are meant to live our adult lives (assuming we aren't forced to move due to war or an environmental tragedy).
There seems to be something almost illogical, if not inherently wrong about choosing to live in another country. At least that's the feeling I get when I hear these questions.
I've often wondered if I'd get the same questions if I were living in a European country or Australia. I'm not so sure. I can understand why friends and family might be concerned that I'm living in South Korea. It's not like the peninsula gets the most positive international news coverage. I also understand why my Korean friends wonder why I live here when life in Canada is often idealized.
But there's nothing illogical or wrong about it. There's no justification or explanation necessary. Like those mushrooms, we all have our own unique place in the world to emerge into.
I used to try to make sense of why I choose to live here. It's not like it's been perfect. There are many things I don't agree with that happen in this country. I've also struggled with adapting to certain parts of the culture. But I have a feeling this happens to everyone, no matter where they choose to live.
I've stopped trying to explain myself. All I know is that it feels right. It felt right the first time I set foot here. I felt free. I felt at peace. I felt at home.
Each place we choose to live in is part of our process. It's a manifestation of what we need to learn. I now know I had to come to Korea to learn some very important lessons. So why question this? We don't know what another person needs to learn in this lifetime.
If you're curious to learn what lessons a certain place could have in store for you, you might enjoy this discovery. I recently learned about astrocartography, which basically charts how different places on earth could affect you based on your astrological reading.
Because I use astrology to gain insight, not to predict my future or explain my past, when I read what South Korea meant for me astrologically, I was pleasantly surprised. It made so much sense and reflected a lot of my experience.
The MC line represents the realisation of lifetime goals and the safeguarding of important social standing. Connection with planet Chiron leads to fundamental changes of your personal views regarding these. Traditional value systems lose their meaning, your ideals dissolve and your ideas of success or a career start to transform.
This change is mainly due to some deep personal crises whose origin lies in connection with professional disappointments. A feeling of not being able to complete your tasks can add to your insecurity.
You query the sense and purpose of your previous activities. You feel manipulated and rebel against all expectations in search of your own destiny.
Far from all convention, you enter a new field. You gain insights from humanistic and psychological teaching as well as esoteric understandings. Your personal wishes and egotistically motivated interests become less important. That is why these regions are particularly suited to the healing professions. You experience an increase in energy as well as recognition and acceptance.
Note: You can get your reading for free here: AstroClick Travel Horoscope.
In what environment do you feel most at ease?
Where do you shine the most?
What does your body tell you about where you are now?
Where do you feel free, or at peace, or at home?
You might realize you're already in the mushroom cluster that was meant for you, or maybe you'll understand it's time to find the village you've always been curious about.


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text:
Written declaration Doc. 13552 25/06/2014
Major progress for securing the democratic European path of the Republic of Moldova, Georgia and Ukraine
Ana GUŢU Parti Libéral de Moldova Republic of Moldova Alliance of Liberals and Democrats for Europe
Antonio GUTIÉRREZ PSOE Spain Socialist Group
Serhii SOBOLEV Batkivshchyna All-Ukrainian Union Ukraine Group of the European People's Party
Algis KAŠĖTA Liberal Movement Lithuania Alliance of Liberals and Democrats for Europe
Tinatin KHIDASHELI Georgian Dream - Republicans Georgia Alliance of Liberals and Democrats for Europe
Liliana PALIHOVICI Liberal Democratic Party Republic of Moldova Group of the European People's Party
Corneliu Mugurel COZMANCIUC National Liberal Party Romania Alliance of Liberals and Democrats for Europe
Ionuț-Marian STROE National Liberal Party Romania Alliance of Liberals and Democrats for Europe
Igor KOLMAN Croatian People's Party - Liberal Democrats Croatia Alliance of Liberals and Democrats for Europe
Josette DURRIEU Socialiste et républicain France Socialist Group
Elena KOUNTOURA Independent Hellenes Greece European Democrat Group
Karl GARÐARSSON Progressive Party Iceland Alliance of Liberals and Democrats for Europe
Mustafa KARADAYI Movement for Rights and Freedoms Bulgaria Alliance of Liberals and Democrats for Europe
Bernard PASQUIER Union Monégasque Monaco Alliance of Liberals and Democrats for Europe
Gerold BÜCHEL Progressive Citizen's Party Liechtenstein Alliance of Liberals and Democrats for Europe
Judith OEHRI Patriotic Union Liechtenstein Alliance of Liberals and Democrats for Europe
Margus HANSON Reform Party Estonia Alliance of Liberals and Democrats for Europe
Ester TUIKSOO Centre Party Estonia Alliance of Liberals and Democrats for Europe
Raphaël COMTE Les Libéraux-Radicaux Switzerland Alliance of Liberals and Democrats for Europe
Kerstin LUNDGREN Centre Party Sweden Alliance of Liberals and Democrats for Europe
Valeriu GHILETCHI European Popular Party Republic of Moldova Group of the European People's Party
Chiora TAKTAKISHVILI United National Movement Georgia Alliance of Liberals and Democrats for Europe
Bernd FABRITIUS CDU/CSU Germany Group of the European People's Party
Jordi XUCLÀ PDeCAT Spain Alliance of Liberals and Democrats for Europe
Arcadio DÍAZ TEJERA Socialiste Spain Socialist Group
Lolita ČIGĀNE Unity Latvia Group of the European People's Party
Inese LĪBIŅA-EGNERE Unity Latvia Group of the European People's Party
Viorel Riceard BADEA Liberal Democratic Party Romania Group of the European People's Party
Volodymyr ARIEV Petro Poroshenko Bloc Ukraine Group of the European People's Party
Zsolt CSENGER-ZALÁN Fidesz Hungarian Civic Union Hungary Group of the European People's Party
Mónika BARTOS Fidesz Hungarian Civic Union Hungary Group of the European People's Party
Bence TUZSON Fidesz Hungarian Civic Union Hungary Group of the European People's Party
Ivan POPESCU Independent Ukraine Socialist Group
2014 - Third part-session


text:
with Stefan Nestler
Original blog (in German)
Search Results for Tag: Cholatse
Over penitents and narrow snow bridges
Ralf Dujmovits on Cholatse
"Everything has been going well so far." Ralf Dujmovits is highly satisfied with his acclimatization tour in the Khumbu area. To prepare for Mount Everest, the 55-year-old, along with his partner Nancy Hansen from Canada, climbed the 6440-meter-high Cholatse. Last Thursday they reached the summit. The climb via the Southwest Ridge was anything but easy, Ralf writes to me: "A good part of the route above the col leads over steep to steepest penitents – very, very uncomfortable to climb." Dujmovits believes that the climb to the highest point will soon change drastically. "The summit structure of Cholatse threatens to break apart in the next few years," says Ralf. "There are many crevasses up to the summit. 30 meters below the highest point you have to cross a snow bridge which is still only two meters long and half a meter wide. If this also breaks, you need a ladder to get to the top."
18. April 2017 | 12:51
Acclimatization, Cholatse, Mount Everest, Nancy Hansen, Ralf Dujmovits
Ralf Dujmovits: "My definitely last Everest attempt"
Ralf Dujmovits
Never say Never Again! This is not only the title of an old James Bond film but could also stand for Ralf Dujmovits' personal story on Mount Everest. The first and so far only German, who has scaled all 14 eight-thousanders, had climbed the highest mountain on earth on his very first attempt in fall 1992. Due to bad weather, however, he had used bottled oxygen above the South Col. "I was very young at the time. It was a mistake," says Ralf today.
After all, he climbed the other 13 eight-thousanders without breathing mask. And so he later tried to wipe out this Everest mistake again and again. In vain. In 1996, 2005, 2010, 2012, 2014 and 2015 he returned without summit success, for various reasons. This spring, the 55-year-old wants to give it a try again. For the eighth time, he will travel to Mount Everest, the fifth time to the Tibetan north side of the mountain. He will acclimatize in Nepal with an ascent of the 6,501-meter-high Cholatse in the Khumbu area, along with his Canadian partner Nancy Hansen. Ralf has now arrived in Kathmandu. I spoke with him shortly before he left to Nepal.
Ralf, I think, it's allowed to say, that you and Everest have a relationship.
28. March 2017 | 16:59
Abele Blanc, Cholatse, Horia Colibasanu, Mount Everest, Nancy Hansen, Nepal, Ralf Dujmovits, Sherpa, Tibet, Tibetan north side, Without bottled oxygen
"You don't have to be a fantastic hero to do certain things – to compete. You can be just an ordinary chap, sufficiently motivated."
Aid project in Nepal: School up!
Tweets by @Springinsfeld
Nanga Parbat Lhotse Nepal Makalu winter ascent Kangchenjunga Luis Stitzinger K2 Expeditions Tamara Lunger Cho Oyu Aid project: School up! Elisabeth Revol K 2 Simone Moro Alex Txikon Thomas Huber Mount Everest winter expedition Pakistan Nepalhilfe Beilngries Ralf Dujmovits Broad Peak Avalanche Daniele Nardi Shishapangma Thulosirubari Mingma Gyalje Sherpa first ascent Billi Bierling Karakoram Expedition Earthquake Tomek Mackiewicz Tibet Manaslu Ueli Steck Dhaulagiri Amical Alpin Annapurna
See you on "abenteuer-berg.de"!
Two Polish climbers flown out of K2 Base Camp
Tima Deryan: Strong Arab woman heading for Everest
Winter expeditions: Waiting for end of snowfall
Rugby on Everest
Shutdown stops Kobusch at Denali
Nanga Parbat: Nardi and Co. again in Camp 3
In their husbands' Everest footsteps
Winter expeditions are on


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text:
Trip to Tas leg 3: Sydney to Hobart
I woke with a start at 3.50 in the morning, wondering where I was. John woke too, maybe because I'd disturbed him, so I made a cup of tea and we showered and got ready for our final flight to Hobart. There, my sister in law would be waiting to collect us to take us to their house in Margate.
We took our trolley of baggage, which we'd parked in our room overnight, checked out of the hotel and caught the shuttle bus to the domestic terminal of Sydney Airport for our 2-hour flight with Virgin Australia at 7.40. Check in was a shambles because the check in machines were either out of order or cabin baggage only. Tired and cross, we finally ended up going to the bag drop desk and checking in there. Security, food, and then gate for boarding… a familiar routine now.
The flight went smoothly and soon we could see the coast of Tasmania, with long sandy beaches lapped by turquoise sea, and rolling hills covered in green trees. After landing at the tiny airport we passed guards with sniffer dogs before walking straight into the arrivals hall where Rachel was waiting for us with a smile and a hug.
It's great to be here with Richard, Rachel, Lexie and Thomas, finally seeing where they live. Rachel showed us around the house then, at lunchtime Richard arrived home from work to show us around the local area. We had a leisurely lunch by the beach in Kingston, popped to the shops in Margate and then had a wander around their land, which spans several acres, before the sun went down.
The house is huge with 2 stories and lots of large airy rooms and, although Rachel had warned us the place was a mess because they're having a lot of work done, it's lovely… spacious but very homely and comfortable. I can see why Richard fell in love with the property, but also why there have been times when they've regretted buying it. The buildings here in Tasmania seem much less solid than British buildings, and they've had to do a lot of work to improve the house and land, including adding central heating, insulation, new floors and ceilings, a new kitchen, better drainage to prevent flooding… the list goes on!
The views from their land are beautiful, towards the sea and over rolling fields, hills and woodland. They have 3 horses in a paddock at the front of the house and, at the back, we walked past a small lake, through woodland to further paddocks bordered by a stream, all belonging to Richard and Rachel!
I'm looking forward to seeing and attempting to photograph the local wildlife. We've already seen turbo chooks and pademelons in the garden… the former are flightless birds, which roadrunner was based on, and the latter are small marsupials, which were very cute, bouncing round the garden after dusk. Thankfully, at this time of year, we won't see the large venomous snakes that inhabit the garden. I'd love to see the platypuses that live in the creek though 🙂
After a lovely Thai curry prepared by Rachel and too many bottles of wine, I couldn't keep my eyes open any longer and I was in bed and fast asleep by 8 o'clock. Unfortunately I then woke at 12.50. I tried reading for a bit but John is snoring so loudly, that I've given up and come downstairs. I'm quite enjoying writing this blog with a cup of tea, listening to the strange sounds outside… frogs, I think, and occasionally episodes of screeching that I assume is birds. It's all very different from home, and I'm looking forward to getting out and exploring.
Published by louisarambleson
Wife, pharmacist, medical writer and hiker. Aspiring photographer, fused glass artist and cyclist. Loves holidays, reading, crochet and cats. Oh... and food and wine :-) View all posts by louisarambleson
Hobart, Kingston, Margate, Tasmania
Trip to Tas leg 2: Singapore to Sydney
Falls and fossils
Hills and views
Fells and falls
A wet and windy Pitlochry
Rushing rivers and babbling burns
Amazing structures in Central Scotland
louisarambleson on A wet and windy Pitlochry
Clunegapyears on A wet and windy Pitlochry
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charliesbird on Rushing rivers and babbling…
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Austrian adventures
Lon Las Cymru
Road trip: Italy and Germany
Run snowdon
Welshot


text:
One perspective on 2020
As Covid-19 made its way around the world in the first few months of the year, Kaarle Nordenstreng, chair of the Tampere LOC, IAMCR's unofficial historian and a member of the association since the 5th conference in 1966, was suddenly catapulted from his role as active observer to central actor as Tampere University became the host, first of a face-to-face and then an online conference. What follows is an account from his perspective of how things developed.
Diving into the IAMCR folder of my email inbox, shows how fast and intensive have been the turns of history over the past five months. Here are main signposts in a roadmap:
January 24: Executive Director Bruce Girard publishes alerts in the International Council Plus mailing list and on the IAMCR 2020 website that the Executive Board (EB) and the Local Organizing Committee (LOC) in China are closely monitoring the recommendations by the Chinese health authorities following the outbreak of the novel coronavirus in Wuhan.
January 31: In a circular to all members the IAMCR Secretariat in Montevideo repeats the alert, while announcing that the IAMCR 2020 Call for Proposals deadline for abstract submissions remains unchanged at February 10. The Election Committee also informs voters about the timetable for the executive board and international council elections.
February 5: I email to Bruce and President Janet Wasko: "Is there any plan B in the pipeline?" adding that I just made preliminary inquiries about the availability of facilities in the Tampere Hall (the largest conference centre in the Nordic countries) and at the Tampere Tourist Office; both confirmed that there were vacancies for meetings and hotels. Bruce thanks me and says that EB and LOC are considering various options, assuring me that "any decision to postpone, cancel or change the venue must be made soon".
February 11 (the day after the deadline for abstract submissions): Bruce informs us that LOC has agreed not to hold the conference in Beijing this year and that they are very pleased to hear about the Tampere option; final decision to be made only after consulting the international council (IC). Bruce also tells us that they received over 1,800 abstracts from nearly 80 countries (some 30% of them from China).
February 12: Bruce sends, on behalf of Janet, a message to IC members and heads of the Sections & Working Groups (S/WG), informing them that Beijing has been postponed from 2020 to 2022 and about the possibility of an alternative venue, specified in the attached brief proposal, to organize the 2020 conference in Tampere; feedback is requested by February 15.
February 15: A circular to all members from the EB, the LOC in Beijing and a new LOC in Tampere, announcing that the Beijing conference will be postponed to 2022 and that IAMCR 2020 will take place in Finland. At the same time an extraordinary reopening of the call for papers is announced, with a deadline of March 2.
February 25: Bruce sends a second circular to all members with updates about the change of venue from Beijing to Tampere, also announcing the new conference website.
March 3: The day after the extended deadline Bruce informs the S/WG heads that the total number of abstracts received is over 2,400, of which 57% are resubmissions for Beijing and 43% new submissions. He also raises with me and my LOC colleagues the question of a possible "plan C" in light of the spread of Covid-19. Meanwhile, plans for a conventional conference continue with the number of participants expected to be at the level of 1,000–1,500. Treasurer Elske van de Fliert joins the discussion with budget options.
March 12: Secretary General Gerard Goggin sends a message to S/WG heads asking whether they would like to participate in a virtual conference, requesting responses by March 15. The International Communication Association (ICA) had already decided to convert its conference in late May to an entirely virtual model.
March 13: Nico Carpentier replies to Gerard's message on behalf of the PCR Section's leadership, addressed to all S/WG heads, supporting a virtual alternative and also discussing issues in light of ICA's shift to virtual. I respond to this circular by telling everybody that Tampere LOC is looking for alternatives to a physical conference with buzzwords "virtual" and "hybrid". I passed on to the S/WG heads Bruce's idea of two possible tracks for such an alternative: (1) high-quality video presentations, one by each Section and Working Group, and selected plenary sessions; (2) online conference paper panels.
March 16: Responses of the S/WG heads tend to be either hesitant or opposed to the virtual alternative, with just a few like Nico clearly in favour of it.
March 19: Gerard sends to S/WG list a position of the EB, Secretariat and LOC, whereby "we will not hold an onsite face-to-face conference in July 2020, we will not postpone the 2020 conference until later in the year, we believe that we should organise online activities in 2020 and that we have a proposal that we think is experimental, realistic and attractive". Two models are proposed: (1) Online Sessions and (2) Online Papers. A Yes or No answer is requested on each of these by 23 March.
March 25: Janet's letter to all members announcing IAMCR 2020 goes online, also published in the conference website. The letter outlines the two models Online Sessions and Online Conference Papers.
March 30: All members whose abstracts have been accepted are requested to confirm by April 4 whether they want their papers to be considered for inclusion in the Online Conference Papers.
April 7: Bruce informs the SWG heads that 1,050 submissions have confirmed their abstracts for the online conference. Consequently, they will be reviewed and, if accepted, should be submitted as conference papers of 1,000–4,000 words.
April 21: Abstracts accepted for Online Conference Papers are published in the conference website.
May 10: The structure of Conference Programme is published in the website.
Later in May: The contents of the programme are under intensive preparation not only for the paper panels but also for the online sessions, supported by resources in the website. In addition, opening and closing plenaries plus four thematic plenaries are scheduled to be recorded in June.
This roadmap from January to May lists only the main signposts, at the crucial turns from Beijing to Tampere and from onsite to online. Each of the 18 signposts was preceded by innumerable exchanges by email and several zoom meetings. In hindsight, the process has been amazingly smooth thanks first and foremost to the skill and acuity of Bruce and his staff with such wonders as Valeria Zamisch. It is amazing how a totally decentralized Secretariat, with Bruce in Geneva and the Montevideo staff working in their homes, has succeeded in keeping together both the complicated conference preparation and simultaneous conduct of the elections, in addition to regular membership management. I have also been impressed to witness how the smooth running of the Secretariat is supported by the troika of Janet, Gerard and Elske working as an efficient team for steering the management.
The Tampere team has had a minor role in the process: we have mostly just made promises of potential facilities. Of course these promises were crucial in February, when Beijing could no longer continue to host the conference, but since then the whole process has crucially depended on the Secretariat and the IAMCR leadership behind it. My closest associates in Tampere are three women: Sinikka Torkkola, Iiris Ruoho and Teija Waaramaa. Sinikka was the one who urged me to propose Tampere as a rescue venue; Iiris ensured institutional support for our private initiative; Teija has taken care of practical questions – first those of the physical facilities and later those of the virtual facilities.
It would doubtless have been much easier to organize a conventional onsite conference. There is a long tradition of physical conferences with well-established practices for the organizers as well as for the participants. Moving it online means unforeseeable challenges for both. It was therefore understandable that the initial reaction of the S/WG heads was sceptical of the option of holding the conference online – especially given the stressful situation in mid-March, when the pandemic led to the lockdown of universities. Still, the replies of the S/WGs to the question of whether or not to go online can be seen to reflect more a conservative preference for business as usual than a mindset open to innovations. If Bruce, myself and Nico had not been keen to go online, the IAMCR 2020 may well have been cancelled (the first time in IAMCR history for a biannual statutory conference).
As written in Janet's message in late March, our online option is "experimental, realistic and attractive". After some armwrestling we agreed to enter an experiment. It was forced upon us by the pandemic, but sooner or later we would have needed to move into online conferencing even in our regular business – not completely, but, for example, with hybrid meeting with both face-to-face and virtual components, or even virtual meetings every second. Covid-19 forced our hand in 2020, but neither the environment nor the economy will permit the old models to continue forever.
So we are making history, however (un)elegant the experiment may be. The Tampere team believes that we shall succeed and that 2020 will usher in a new era in the development of IAMCR. (For the development so far, see https://iamcr.org/history)
This was published in the June 2020 newsletter. Read the rest of the newsletter at https://mailchi.mp/iamcr/june-2020


This is used for a flat wall surface mount. Chrome plated Zamac. A=1-1/2". Also known as 3210. 3/8" diameter hole. Used with Accurate Partition doors prior to January 2013.
This is used for a flat wall surface mount. Chrome plated Zamac. A=1-1/2". Also known as 3210. 3/8" diameter hole.


Kelley Brandstetter Tracy's practice is concentrated in commercial finance and the structural and legal aspects of debt financing and equipment leasing. She represents lenders, borrowers, finance companies, lessors and lessees in domestic and international, and secured and unsecured financing and leasing transactions in varying industries. Kelley's practice includes representing banks, insurance companies, asset management companies, special purposes issuers, private equity funds and other corporate clients on an array of middle to large market financing deals as well as refinancing, restructuring and incremental facility transactions for such entities, ranging from single term loans utilized for acquisitions or revolving credit facilities used for working capital purposes and asset-based lending transactions to large broadly-syndicated facilities and collateral loan obligation (CLO) transactions. Kelley also has significant experience in aviation finance transactions and other matters related to aircraft ownership and leasing.
Prior to joining Keating Muething & Klekamp, Kelley served as an Associate in the Banking & Finance Group at Clifford Chance US LLP in New York where she advised clients, including large public and private companies and financial institutions, on general corporate legal matters, contract work and a variety of financing transactions, including aviation financing transactions.
Kelley serves as Co-Chair of the firm's Women's Initiative Committee.
Repealing the Drug Free Student Loan Provision: Would Putting Dope Back Into The College Classroom Help Keep Dope Off the Street and out of the Prison System?, 77 U. Cin. L. Rev. 783, 1127 (2009).


Kim is an outstanding individual who has demonstrated loyalty and devotion to youth. She is active in service in her community, always helping where she can. She has demonstrated great leadership skills by helping countless other youth leaders in the community. She is always willing to serve and help boys and leaders alike. She has served in Scouting for over 13 years. Kim has received the District Award of Merit and is Wood Badge trained.


Amy is honored to continue the legacy her mother, Peg, and father, Gus, created in 1953 of directing a dance school with the perfect combination of professionalism and warmth that Peg and Gus gave to all their students. Gus opened the School to spread his love of jazz dance to the world. He is known as the "Godfather of Jazz Dance." Peg handled all the scheduling of classes, faculty, accounting, marketing & more. Gus' belief was a jazz dancer must have a strong base in all forms of dance: ballet, tap, jazz and modern, and this philosophy is continued today at the original Gus Giordano Dance School under Amy.
Amy grew up dancing & trained in all styles (jazz, ballet, pointe, modern, tap) while assisting her parents with every aspect of running the School. Amy trained until she shattered her knee cap as a passenger in a car accident. After receiving her Bachelor of Arts from Tulane University, Amy worked as an Accountant Representative for Grey Advertising, Marketing Supervisor at DMB&B & Director of Marketing at Budget Rent a Car. During this time, Amy also worked for her father as Executive Coordinator and Executive Treasurer for Jazz Dance World Congress created in 1990 by Gus.
Amy's professional performances began at age 6 with multiple dance commercials for Sears & Co, 100th Anniversary Celebration of Hiram & Walker, PBS special "Ritual D" dancing alongside her father, along with numerous dance performances throughout Chicagoland.
Amy's extensive dance knowledge from her own personal dance training to everything her parents taught her enables her to continue providing the highest quality of dance training from children to professional dancers. Amy has an eye for developing programs for dancers of any age.
In 1993, Peg passed away and Amy assumed all of her mother's responsibilities of running the School. She also became her father's personal assistant at this time until his death in 2008. Amy credits both of her parents for her love and dedication to offering the highest quality of dance instruction to all ages at all levels, as she loves building confidence and guiding dancers from age 2 to professionals. She is the proud mother of Lauren, Edward, and Sarah. Her maternal qualities contribute to the family oriented nature of the School.
In 2018, Amy was awarded The Kurt Mathiasson Award for Community Service. The award is given to an individual who most exemplifies Kurt's devotion and commitment to the ongoing vitality of the Andersonville community. Amy embodies the spirit of this award through her non-stop efforts to not only expertly run Gus Giordano Dance School, but to bring the school out to the community. She brilliantly continues the legacy of her father.
Amy is the Founder & Executive Director of The Gus Giordano Jazz Legacy Foundation. Amy established Gus Legacy Foundation on July 10, 2017, Gus' birthday. It was a long time goal of hers to create a non-profit organization that would preserve Gus' legacy and truly pay tribute to her father. Gus believed that dance and music is a living art form that should be used as an instrument to impact the physical, emotional, and intellectual development of people around the world. The Gus Legacy Foundation provides equitable access to education, empowerment and exploration for the arts.


I am doing a nailart challenge called Nail That Technique. As the name suggest it's about trying various nailart techniques. Nailbuddies from Indian Lacquer Lovers gave their input for this challenge and our dear admin Dimpal from CrazyPolishes did a hard work to put all this together. First theme in this challenge is Blobbicure :) This is probably my second attempt for blobbicure and I loved how it turned out. I called it Reptile skin though I never planned it like that. I did try a lot of colours and finally settled on this colour combo.
How to do a blobbicure?
It's basically dropping one polish on a base polish while it is still wet that way the drop spreads to make an irregular spot. You can control the size of the blobs by dropping less or more polish from the bottle. Some also like to use dotting tool to drop the polish but the outcome is different and looks more of a circle than something irregular. You can also layer the blobs with different polish.
Choice of colours- Try to use colours which can be distinguished easily to make blobbicure look vibrant.
Type of Polish- Polish should be thin flowy but not sheer. Creams works nice as base.
One Nail at a time - It's obvious as we don't want our nail polish to dry before dropping another polish so work quickly as soon as you apply the base and work on one nail at a time.
I hope you liked this nailart. Have you ever tried blobbicure?
If you want to join us Follow us on Instagram HERE and post your nailart with #nailthattechnique for a chance to get featured.


text:
Nikki Bella Reveals Gruesome Injury That Ended Soccer Career...
Nikki Bella Reveals Gruesome Injury That Ended Soccer Career In 'Biography: WWE Legends'
"Soccer was my life. For 11 years I played competitive ball, and I loved what I did," Nikki Bella explains in this EXCLUSIVE preview of The Bella Twins episode of Biography: WWE Legends.
Before she became one of the most recognizable figures in the WWE, Nikki had "dreams of being on the women's World Cup team." Nikki had her heart set on a long career in soccer.
The Bella Twins during their WWE days. (A&E Network)
"I'm about to sign with Arizona State University, and I have all these other offers from all over the country," Nikki continues. "I'm going to have a spot on the Arizona Heatwave playing in the women's professional league. I'm making my way up to see that dream of being on the World Cup team one day. That's how I see it, right?"
Unfortunately, a soccer career was not meant to be. During a third-place game with her high school team, Nikki collided with an opposing player. They hit "shin-to-shin" and Nikki's shin "snaps right in half."
The injury put an end to her future with soccer. "The break was just so bad it was like, 'Sorry, we don't know how you're going to heal,'" Nikki reveals. "Scholarships are off the table. We couldn't afford college. Everything that I worked for for 11 years straight, what was going to get me out of Arizona, out of my home, was just all gone. It was just like everything crumbled."
This episode of Biography: WWE Legends, airing July 24, chronicles Brie and Nikki's journey from waitresses to WWE Superstars and pop culture icons. Success in sports got the Bellas through a difficult childhood and helped them survive personal traumas. That competitive spirit led them to a groundbreaking career in wrestling, capturing the Divas Championship and satisfying their Bella Army with their hit reality shows. The Twins are still kicking ass as moms, entrepreneurs, and as WWE Hall of Famers.
Nikki Bella in May 2022. (Rob Latour/Shutterstock)
Biography: WWE Legends season 2 premiered July 10. Legends featured this season also include The Undertaker, Goldberg, The Bella Twins, Lex Luger, Edge, Kurt Angle, Rey Mysterio, and D-Generation X. Biography: WWE Legends airs Sundays at 8 p.m. ET/PT on A&E Network.
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text:
package net.roboconf.maven;

import java.io.File;
import java.util.ArrayList;
import java.util.HashMap;
import java.util.HashSet;
import java.util.Map;

import org.apache.maven.artifact.Artifact;
import org.apache.maven.artifact.DefaultArtifact;
import org.apache.maven.artifact.handler.DefaultArtifactHandler;
import org.apache.maven.plugin.AbstractMojo;
import org.apache.maven.plugin.MojoExecutionException;
import org.apache.maven.project.MavenProject;
import org.codehaus.plexus.archiver.zip.ZipArchiver;
import org.eclipse.aether.RepositorySystem;
import org.eclipse.aether.RepositorySystemSession;
import org.eclipse.aether.internal.impl.DefaultRepositorySystem;
import org.eclipse.aether.repository.RemoteRepository;
import org.eclipse.aether.resolution.ArtifactRequest;
import org.eclipse.aether.resolution.ArtifactResolutionException;
import org.eclipse.aether.resolution.ArtifactResult;
import org.junit.Assert;
import org.junit.Before;
import org.junit.Rule;
import org.junit.Test;
import org.junit.rules.TemporaryFolder;

import net.roboconf.core.Constants;
import net.roboconf.tooling.core.ProjectUtils;
import net.roboconf.tooling.core.ProjectUtils.CreationBean;

/**
 * @author Vincent Zurczak - Linagora
 */
public class ResolveMojoTest extends AbstractTest {

	@Rule
	public TemporaryFolder folder = new TemporaryFolder();

	private final Map<String,Artifact> artifactIdToArtifact = new HashMap<> ();

	@Before
	public void resetArtifactCache() {
		this.artifactIdToArtifact.clear();
	}

	@Test
	public void testNoDependency() throws Exception {
		final String projectName = "project--valid";

		File baseDir = this.resources.getBasedir( projectName );
		Assert.assertNotNull( baseDir );
		Assert.assertTrue( baseDir.isDirectory());

		File targetDir = new File( baseDir, MavenPluginConstants.TARGET_MODEL_DIRECTORY + "/" + Constants.PROJECT_DIR_GRAPH );
		Assert.assertFalse( targetDir.isDirectory());
		findMojo( projectName, "resolve" ).execute();

		// The mojo does not create the directory if there is no dependency
		Assert.assertFalse( targetDir.isDirectory());
	}

	@Test( expected = MojoExecutionException.class )
	public void testWithInvalidRoboconfDependencies() throws Exception {

		// Prepare the project
		final String projectName = "project--valid";

		File baseDir = this.resources.getBasedir( projectName );
		Assert.assertNotNull( baseDir );
		Assert.assertTrue( baseDir.isDirectory());

		AbstractMojo mojo = findMojo( projectName, "resolve" );
		this.rule.setVariableValueToObject( mojo, "repoSystem", newRepositorySystem());
		this.rule.setVariableValueToObject( mojo, "repositories", new ArrayList<RemoteRepository>( 0 ));

		// Add dependencies
		MavenProject project = (MavenProject) this.rule.getVariableValueFromObject( mojo, "project" );
		project.setDependencyArtifacts( new HashSet<Artifact> ());

		Artifact notRbcfArtifact1 = new DefaultArtifact( "net.roboconf", "roboconf-core", "0.2", "runtime", "jar", null, new DefaultArtifactHandler());
		project.getDependencyArtifacts().add( notRbcfArtifact1 );

		Artifact notRbcfArtifact2 = new DefaultArtifact( "net.roboconf", "roboconf-core", "0.2", "runtime", "jar", null, new DefaultArtifactHandler());
		notRbcfArtifact2.setFile( new File( "file that does not exist" ));
		project.getDependencyArtifacts().add( notRbcfArtifact2 );

		Artifact notRbcfArtifact3 = new DefaultArtifact( "net.roboconf", "roboconf-core", "0.2", "runtime", "jar", null, new DefaultArtifactHandler());
		File temp = this.folder.newFile( "toto.zip" );
		Assert.assertTrue( temp.exists());

		notRbcfArtifact3.setFile( temp );
		project.getDependencyArtifacts().add( notRbcfArtifact3 );

		// Execute it
		File targetDir = new File( baseDir, MavenPluginConstants.TARGET_MODEL_DIRECTORY + "/" + Constants.PROJECT_DIR_GRAPH );
		Assert.assertFalse( targetDir.isDirectory());
		mojo.execute();
	}

	@Test
	public void testWithValidRoboconfDependencies() throws Exception {

		// Prepare the project
		final String projectName = "project--valid";

		File baseDir = this.resources.getBasedir( projectName );
		Assert.assertNotNull( baseDir );
		Assert.assertTrue( baseDir.isDirectory());

		AbstractMojo mojo = findMojo( projectName, "resolve" );
		this.rule.setVariableValueToObject( mojo, "repoSystem", newRepositorySystem());
		this.rule.setVariableValueToObject( mojo, "repositories", new ArrayList<RemoteRepository>( 0 ));

		// Create a Roboconf application
		File dir = this.folder.newFolder();
		File targetZipFile = this.folder.newFile();
		Assert.assertTrue( targetZipFile.delete());

		CreationBean bean = new CreationBean()
				.projectDescription( "some desc" ).projectName( "my-project" )
				.groupId( "net.roboconf" ).projectVersion( "1.0-SNAPSHOT" ).mavenProject( false );

		ProjectUtils.createProjectSkeleton( dir, bean );
		ZipArchiver zipArchiver = new ZipArchiver();
		zipArchiver.addDirectory( dir );
		zipArchiver.setCompress( true );
		zipArchiver.setDestFile( targetZipFile );
		zipArchiver.createArchive();

		Assert.assertTrue( targetZipFile.isFile());

		// Add dependencies
		MavenProject project = (MavenProject) this.rule.getVariableValueFromObject( mojo, "project" );
		project.setDependencyArtifacts( new HashSet<Artifact> ());

		Artifact rbcfArtifact3 = new DefaultArtifact( "net.roboconf", "roboconf-core", "0.2", "runtime", "jar", null, new DefaultArtifactHandler());
		rbcfArtifact3.setFile( targetZipFile );
		project.getDependencyArtifacts().add( rbcfArtifact3 );

		// Add it to our "local" repository
		this.artifactIdToArtifact.put( rbcfArtifact3.getArtifactId(), rbcfArtifact3 );

		// Execute it
		File targetDir = new File( baseDir, MavenPluginConstants.TARGET_MODEL_DIRECTORY + "/" + Constants.PROJECT_DIR_GRAPH );
		Assert.assertFalse( targetDir.isDirectory());
		mojo.execute();

		// Verify the import was copied in the right location
		File importDir = new File( targetDir, "net.roboconf/roboconf-core" );
		Assert.assertTrue( importDir.isDirectory());
		Assert.assertTrue( new File( importDir, "main.graph" ).isFile());
	}

	private RepositorySystem newRepositorySystem() {

		RepositorySystem repoSystem = new DefaultRepositorySystem() {
			@Override
			public ArtifactResult resolveArtifact( RepositorySystemSession session, ArtifactRequest request )
			throws ArtifactResolutionException {

				ArtifactResult res = new ArtifactResult( request );
				Artifact mavenArtifact = ResolveMojoTest.this.artifactIdToArtifact.get( request.getArtifact().getArtifactId());
				if( mavenArtifact == null )
					throw new ArtifactResolutionException( new ArrayList<ArtifactResult>( 0 ), "Error in test wrapper and settings." );

				org.eclipse.aether.artifact.DefaultArtifact art =
						new org.eclipse.aether.artifact.DefaultArtifact(
								"groupId", "artifactId", "classifier", "extension", "version",
								null, mavenArtifact.getFile());

				res.setArtifact( art );
				return res;
			}
		};

		return repoSystem;
	}
}

redpajama_set_name: RedPajamaGithub


text:
Q: Can't reallocate memory of an array of structs (invalid next size) I'm trying to reallocate an array of structs abcd_S but compiler gives me
*** glibc detected *** realloc(): invalid next size: 0x0000000000603010 ***

I want to reallocate the array so that there are no empty fields after the reallocation.
Also, where do you think i should return or exit the program?
typedef struct abcd {
    char *first_field;
    char *second_field;
} abcd_S* struct_ptr;

abcd_S* read(int* array_size_ptr){

    abcd_S* tmp = NULL;
    int j=0,i;
    size_t input_len;
    struct_ptr =(abcd_S*)malloc(sizeof(abcd_S));

    if (struct_ptr == NULL) {
        printf("Error: Memory can't be allocated.\n");
    }
    else {
        do {
        scanf(format_specifier, input);
        if (strcmp(input,"A") != 0){
            j++;
            if (j == (*array_size_ptr)) {
                struct_ptr =(abcd_S*)realloc(struct_ptr, 2 * sizeof(abcd_S));
                if (struct_ptr == NULL) {
                    printf("Error: Memory can't be allocated.\n");
                    //return((COULDNT_ALLOCATE));
                }
                *size_ptr = (*size_ptr) * 2; //This needs to be done every time array is full
            }
            input_len = strlen(input);
            struct_ptr[j-1].first_field=(char *)malloc(input_len);
            if (struct_ptr[j-1].first_field == NULL) {
                printf("Error: Memory can't be allocated.\n");
                //return(COULDNT_ALLOCATE);
            }
            strcpy(struct_ptr[j - 1].first_field, input);

        }
        else {
            abcd_S*tmp = (abcd_S*)realloc(struct_ptr, j * sizeof(abcd_S));
            if (tmp == NULL){
                printf("Could not reallocate\n");
            }
        }
    }while (strcmp("A",input) != 0);
    return(struct_ptr);
}

A: The following is corrupting your memory
input_len = strlen(input);
struct_ptr[j-1].first_field=(char *)malloc(input_len);
...
strcpy(struct_ptr[j - 1].first_field, input);

Instead, allocate +1 for the '\0'
input_len = strlen(input);
struct_ptr[j-1].first_field=(char *)malloc(input_len + 1);
...
strcpy(struct_ptr[j - 1].first_field, input);

Nice that input is of type size_t.
Further, the cast is not needed and since you know the length, why not the faster memcpy()?
input_len = strlen(input);
struct_ptr[j-1].first_field = malloc(input_len + 1);
...
memcpy(struct_ptr[j - 1].first_field, input, input_len + 1);

redpajama_set_name: RedPajamaStackExchange


Daimler has another all-electric semi truck that it uncovered at the current year's Tokyo Motor Show, with a scope of around 220 miles on a solitary charge and an overwhelming obligation towing limit of around 11 tons, or only two tons not as much as its diesel proportionate.
The Vision One packs in batteries with capacity limit of up to 300 kilowatt hours, and that 220 miles of range take into consideration short pull trips between generally firmly dispersed urban communities – not appropriate for whole deal, of concentrates, but rather more adaptable as far as conveying substantial loads over medium separations.
The E-FUSO mark is additionally another sub-brand of Daimler's Mitsubishi trucking unit, which will lie close by FUSO however concentrate on its every single electric desire and point of conveying a simply electric form of the considerable number of trucks over its range. Mitsubishi Fuso Truck and Bus co. takes note of that it's the primary vehicle producer of its kind to have a brand committed to EV transports and trucks.
This truck make a big appearance comes after FUSO has begun to send its eCanter light obligation truck to its first business clients, and only in front of the introduction of a Tesla's electric overwhelming obligation transport truck, which is set to be disclosed one month from now at an extraordinary occasion.
Tesla's truck is accounted for to have a scope of in the vicinity of 200 and 300 miles, which could put it right tin line with the new E-FUSO Vision One. This is certainly a shot over the bow of Tesla's trucking desire, however we'll need to perceive what Elon Musk's organization will show as far as extra highlights, including maybe self-ruling abilities, that it supposes will separate its advertising.


text:
Jamie Foxx tapped to star in new 'Spawn' movie
By Chris JonesMay 29, 2018
Jamie Foxx is set to star in Todd McFarlane's new Spawn movie for Blumhouse, according to...
Idris Elba to helm 'Hunchback of Notre Dame' for Netflix
By Kev Da GreatMay 23, 2018
Idris Elba has been tapped to star as The Hunchback of Notre Dame for Netflix. According...
Donald Glover reportedly in talks to star in 'Black Panther' sequel
By Aisha BarkleyMay 23, 2018
The sequel to Marvel's record-breaking film Black Panther is in motion and some series moves are...
Donald Glover's Lando Calrissian is Getting His Own 'Star Wars' Spinoff Movie, Says Lucafilm President
Donald Glover's Lando Calrissian is undoubtedly one of Solo: A Star Wars' best characters. In fact,...
Watch The First Trailer For Spike Lee & Jordan Peele's 'BlacKkKlansman'
By Eric TurnerMay 14, 2018
Focus Features has released the first trailer for Spike Lee's latest joint BlacKkKlansman, which he produced...


From an evolutionary point of view, the mechanism of acquisition is irrelevant. It could be the development of a cultural inheritance system, by direct genetic coding of all details, by the coding of a teaching process within the society, or by developing a high intelligence or learning rate and capacity.
McBride, G. (1971). The nature-nurture problem in social evolution. In: Eisenberg, J.F. & Dillon, W.S. (eds.). Man and Beast: Comparative Social Behavior, 35-56: 53.
With the addition of a cultural inheritance system, the level at which selection works must also be reexamined. With the phyletic rule relaxed, the transmission of culture is not an all-or-none phenomenon. Single ideas might be spread among people without being integrated into a whole set of behaviors, whose joint purpose is to produce a fit individual.
Richerson, P.J. (1977). Ecology and human ecology: a comparison of theories in the biological and social sciences. Amer. Ethnolog. 4, 1-26: 13.


IMPROVED bus stops to help the elderly alight could soon become a reality following pressure from the Senior Council.Former town councillor and treasurer for the Exmouth and District Senior Council for Devon, Ron Roberts, highlighted the inadequacy of bus stops in Dinan Way and at the top of Hulham Road near to Summer Lane.He said: "There are several stops in these places which have no hard standing for either waiting or alighting passengers, forcing the bus users to either step on or from a grassy, muddy verge or directly on to the road surface."He said this was 'not an acceptable' option for the elderly, infirm or for passengers with pushchairs - and highlighted the main stops of concern stretched from Dinan Way from the Prince of Wales pub to Poets and Thomas Close and Tennyson Way.He added: "In some cases there is a footpath located about a metre in from a kerb beyond a grassed strip and in others there is just no path near to the bus stop."Town clerk John Wokersien said: "We are hoping the work will soon be done.