If you're giving a large percentage of your company to someone (and yes, two percent is large), you're entering into a contract that's a lot like marriage.
In 2005, David Choe was invited to paint a number of murals at Facebook's HQ in Palo Alto. At the time, Facebook wasn't the goliath it is today and so, Choe was given a couple of options: he could have $60,000 in cash, or stock (equal to the equivalent amount of the cash back then).
Choe may have lost out and made nothing if the company had gone under, but because it was a monumental success, he is now worth approximately $200 million. Of course, not every equity compensation story is a David Choe Story.
David Choe, with some of his work.
If you're thinking about extending equity to an employee or a vendor (as in the example above), you should know that the topic is multi-faceted.
If you're giving a large percentage of your company to someone (and yes, two percent is large), you're entering into a contract that's really a whole lot like marriage in that it creates a long-term relationship between you and the employee or partner.
If however you are giving a "normal employee" an incentive stock option plan (more on that later), that's entirely different.
Make sure you understand all of your options before making any decisions.
If you have any questions about equity compensation, please leave a comment below. We'll be happy to help.
Equity compensation is when you offer your employees equity in your business (a "share" in company ownership).
More often than not, equity compensation is an attraction and retention tool, rather than a replacement to salary. While some companies may use it as a means of paying employees a lower salary upfront, it's very rarely offered as a complete replacement to receiving a regular compensation package.
Typically, employers that offer employees equity compensation will do so in the form of common stock, preferred stock, or stock options. I'll go into the difference between these in just a moment.
In terms of equity compensation, this is by far the most common scenario. Stock options (known as "share options" in the U.K.) give an employee the right to purchase stock in the future (or within a fixed period of time), for a set price which is determined at the time the options are given. This is a great deal for employees if shares of stock are high in the future. It will mean they get to buy at the much lower price. There's also no requirement to purchase the stock should the stock end up going lower in value over time.
This type of stock gives you a portion of ownership in the business immediately. As opposed to stock options where the employee can decide to purchase the stock or not, restricted stock is often "granted" or given to the employee. It's called restricted stock because it often comes with restrictions, such as vesting. This type of stock is typically given to founders and early employees with the stock value is near zero.
If equity compensation is on your mind before you start hiring, make sure you're good at hiring excellent candidates, especially if you'll be offering restricted stock rather than stock options.
If you're offering restricted stock in your company, it's important to remember that if you give (or "grant") employees stock, once that stock is vested, the employee is a shareholder in the business.
Even someone that is only a minority stockholder has rights that could become an administrative pain, and that could interfere with the goals of the majority leadership team.
According to intellectual property attorney Kurt Anderson, shareholders generally have the right to access certain corporate records and financial information.
They also have the right to vote or withhold their vote or consent to certain corporate actions.
Before you consider giving away any true equity incentives, consider what the recipient could do to disrupt your company if he or she leaves, but holds onto the stock. Think carefully before you hire someone new and offer them stock from the outset.
Another thing to consider is that giving away stock, whether stock options or restricted stock grants, is giving away a slice of ownership pie. There's not an unlimited amount of stock to give out, so handing out a percentage of the company to the wrong person might mean that you don't have enough equity to give to another future hire.
Look for people that take initiative, who are self-starters, and who want to work for a company like yours.
Hire people that are passionate about the product or service you offer.
Hire to fill gaps you can't fill. Know your weaknesses and hire for those.
Recruit through referrals if possible.
Potential can offer more value than experience. Pick someone that's a fit for you and your company, rather than someone with 15 years of experience.
And, perhaps most importantly, look for people that are in it for the long-term. You may want to offer a probation period before offering anything so that you have some time to get to know them.
If you're just getting started, and are hiring for the first time, make sure to read carefully through the advice below on when to offer and when not to offer equity compensation. Also, if you do ultimately decided to offer it, make sure to use a lawyer.
When should you offer equity compensation?
Typically, you offer equity compensation when you are getting started and don't have enough cash to pay the salaries you would like to pay, or when you'd like to attract and retain high quality employees.
But, why is this the norm for so many technology companies?
First, companies know that offering an equity package is often the only way to distinguish the offers they make to candidates who know they can take their skills and earn the same salary almost anywhere else. And given the number of technology startup companies, it doesn't come as a huge surprise that these companies may offer equity in order to attract the best talent.
More importantly, Silicon Valley startups are typically high-growth companies with an exit plan: either they'll go public or they will be acquired. Because working for a startup with such a plan requires an enormous amount of work and dedication, giving employees ownership in the company helps balance the huge effort required. And, if the exit does happen, everyone gets rewarded for all of their hard work.
Generally this is because investors want to recoup their investment as fast as possible and for as much as possible, and a strong team is required to build a valuable company quickly.
By attracting a strong team, that is in it through thick and thin, investors increase the chances of getting a return on their investment.
Furthermore, giving ownership to employees helps ensure everyone buys into the long hours and hard work. And, if things work out when the exit happens, everyone gets rewarded.
The right time to extend equity is sometimes when someone has demonstrated superior skill over a long period of time. It's both a reward and an opportunity for that person to excel even further.
That said, do not offer equity unless you want the employee to stay for the long term.
Offering equity at a later date means you've also had the chance to vet the employee's suitability for the role. Offer equity too soon and you could be in a big pickle when you find out that the employee isn't a great fit for your company (see point four on when not to offer equity compensation).
If cash flow (enough cash coming into the business to keep the business running) is a problem for a new startup, equity compensation may be a good way to circumnavigate the issue of having to pay employees a substantial amount of money each month.
When should you not offer equity compensation?
According to Tim Berry, this is one of the more common and expensive mistakes people make.
If you don't have big dreams for your company and are happy running it day to day (you're not thinking about your IPO or acquisition in five years), then offering equity in the business is not fair to employees. If you offer equity to employees in a "lifestyle business," you could be leading them on—because that equity will never turn into real money until the business is sold or the company goes public.
Equity compensation is complex. Understanding its tax, accounting, and legal implications is going to require help from professionals. If you've already got a lot on your plate, we don't advise going down this route.
Equity should not be doled out as casually as spare change, especially when you consider that it gives employees a say in your company.
Rasheen Carbin is currently Director of Marketing at nspHire. He experienced this problem first-hand at the last startup company he worked for.
Simply put, you shouldn't extend equity to an employee when you haven't vetted them closely.
This way, if your company does well, you will get more value out of it, and so too will your investors.
Dyanne Ross Hanson is the president of Exit Planning Strategies, and she believes there are alternative routes to offering equity that will be just as likely to entice great candidates to join your company.
Don't forget: Money only motivates to a certain point.
Sale participation rights: Sale participation rights gives the recipient the right to participate (i.e., receive money) when the company is sold based on a formula that frequently mimics a notional percentage interest in the company.
Phantom stock: Phantom stock arrangements do much the same thing, but provide the recipient with phantom stock which may provide any or all of the financial benefits of actual stock, without the right to vote or otherwise participate in management.
Stock appreciation rights: Stock appreciation rights generally give the recipient the right to receive money based on increase in the value of the company's stock.
Because equity compensation is a complex topic, you will need to get good legal, accounting, and tax advice.
Consider your other options, and tread carefully in the early stages of business!
Eric Chen, associate professor of Business Administration at the University of Saint Joseph; Rick Coplin, vice president of Community Partner Ventures with Rev1 Ventures; and Jenny Barton, as well as the Quality Solicitors SSB team.


02/2015: BigOven launches new home page. I love it. See the article here.
01/2015: Today I tried to add a Save Recipe button for BigOven but did not have success. I'll try to look at it further in a few weeks to see if I can do it. It looks like a great feature but I need to figure it out first.
09/2014: BigOven has been in the process of revamping their cooking application. I just received a notice that they have updated the navigation system. Take a look.
08/2014: Get ready for BigOven to release a way to Print Your Own Cookbook. It's coming soon.
08/2014: Just for the Newbies to BigOven they are making it easier to join in the cooking fun: BigOven has come up with a way for newbies to try out the BigOven without actually creating an account. You can test what you like and then join later.
06/2013: I began using BigOven in 2004 when I tired of trying to work with an outdated recipe collection program called Master Cook (update as of 6/2013 there is a new MasterCook IV see review below). One of the greatest advantages to BigOven is it goes everywhere with you since it is internet based. You can sign up for a free version that is definitely sufficient for the everyday cook. But is you want to use all the fantastic features you will soon find yourself upgrading to a PRO edition. In addition to the online version, you can download a Windows-based application to your laptop and then import recipes directly from BigOven to the application. This makes it convenient for when you do not have an internet connection to reach the online version.
To learn more about BigOven visit Steve Murch's About page. Here are some of the award they have received. My hat is off to Steve Murch for developing such a great application. He is surprising approachable, too. I have sent messages about suggestions or when I might find a slight glitch and often the reply back is directly from Steve. With over 8 million downloads, it's no wonder they have received these varied awards.
02/2015: MasterCook to release new Update in March 2015. Check it out. Here are the highlights.
03/2013: I really didn't think that I would ever use Master Cook again after finding BigOven but I am always pulled in to check out something intriguing. Well, the new Master Cook is intriguing. One of the reasons for moving away from MasterCook was that it did not have any internet based or mobile application. They now have added this feature. The purchase price for the PC based MasterCook 14 application is $19.99 which includes a one year web membership. If you were already a user of MasterCook the upgrade is less.
1-Click Recipe Transfer: One click will import most recipes from your favorite websites to your online account using any browser on your computer. At any time, you can download your stored recipes right into MasterCook 14!
MasterCook.com – YOUR recipes & cookbooks, anywhere: Now you can upload recipes from your MasterCook 14 PC and access your recipes from any web-enabled device including your iPhone, iPad or Android device. Registered MasterCook 14 users can store up to 5,000 recipes in their personal online cookbooks.
Trending Recipes: Discover new recipes by browsing what's popular among Mastercook.com users.
I've been playing around with the PC based application for several days, imported all my old Private Collection Cookbooks and tested out the import. Import work much better and cleaner than previously and the PC based application appears to be much cleaner. I'm Looking forward to giving it some more attention.
So, it appears they listen to their rating suggestions or they already had this option and the writer was not aware.
Overall, a very nice application with a lot of eye-appeal. To find it in your App Store search for "Vegetarian". Happy, healthy eating.
There is a sister application to Green Kitchen. It's Healthy Desserts – by Green Kitchen. This application is similar to Green Kitchen in layout, features and amazing photography. I'm surprised that is isn't just part of Green Kitchen rather than making us purchase a separate application for desserts. However, I've been to many a bookstore and bought more cookbooks than what are are carried in the local library. So, I guess I can't complain too much. This application is also a little space hungry with a footprint of 98.1 MB. The cost for Healthy Desserts is probably similar to Green Kitchen. I had already purchased it and don't recall the exact price.
If you are talking about BigOven they have a desktop application where you can backup your recipes and download others too. If you are talking about MasterCook they have a similar backup. If you go to their websites you can check out about the desktop applications. I don't know if there is a cost for BigOven but I think there is an annual fee for MasterCook.
Not familiar with blogs. I have the hummingbird cake recipe…..how do I get it to you?


text:
The First Feathered Dinosaurs (In Art)
The first illustration of a hypothetical "pro-avis" by Pycraft, 1906
Feathered non-avialan dinosaurs seem commonplace now, and it's hard to believe that there was a time, in living memory for some of us, when they were purely speculative. It makes sense, of course: once scientists realized (then realized again) that dinosaurs were the closest fossil relatives of birds, it was only natural to suggest that feathers had appeared in dinosaurs before they showed up in birds. To have a new type of animal, like Archaeopteryx, appear more or less fully formed with flight and feathers occurring simultaneously makes little sense in terms of evolution. Obviously, even if Archaeopteryx was considered the "first bird" or could fly in some rudimentary manner, it couldn't have been the first animal with feathers or feather-like integument. Feather-like structures had to have been present in the archaeopteryx's closest relatives. But what were those? For most of the 20th century, the answer would not have been dinosaurs.
Nopcsa's 1907 feathered, Compsognathus-like
"pro-avis" model at the Grant Museum, London.
Speculative bird ancestors with feathers or feather-like scales had been hypothesized and illustrated long before the first true feathered dinosaurs appeared in paleoart. These hypothetical "pro-aves", as they were generally termed, were first imagined by William Pycraft in 1906. Pro-aves were usually considered arboreal, gliding animals with elongated, feather-like scales, and Pycraft's illustration provided the template followed by many later illustrators, like Heilmann's 1916 version, and Burian's gorgeous but even more lizard-like 1960 rendition. Not all pro-avis illustrations followed this template, though. In 1907, Baron Nopcsa invented his own pro-avis, illustrating his hypothesis of a running, "ground-up" origin of bird flight. In addition to his illustration, Nopcsa created a wax model. Nopcsa thought birds might have evolved from quadrupedal reptiles which became more and more bipedal as their running speed increased, passing through a phase similar to Compsognathus, though not necessarily dinosaurian.
Beebe's "tetrapteryx", 1915.
There were also creatures like the "tetrapteryx", a speculative stage in the evolution of avian flight proposed by William Beebe in 1915. Beebe illustrated an Archaeopteryx-like creature with smaller wings as well as hind wings on splayed legs, reminiscent of early (but incorrect) illustrations of Microraptor. Other than the posture, the general anatomy of this hypothetical creature ended up being prescient by accident. His rationale for this hypothesis was the observation that some bird embryos develop and then lose feather quills on their legs. Heilmann, however, rejected this hypothesis after failing to find evidence among other bird embryos. New evidence to support this hypothesis was discovered in species like Microraptor, Anchiornis, and Sapeornis, which had various degrees of airfoils present on their hind legs, a line of evidence independent of the one supposed by Beebe. Though dinosaur-like in appearance, both Beebe and Heilmann considered the ancestors of birds to be "thecodont" grade archosaurs, not dinosaurs, so these hypothetical feathered thecodonts predated the first feathered dinosaurs in art.
Speculative reconstruction of a Triassic "carnavian" dinosaur
leaving feather traces in its trackway, from Ellenberger 1974.
The thecodont origin of birds did not truly give way to a dinosaur origin until the 1970s, after John Ostrom described the similarities between Archaeopteryx and Deinonychus. If dinosaurs were the new closest relatives of birds, then at least the most bird-like among them should be depicted with feathers (Ostrom himself disagreed with this though, and, according to Bakker, he fought the idea that Deinonychus should be feathered). Of course, which dinosaurs were most closely related to birds, and just how much of a gap remained between them and Archaeopteryx, allowed for considerable wiggle room and speculation.
A "carnavian" track maker
parachuting, from Ellenberger 1974.
In 1974, Ellenberger identified what he considered to be trace evidence for feathered dinosaurs from Lesotho, in the form of possible feather imprints and footprints which could have been made by small animals parachuting from trees, dragging their tail feathers in mud, etc. He illustrated a small bipedal dinosaur with feathers in the accompanying paper, along with totally speculative skeletal restoration of a new type of animal, nested within theropod dinosaurs, which he called "carnavians." Molnar, in 1985, dismissed the suggestion that these were feather imprints. Still, Ellenberger had become the first person to ever illustrate a non-avialan dinosaur, however hypothetical the species, with feathers.
Landry's influential 1975 restoration of "Syntarsus".
The next year, in 1975, a more famous feathered dinosaur illustration of a much better-known species was provided by Sarah B. Landry, drawn under the direction of Bob Bakker for his seminal article in Scientific American, "The Dinosaur Renaissance." Landry and Bakker depicted the small theropod "Syntarsus" (=Coelophysis) covered in overlapping feather-like scales or scale-like feathers, similar to Heilmann's "proavis", and a long tuft of feathers on the head. The choice of species was not a coincidence. Michael Raath, who had described Syntarsus in 1969 (the same year as Deinonychus), was quick to tout how bird-like it was in popular books and articles, and he suggested several times that it may have been feathered.
"Syntarsus" by Stout, 1976.
To understand the impact of this "first" feathered dinosaur, just look at the rest of the 1970s and early 1980s. It was Syntarsus, not Deinonychus, which was consistently drawn with feathers from then on. Many of these later reconstructions even directly aped Bakker and Landry's style of feather crest (or slightly modified it), making "Syntarsus with feather crest" a bona fide paleoart meme. Many of these left out the more subtle body feathers of the original, unfortunately, possibly influencing decades of "half-arsed" theropods with feather mohawks, up to including the dinosaurs in the 2001 film Jurassic Park III more than 20 years later. (One notable exception to the Syntarsus trend was also a watershed moment for paleoart. After reading Bakker's article, a paleoartist named Gregory S. Paul drew his first feathered dinosaur: an Allosaurus).
One of my favorite derivatives of Landry's Syntarsus illustration is one made in 1976 by William Stout and reproduced in Don Glut's 1982 edition of The New Dinosaur Dictionary. Though Glut pointed out that the feathers were speculative, they're probably less inaccurate than the legless snake it's eating! Also included in Glut's revised dictionary was one of the first illustrations of the theropod Kakuru, by Mark Hallett. Though just as speculative as Ellenberger's drawing (Kakuru is known only from two limb bones), it has more of a modern feel. The reclining theropod is decked out in long, filamentous feathers, rather than the broad, scale-like feathers of Landry's Syntarsus. It's worth noting that all of these early drawings of feathered dinosaurs had bare or scaly faces. This method of emphasizing the transitional character of early feathered theropods was probably inspired by traditional portrayals of Archaeopteryx, a "bird" with the head of a "reptile."
Feathered ornithischians, by Lorene Bjorklund, from
The Warm-Blooded Dinosaurs, 1979.
Many bird-like dinosaurs actually had feathers covering some or all of the face as well as the body, though some kind of "modular evolution" did occur to a degree in a few lineages (here's looking' at you, Darwinopterus). And some Mesozoic dinosaurs, most famously Kulindadromeus, seem to have feathers restricted to certain body segments with abrupt transitions between feathery and scaly regions. So, this much-maligned meme isn't necessarily out of the question, at least in early feathered lineages.
A few very early books featuring extremely prescient feathered dinosaurs came in 1978 and 1979. First, Julian May brought us perhaps the first renaissance-era dinosaur book for kids, The Warm-Blooded Dinosaurs, which featured not only a feathered Struthiomimus by Lorene Bjorklund on the cover, but several feathered ornithischians inside. An Iguanodon looks sort of ambiguously feathered (it might just be the crosshatched style), and interestingly, has a abrupt transition to a croc-scutes tail very similar to Kulindadromeus. There's also a skeletal of Microvenator with a fuzzy, Greg Paul style silhouette outline. The next year, Archosauria: A New Look at the Old Dinosaur by John McLoughlin includes some species with feathered faces for the first time, like his amazing, feathered Coelurus. It's odd as a modern reader to see that in both of these books, it's the more basal dinosaurs shown with feathers. Primitive ornithopods and "coelurosaurs" (considered a paraphyletic grade of early, ancestral dinosaurs at the time) like Syntarsus, Coelurus, and Saltopus are given feathers while deinonychosaurs like Saurornithoides and Deinonychus are not. The influence of the thecodont theory was still going strong, with birds thought to have evolved from the earliest dinosaurs rather than deinonychosaurs, which were exclusively known from the Cretaceous at that time.
Kakuru by Mark Hallett, from Glut 1982.
Ironically, Deinonychus, which out of all these dinosaurs was most similar to Archaeopteryx, did not become consistently or even frequently depicted with feathers until the at least the late 1980s. This was also probably due, in part, to artistic inertia. The original illustration of Deinonychus that accompanied Ostrom's description was so iconic that it was being copied well into the '90s. One of the first depictions of a feathered Deinonychus was a statuette produced by sculptor and founding father of Neopaganism Otter Zell (aka Oberon Zell). If anybody who owns a copy of this statuette wants to trade it for my right arm, please let me know.
After Syntarsus, the next non-avialan to become consistently depicted with feathers was Avimimus. From its first discovery, Avimimus was interpreted (and in some cases, like the supposed lack of a tail, misinterpreted) as being as birdlike or more than Archaeopteryx. Though commonly misreported online as having quill knobs, Avimimus actually had a flat ridge on the ulna which has been interpreted as a similar kind of support for the soft tissue of a feathered wing. Though not the same kind of direct evidence as quill knobs would be, most paleoartists ran with the suggestion, and most early Avimimus illustrations did portray it with feathers. John Sibbick restored it that way for David Norman's 1985 Illustrated Encyclopedia of Dinosaurs, and his version is a down-right throwback to the "pro-aves" of the early 1900s, with long, scale-like feathers on the outstretched arms and tail.
The first(?) feathered Deinonychus,
a statuette by Otter Zell, 1984.
1986 saw the publication of Bakker's The Dinosaur Heresies, filled with his own illustrations of feathered dinosaurs, including Deinonychus. (Stout and Paul had both continued to illustrate feathered dinosaurs up to this time, though not all were published or widely distributed at the time). Bakker's book opened up the door to more mainstream portrayals of this controversial subject, and it's no coincidence that many other artists were working the occasional feathered dinos into books and articles in the years that followed. Most notable among these were Paul's Predatory Dinosaurs of the World in 1988, and children's books inspired by it like The News About Dinosaurs. From then on, every "renaissance" era dinosaur book worth its salt included at least one speculative feathered theropod. Some books were bold enough to become the first to put "Feathers On Bloody Everything" (to quote the lament of some current-day feather detractors), theropods and ornithischians alike, as in 1988's speculative evolution book The New Dinosaurs by Dougal Dixon.
Two early restorations of Avimimus. Left: by Sergai Kurzanov, looking very bird-y.
Right: By John Sibbick from Norman's Encyclopedia, looking very much like Heilmann's "pro-avis."
By the time the first actual feathered dinosaur was announced in 1996, dinosaur fans, if not the general public, had been well prepared and had even come to expect such a find to be inevitable. The fact that this first find was Sinosauropteryx unfortunately reinforced some stereotypes that had been perpetuated by early renaissance era paleoart, such as short, fur-like feathers, naked legs and bellied, and half-feathered faces. Paul essentially invented the latter meme in an attempt to make his theropods look more bird like (by suggesting a sort of beak), and while this was his own personal speculation, many later artists ran with it, including in early drawings of Sinosauropteryx. The fossil appeared to support the hypothesis, which would have been an incredibly lucky guess for Paul if not for the fact that the snout past the eyes on that specimen had not even been fully prepared out of the rock (maybe, just maybe, because the scientists themselves were so influenced by Paul that they didn't expect any feathers to be found there!).
A modern feathered dinosaur:
Tianyulong sculpture by Jason Brougham, 2016.
In a way, modern paleoart is still struggling to shed the memes and conventions generated by this pre-evidence feathered dinosaur artwork. Many artists are starting to critically examine just how far-off much of that early art really was, and to realize that it was, of course, just pure speculation about what may be, not informed speculation based on fossil evidence. Many dinosaurs, especially non-avialan coelurosaurs, had a feather covering that was much more Archaeopteryx-like than any of those pioneering artists could imagine. It's only recently that many of the best artists have been going back for inspiration not to Landry and Paul and Bakker, but to the earlier artists who were drawing Archaeopteryx and the various "pro-aves". This new era of paleoart, part of what Tom Holtz has dubbed the "Dinosaur Enlightenment," will no doubt generate its own set of tropes which will need to be overcome by the next generation of artists. We're already seeing that with the dogmatic insistence from some quarters on a certain standard of feathering for all dinosaurs when the fossils are starting to suggest much more variety. With any luck, the internet will allow this new generation to push forward and more widely and rapidly share new ideas and possibilities about what feathered dinosaurs can be.
Posted by Matt Martyniuk at 11:40 AM
Labels: art, history, non-dinosaurs, pop culture, theropods
Mickey Mortimer May 2, 2016 at 5:37 AM
Excellent article! My question was originally how did Sibbick get Avimimus so wrong? Looking at Kurzanov's papers however, the 1982 paper is what establishes wings via the ulnar ridge. The tall and toothless skull was not written up until 1985 (the 1981 described holotype skull is just a partial braincase), and the skeletal and restoration you give are from Kurzanov's 1987 paper. So after the 1985 Normanpedia. Still, Sibbick's limb proportions are clearly wrong, and that was known in 1981, ditto the deep pelvis. But the one known external fact about Kakuru (very long tibia) wasn't followed by Hallett either, so...
Marc Vincent May 4, 2016 at 2:00 PM
Given what you said about The New Dinosaurs, it seems odd that Dixon often seemed to be so averse to the idea that birds are theropod dinosaurs.
Fantastic post, by the way. McLoughlin's 1979 feathered Coelurus is still incredibly prescient, even if McLoughlin subscribed to the 'frayed scales' idea at the time.
Fascinating summary.
Carliro May 20, 2016 at 11:59 AM
Damn, that Sergai Avimimus is easily the most prescient of all of these.
Steve Bodio July 28, 2016 at 5:44 PM
John McLoughlin, an old friend & near neighbor, at least by New Mexico standards, had the concept by 1979, when he wrote and illustrated Archosauria- his Coelurusis is pretty good,though it lacks "wings", functional or other. The best joke is on the next two pages, where he depicts an Archaeopteryx on the left and a Saurornithoides on the right.The second has no obvious feathers, while he first has what we now think of as typical small theropod feathering. I have suggested that in the real world both would look he same!
By 1984, the twin cloned Deinonychids who are the pets and executioners of the evil asteroid belt regent Lothar, are as birdlike as any "modern" reconstruction. He describes them as "of the Dinosauria, a lost race of BIRDLIKE beings..
They are: "Man- high, smooth coated in short blackly irridescent feathers, red of eye and each wearing a diamond studded Regency orange collar."
I also have Beebe's own copy of his 1905 book Our Search for a Wilderness, with his dino bookplate. It does look remarkably like Microraptor, especially when I painted my model shiny black with yellow eyes. We call it "Beebesaurus".
Troodon Roar September 4, 2016 at 6:09 PM
Like many others, I, too, was under the impression that speculation and depictions of feathered non-avian dinosaurs only dated back to the 2000s, or the 1990s at most. I was surprised when I found some from the 1980s and 1970s.
Imagine my shock and delight, then, when I stumbled upon this article, which includes depictions from the 1900s and 1910s. This led me to do more research on the history of feathered dinosaur depictions.
What I found could not have been any more monumental to me.
It turns out that the idea of feathered non-avian dinosaurs actually originated no later than 1876, when Thomas Henry Huxley wrote the following about the small theropod Compsognathus in a September 20, 1876 lecture in New York:
"There is no evidence that Compsognathus possessed feathers; but, if it did, it would be hard indeed to say whether it should be called a reptilian bird or an avian reptile."
Huxley included a drawing of Compsognathus with this lecture, and, even though it is not stated in the text, I can't help but notice that it has been drawn with what appears to me to be a faint outline of black, fuzzy bristles. And comparing this picture to Sarah Landry's 1975 Syntarsus depiction, I can't help but notice a similarity. Coincidence, perhaps? Or does the honor of being the first dinosaur depicted with feathers in an illustration go to Compsognathus – in the 1870s?
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Monthly planner lets you plan more effectively each month by showing the big picture. Dated planning pages range 12 months from January to December. Two-page-per-month spreads include large unruled daily blocks, Sunday-through-Saturday scheduling, count of days/days remaining, holidays, and past, current and four future months reference blocks in a column on the right side. The current reference month is boxed for quick identification. Perforated memo section is included to jot down and share tear-out notes. Wirebound appointment planner also includes a telephone/address page and simulated leather cover.


text:
Cepeda: Latinos don't scare easily, Mr. President
By Esther J. Cepeda
Washington Post |
People pass U.S. Army soldiers while crossing from Mexico into the United States at the international bridge on November 2, 2018 in Hidalgo, Texas. President Donald Trump ordered the troops to the border to bolster security at points of entry where an immigrant caravan may cross. (John Moore/Getty Images)
President Trump is playing the media, his detractors and his supporters with his pre-election stunts. Overruling the Constitution to end birthright citizenship? Sending troops to the border to combat the supposed hordes of potentially terrorist-filled migrant caravans?
These are the kind of shiny distractions Trump uses to dog-whistle at his base, hoping to satisfy their craving for fewer immigrants in this country, particularly dark-skinned ones.
The troops the president wants to deploy to our southern border will be able to do nothing more than provide logistical support to the Border Patrol, such as building tents and shoveling manure. That's because using the military to enforce immigration or criminal laws at the border — or to perform any other law enforcement activities — is itself illegal.
Plus, scads of legal experts, and influential Republicans like House Speaker Paul Ryan, know that a push to end birthright citizenship will never bear fruit. The rest of us can take cold comfort in understanding that it's all basically campaigning to energize hard-right voters ahead of the election.
It's also just one more example of brazen hypocrisy to suggest a radical use of executive authority to keep immigrants shut out of American life. Meanwhile, Republicans screamed bloody murder every time President Obama tried to use an executive order to mitigate immigrant suffering.
But make no mistake: Although Trump's actions are primarily for the purposes of using hatred to drive people to the polls, his secondary objective of making life harder for immigrants and anyone who might sound or look like one is also going swimmingly.
In September, elementary school students in La Quinta, California, were celebrating their Mexican heritage by donning brightly colored folkloric costumes and performing traditional dances at the library. They were told to scrub their presentations of any references to Mexico, and the coordinating teacher was told that next time the students should perform patriotic songs like "Yankee Doodle."
And last week's Halloween brought with it a raft of racist costume news stories, like the one about the Kentucky dad who thought it'd be cute to dress his 5-year-old as Adolf Hitler and himself as a Nazi soldier. A news story about the guy's extracurricular activities as a Civil War and World War II re-enactor noted that he had dressed up as a Confederate soldier last year, and his Facebook account is littered with "White Pride Doesn't Mean Hate" posts.
None of this is any kind of coincidence. President Trump has valorized white supremacists while demonizing anyone who isn't white or Christian. As a result we're living in a country where Jewish people are again being slaughtered in their places of worship just for being Jewish — just like African-Americans since before the Charleston church shooting and to this day.
But back to the border.
Yes, the border, where crossings have been declining for years since a peak in 2000.
And birthright citizenship, in the country where births to unauthorized immigrants has been on the decline since 2009.
And to Hispanics, 54 percent of whom, according to the Pew Research Center, say it has become more difficult to live in this country as a Latino since the 2016 presidential election.
Trump and his acolytes apparently want to make sure it stays that way, but quite possibly are simply reacting to their own fears that Latino voters will someday come in to political power that they could command if they were more reliable voters.
Perhaps they should be scared. Intimidation tactics can be a double-edged sword, with the potential to either cow a people or galvanize them.
Feeling lonesome or know someone who is? Here are suggestions to curb the pain.
Potempa: Reader wants mom update, while sharing soup recipe
Column: Low-value medical tests are costly, can lead to harm
Nothing I've seen suggests that Latinos and other voters of color are giving up. But I have seen plenty of flabbergasted and sorrowful social-media posts from friends who are, for the first time in their lives, concerned for their safety and well-being in the country they've called home for generations.
According to the National Association of Latino Elected and Appointed Officials (NALEO) Educational Fund, more than 7.8 million Latinos are expected to cast ballots this year. This would represent a 15 percent increase in turnout and a 6.9 percent increase in the Latino share of the vote from 2014.
So, bring it on Trump. You can try your best, but take it from me and about 30 million other Latinos who are eligible to vote this week: We don't scare so easily.
Esther Cepeda is a columnist for the Washington Post.


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News Entertainment
Gossip Celebrity
Meet Thee Pluto: This Kenyan Content Creator Bought A Brand New Toyota Land Cruiser Prado TXL
By Hamiltonns (self media writer) | 1 month ago
(Courtesy Picture)
Robert Ndegwa Kamau, also known as "The Pluto Kenyan", is a Kenyan You Tuber and content creator whose videos focus on topics such as , loyalty test among couples, fashion, lifestyle, travel, and more.
He has a strong following on YouTube and Instagram is known for his unique style and humor. He is also a social media influencer who is recognized for his creative posts. He has traveled around the world and has visited various countries, including Egypt, Morocco, and the United States.
He is a firm believer in the power of positivity and encourages his followers to focus on the positive aspects of life. Thamu Pluto is an inspiring figure who encourages his followers to follow their dreams and achieve their goals.
Thee Pluto, a Kenyan content creator, just purchased a brand-new Toyota Prado TXL land cruiser. The content creator said on Instagram that he purchased the vehicle as an early Christmas present from well-known celebrity car dealer, Mwangi Car Dealer. The estimated price of the car is Ksh 7,000,000
Congratulations The Pluto.
https://www.instagram.com/p/Cl9AMrANT3V/?igshid=YmMyMTA2M2Y=
Content created and supplied by: Hamiltonns (via Opera News )
Egypt Robert Ndegwa Kamau Thee Pluto Toyota Land You Tuber


Having a blank wall can make your space a bit boring. And give your blank wall an accessories is a must. And wall clock is one accessories that you can choose to fill your blank wall space. They are simple, but with variety of options that you can choose, you can have a unique wall that is so stylish only with a single accessories such as wall clock.
When choosing a wall clock, choose a wall proportionate in size to the scale of your space. For example, choose an oversized style that fits seamlessly into a bright and airy space. Also consider to place a wall clock in a room where you spend the most time and think outside the box such as hang wall clocks in a gallery-style wall arrangement for an eclectic look that's unexpected. Now check out these 34 unique wall clock for your home below to fill your blank wall space with unique accessories.


ISOVOLTA Group is a leading international manufacturer of electrical insulating materials, technical laminates and composites and maintains a global presence.
18 production and sales locations in 12 countries on three continents rely on many years of experience in the synthesis and transformation of raw materials into highly reliable, intelligent materials. Material and technology know-how, flexibility and an excitement about innovation define product development and shape the cooperative customer relationships.


A man departs for the US-Mexican border and vanishes before reaching his destination: Amarillo, Texas. Through stunning projected images, bilingual monologues and a sea of displaced objects and natural elements, this renowned company reconstructs his journey in a multimedia performance that travels imagined landscapes of both geography and cultural identity. The absent man takes on multiple faces and names as he comes to symbolize the thousands of disillusioned travelers who have suffered a similar fate. Amarillo touches on the complex nature of individual and national identity in a time of exodus—both for those who leave and those who are left behind.
The group Teatro Línea de Sombra under the direction of Jorge A. Vargas and Alicia Laguna and belongs to a new generation of independent Mexican theatermakers, who have managed to establish themselves beyond the state theater system in their country and to also have a presence on the international scene. The company was founded in 1993 by actors, directors, and set designers. They work in cross-genres and develop their pieces in collective creative processes. In most of their works Teatro Línea de Sombra deals in a critical manner with the social and political reality in Mexico. The group participates in the organization of the TRANSVERSALES festival, which takes place every year in alternating cities in Mexico and has the goals of offering a platform for contemporary Mexican theater and of creating interconnections with artists from other nations.
The ensemble members of TLS are rooted in political theater and collaborative process. Their projects are characteristically modular and use visceral imagery, evocative soundscapes and semi-autobiographical fictional writing. In decades past, many important border plays opted for realistic or documentary approaches in pursuit of the universal. TLS has shaped a new dramaturgy that deploys highly visual method and casts attention on the untold and varied effects on the individual involved in migration restrictions and detainments.


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Roche Menu Search : Roche's Accu-Chek® Inform II Hospital Blood Glucose System now approved by Health Canada for Intensive Care Use Roche
Roche Canada News
Roche's Accu-Chek® Inform II Hospital Blood Glucose System now approved by Health Canada for Intensive Care Use
The Accu-Chek® Inform II system (ACI II) supports Point of Care coordinators, physicians, nurses, IT experts and infection control managers to optimize their complex workflow. The Accu-Chek® Inform II solution has brought and continues to bring high-end laboratory standards to bedside glucose testing and helps ensure safety for patients.
With this new claim for Critically ill Care Use, healthcare professionals using the Accu-Chek® Inform II Hospital Blood Glucose (HBG) System can continue to deliver accurate and reliable blood glucose measurements that are compliant with the performance requirements of ISO 15197:2013.
"Critically ill patients may be affected by hypoxemia, poor capillary perfusion, or tissue edema and are at increased risk of poor outcomes should they develop either hypo- or hyperglycemia. Ensuring accurate blood glucose monitoring is necessary to improve outcomes. Health Canada approval for this particular indication is a recognition that the Accu-Chek® Inform II System achieves the highest accuracy by aligning with the industry's most stringent standards", said Michele D'Elia, Medical and Scientific Affairs Director, Roche Diagnostics Canada.
The Accu-Chek® Inform II System can help professionals to ensure highest patient's safety
Now more than ever, hospital environments, in particular medical and surgical Intensive Care Units, require simplified processes and tools to respond to complex and uncertain times. They require the highest level of accuracy and responsiveness from the technologies and medical solutions they use for blood glucose management so they deliver highly accurate results, elevating the safety and efficacy of insulin delivery and glucose control to patients.
The ACI II HBG system has continually delivered on these important criteria. Roche's comprehensive and flexible hospital blood glucose system remains the Canadian and Worldwide market leader and preferred solution supported by a highest level of accuracy, premium service and support and fully integrated digital solution across Canada and the globe.1 Our HBG solution continues to be the solution of choice that healthcare professionals can count on.
Roche's interference testing studies eliminate ambiguities and provide confidence
Potential interfering substances can affect blood glucose results in hospital settings and have an impact on the patient's safety with insulin dosing treatment. This is why Roche's ACI II solution is designed, tested and proven to deliver highly accurate results despite the presence of over 240 interfering substances. This superior quality performance delivers best risk management by healthcare professionals.
Furthermore, Roche's ACI II solution has been thoroughly evaluated with potential interfering substances that were tested at concentrations described by the Clinical Lab Standard Institute in documents EP07: Interference Testing in Clinical Chemistry, 3rd edition and EP37: Supplemental Tables for Interference Testing in Clinical Chemistry, 1st edition. Testing was conducted according to the ISO 15197:2013/EN ISO 15197:2015 standard and the FDA's Blood Glucose Monitoring Test Systems for Prescription POC Use Draft Guidance, issued November 30, 2018. Many of the endogenous and exogenous compounds were evaluated at concentrations three times or more the therapeutic plasma concentrations. Each medication and metabolite was evaluated at three target glucose levels to ensure accuracy. Finally, accuracy for whole blood glucose measurements were compared to plasma central laboratories and demonstrated excellent correlation to reference methods.2
Test results indicate that the ACI II adheres to CLSI EP07=A3 and ISO 15197-2013 guidelines3,4,5 and provides reliable and accurate blood glucose measurements in the presence of the substances tested, generally well beyond the therapeutic or physiologic range. According to laboratory reference methods, our solution fulfills the most stringent guideline criteria. 6,7
Roche is committed to innovations in Point of Care
Roche embraces its role as a trusted partner to provide fully integrated POC solutions that will enable the highest level of patient care while ensuring effective resource optimization, risk mitigation, compliance and high medical value. Roche invests in technology and solutions that enable users to make informed and clear decisions when and where it is needed most. Roche remains committed to hospital blood glucose and will continue to provide the same high quality and market leading solutions that meet and exceed hospital blood glucose needs, today and in the future1. Roche helps transform healthcare every day while constantly leveraging its purpose: "Doing now what patients need next".
Roche is a global pioneer in pharmaceuticals and diagnostics focused on advancing science to improve people's lives. The combined strengths of pharmaceuticals and diagnostics under one roof have made Roche the leader in personalized healthcare – a strategy that aims to fit the right treatment to each patient in the best way possible. Roche is the world's largest biotech company, with truly differentiated medicines in oncology, immunology, infectious diseases, ophthalmology and diseases of the central nervous system. Roche is also the world leader in in vitro diagnostics and tissue-based cancer diagnostics, and a frontrunner in diabetes management. For more information, please visit roche.com and rochecanada.com.
1. Boston Biomedical Consultants (BBC), Canada Market Book 2019.
2. Internal Studies, data on file with manufacturer, Evaluation Report: Accu-Chek Inform II test Strips.
3. Clinical and Laboratory Standards Institute (2018). CLSI Guideline EP07: Interference Testing in Clinical Chemistry; Approved Guideline. Third Edition. Available at www.clsi.org.
4. ISO 15197:2013. In vitro diagnostic test systems - requirements for blood-glucose monitoring systems for self-testing in managing diabetes mellitus. Available from: https://www.iso.org/standard/54976.html.
5. Clinical and Laboratory Standards Institute (2018). CLSI EP37 Supplemental Tables for Interference Testing in Clinical Chemistry. First Edition. Available at www.clsi.org.
6. Gijzen K, Moolenaar DLJ, Pluim HJ, Demir AY. Evaluation of four hospital use point-of-care glucose meters in an intensive care unit. Clin Chem Lab Med 2011; 49:S677.
7. Gijzen K, Moolenaar D, Pluim E, Demir AY. Evaluation of four hospital use point-of-care glucose meters in an intensive care unit. Turk J Biochem 2010; 35.
All trademarks used or mentioned in this release are protected by law.


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Works . Verzeichnis
SOUND ENGINEERING / DESIGN CV
Welcome to my sound engineering page! For my art projects please visit http://danielneumann.org/ and for my concert series CT::SWaM.
Since 2000 I am working as a sound engineer and sound designer, mainly in live situations such as concerts, theater, and festivals. A specialty I developed over the years are concerts featuring electroacoustic music and multi-channel live audio. These concerts usually require a complex speaker setup, unusual miking techniques for instruments and high quality sound reinforcement. Each piece has very different challenges and approaches, which is why I'm constantly fascinated by them.
Besides live sound reinforcement I also do live recording, consulting, teaching, speaker installation and rentals.
"Dan Neumann has phenomenal ideas, endless energy to implement them, and great ears. When I make a suggestion, he exhausts the possibilities and hands me back something I never thought of. Working with him is one of the great joys of my life."
Diamanda Galás (2017)
"You really translated the idea of the composition well into the space."
Miller Puckette (to me in a conversation after the concert by Mari Kimura, Oct 2010)
"On the mixer, you've such a light hand – that's very important!"
Walter Branchi (2012)
TPi magazine (UK, 2017): Diamanda Galás from FoH, online reader or pdf
EventElevator (DE, 2014): Am FoH von David Guetta durch die USA
LIST / CV
(updated Aug 2016, the artists listed I've directly, in different capacities, worked with)
Alarm Will Sound, sound engineer for the contemporary ensemble, since June 2016
– FOH sound engineer for Steve Reich marathon at Symphony Space, NYC and Mr. Reich was sitting right next to me, conducting the mix! Apr 2017
– FOH sound engineer for Donnacha Dennehy's The Hunger at BAM, NYC and Kennedy Center, DC.
Diamanda Galás, FOH sound engineer, since May 2016
Rubin Museum, Acoustic consultation and exhibition design for The World Is Sound
Organized cyclically—from creation to death to rebirth—the exhibition explores different dimensions of sound and listening and its many functions in Tibetan Buddhism. Featuring work by more than 20 artists, The World Is Sound juxtaposes new site-specific commissions and works by prominent contemporary sound artists with historical objects from the museum's collection of Tibetan Buddhist art to encourage reflection on how we listen and to challenge entrenched ways of thinking.
David Guetta Productions, North America, since March 2014
– FOH sound engineer for David Guetta's 2017 North America concerts
– FOH sound engineer for David Guetta's Spring 2016 North America tour
– FOH sound engineer for David Guetta's Spring 2015 North America tour; clubs and festivals up to 90k capacity; occasional special guests like Nicki Minaj, Black Eyes Peas, Bebe Rexha..
– production, rehearsals as well as monitor and live audience mix for David Guetta's first live performance with musicians at Good Morning America, Dec 2014
– production of listening events at various radio stations/ event spaces, Fall 2014
MoMA PS1, NYC, since Sep 2013
– full audio production and FOH for Sunday Sessions 2013/14, 2014/15 and 2015/16;
with artists and bands like Psychic TV, Daniel Lopatin (8-channel live), X-TG feat. Chris Carter and Cosey Fanni Tutti, Terrace Martin, Florian Hecker, Mårten Spångberg, Kim Gordon and Jutta Koether, Shabazz Palaces, Fhloston Paradigm, Ursula Rucker, Ras G, Panda Bear, Dinos Chapman (8-channel live), Alvin Lucier's "I am sitting in a room" (live), Paul Lansky (8-channel live), Moriah Evans, Stephen Vitiello and Taylor Deupree, Alan Vega, John Zorn
– full audio production and FOH for Warm Up 2014, 2015 and 2016;
with artists like Skrillex, Robert Hood, Simian Mobile Disco (live), Pantha du Prince (live), DJ EZ, Objekt, Cashmere Cat, Doc Scott, Juliana Huxtable, Daniele Baldelli, Charanjit Singh (live), Kevin Saunderson, Benji B, Nickie Siano, Skepta, Tony Lane, Atom™ (Live), Boys Noise, and more
Alarm Will Sound, since February 2016
FoH and production for a Ligeti program in St. Louis and for The Hunger at Kennedy Center
Performa 2015, Arnold Schönberg's Erwartung – A Performance by Robin Rhode and Wet Ink Ensemble, conducted by Arturo Tamayo outdoors on Times Square
– full audio production, FOH and recording
NERO, FOH at Lollapalooza 2015 in Chicago and for their October 2015 US-tour; venues and festivals up to 30k capacity
TimbreTech / Jim Toth, NYC, since June 2009
– clients include MoMA, Guggenheim, Metropolitan Museum of Art, MoMA PS1, Cartier, Stella McCartney, Anna Wintour, Sony Music, Dior Homme,
– artists and bands we've worked with include Lykke Li, Kraftwerk, Blood Orange, Patti Smith, RZA, Joe Biden, Jessie Ware, Kanye West, Blondie, Yeah Yeah Yeahs, Stephen Malkmus, Lil Wayne, Ghostface Killah, Jonah Hill, Scarlett Johansson, Bill Frisell, The XX, Jamie XX, Julia Holter, Yoko Ono, Roger Federer, and many more
Daniel Neumann Audio:: Speaker rental / system design / sound engineering services, since April 2012, NYC
– multi-channel speaker system rental for Issue Project Room, Ende Tymes, Judson Church, St. Marks, Queens Museum, Hito Steyerl and Kassem Mosse at Whitney Museum, Sebastian Roux at Drawing Center; installation at American Contemporary for Stephen Vitiello, for Suzanne Phillips at Grace Farms, acoustic consulting and measurements for New Museum, Sabisha Friedberg at Swiss Institute
Other institutions, composers, performers, DJs and bands I did sound for include:
Anton Ginzburg: 5.1 sound design for "TURO"
Ne(x)tworks, TILT Ensemble: live sound and live recording
SEM Ensemble: live recording
Hans Tutschku, Thomas Buckner, Mari Kimura, Pauline Oliveros, Jane Rigler, Larry Austin, Hubert Howe, Joseph Kubera, Joel Chadabe, Robert Rowe, Morton Subotnick, Sustain/Release main floor: live sound
Blank Forms: full audio production for concerts, including Sun Ra Arkestra, Yo La Tengo, The Dead C, Yasunao Tone and many more
CT::SWaM, NYC, since April 2012
Organizer, curator and sound provider for concert series, focussed on spatial sound composition; different multi-channel speaker setups, recording
Rational Acoustics, CT, Nov 2013
Smaart® Operator Fundamentals Software Training Seminar
Queens Museum of Art, NYC, Nov 2013
8-ch/4-ch sound system for performances by Richard Garet and Kevin Beasley
Output Club, NYC, Jan 2013 – Jan 2014
Head of Audio for opening year; link;
– developing full audio production for live and DJs, creating a team of engineers
– artists like Carl Cox, Loco Dice, Giorgio Moroder, Art Department, Q-Tip, Cassy, Francois K, Danny Krivit, Chris Liebing, Seth Troxler, Sasha, John Digweed, Ben Klock, Paul Kalkbrenner (live), Danny Tenaglia, Martinez Brothers, Omar S and many more
Cielo Club, NYC, Oct 2011 – present
In-house tech, DJ setups, system maintenance, repairs
– DJs like Louis Vega, Tedd Patterson, Francois K as residents; and guests like Jamie XX, Adrian Sherwood (live), Mad Professor (live) and many more
Experimental Intermedia (Phill Niblock), NYC, Dec 2010 – present
FOH for concert series, and pa maintenance
Karl-Heinz Stockhausen: Oktophonie at Park Av Armory, NYC, Mar 2013
Assistant to Kathinka Pasveer and Igor Kavulek (Stockhausen's personal sound projectionist and engineer)
PS1 Dome, NYC, Apr 2012
Full production for Doug Aitken's Sleepwalkers Box Launch, 8 channel sound, live band
New York City College of Technology, NYC, Jan 2012 – July 2012
Teaching: Adjunct faculty, teaching the Sound Technology class
Electronic Music Foundation, NYC, Feb 2010 – Mar 2014
Concerts: speaker setup and live sound for various concerts and festivals, mostly multi-channel performances, like Luigi Nono's "La lontananza nostalgica utopica futura" at Judson Church, Feb 2012
Santos Party House, New York City, September 2008 – March 2012
Regular freelance: FOH and monitor for various bands and djs on a Soundcraft Vi4/Vi6 system, since August 2010 head of audio, responsible for maintenance, repairs, training of new engineers, and scheduling; installing a new live music pa and re-tuning the system downstairs
– artists like: Andrew WK, Gang Gang Dance, Jovanotti, Panda Du Prince, Q-Tip, Rich Medina, Matthew Dear, Quintron, Questlove, Moby (dj), Philip Glass, Laurie Anderson, Danny Krivit
LeBaron, NYC, Oct 2011 – Dec 2012
Installing the sound system
MoMA, NYC, Aug 2011
Installation: Setup and signal design for Carlito Carvalhosa's "Sum of Days"
Suseong Artpia, Daegu, South Korea, June – July 2010
Sound Design: for the award winning play "Academy", directed by John Carrafa, performed in a 1167 seat theater during DIMF
Theater at St Clemens, NYC, April – May 2010
Musicals: A-1 for "This Side of Paradise"
Diapason Gallery, NYC, June 2009 – June 2011
– curatorial assistant and technician for sound art gallery
NYC Electroacoustic Music Festival, April 2009 and March 2010
2010: Elebash hall manager and audio engineer;
2009: A-1 for main stage at Elebash, CUNY Graduate Center
New York Musical Theater Festival, October 2008 and 2009
Contemporary musicals: A-1 for "Love Jerry","Bedbugs!", "Plagued", "Academy" and others
Fringe Festival NYC, August 2009
Sound Design for "Shelf Life", by Molly Goforth, directed by JV Mercanti
Festival Voces de l'Argentina, NYC, May 2009
Sound Design for "Atomic", directed by Jimena Duca and Sophia Remolde
Tiyatroglobal, NYC, November – December 2008
Sound Design for "Mika", a theaterplay performed at the United Nations
Michael Schimmel Center for the Arts, NYC, October – November 2008
Musical: A-1 for "All shook up" on a Yamaha M7CL, incl. 5 piece band, 15 wireless bodymics, chorus, recorded sound
Kunstraeume Leipzig, May 2008
Open-air theater: with a moving PA on trucks and a standing 4-channel PA, Mackie TT24, 14 wireless headsets, recorded sound
Naturton Audiodienste, Leipzig, September 2000 – June 2008
Regular freelance: sound engineering for concerts (rock, pop, reggae, jazz), talk shows, conferences
Schauspiel, Leipzig, May 2002 – June 2005
Theater / musicals: including being the A-1 sound mixer for the premier of Rocky Horror Picture Show with a 6 piece band, chorus, 14 actors and playing back recorded sound on cue, house seats 527
Feel free to contact me:
mail: info [at] danielneumann [dot] org
Posted in Uncategorized on March 4, 2014 by danielneumann. Leave a comment


"I just read CNN's lawsuit against the administration over Jim Acosta. It's a very weak case, but if they get before an Obama or Clinton district judge, who knows," Levin warned.
CNN has employed a top Supreme Court litigator.
"The courts should stay out of this on separation of powers grounds, among other things. No one is preventing Acosta from reporting or CNN from broadcasting," Levin concluded.


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By: maristravels August 18, 2019 July 23, 2020
Europe - Mediterranean, UncategorizedAmalfi Drive, driving coastal roads in Italy, Italian beaches, Positano, Ravello, Sorrento
The Amalfi Drive
White Houses Clinging to the Rocky Hillside
Known as The Amalfi Drive (formally Strada Statale 163) the coast road along the shoreline from Sorrento to Amalfi (and on to Salerno) is one of the most poular drives in Italy. Originally built by the Romans, it is one of the most photographed coastal routes in the world, seen in countless films like Under the Tuscan Sun and the Humphrey Bogart classic Beat the Devil (1957) featuring a young Gina Lollobrigida. Gamers may recognize it as a setting for fictional tracks in Forza Motorsport and Gran Turismo 4 games. UNESCO actually named the Amalfi Coast an outstanding example of Mediterranean landscape and gave it a place on the World Heritage List.
So far down the boats are hardly recognisable
Carved out of the side of the coastal cliffs for the greater part of its route, the road gives vertiginous views down to the Tyrrhenian Sea and to the towering cliffs above. It passes through Positano, the village of the rich and famous where fabulous villas accessible only on foot from above, by helicopter from the air, or by yacht from the sea, are built into the sides of the mountain, making it a major tourist attraction.
We originally took the guided tour by coach as this seemed the easiest way to experience the drive, and we were right, but we enjoyed the trip so much that we took the local bus a few days later and enjoyed it even more.
We decided against stopping off at Positano however, having been warned against this by a fellow hotel guest who had been left standing for hours as the buses returning from Amalfi were all full when it reached Positano so no chance of getting on one. Amalfi filled the day however, and we managed to fit in a trip to Ravello as well.
I have no argument with those who say that the 50 Kilometre Amalfi Coast drive is probably the world's most beautiful and thrilling, piece of tarmac-ed sightseeing in Europe. If you can ignore the hairpin bends, the crazy Italian driving, the narrowness of the road that means your vehicle could possibly plunge into the churning sea below, the views are spectacular. The road is built at a very steep angle, zigzagging backwards and forwards and from the window of your vehicle you can see craggy rocks thrusting through the foamy waters below.
One of many Medieval Watchtowers on the Amalfi Drive
Despite the heavy traffic, all fighting for space on hairpin bends, the Amalfi Drive is a fascinating trip with every corner revealing an even more stunning view protected by Unesco. Pastel-coloured villages are terraced into the mountainside, medieval watchtowers guard the coast, and here and there huge colourful ceramic urns In yellow, blue, green and red, announce a "ceramic factory". Among the green slopes of the cliffs are scented lemon groves and a profusion of pink and white oleanders, and enticing restaurants locate on precipitous corners daring you to stop for a coffee. This white-knuckle ride is one of Italy's greatest wonders but it is not for the faint of heart. It is 80 kl of narrow, S-curve roadway strung halfway up a cliff with the waves crashing below.
At the end of the Drive you have Amalfi, tiny, expensive but one of the easier towns of those strung along the coast to walk around. It rises gently up the hillside from the waterfront rather than clinging vertically to it like some of the other coastal towns, like Positano for instance. Hard to believe that this very touristy town had a glorious history as a maritime republic on a par with the better known Pisa, Venice and Genoa.
Nevertheless, Amalfi was a trade bridge between the Byzantine and western worlds for centuries with a population exceeding 70,000 (today, less than 5,000). Unfortunately, there are very few historical buildings of note as most of the old city, and its inhabitants, slid into the sea during the 1343 earthquake.
Windsor by Steam Train
AMALFI – Italy's Gem
6 replies to The Amalfi Drive
Thank you for that. I'm so pleased you liked the photos. Too often I get so wrapped up in the place I'm photographing that I forget to 'look' properly and end up with something I wasn't aimng for. But I don't aim to be a professional, just a good(ish) amateur.
Sight, how gorgeous photos! Thank you.
Pingback: Sorrento – Pearl of the Neapolitan Coast – Mari's Travels with her Camera
The small boy sitting between us was feeling distinctly green by the time we got there on the local bus. 😦 We took the ferry back and it had turned much cooler and cloudy on the way back. Not one of our better days but one you had to do. 🙂 🙂
Pingback: AMALFI – Italy's Gem – Mari's Travels with her Camera
In theory, that's something I'd like to do. In practice I might be too nervous!


The new high-end model forms a triumvirate trying to save Sony's smartphone business in 2018.
We're over a month removed from the announcement of the Xperia XZ2 and XZ2 Compact, which have just gone on sale in the U.S., but Sony has a third member of the lineup to launch now: the Xperia XZ2 Premium. The XZ2 Premium is mostly the same as the standard XZ2, aside from a handful of notable internal changes: the display is 4K resolution, HDR capable and moderately larger at 5.8 inches; and it has dual cameras on the back with a new sensor that has the highest ISO sensitivity of any mobile camera.
Sony's latest 4K HDR smartphone display tech is 30% brighter than the last version, which is a welcomed addition, though the situation of finding native 4K HDR content to play on your phone hasn't really improved. Of course you can shoot your own with the XZ2 Premium, and the software can up-scale other content, but how much better it looks and how great it is to warrant the battery hit of playing it back is still questionable.
Sony keeps improving its camera setup, but still won't add OIS.
The pair of cameras consists of a standard color sensor and a separate black-and-white sensor, which Sony says are both used to collect data and process into a single image. You can of course shoot with just the black-and-white sensor for striking greyscale shots, or use both cameras at once for an enhanced bokeh depth-of-field effect like so many other cameras offer today. Sony is also touting some pretty crazy ISO ratings for this camera pair, with up to ISO12800 for video and a bonkers ISO51200 for photos.
Now from Sony's announcement it isn't clear how it's deriving this number ... because it references using both cameras for real-time processing to achieve them, I'm skeptical as to whether each sensor is capable of that high ISO rating or it's the combination of the pair that do it. In either case, mobile camera sensors typically struggle at any sort of high ISO rating, and being that sensitive should improve low-light performance — and it better, because per Sony's release this phone still doesn't have OIS.
A nice set of spec bumps, but that also comes with a jump in price.
Sony's continuing the camera story with a different front-facing camera, a new 13MP (1/3.06" in size) sensor that promises better low-light shots than the 5MP unit on the other models. The slightly larger device also has a bump in battery capacity to 3540mAh, up over the XZ2's 3180mAh — we don't yet know what, if any, increased thickness is involved with that. It also has 6GB of RAM, which is expected on this expensive of a phone but not present on the regular XZ2.
The XZ2 Premium will come in just two colors, Chrome Black and Chrome Silver, which are both exclusive to the top-end model.
You may be asking why Sony chose to wait this long to announce the third member of the XZ2 lineup, and it seems the answer is that it's not ready to ship. Sony is giving a loose launch time frame of "summer 2018," and isn't providing a price. The phone's predecessor, the XZ Premium, launched in late June last year for $799 ... though this year that's the price of the regular XZ2. We can expect the XZ2 Premium to reach or exceed $899, which is a whole lot to ask for relatively minimal upgrades over the standard XZ2.
San Mateo, California, April 16, 2018 – Sony Mobile continues to push the boundaries of innovation with the new Xperia XZ2 Premium, featuring one of the most remarkable cameras ever made in a smartphone. Xperia XZ2 Premium boasts the world's highest ISO 12800 sensitivity for video recording in a smartphone, as well as ultra-high sensitivity 51200 for photos, enabling ultra- low-light capture previously only seen in interchangeable lens cameras. The advanced camera technology on Xperia XZ2 Premium is thanks to the new dual sensor system in the Motion Eye Dual camera and AUBE fusion image signal processor that captures more than the human eye can see. With XZ2 Premium, you can also film like a pro using 4K HDR Movie recording and play it back in the palm of your hand on the 4K HDR display, showcasing your favorite moments in crystal-clear detail and eye-popping color and contrast. It's the only smartphone to bring you true professional camera quality plus a premium entertainment experience, all powered by the ultimate in processing power with the Qualcomm® Snapdragon 845.
Xperia XZ2 Premium is the first-ever smartphone to feature the new Motion Eye Dual camera, consisting of a black-and-white sensor for capturing clear contrast and the color image sensor for accurate color. Details from both sensors are then processed by the AUBE fusion image signal processor in real time, enabling video recording with the highest ISO12800 sensitivity ever in a smartphone (as well as an ultra sensitive ISO51200 for photos). The camera's ultra sensitivity with clean, noiseless images was previously only possible with interchangeable lens cameras. With this new addition to the flagship family, Xperia brings this highly advanced technology to the palm of your hand. With the Motion Eye Dual camera you can also express your artistic side. Select Bokeh and see your subject stand out from a defocused background, and take timeless photos in monochrome with a smooth gradation between black and white. The camera's low-light capability – as well as its artistic effects – are available for viewing with the live view-finder for an accurate representation of your subject. The Motion Eye Dual camera also features more professional features, such as 4K HDR Movie recording, so you can capture reality in incredible detail and true- to-life color. Plus, you can record 960fps Super slow motion in HD or Full HD to make highly dramatic videos. Xperia XZ2 Premium also offers one of the best front-facing cameras on a smartphone with its 13MP, 1/3.06" low-light sensor and display flash – for outstanding selfies in any light.
Xperia XZ2 Premium has the ultimate display with a huge 5.8" 4K HDR (that's 11% larger and 30% brighter than our previous 4K HDR display), so you can immerse yourself in your favorite movies and content in crystal-clear detail and eye-popping color. Thanks to this display you can enjoy your own 4K HDR content (since this is the only smartphone capable of both creating and viewing 4K HDR). Plus, whether you're watching a blockbuster or a video on YouTube, Xperia XZ2 Premium uses Sony's BRAVIA® TV technology, X-Reality for mobile, to up- convert content to near High Dynamic Range (HDR) for more cinematic contrast, color, and clarity.
Not only can you see your movies with powerful realism, but you can even feel them thanks to Sony's brand new Dynamic Vibration System that analyzes audio data and lets you feel the action in your hands, bringing your movies, games, and videos to life. Xperia XZ2 Premium creates a cinema-like audio quality when you're sharing your favorite videos with your friends thanks to its powerful front-facing stereo speakers. Featuring S-Force Front Surround, they're our loudest Xperia speakers ever. Sony's audio expertise also enables sound enhancing technologies for Xperia, such Hi-res Audio, DSHEE HX, and LDAC.
Xperia XZ2 Premium's cutting-edge technology is packed into a fluid and elegant design. It has a 3D glass surface that surrounds the exterior to create a seamless finish that's comfortable to hold and easy to carry. With an exclusive glass and metal finish, this smartphone not only looks beautiful with a premium feel but is also designed to be durable thanks to Corning® Gorilla® Glass 5 on both sides. Xperia XZ2 Premium is IP65/IP68 certified to withstand splashes and spills. It will be available in two contemporary colors: Chrome Black and Chrome Silver.
Enjoy industry-leading performance with the cutting-edge Qualcomm® Snapdragon 845 Mobile Platform with X20 LTE. You will get immersive user experiences at lightning-fast connection speeds (up to 1.2Gbps) with the second generation Gigabit LTE solution. XZ2 Premium has 6GB RAM for additional speed and efficiency.
Xperia XZ2 Premium is built to keep you going all day with its high-capacity 3540mAh battery and Xperia's useful battery features, including Smart Stamina and STAMINA mode. Battery Care and Qnovo Adaptive Charging technology help the battery stay healthy to give you a longer battery lifespan. Qi charging is enabled to power up effortlessly and works with the new wireless charging dock (WCH20) and other compatible Qi chargers.
Xperia XZ2 Premium is available globally from Summer 2018 and will ship with Android 8.0 Oreo.


As a premier guard in the NBA, Damian Lillard leaves it all on the court. As his rapping alter ego, Dame D.O.L.L.A., he does the same on the microphone. In both realms, the talented Oakland native makes it abundantly clear; he's as real as they come regardless of his stature.
Many NBA players have tried their hands at the rap game before, but the association has usually distanced themselves from such player endeavours. With Lillard however, they've taken a different stance and he believes it's a step in the right direction.
"The league is growing, the game is growing and I think it's great and much appreciated that they want to be involved in that," said Lillard.
Appearing on Sway's Universe just over a month ago to promote his debut album (entitled The Letter O), the star of the Portland Trailblazers revealed his legitimacy could be why the NBA has supported him.
One of the reasons for Lillard's realness could be his humble beginnings instilling honest principles within him. Being a rising star in the world of entertainment and sports, he's currently exposed to many different characters and sees the blurred line between fiction and real life.
Using clubbing as an example, the fifth year NBA guard suggests a lot of high society individuals go out of their way to ensure they're in the public eye, but he takes it in stride since that lifestyle isn't appealing to him.
"You know when I maybe go to a club and people buy they bottles or whatever and when they come out with them lights, they make sure they standing right there and everybody can see em, and you know they want they friends to be right there," he said.
One half of the NBA's best back courts goes on to mention that the current culture amongst young celebrities/athletes could be part of the blame for the ongoing facades they carry out, with the older heads being bad examples themselves for the younger generation.
"When you talk about following and doing what everybody else is doing it's almost like you get to a certain level and there's so many examples in front of you of people bringing you along and saying 'this is the way to do this, you supposed to go out and do this or you supposed to have this or you supposed to get a Rolex and you supposed to have two chains;' you know what I mean," said Lillard.
After initially facing scrutiny for his foray into the hip-hop world from fans and 'analysts,' the cool demeanour he often displays on the hardwood carries over to the booth and he knows basketball is where his attention is most required.
The full interview can be viewed below and throughout it he discusses how beats dictate his songs' concepts, breaks down lyrics to some of his tracks, reveals he's started his own label called Front Page Music Inc. and along with his labelmates (Danny from Sabrante and Brookfield Deuce) kicks a freestyle among other things.


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Five questions: San Diego Padres
You could say that the Padres' 2008 season didn't turn out as planned, but that would be a terrific understatement. Teams typically don't fall 25 and a half games in the standings from one year to the next. The good news is that all else being equal, it's hard to do worse in the third year. The bad news is that all else is never equal, and in the Padres' case, they are dealing with a dramatic reduction in payroll, a change in ownership, and a fan base that largely has stopped caring.
Benjamin Disraeli once noted that "there is no education like adversity." Lord Byron claimed that "adversity is the first path to truth." I don't know what two dead English guys have to do with this year's Padres, but let's see what we can learn…
How much longer will Jake Peavy remain with the Padres?
As long as he is worth more to them than whatever they might receive in return. One of the misperceptions over the off-season was that the Padres would move Peavy no matter what.
Although clearing his salary would help in terms of payroll flexibility, the gains in that area were not enough to offset the talent loss in the rumored trades, which is why those deals didn't happen. It's one thing to dump Khalil Greene's salary. He is difficult to replace, but his absence is not likely to affect the franchise in any profound way over the next several years. Peavy, on the other hand, would be missed more than words can convey.
Fortunately for the Padres and their fans, with the club's payroll now hovering just over their $40 million target, there doesn't seem to be a sense of urgency in shedding Peavy's salary. More likely, we will see at least one of Brian Giles, Scott Hairston, or Kevin Kouzmanoff dealt during the season, unless, of course, somebody is willing to pay top dollar for the privilege of acquiring Peavy.
What does the ownership change mean for the team?
Short-term, not much. The payroll won't suddenly expand because someone else is signing the checks. Long-term, it's hard to tell. The biggest difference is that the names John Moores and Sandy Alderson no longer will be associated with the Padres. In the minds of many fans, this alone is cause for celebration.
Although both men enjoyed a fair measure of success during their respective tenures, ultimately both wore out their welcome. Fans have grown weary of investing emotionally and financially in a team that cannot or will not spend some magical amount of money that in their minds would ensure success. For many, Moores and Alderson represent cheapness, and with their departure comes the hope that someone else will save us and lead us to the promised land. Or at least give us a hug.
The new ownership group is headed by Jeff Moorad, who oversaw some good teams in Arizona and before that worked as a player agent. Moorad has demonstrated that he is comfortable with sabermetrics and generally willing to think "outside the box" in attempting to build a successful franchise. Such flexibility should serve his group and the team well, although they will need to sell their vision to the masses—something the outgoing group could not do.
The fact that Moorad has been involved in the business as an advocate of players presumably gives him additional insight into how they operate. How such insight will translate into success as an owner remains uncertain, but at the very least, he should not be caught off guard by whatever tactics a player's agent may sling his way. Then again, if the purse strings aren't loosened at some point, tactics will not matter.
How can the Padres reignite fan interest?
The short answer is, they need to field a winning team. The longer answer is, winning alone won't be enough. It wasn't enough from 2004 to 2007, when the Padres enjoyed their first—and only—stretch of four consecutive winning seasons. The previous regime failed to sell a vision that fans could believe in, and without that belief, there is no hope; ultimately, without hope, there are no fans.
The situation isn't as dire in San Diego as it has been in, say, Kansas City or Pittsburgh, but it also isn't improving in the same way that those two franchises appear to be. When you lose 99 games and then cut payroll by $30 million, that doesn't send an inspiring message to fans, who are more interested in watching the team put on a good show than in hearing about the difficulties in assembling said show.
In the many years I played in working bands, never once did an audience member ask me about the logistics of rehearsing, booking a gig, collecting payment, etc. As long as none of those factors kept us from performing our music or, more importantly, showing people a good time, why should anyone care? Hey, that's entertainment.
What's the deal with that pitching staff?
Basically it's a mess. Peavy is a stud. If Chris Young can stay healthy, he should be effective. The rest of the rotation is filled with question marks. When Cha Seung Baek is assured of a rotation spot, something has gone wrong. Kevin Correia and recently signed Shawn Hill appear to have the inside track on the final two spots, but it's hard to imagine either of them surviving the entire season in a big-league rotation, even one that makes half its starts at Petco Park.
As for the bullpen, Trevor Hoffman is not a part of this team for the first time since 1993. With the face of the franchise now in Milwaukee, Heath Bell takes over as closer. If it's the Bell we saw in 2007, then no problem. If it's the guy who sported a 6.18 ERA after the All-Star break last year—well, I suppose the bright side is that save opportunities will be few and far between, but that's not much of a bright side, is it?
Cla Meredith returns to soak up innings. Beyond Bell and Meredith, the relief corps is far from settled and none of the available options is exciting.
The Padres almost certainly will carry 12 pitchers, but by my count, only four or five (depending on your opinion of Baek) belong in the big leagues. If anyone is equipped to test the limits of Petco Park's friendliness to pitchers, it's this year's staff. Pay attention at the ballpark: the life you save could be your own.
Why should fans be hopeful?
First off, baseball is salvation. That alone should be reason enough for hope. On the off chance that it isn't, here are a few other points to bear in mind:
The front office is filled with smart baseball minds. Kevin Towers' trading record speaks for itself. Paul DePodesta has been identified as a potential future GM candidate. And although he hasn't yet enjoyed the same success in San Diego, Grady Fuson's scouting and development efforts in Oakland helped propel the A's despite their relatively modest budget.
At the big-league level, there aren't any bad contracts. Peavy is expensive, but he's a premium talent. Giles is a tad pricey, but he's in the final year of his contract and he still should provide value and/or make for good trade bait. Adrian Gonzalez is a franchise player who is signed through 2010. Heck, the club holds an option for 2011 that will cost the Padres less than what the Giants are paying Dave Roberts not to play for them in 2009.
The farm system isn't as thin as some experts claim. There is a lack of impact talent at higher levels — Kyle Blanks, maybe Matt Antonelli — but the last few drafts look promising. The team also has been aggressive on the international front, thanks in part to a new facility in the Dominican Republic.
One problem is that the Padres are heavy with corner guys and finesse pitchers. As I've noted in the Ducksnorts 2009 Baseball Annual, they appear to be following Minnesota's blueprint for developing pitchers. The emphasis on controlling the strike zone over lighting up radar guns comes with risk — strikeout rates typically decline as a player moves up through the ranks, and if they aren't strong to begin with, that can be a problem. The Padres would do well to diversify their portfolio and add more power arms.
Getting more prospects at premium positions to complement the corner guys — Blanks, Jaff Decker, Allan Dykstra, Kellen Kulbacki, etc. — would be good as well, although that is easier said than done. There is a reason those positions are considered premium. Drew Cumberland, Jonathan Galvez, Cedric Hunter, and Jorge Minyeti could help, but all are a long way from the big leagues — a lot can happen between there and here.
The system isn't in great shape, but there is at least a foundation on which to build, which is more than could be claimed a few years ago. Remember, we're looking for solid reasons to have hope, not some pie-in-the-sky miracle cure.
All that being said, we need to balance hope with a healthy dose of reality. If everything—and I do mean everything—breaks right for the Padres, they could win 85 games in 2009. With their complete lack of pitching, though, the more reasonable expectation is 70-75 wins.


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Alumni Highlight: Dr. Tabatha Parker
Going back to its founding in 1956, National University of Natural Medicine has a long, rich history of producing many of the profession's luminaries. The tradition continues with naturopathic graduates like Tabatha Parker, ND ('04).
A visionary committed to social justice and international healthcare change, Dr. Parker is the co-founder and executive director of Natural Doctors International (NDI)—the world's oldest naturopathic global health organization. NDI developed the first permanent naturopathic clinic in Nicaragua, which to date has seen 20,000 patients and given away the equivalent of $500,000 in medicines. Using the Nicaraguan clinic as a model, NDI plans to work with its many partners, including the World Health Organization, to build additional clinics, helping bridge the gap between conventional medicine and indigenous healers. In 2011, Utne Reader magazine recognized Parker's work by presenting her with a Visionary of the Year Award, placing her among an elite group of the world's leading innovators.
In addition, she enthusiastically joined her alma mater this year to co-chair NUNM's new Master of Science in Global Health program, the first global health degree offered at a naturopathic medical school. She also serves as the director of education at the Academy of Integrative Health & Medicine, the leading provider of education and certification of health professionals in integrative holistic care.
Parker strives to use her activism in natural medicine to inspire both students and doctors to join her in bringing natural medicine to underdeveloped countries in overwhelming need of care. She has worked with the World Health Organization on the WHO Benchmarks for Training in Naturopathy, and along with Dr. Michael Cronin ('80), this year became the first NDs to attend the World Health Assembly of the World Health Organization.
Then, at the second annual International Congress on Naturopathic Medicine held in Paris in July 2014, Parker was a key leader in discussions that resulted in the historic formation of a new organization, the World Naturopathic Federation (WNF), which will unite and advance the naturopathic profession globally in a way that has not been possible before. Parker currently serves as co-chair of the WNF interim committee. worldnaturopathicfederation.org
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