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The Haffenreffer Museum of Anthropology's Collections Policy establishes policies for acquisitions, loans, deaccessions, and other collection management issues. It affirms that HMA shall be in full compliance with laws and regulations, both domestic and international, governing the transfer of ownership of objects and their movement across political boundaries; and that it shall continue to meet the highest ethical standards in all of its activities. As such, it is a living and changing document that responds, over time, to changes in the ways that museums interact with the communities they represent and in which they are situated, as well as to changes in the legal, ethical, and professional standards that govern museums, our fields, and the collections that we curate.
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Annie Londonderry and the bicycle as a vehicle of social liberation
Leah Berkenwald
Annie Cohen Kopchovsky, known as Annie Londonderry, in the final incarnation of her bicycle riding costume. She was the first woman to ride a bicycle around the world in 1856.
Source: Annie Londonderry--the first woman to bicycle around the world, by Peter Zheutlin. © Peter Zheutlin.
Over the past couple years, we have witnessed the rise of an eco-friendly, politically progressive bike culture in the US. In March, 2011, Maria Popova wrote for the Atlantic: "As much as we love bike culture and everything bikes stand for, we may have underestimated the profound significance of the bicycle as a cultural agent of change."
Earlier this year, Sue Macy's Wheels of Change: How Women Rode the Bicycle to Freedom (With a Few Flat Tires Along the Way) told the story of the bicycle's role in women's emancipation in late-19th-century America. Not only did bicycles give women freedom of transportation and mobility without chaperones, it liberated women from corsets and big skirts. In order to ride more comfortably, women designed new fashions that reduced the weight of their undergarments to a "mere" seven pounds.
"Let me tell you what I think of bicycling. I think it has done more to emancipate women than anything else in the world. I stand and rejoice every time I see a woman ride by on a wheel." --Susan B. Anthony, 1896
One of the pioneering bike-women of the era was Annie Londonderry, a "Jewess with attitude" who is (thankfully) discussed in Wheels of Change. Annie Londonderry (real name Annie Cohen Kopchovsky) was the first woman to ride a bicycle around the world in 1895.
It started with a bet. In 1894, a man in Boston bet $20,000 that no woman could travel around the world by bicycle. This had first been done by a man in 1885. Annie Cohen Kopchovsky set out to prove him wrong on June 25, 1894. Married and the mother of three small children, her choice was particularly daring. Did I mention the fact that she had ridden a bicycle for the first time only days before her trip?
The terms of the bet required Annie to start out penniless and earn money through sponsorships along the way. Resourceful, she hung a placard advertising Londonderry Lithia Spring Water Company from her bicycle, and soon became the company's representative. She became known as Annie Londonderry. Somewhere along the way, Annie traded her 42 lb ladies bicycle for a men's bike that weighed half as much, and eventually ditched her skirts and bloomers for a men's riding costume. She completed her journey in just under 15 months, returning to Boston with $10,000 in prize money. (Visit jwa.org to learn more about her story.)
Her story remains an incredible achievement. Annie Londonderry rode her bike around the world, proving that a woman could undertake such a feat on her own. She fixed mechanical bike problems, survived injury, and dealt with the scrutiny of the press. Her journey was an inspiration, and an example of the way bicycles were a vehicle for liberation.
Even though Annie Londonderry is never mentioned directly in the American Jewess, the first American magazine dedicated Jewish women's issues, the magazine did discuss bicycles and the threat they posed to traditional femininity and propreity quite a bit. Other women's publications of the time, like the Ladies' Home Journal, were less vocal on the issue, implying an unspoken opposition rooted in Victorian sexual mores. (At the time, many were concerned that the placement of the saddle would be sexually stimulating and therefore "unhygeinic.") In the fourth issue of American Jewess, for example, Rosa Sonneschein defended the women cyclists from various criticisms, particularly those about inappropriate dress:
"The Bicycle, or rather the Bloomer girl is at present the most abused of her sex… Poor little Bloomer girl, defenseless, defiant[,] and unadmired, thou glidest through streets, parks[,] and boulevards, the target of the evil eyes of chagrined conservative matrons. Pray let us be kind to the woman on the wheel…"
For more on the American Jewess's attitude toward women and bicycles, visit jwa.org.
Today, bicycles remain a locus for progressive social change, style and aesthetics, and gender politics. According to Forbes, 80% of the riders in the US today are male. The reasons for the unbalance are not that different than they were in the nineteenth century. Like then, women are still under enormous pressure to maintain a feminine aesthetic, one that is challenged by physical activity. It's not hard to imagine that many modern women are put off by the idea of arriving at work with sweat stains and "helmet-hair." Women bicyclists were a heated subject of debate recently in the Hassidic communities of Brooklyn, NY, where women's sports clothing is still considered an inappropriate form of dress. Bicycles also remain a vehicle to talk about safety and gender-specific safety in public spaces.
Berkenwald, Leah. "Annie Londonderry and the bicycle as a vehicle of social liberation." 23 June 2011. Jewish Women's Archive. (Viewed on January 16, 2021) <https://jwa.org/blog/annie-londonberry-and-the-bicycle-as-a-vehicle-of-social-liberation>.
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redpajama_set_name: RedPajamaCommonCrawl


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Q: How to read and map the values from an xml to java in larger files I have an xml where i need to extract the values from them and update it in database.
The xml is very large may be 1gb or more.
Which is the most efficient way to parse it and extract it.
Will Xpath be fast?

A: XPath will likely be very slow on such a large document. You'll likely be better off using a streaming parser (SAX/StAX) and extracting the information you need on the go.

A: You need to use some sort of streaming approach with large files like that, what is easiest depends on the structure of the XML. If it's made up of lots of fragments that can be handled independently, for example
<rows>
  <row>
    <col name="col1">value1</col>
    <col name="col2">value2</col>
  </row>
  <!-- and another million row elements -->
</rows>

then there are what I call "semi-streaming" ways to stream through the file parsing one row, processing it, then throwing it away and parsing the next etc. using a tool like XOM (look up "custom node factories") or JAXB (define an object model that represents one row, then create an XMLStreamReader on your document and unmarshal one row at a time).

redpajama_set_name: RedPajamaStackExchange


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Cattle market absorbing larger supplies
May 23, 2018 Beef Cattle
Proper installation of Frostfree Nosepumps
May 18, 2018 Cattleman's Corner
A certain amount of scratching in cattle is natural
Defuse the potential for agriculture 'Madvocacy'
Proper bedding keeps calves warm and dry
May 8, 2018 Cattleman's Corner
Market Update: Beef consumption increasing after early-spring snowstorms
Beef Cattle, Cattleman's Corner, Markets
Alberta packers were buying fed cattle in the range of $263 to $265 per hundredweight on a dressed basis in late April while live sales were reported from $157 to $169.
The market appears to have stabilized after a softer tone earlier in spring. Analysts are expecting second-quarter beef production to come in sharply higher than last year, which has tempered the upside potential. Beef demand usually makes a seasonal high in late March but this year, the northeastern U.S. received a series of four major snowstorms which tempered restaurant and retail demand. However, this pent-up consumption appears to be stepping forward for the May timeframe.
Cattle market looking strong in many respects
Yearlings gain on tighter supplies
Patience is key for easy cattle handling
Wholesale beef prices increased as retailers gear up for Mother's Day and Memorial Day weekends. Feeder cattle prices have also recovered after dropping nearly $40 from the December 2017 highs. Steers averaging 900 pounds dipped to a low of $150 in early April but have since recovered to the $165 area as of late April. The feedlot region of Alberta has gone through one of the worst seasons for pen conditions. The return of seasonal temperatures has spurred on demand for all weight classes of replacement cattle.
The U.S. cattle herd has undergone a severe expansion phase since 2015. However, the drought-like conditions in the U.S. Southern Plains have alternated the seasonal tendencies in the cattle market for 2018. First, feeder cattle placements during the fall of 2017 were sharply above year-ago levels. This was partially due to the year-over-year increase in the calf crop. Feeder cattle placements were also enhanced due to the drier conditions in Texas, Oklahoma and Kansas.
The 2017 U.S. calf crop was 725,00 head larger compared to 2016; however, feeder cattle outside feedlots as of Jan. 1, 2018 were down 2.27 per cent compared to a year earlier. Feeder cattle placements continued to exceed year-ago levels through January and February, 2017 but in March, we finally saw feedlot placements come in below year-ago levels. It looks like this trend will continue through the summer.
U.S. quarterly beef production.
Cattle on feed inventories up
Cattle on-feed inventories as of April 1 were estimated at 11.729 million head, up seven per cent from 2017. Feeder cattle placements during March were 1.921 million head, down nine per cent from year-ago levels, while marketings came in at 1.840 million head, down four per cent from last year. Given the placements from September through February, second-quarter beef production is expected to be a whopping 651 million pounds above last year. Usually, beef production surges in the latter half of the year but this year, the most burdensome supply situation will occur in June, to be exact.
Cattle on feed in Alberta and Saskatchewan as of April 1 were 939,623 head, up four per cent from April 1, 2017. March placements came in at 208,017 head, up 12 per cent from last year; fed cattle marketings during March finished at 135,961 head, relatively unchanged from March of 2017.
Cattle placements and fed cattle marketings have been altered by the drought in the U.S. Southern Plains. Supplies will be very burdensome in the second and third quarters. Beef demand will reach a seasonal high in May and then decline in June. This will offset the surge in production but demand will ease in June when beef supplies are extremely burdensome.
The feeder cattle market is contending with different fundamentals than the live cattle market. March and April will go down in history as one of the worst years for pen conditions in southern Alberta. At the same time, the feeder market experienced large supplies and no demand in March. Moving forward, the feeder market is going from one extreme to another.
Year-to-date Canadian feeder cattle exports to the U.S. are up 35 per cent over last year and this strong trend will continue. This stronger export demand will come when seasonal temperatures return to southern Alberta. Many feedlots that were holding back on purchases are now stepping forward. Margins have been quite favourable through the winter. More importantly, some I'm expecting U.S. fourth-quarter beef production to come in below year-ago levels so there is a bullish consensus on the fed cattle market for the fourth quarter. Feedlots will want to be owning 550- to 750-pound calves to market in the fourth quarter. The feeder market has a friendly bias for this reason.
Cattleman's Corner, cattle prices, Market Update
Favourable beef market over the long term
Don't buy into myths about mineral/vitamin requirements
Beef Cattle, cattle prices
Contracting supplies improve cattle outlook


Parish churches are to be marketed as tourist attractions under plans agreed by the Church of England's governing body.
A tourism officer will be appointed in every diocese of the country to encourage more people to look around the historic buildings.
It is hoped the move will raise money for cash-strapped churches, but may also result in casual visitors learning more about religion and becoming worshippers.
Roy Thompson, a lay member of the General Synod who proposed the motion in York yesterday, said: "Church tourism is a mission opportunity – an opportunity to connect with tourists and pilgrims, educational groups, visitors to our sacred spaces for cultural events or browsers for family history.
"An opportunity to introduce even more of our community to the richness of their heritage, but to deliver it through a higher-quality, better trained visitor welcome."
Figures show that 15 million visits are made each year to churches and cathedrals regarded as major tourist attractions, and that almost half of Britain's Grade I-listed buildings are places of Christian worship.
But the church feels its buildings are still "under-valued, under visited and with limited support".
It wants a larger share of the country's £85 billion tourism industry, particularly as thousands more visitors start arriving from around the world for the London Olympics in 2012.
Under the terms of a Private Member's Motion, passed on Sunday, Synod agreed to call on each of England's 44 dioceses to appoint a tourism officer.
Currently only half do so.
It is hoped they will work with Government bodies and heritage groups to do more to promote churches and cathedrals as tourist destinations, and to help parishes claim funding for conservation projects.
Church leaders also hope to attract tourists by marketing their architecture and genealogy records.
They would like more children to visit on school trips, and more church buildings to be used as arts venues as well.
But they also hope those who visit churches on a day trip may later come back as worshippers, boosting dwindling congregations particularly in rural areas.
The Bishop of London, the Rt Rev Richard Chartres, said: "Tourists can become pilgrims and it is our duty to ease that transformation. The argument for supporting this motion is not principally economic."


I have been working for Baltimore's Water Department for 37 years, at the Montebello Filtration Plant in Baltimore City.
Nice blog. I found it while searching for maintenance and inspection reports on the jones falls tunnel because of an article posted on-line in the "Baltimore Brew" on soil movement over the tunnel (https://www.baltimorebrew.com/2016/05/13/building-cracks-and-settles-above-baltimores-underground-sewage-outfall/).
Wondered if you could point me in the right direction.
Unfortunately, no, I do not have any records of inspection of the sewer lines. None of the earlier reports, starting in 1906 indicate that the sewers were inspected. I know that a City Agency, Utility Maintenance at Park Terminal has used remote underwater equipment to inspect pipes. You can try them. I was surprised when I read the early engineering reports that mentioned about the two conduits that are/were in use to dump sewage. Their thinking at the time was at least they could control the flow into the Jones Falls, as where if the Eastern Avenue Pumping station became so overwhelmed and failed, there would be no control – it would all go into the Harbor directly.
Just found your blog….look forward to reading all of it! I believe you used to post on some of the Baltimore Facebook pages. I grew up in Mayfield, so Lake Montebello and Herring Run Park are a huge part of my life. Learning about the tunnels, buried streams, mills and quarries in the area fascinates me. Very cool that archaeologists are working in Herring Run Park now! Thanks for all the photos and information!
Hi Mike. Your name sounds familiar. I was on FB for quite a while, then the comments got crazy. I find this way of posting history a lot easier. I hung in Mayfield for a while back in the late 60s, early 70s. Great times. Thanks for checking out my blog.
Ronald, thanks for writing the blog! This is very interesting. I grew up on the banks of Loch Raven and spent my afternoons hike around it. I find the history of what was once there so fascinating. I just bought your book, and am looking forward to that.
Request: could you write about the Fullerton Reservoir? The reservoir that never was. It is interesting how the Big Inch runs through where it would have been, and how the city retains all of that land. I have not been able to find much on the web, or in the Baltimore Sun archives about this reservoir, and why it was never built. Perhaps you know more.
Thank you for buying my book. The publisher never tells me who buys them, just how many were sold for the month, so I am glad you told me so I can thank you!
I will write about Fullerton when I get back to work. The info, including all the drawings are there. The last I heard, it was still a go to start in 2020. But that always changes. Thanks again.
The info comes from a variety of sources and people. I was asked to review some of it a while ago. It is a nice info website. I was just at the dry balancing reservoir last weekend. It is part of my Cromwell hike! It took me a couple years to find the BR because the area was so grown over. Then I met some volunteers there that showed me the shaft. It is amazing to see. I have photos somewhere on my blog.
Thank you for your interest in my blog. It looks like we are doing similar things! I look forward to following yours!
I enjoy transcribing old handwritten journals. My first book comes from transcribing engineers/inspectors journals that were kept for 5 years during the building of a tunnel. I was transcribing some of the papers listed in the Maryland State Archives, but that is just once in a while. Sometimes when I have trouble deciphering what is written, I send it off to the University of Maryland English Department for them to look at. I enjoy your blog. Thanks!
That is truly neat. And, yes, sometimes deciphering is difficult. It helps to know your writer!
Wow! That is interesting. I will see if I can find his employment card from back then. Sometimes I get lucky. They themselves are interesting – listing religion, ethnicity, where parents from and of course, political affiliation. The records from the World Wars tell a story all to themselves concerning the water department.
Just looked thru the 1934 thru 1939 records and was not able to find his employment card. The records after 1939 may be at the City Archives. I will look in one other location and get back to you.
Looked in last area and for some reason the 40s and 50s records are missing. Major problem at the city is that people don't have a clue about retention of papers in the archives. Sorry.
My boss and the Director are from WSSC. I will let you know if I find anything other than what I had previously posted on Ashland. The City archives may have my Ashland files. I had to move a lot out of my office to make room for the sewer history! And thanks!
Hello Ronald! I am a student at American University in D.C. and was wondering where you found all of these great images? Are they in the public domain?
Hello Crystal, I found a majority of the glass plate negatives here at my jobsite. Along with many photographs, drawings, journals, logs, etc. A lot of the others were found in the DPW Museum storage area at Back River (moved to my location). And others come from libraries, historical societies, newspapers, etc. And this would be why they are NOT in the public domain. They are just too scattered across the city and county. Which is very unfortunate.
That is unfortunate! But as they are from public offices, would I be able to use them in a student project?
Yes you may, just give credit to DPW. Anything in particular you are looking for?
Thank you so much, Ronald! Your blog has been immensely helpful. I have learned so much combing through your posts. I was having trouble finding images/illustrations of Baltimore before the sewage system was created. From my understanding, waste was disposed of in privy vaults or cess pools. Do you know of anything depicting something like this?
I have some info on that, along with photos. I will look tomorrow at work. Email me so I can email them back to you instead of using wordpress. Some files are large.
Ron, I am a volunteer/researcher at the Historical Society of Baltimore County and am interested in finding more information on the camps for laborers at Loch Raven during the construction of the second dam. There was a "colored school" at Summerfield in 1915. There was never a village or town of Summerfield (named for the Carroll estate on Manor Road) on any maps, but the area today is known by that name.The Summerfield Stone Company land ran from the Falls to the Summerfield Ma&Pa station. The Gilmor spur from the Ma & Pa was built for them during construction. Both Summerfield Stone and Baltimore Marble were owned by the Gilmor family (who lived at Summerfield).
Anyway, the school must have been for the families of the men working on the dam. I've seen refs to the camps in your book summarizing the various files and documents. Where can I get more info, especially about page 136? Were these camps small towns, with schools, churches, stores etc?
Also, why were there Spanish and Italian workers–did they have "special" jobs?
Fascinating blog. Reading some of the material here really puts a human spin on the issue of water/wastewater treatment. Its one thing to gloss over a quick summary of how the potable water and sewerage systems came into being, but I actually find information on how the transition actually went. More importantly, that it was not an overnight accomplishment when viewed through the lens of history, especially when we are safely 100 plus years in the future.
I really enjoy the old photographs and accounts of how it really happened.
Thanks for your comments and for reading my blog. As I do my research I am constantly amazed at the structures and the water works. Years ago my mindset was "They don't build them like that anymore!" But what I found is that the engineers back then struggled the same way today's engineers do, but now there are just so many new federal guidelines that it is near impossible to build them like they use to. That old saying I guess rings true – The more things change, the more they stay the same! Thanks again!
I've enjoyed your blog. Under the "Uknown" category you have a photo of an ice flow on the Gunpowder river. You asked about the location. I recognize the building. It's the Warren mill.
Also in a recent walk on the blue trail you photographed a stone ruin. What you may have found is the ruins of the other garrison fort. County historian John McGrain writes there was another fort located near the Overshot branch. I recall reading of this in a book he authored on Baltimore countly history available from BCPL system.
In the photographic images, do you have a photo of the Royston bridge over the Gunpowder river a little south of the Warren bridge? If you do could you post it?
Thanks for the information and for reading my blog. As soon as I am settled with my moving to Salisbury, I will look for the Royston bridge. I do remember seeing a photo of a farm the City bought captioned as Royston.


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BP Recommends
Stanley Clarke Band, Jeff Berlin, Ghost-Note, and More!
STANLEY CLARKE BAND
THE MESSAGE [Mack Avenue]
Largely written in Paris during a tour delay due to terrorism in Tunisia, The Message finds Stanley Clarke and his quartet (keyboardists Cameron Graves and Beka Gochiashvili, as well as drummer Mike Mitchell) mining all corners of the musical spectrum to deliver positive messages with a powerful jazz-funk underpinning. Clarke remembers George Duke and other late friends on the opener "And Ya Know We're Missing You," a slapped bass and beatbox duet with Doug E. Fresh. "After the Cosmic Rain" (adapted from a piece Clarke wrote for Return To Forever) and "Combat Continuum" are full-on fusion epics that also mine Clarke's soundtrack writing. Bass-wise, Clarke shows his grand mastery of both acoustic and electric with a passionate, bowed version of "Bach Cello Suite No. 1" and the solo bass guitar chordal gem "The Message." Best of all are kitchen-sink tracks like "Lost in a World," a vocal-duet love song wrapped around some serious band reaching; the sonically stretched, Spanish-tinged instrumental "Enzo's Theme"; the sassy, Cameo-meets-Marcus Miller "To Be Alive," with Fresh rapping about Stanley; and especially the angular, highly original "The Rugged Truth." Some 45 years after his solo debut, is there a bassist with a wider perspective than Clarke? —CHRIS JISI
JEFF BERLIN
JOE FRAZIER—ROUND 3 [JBMG]
Regarded as one of the big three bass anthems alongside Stanley Clarke's "School Days" and Jaco's "Teen Town," Jeff Berlin's "Joe Frazier" first appeared on Bill Bruford's 1980 album Gradually Going Tornado. Berlin did a funkified update, "Joe Frazier (Round 2)," on his 1986 album Pump It! Now, from Nashville, comes a 30th anniversary package centered around a new version that features Steve Vai and Tom Hemby on guitars, David Sancious on keys, and drummer Keith Carlock. Dialed back to about 98 bpm and riding Carlock's kinetic sizzle, the track's angular intro finds Berlin drawing themes from the melody. He then states the melody with fresh, hammered twists and restates it over Sancious' reharmed piano changes. Following a brooding transition, Vai emerges for a shredding solo. A Zawinul-esque, keyboard-led section leads to Berlin's probing, overdriven solo, navigating "Giant Steps"-inspired changes. Finally, the Sanciousled coda shifts to classical harmony terrain, with Berlin boogying to the finish line. Other package options include a remastered "Round 2," a vinyl "Round 3," an autographed score, and mixes minus drums, bass, or guitar. In all, Berlin manages to show both his strengths and his growth, as we await his Jack Bruce tribute album. —CHRIS JISI
GHOST-NOTE
SWAGISM [RSVP]
Led by drum and percussion masters Nate Werth and Robert "Sput" Searight of Snarky Puppy, Ghost-Note's sophomore album features the bass prowess of Anthony "AJ" Brown and MonoNeon. The low-end duo dominates the record with heavy grooves and insanely funky riffs, stealing the spotlight from the large, talented cast around them. MonoNeon's virtuosity on "Milkshake" and "Dry Rub" are enough to make you hit rewind to catch the fast, intricate licks buried within his pocket. These two drummers sure know how to pick bass players. —JON D'AURIA
GONG EXPRESSO
DECADENCE [gongexpresso.bandcamp.com]
Decadence continues the lineage of instrumental jazz-fusion first forged by Pierre Moerlen's Gong in the 1970s. It features Hansford Rowe, a Gong alum, leading this new ensemble through a masterclass in spontaneity and subtlety, where downtempo explorations of progressive jazz reign supreme. Instigated by Rowe's lyrical bass ostinatos, songs like "Zephyr," the title track, and "The Importance of Common Things" are mellow and spacious—but the music's deceptively simple nature is merely a guise for manipulating and developing deep, heavy musical concepts. —FREDDY VILLANO
ADI MEYERSON
WHERE WE STAND [adimeyersonmusic.com]
Listening to Sonny Rollins records as a teenager growing up in Israel may have inspired upright ace Adi Meyerson's love affair with jazz, but her debut album proves that she's come fully into her own. Meyerson's compositions pay homage to her adopted hometown, New York, as she displays the knowledge she has gained from studying under greats like Reggie Workman and Ron Carter. "TNT" and "A D Train" especially highlight her equal-parts talent as a writer and a player. —JON D'AURIA
THE SHADOW THEORY [Napalm]
On the European/American power-metal band's latest, Sean Tibbetts once again delivers the perfect foil to Kamelot's heavily orchestrated guitars, keys, and vocal melodies. His snarling, growling, pick-wielded tone locks in tightly with double-kick-driven songs and adds most of the grit to an otherwise melodious, symphonic sound. There's even some djent to Tibbetts' rhythmic patterns, giving the tunes a tenacious backbone. Check out tracks like "MindFall Remedy," "Kevlar Skin," and "Static" for a good dose of what Tibbetts can do with four strings and a pick. —FREDDY VILLANO
TRANQUILITY BASE HOTEL & CASINO [Domino]
The Arctic Monkeys' sixth studio album abandons the gritty guitar-driven sound that made them famous in favor of spaced-out, mellow lounge vibes. This ultimately frees up Nick O'Malley and frontman Alex Turner to put bass at the forefront of the piano-led songs, which is especially groovy on "One Point Perspective," "American Sports," and the album's title track. O'Malley's staccato, muted pick playing throughout adds a chic sexiness that completes the band's new sonic identity. —JON D'AURIA
MEMORIES IN ROCK II [Minstrel Hall Music]
Ritchie Blackmore decided to revisit his rock & roll roots a couple of years ago by way of reinventing Rainbow with a new cast of players. Memories in Rock II is a live set from Glasgow, Scotland, covering a staggering back-catalog of epic hits, neoclassical metal, and choice Deep Purple cuts. Bob Nouveau is clearly a musician's musician, ably responding to Blackmore's every improvisational move with subtle counterpoint, inventive rhythmic patterns, and nuanced note choices. His playing is lively and spontaneous, perhaps the ultimate spirit in which to pay homage to past iterations and performances. —FREDDY VILLANO
SUMO PRINCESS
SINGLES [UMG Recordings]
Abby Travis has built a long and successful career using her precision playing and massive tone to back powerhouses like the Go-Go's, Cher, the Bengals, and Beck. Her new project, a drums–bass duo with Gene Trautman, now showcases her talents in the biggest and boldest way possible. On these four tracks, Travis dishes seriously filthy frequencies and interesting lines that use both her vast pedalboard and her eccentric playing, making us want much more from this exciting duo. —JON D'AURIA
By BP Staff May 30, 2018
By BP Staff Mar 30, 2018
By BP Staff Sep 7, 2018
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Make & Learn with Local Artisans
Taste Local Food & Wine
Explore Nature
Discover Treasures in Regional Museums
Take part in a Festival
By Region By Route Visitor Guides Guides
Visit a workshop and explore Gyumri with a local artist
Vardanyan at work. (Photo by Karen Nersisyan, My Armenia Program)
Albert Vardanyan and his two sons, Hrachya Vardanyan and Avetik Vardanyan, are three of Gyumri's most talented and best-known artists. Visitors to this area should not miss the opportunity to take a personal tour of the Vardanyan home and studio, located in the village of Akhuryan, just six kilometers east of Gyumri's historic town center.
Albert is a sculptor, who works with a variety of materials, including wax, gypsum, stone, clay, and bronze. Working as an instructor in the Gyumri Branch of the State Academy of Fine Arts of Armenia, Albert's artistic vision is to convey in his sculptures not only the spirit of ancient times in Armenia, but also the national and folk concepts found in contemporary Armenian art. Visitors to his studio will see the entire process of artistic creation – from drafting to modeling to molding and final processing. Albert's sculptures are found in many countries around the world.
Albert's eldest son Hrachya is a painter and mixed-media artist whose works are also exhibited worldwide. Hrachya's paintings come from the same ideological roots as his father's, but differ in technique and representation. Hrachya often uses woven materials, which reflect the renowned traditions of Armenian carpet weaving, and makes innovative uses of color and depth. Like his father, Hrachya teaches in the Gyumri Branch of the State Academy of Fine Arts of Armenia.
Albert's youngest son Avetik is an architect, who draws inspiration from a variety of sources, including Gyumri architecture, local stone, wood, natural landscapes, and Christianity. For instance, Avetik has created a distinctive series of handmade copybooks and sketchbooks with wooden covers. He has also collaborated with his brother Hrachya on artistic installations.
A visit to Gyumri would not be complete without a tour of this talented family's home and studio to learn more about their artistic inspirations and traditions.
Albert Vardanyan and his two sons, Hrachya Vardanyan and Avetik Vardanyan, are three of Gyumri's most talented and best-known artists. Albert's sons follow their father's artistic vision and both teach at the Gyumri Branch of the State Academy of Fine Arts of Armenia.
Albert carries on this millennia-old Armenian tradition with a modern take. Ալբերտը շարունակում է այս հազարամյա հայկական ավանդույթը` ժամանակակից մոտեցումներով:
Photo by Karen Nersisyan, My Armenia ProgramԼուսանկարը՝ Կարեն Ներսիսյանի, «Իմ Հայաստան» ծրագիր
In addition to the home studio, Albert's sculptures can be found all over the world. Ալբերտի քանդակները կարելի է տեսնել ոչ միայն իր տուն-արվեստանոցում, այլև ամբողջ աշխարհում:
In the spirit of Armenian hospitality, light refreshments are enjoyed by visitors and artists. Հայկական հյուրընկալության համաձայն զբոսաշրջիկներն ու նկարիչները վայելում են թեթև զովացուցիչ ըմպելիքներ:
Albert Vardanyan and his two sons, Hrachya and Avetik, are all artists working near Gyumri. Ալբերտ Վարդանյանն ու նրա երկու որդիներ Հրաչյան և Ավետիքը արվեստաբաններ են և աշխատում են Գյումրիի մերձակայքում:
Vardanyan home studio in the village of Akhuryan. Ախուրյան գյուղում գտնվող Վարդանյանների տուն-արվեստանոցը:
Nearby Experiences
Learn Armenian pottery traditions and techniques in Gyumri
Tour the Gallery of Mariam and Eranuhi Aslamazyan Sisters
Make your own souvenir from Armenian tuff stone
Cook traditional Gyumri dishes at Chalet Gyumri
Traditional 'taraz' costumes and photoshoot
Visit the studio of an award-winning blacksmith
Learn about carpet weaving at Nurik Center
Explore Vanand (Andok) fortress with Tandzaver team
Take family-friendly clay lessons with Arpine
Explore and make land art in the Magic Forest
Sign up to learn more about upcoming events, activities, and our work to preserve and share Armenia's cultural heritage.
Experiences Learn Plan Your Trip About Us
myarmenia@si.edu Folklife Center Privacy Policy Terms of Use
This website is made possible by the support of the American people through the United States Agency for International Development (USAID) and the Smithsonian Institution. The contents are the sole responsibility of the My Armenia Program and do not necessarily reflect the views of USAID, the Smithsonian Institution, or the United States Government.


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ARPAS UK
Sponsors the UAV Product Award
ARPAS-UK is the professional body for the fast evolving Unmanned Aerial Vehicle (UAV) industry, working on behalf of its members to support business growth, influence regulation and promote safe operational best practice.
Its membership base ranges from microSMEs to multinationals, and from UAV operators to end users and counter drone development. ARPAS-UK members continue to break new ground in markets where UAVs are delivering significant benefits.
ARPAS-UK works closely with the industry regulator, the Civil Aviation Authority (CAA) and Government departments to influence, consult and advise upon UAV operations and future strategy, providing a collective voice for its members.
With its culture of collaboration, ARPAS-UK works with other professional organisations across a wide range of sectors in promoting and encouraging safe and ethical practices. It works in the public interest, and advocates professionalism within its membership through compliance with an agreed Code of Conduct.
The Association takes progressive stances on national issues to embed the UAV profession in all end-user industries, to enable it to continue to grow in reputation and influence.
www.arpas.uk


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redpajama_set_name: RedPajamaGithub


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Ulotrichopus is a genus of moths in the family Erebidae. The genus was described by Wallengren in 1860.

Species
 Ulotrichopus catocala (Felder and Rogenhofer, 1874)
 Ulotrichopus dinawa Bethune-Baker, 1906
 Ulotrichopus eugeniae Saldaitis & Ivinskis, 2010
 Ulotrichopus fatilega (Felder & Rogenhofer, 1874)
 Ulotrichopus longipalpus Joicey and Talbot, 1915
 Ulotrichopus macula (Hampson, 1891)
 Ulotrichopus marmoratus Griveaud and Viette, 1961
 Ulotrichopus mesoleuca (Walker, 1858)
 Ulotrichopus meyi Kühne, 2005
 Ulotrichopus nigricans Laporte, 1973
 Ulotrichopus ochreipennis (Butler, 1878)
 Ulotrichopus phaeoleucus Hampson, 1913
 Ulotrichopus phaeoleucus griseus Kühne, 2005
 Ulotrichopus phaeopera Hampson, 1913
 Ulotrichopus primulina (Hampson, 1902)
 Ulotrichopus pseudocatocala (Strand, 1918)
 Ulotrichopus pseudomarmoratus Kühne, 2005
 Ulotrichopus rama (Moore, 1885)
 Ulotrichopus recchiai Berio, 1978
 Ulotrichopus stertzi (Püngeler, 1907)
 Ulotrichopus sumatrensis L. B. Prout, 1928
 Ulotrichopus tinctipennis (Hampson, 1902)
 Ulotrichopus trisa (Swinhoe, 1899)
 Ulotrichopus usambarae Kühne, 2005
 Ulotrichopus variegata (Hampson, 1902)
 Ulotrichopus varius Kühne, 2005

Formerly placed here
Ulotrichopus catocaloides Strand
Ulotrichopus glaucescens
Ulotrichopus leucopasta
Ulotrichopus lucidus Pinhey, 1968
Ulotrichopus maccvoodi Hampson, 1913 is now considered to be a synonym of Catocala sponsalis Walker, 1858
Ulotrichopus tessmanni Gaede, 1936
Ulotrichopus tortuosus Wallengren, 1860

References

"Revision und Phylogenie der Gattungsgruppe Crypsotidia Rothschild, 1901, Tachosa Walker, 1869, Hypotacha Hampson, 1913, Audea Walker, 1857 und Ulotrichopus Wallengren, 1860 (Lepidoptera, Noctuidae, Catocalinae)"

Catocalini
Noctuoidea genera

redpajama_set_name: RedPajamaWikipedia


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The GOP presidential candidate called for a "complete shutdown" of Muslims entering the U.S.
In a statement released on Monday, Donald Trump argued for "a total and complete shutdown of Muslims entering the United States until our country's representatives can figure out what is going on.
"Until we are able to determine and understand this problem and the dangerous threat it poses, our country cannot be the victims of horrendous attacks by people that believe only in Jihad, and have no sense of reason or respect for human life," he continued.
The comments come a number of weeks after the presidential candidate told NBC News he would "certainly implement" a system that required Muslims to be registered in a government database.
And all Muslim Americans would be subjected to monitoring under the "database" Trump proposes.
The 18-year-old Nobel Prize winner was herself a victim of the Taliban, who shot her when she was just 11.
The singer formerly known as Cat Stevens converted to Islam in 1977. In the early '00s, he was placed on the do not fly list and detained following a flight from London to the U.S.
Gigi and Bella's father is a Palestinian and is Muslim.
The Lebanese-British human rights lawyer's mother Bariaa Alamuddin is a Sunni Muslim, while her father is Druze.
"I've struggled a lot with my Muslim identity," the talk show host told PBS.
Although he doesn't make a habit of discussing his religion publicly, Shaq has stated he plans to make the Muslim pilgrimage to Mecca.
The Daily Show correspondent can also be seen in his web series "Halal in the Family," which addresses Muslim stereotypes.
Born Cassius Clay, the legendary boxer changed his name when he converted in the 1960s.
The CNN host is an Indian-born Muslim.
She was born Catholic, but the actress turned to Sufism later in life and spent time studying with Islamic mystics in the Alps.
"I don't normally talk about my religion publicly because I don't want people to associate me and my flaws with this beautiful thing. And I believe it is a beautiful religion if you learn it the right way. It's a lifelong effort," Chappelle told TIME.


text:
Destinys Escape
a picture book for kids and dog lovers
The illustrator's story
The story of Destiny's Escape includes three things I love: dogs, gardens, and the idea of finding a home. I just loved the process of bringing the story of Destiny to life; every stage from initial sketches to storyboarding, all the way to receiving the printed book in full color were challenging and rewarding at the same time. From the day I joined the project, my number one objective was to make the character of Destiny a visual celebration of the beautiful greyhound form.
I started out by taking reference photos of two adopted greyhounds at the home of one of the co-authors. These photographs helped me to refine the intensity of the greyhound gaze that I wanted to capture, as well as many in motion poses that helped me establish preliminary sketches. I knew that I wanted to make the drawings of Destiny slightly sad to highlight her lostness, which you can see in her eyes especially. Throughout the book I emphasized in her gestures and her face that she was both lovable and deeply in need of a home.
Greyhounds are such striking animals, and in my drawings I worked to capture their long graceful shape in a variety of poses and settings. The feedback I received from the two co-authors on each illustration was so helpful to refine the characters and setting. My favorite part of illustrating this book was storyboarding the adventures that Destiny and Ruby would take on together. In the process of illustrating Destiny's Escape, I came to love not only the character and the story, but the reason behind making the book.
There are so many reasons why I believe in this book, but my number one is to show children that they can make a difference. This story is written to give children the true story of something wrong that is happening in the world, and shows them they have the power to help make this wrong right. Growing up I was a little activist too, making signs as a five year old to "save the gorillas," but I was never aware that greyhounds were just as much in need of little activists as any other cause until illustrating this book. To help the child reader to relate to the story, I chose to finish the drawings with light washes of watercolor over colored pencil. Making the drawings look colored in was a way to show the children that they can make books that stand for something too, if they get out their box of crayons.
I grew up near a racetrack in New England called Wonderland where greyhounds were raced for nearly 75 years. As an animal lover I always thought it was strange that such a place was operating so close to my home, but although I lived close to the track I never really understood how prevalent greyhound racing still is. Thankfully the Wonderland track I grew up near was closed in 2010, but there are still tracks around the world that are hurting greyhounds. Some of the pictures in the book show the harm that racing does to greyhounds such as the tattooed ear, the muzzle, and Destiny not wanting to race. There are many other hardships we left out that racing greyhounds bear including injuries, overbreeding, and high euthanasia rates.
The good news is that greyhound racing is in decline. In just six states, dog racing remains legal and operational. With this book we hope to increase the awareness of the plight of the greyhound, and tell their story. We believe that greyhound racing can end during our lifetime, and we hope you will join us in that mission. Please share this book widely with your friends, teachers, librarians, animal lovers, and most of all with children. We are grateful for your help in the mission to end greyhound racing.
Join our mailing list to receive the latest news and updates about upcoming events, launches and giveaways.
Sleeping Greyhound
info@destinythegreyhound.com
Destiny's Escape is on Amazon
Destiny's Escape is a children's book. A moving tale of a clever greyhound who wanted to free herself from the hardships she faced as a racing dog. With the help of her rabbit friend Ruby, Destiny finds adventure, family, and a Forever Home. Inspired by the true stories of rescued greyhounds, this compelling adventure will enchant dog lovers of all ages.
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When you do, email your receipt to info@destinythegreyhound.com and we will send you a bonus coloring page as a thank you for your review.
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text:
Jonnah Perkins
Published Feb 28, 2022. Read time: 12 mins
Fruits of the desert
By the way the crow flies, Bautista Family Organic Dates, is just a little over a mile from the north shore of the Salton Sea. On 15 acres, the Bautista family specializes in dates, the sweet fruits of the date palm tree. Alvaro Bautista, one of the five grown Bautista children that manage the family farm, loves the nuances of farming in the desert, "Right now in winter, it's really cold, about 27 degrees. And then in the summer, it can get up to 120 degrees, but it's a dry heat. It's beautiful. And the date trees thrive in the heat."
The Bautista's also produce other orchard fruit, but dates have been at the core of their business for the past 21 years. Working within the desert ecosystem, and not against it, the family has created a vibrant community around their specialization in date production. Alvaro describes the holistic tapestry of the farm centered around dates: "We have citrus. We have pecan trees. We have mangoes. We have lemons. We have guava trees. It's a diversified farm. We have cattle and goats. But our main thing, it's dates."
Mountains, date palms and the Salton Sea
The Salton Sea was created in 1905 when heavy rains caused the Colorado River to breach the head gates of the Alamo Canal. Spanning nearly 350 square miles, the Salton Sea is the largest lake in California. The lake has been sustained by runoff from Imperial Valley agriculture, one of the most prolific food production areas in the world. "We are in the Coachella Valley, which is part of the Imperial Valley. It's a big, deep valley with beautiful soil. I can see San Jacinto Mountains from where I am right now," says Alvaro about the dramatic landscape where he lives and farms with his family. "From outside of my house I can see our palm trees. There are rows and rows of rows of them. They're separated by about 12 feet from each other. Some are 15 footers, others are up to 50 feet," Alvaro describes the statuesque, geometric rows of date palms that surround his home.
From foreman to farm owner
"My dad was the foreman here at this ranch where we live right now," says Alvaro. After Enrique Bautista, Alvaro's father, immigrated to California from Michoacan, Mexico, he began working on the very farm that is now Bautista Family Organic Dates. In 1998, when the former owner was approaching retirement, he offered to work with Enrique to buy the farm, "When Fred Wendler offered for my dad to buy the ranch, my father said, I won't be able to afford it. But Fred insisted, I'm going to try my best to help you out so you can be the owner." And it was this collaboration between Enrique and Fred that led to the eventual transition of the farm into the Bautista family name. "Fred wanted my dad to take over because he loved the way he worked. So he was willing to help my dad, no matter what, so he could afford the ranch. So that's how everything started here."
Traveling through agriculture
Growing up in an agricultural family, Alvaro's childhood summers were spent on the road. "When we finished the school year, my father would say to us, Okay, let's go work now. He'd contact different family members in other states and we would stay with them during harvest, then move onto the next place," says Alvaro. His memories of his time traveling with his family are full of holistic adventure. "One summer he bought a Winnebago motorhome and we would sleep close to where we're going to work. We would just live there, close to the field." The young Bautista family traveled throughout California, Oregon, and Washington, following orchard harvest seasons. Their life was always centered around food, "The picnics, that is what I remember the most. We would make a huge picnic outside the motorhome, and everybody gathered and it was just so fun. After the work day, other workers would come visit our family. It was a time of togetherness and meeting new families. It was beautiful."
Thriving in the face of adversity
"My dad is quadriplegic. He had a car accident 17 years ago but he still manages the farm and manages us. He has taught me and my siblings how to run this farm," Alvaro explains about the incredible challenges his family has overcome. After Enrique's accident, driving to all of their regular farmers markets became a logistic that was overbearing for the family. They wanted to spend more time on the farm. This is when the family was approached by a customer who offered to support the family farm in building an online presence to reach more people through home deliveries. While the Bautista's still love being at the farmers markets, diversifying how they sell their dates has created adaptive flexibility for the family.
What is a date?
Dates are the fruits of the date palm tree and are a traditional crop of the Middle East. Because of their native growing environments, they thrive in the hot, dry, sunny conditions in the California desert. "It's very hot here and that's why the dates love the Coachella Valley, it's the dry heat. It turns dates into liquid gold." Dates harvested at their prime are so delicate that the Bautista's harvest them into flat baskets, so as not to crush the dates under the weight of themselves.
Bautista Family Organic Dates grows seven varieties of dates– Medjool, Khadrawy, Halawy, Honey, Deglet Noor, Zahidi, Barhi–all of which have different production and harvest needs. One of the primary specializations of orchardists in diversified productions is understanding the nuances of different varieties. Date production requires skills in tree climbing, work on high ladders, hand pollination, and a keen understanding of the implications of weather conditions.
When asked what his favorite way to eat his dates is, Alvaro's response is simple, "Dates by themselves are just perfection. Well, our dates are because we harvest them at their prime."
Date palm propagation and generational fruits
Many of the trees that the Bautista's harvest from are the same trees that Enrique harvested from when he was working for Fred, prior to buying the farm. "There were quite a few trees here when my dad bought the farm. I'd say close to 200 trees. When my dad was working for Fred, he began to plant more trees, which are called offshoots. You take them from the mother tree and replant them. Offshoots take 10 to 15 years to really begin producing fruit. So right now, the ones my dad planted, they're barely in prime production," says Alvaro. This means that the work and forethought of Enrique is like a time capsule of care for his family. And every offshoot that Alvaro and his siblings plant will echo in the generation of their children. The timeline of orcharding carries a greater gift than annual crops, which are harvested and replanted each year. But they also take a tremendous amount of patience.
Alvaro on the Precision in the Bautista harvest process
"We harvest dates when they're creamy, soft, and liquidy, which is the best time to harvest," Alvaro says about the care that his family takes with selecting dates. "We harvest two or three times off each bunch. A lot of other date farmers just do one harvest. They let the entire bunch get ripe and make one pass. On our farm, we harvest only when the dates are perfectly ripe. Because of this process, our dates are soft and creamy, not chewy or dry. They're just a meal themselves."
"Our peak harvest time is at the end of August when it's really hot. If you drop a date, it's all over for that date. It just bursts. So we need to be very careful. The best time is in the morning because if it gets a little too hot, the dates will start getting mashed because we put a basket under the bunch and we shake the bunch. Whatever's ready, it just drops to the little basket. The process is beautiful."
The No-Rain dance
While many farmers pray for rain, especially in arid regions, the timing of rain is what is most important in date production. Alvaro explains, "The challenge for us is the weather. When date harvest season is coming up, we pray for it not to rain. Because if the dates are already ready to harvest and it rains, the moisture will cause the fruit to ferment." This fermentation process means that the Bautista's are unable to bring those dates to market or ship to customers.
"One time, we lost almost half a crop, because we couldn't get into the orchard." Dates are harvested with ladders that are driven into the orchard on large implements. Mud makes the ground soft and unable to support the harvest equipment. "With wet soil, we can't go in and harvest the dates because it's so dangerous and we could get stuck. It can take a few weeks for the fields to dry out after a big rain. Farming is all about being ready to work when conditions are perfect. And waiting when they are not."
Growing fruit in the desert
"Because most of the dates are originally from the Middle East, it's pretty much the same climate here and as it is there, but with different soils," Alvaro explains about growing desert harty fruits. The heavier soil of Coachella Valley is different from the native sandier soils of the Middle East, says Alvaro, "Here the soil holds water so it doesn't just seep in. This means the roots are getting water most of the time, even though we only water every month or so." With a monthly watering schedule, the Batuista's flood irrigate, meaning their entire orchard will be blanketed with water from an agricultural irrigation canal water allotment.
"The irrigation company opens the gates and we get flooded for two days and there's water all over the ranch. So it's super flooded. And then in two days they just shut it off and that's it. Then a month later we call them again," says Alvaro of the simplicity of the flood irrigation system. Growing crops with low water needs is not only economical for the farmer, but ecologically appropriate for food production in an arid ecosystem. For any water that isn't used from their irrigation allotment, the Bautista's hold in ponds. These mini-reservoirs that dot the agricultural landscape in the Coachella Valley can be seen from GoogleEarth. Efficient water management systems are incredibly important for farming in dry climates to conserve water for downstream municipal water needs, wildlife habitat, and other farmers. "Because we grow palm trees, we don't take that much water. We are all taking water from the same place and I feel good about taking only what we need."
On cattle, goats, and orcharding
In addition to producing fruits that need little water to thrive, the Bautista's also use animals to help keep the ground covered and support soil moisture levels. "The cows and goats help us keep it clean and neat. We're 100% organic. The animals eat the grass and they fertilize the grass. That's our main manure. The goats can eat any plant that grows around here, we just let them lose and BOOM, right away in a week or so, the field is clean."
In American and European agriculture this is called Silvopasture - the integration of ruminants and poultry into perennial plant systems, like orchards. But Alvaro explains that this is a traditional practice that his father grew up with, "My father always had animals as part of his family's farm in Mexico. He had dairy cows and horses. And when we bought this ranch, my dad said, what this farm needs is animals. They work so beautifully together." The practice of separating animals and plants is a new concept of the commodification of food production. The Bautista's have looked to their family roots in growing food to create more balance on their farm, save time, and have more food for their growing family. "Now we don't need to mow so we don't use much machinery. The cows and goats are getting fed really nice grass. They give the trees fertile soil while saving water, and they give us some meat and milk. This is such a beautiful circle that goes around."
Understanding the value of food and those growing it
In a food system that separates farmers further and further from those eating their food, the Bautista's have kept a close connection with their customers. Through farmers markets, home delivery, and their partnership with FruitStand, Bautista Family Organic Dates is able to keep the core values of date specialization at the forefront. While the fruit production ecosystem continues to consolidate, the Bautista's have not wavered from staying true to Enrique's vision of a small family farm.
"I've been doing this for 21 years and most of my customers do understand the price we charge. Dates are very labor intensive. Climbing the trees by ladder, de-thorning, pollinating, harvesting. It all takes a lot of time and a lot of skill," says Alvaro. Farmers are so often asked to justify the price of their goods, and Alvaro is eager to share this information with his community. "I try to talk to my customers as much as I can, so they understand the price I'm charging, to see that it's fair."
But this hasn't always been easy for Alvaro, "There were a lot of challenges for me five or six years ago in letting people understand our prices. I decided to invite them to come to the farm to see how dates grow and the care we take with our fruit." Many people have taken Alvaro up on his offer to visit so he can share his knowledge with those supporting the farm. "I love it when they come here and enjoy the view and enjoy the dates and enjoy the labor I do." Valuing the food that farmers produce is also a matter of valuing the lives of farmers. Bautista's journey through agriculture, while supporting multiple generations of the Bautista family, is a true story of the American dream.


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Dan Black's verdict as ex-Blackburn Rovers midfielder Tim Sherwood blasts 'horrendous' Burnley for not being 'good enough' to play 'tippy-tappy' football
The astonishing weekly wages of the Championship's highest paid players and the Burnley, Sheffield United, Sunderland, Watford, Reading, Stoke City and Middlesbrough stars who make the rich list
Arfield remains positive
Birthday boy Scott Arfield feels Burnley are playing as well as they did in their promotion campaign - despite their lack of wins so far this season.
By Chris Boden
1st Nov 2014, 12:03pm - 2 min read
Burnley's Scott Arfield Photographer Stephen White/CameraSport Football - Barclays Premiership - Burnley v Sunderland - Saturday 20th September 2014 - Turf Moor - Burnley © CameraSport - 43 Linden Ave. Countesthorpe. Leicester. England. LE8 5PG - Tel: +44 (0) 116 277 4147 - [email protected] - www.camerasport.com
The Clarets have failed to pick up three points in any of their first nine Premier League games, as good performances have not translated into wins.
The brutally clinical finishing at this level has often proved the difference between the sides, but Arfield said: "I think at certain stages, we've played better than we did last season.
"If the ball goes in the net and we get a wee bit of luck here and there, people take a different look at it.
Burnley stalwart linked with late January exit as striker eyes permanent transfer
"We've been playing terrific football and if we get that goal that changes the game at certain times, we'll be off."
Boss Sean Dyche had warned his players that their results graph, full of Ws last season, and the fewest Ls in the country, was likely to change, but the lacks of Ws so far hasn't shaken their belief: "The manager instills positivity in us, After a game, you can't go out and play it again, so you just have to get on with it.
"It's all letters. You need to win to stay in this division.
"Once you get a taste for this division, you don't want to let go. It's such a fantastic league to be involved in. The teams, players and stadiums, that's why it's important for us to start putting wins on the board."
And he would love to celebrate his 26th birthday with victory at the Emirates: "Getting the win's the first thing. Anything after that such as a goal would be a bonus.
"We're trying to get that first elusive win and the more we get of them, the better chance we'll have of staying in this league.
"I don't have any plans, 3 p.m. to 5-45 p.m. will be the exact same – trying to get that win."
Arfield may be enjoying a remarkable journey in his career, having been released by Huddersfield, with moves to Southend or MK Dons a possibility, to winning a contract with Burnley, and scoring nine goals in helping win promotion to the Premier League.
But he was disappointed to see some prized momentos stolen from his car in the summer, which are yet to resurface: "They took out of my car in Huddersfield.
"They took my Huddersfield shirt, Burnley shirt and the Huddersfield medal. They left the Burnley one! I've still got that one.
"I'm trying to get them all redone and I'm talking to the PFA to try to get a replica medal – I don't think it's going to turn up. Bit of misfortune.
"I was going to get them all framed. I put them all in the car the night before.
"It's the sentimental factor. It means more to me than anyone else, so it was quite upsetting when it happened. That's life, you move on."


NEW YORK CITY, MAY 3, 2010 (YAHOO NEWS) By Deepti Hajela,Tom Hays, The Associated Press - Police investigating a terror attack that could have set off a deadly fireball in Times Square focused Sunday on finding a man who was videotaped shedding his shirt near the SUV where the bomb was found.
Police said the gasoline-and-propane bomb was crude but could have sprayed shrapnel and metal parts with enough force to kill pedestrians and knock out windows on one of America's busiest streets, full of Broadway theatres and restaurants on a Saturday night.
More than 100 pounds (45 kilograms) of fertilizer rigged with wires and fireworks were found with the bomb, but police said it was not the ammonium nitrate grade that can explode.
The surveillance video shows an unidentified white man in his 40s slipping down an alley and taking off a shirt, revealing another underneath. In the same clip, he's seen looking back in the direction of the smoking vehicle and furtively putting the first shirt in a bag, Police Commissioner Raymond Kelly said.
The homemade bomb was made largely with ordinary items including three barbecue grill-sized propane tanks, two 5-gallon (19-litre) gasoline containers, store-bought fireworks and cheap alarm clocks attached to wires.
"The intent of whoever did this to cause mayhem, create casualties," Kelly said.
Authorities didn't know how deadly the bomb could have been, how it failed or who was responsible.
The bomb at Times Square, one of the flashiest and best-known places on Earth, was found at the height of dinner hour before theatregoers headed to Saturday night shows.
Timers were connected to a 16-ounce (454-gram) can filled with fireworks, which were apparently intended to set the gas cans and propane afire, Kelly said.
He said the bomb "looks like it would have caused a significant fireball" had it fully detonated. He said the vehicle would have been "cut in half" by an explosion and people nearby could have been sprayed by shrapnel and killed.
Police had feared that another component — a metal rifle cabinet packed with more than 100 pounds (45 kilograms) of a fertilizer-like substance and rigged with wires and more fireworks — could have made the device even more devastating. Test results late Sunday showed that it was indeed fertilizer — but not a type volatile enough to explode like the ammonium nitrate grade fertilizer used in previous terror attacks, said police spokesman Paul Browne.
The city's busiest streets, choked with taxis and people on one of the first summer-like days of the year, were shut down for 10 hours, unnerving thousands of tourists attending Broadway show, museums and other city sights. Detectives took the stage at the end of some shows to announce to theatregoers that they were looking for witnesses in a bombing attempt.
"No more New York," said Crysta Salinas. The 28-year-old Texas woman was stuck waiting in a deli until 2 a.m. local time because part of a Marriott hotel was evacuated because of the bomb.
A Pakistani Taliban group claimed responsibility for the failed attack in a 1-minute video. Kelly, however, said police have no evidence to support the claims, and noted that the same group had falsely taken credit for previous attacks on U.S. soil. The commissioner also cast doubt on an email to a news outlet claiming responsibility.
The New York Police Department and FBI were also examining "hundreds of hours" of security videotape from around Times Square, Kelly said.
Police released a photograph of the SUV, a dark-colored Nissan Pathfinder, as it crossed an intersection at 6:28 p.m. local time Saturday. A vendor pointed the SUV out to an officer about two minutes later.
Police said they had identified the registered owner of the 1993 Pathfinder, but hadn't spoken to him yet. The license plate found on the vehicle did not belong to the SUV; police said it came from a car found in a repair shop in Connecticut.
Duane Jackson, a 58-year-old handbag vendor, said he noticed the car and wondered who had left it there in a no-standing zone.
They were looking in the car "when the smoke started coming out and then we heard the little pop-pop-pop like firecrackers going out and that's when everybody scattered and ran back," he said.
"Now that I saw the propane tanks and the gasoline, what if that would have ignited?" Jackson said. "I'm less than 8 feet away from the car."
Top federal law enforcement and intelligence officials — President Barack Obama's national security adviser James Jones, national intelligence director Dennis Blair, CIA chief Leon Panetta, Homeland Security Secretary Janet Napolitano and Attorney General Eric Holder — planned to participate in a meeting later Sunday on the bomb.
In a copy of the video provided by SITE, an unidentified voice speaking in Urdu, the primary language in Pakistan, says the group takes "full responsibility for the recent attack in the USA." The video does not mention any details about Saturday's attack.
The last terror threat in New York came last fall when air shuttle driver Najibullah Zazi admitted to a foiled homemade bomb plot aimed at the city subway system.
The theatre district in London was the target of a propane bomb attack in 2007. No one was injured when police discovered two Mercedes loaded with nails packed around canisters of propane and gasoline.
Contributing to this report were Associated Press writers Cristian Salazar, Michael Kuchwara and AP Radio correspondent Julie Walker in New York, AP Washington bureau chief Ron Fournier, AP writers Eileen Sullivan, Pete Yost and Kimberly Dozier in Washington, Colleen Long in North Carolina, Robert H. Reid in Kabul and Ryan Lucas in Cairo.


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Q: OpenCL buffer allocation and mapping best practice I am a little confused as to whether my code using OpenCL mapped buffers are correct.
I have two examples, one using CL_MEM_USE_HOST_PTR and one using CL_MEM_ALLOC_HOST_PTR. Both work and run on my local machine and OpenCL devices but I am interested in whether this is the correct way of doing the mapping, and whether it should work an all OpenCL devices. I am especially unsure about the USE_HOST_PTR example.
I am only interested in the buffer/map specific operations. I am aware I should do error checking and so forth.
CL_MEM_ALLOC_HOST_PTR:
// pointer to hold the result
int * host_ptr = malloc(size * sizeof(int));

d_mem = clCreateBuffer(context,CL_MEM_READ_WRITE|CL_MEM_ALLOC_HOST_PTR,
                       size*sizeof(cl_int), NULL, &ret);

int * map_ptr = clEnqueueMapBuffer(command_queue,d_mem,CL_TRUE,CL_MAP_WRITE,
                                   0,size*sizeof(int),0,NULL,NULL,&ret);
// initialize data
for (i=0; i<size;i++) {
  map_ptr[i] = i;
}

ret = clEnqueueUnmapMemObject(command_queue,d_mem,map_ptr,0,NULL,NULL);

//Set OpenCL Kernel Parameters
ret = clSetKernelArg(kernel, 0, sizeof(cl_mem), (void *)&d_mem);

size_t global_work[1]  = { size };
//Execute OpenCL Kernel
ret = clEnqueueNDRangeKernel(command_queue, kernel, 1, NULL,
                             global_work, NULL, 0, 0, NULL);

map_ptr = clEnqueueMapBuffer(command_queue,d_mem,CL_TRUE,CL_MAP_READ,
                             0,size*sizeof(int),0,NULL,NULL,&ret);
// copy the data to result array
for (i=0; i<size;i++){
  host_ptr[i] = map_ptr[i];
}

ret = clEnqueueUnmapMemObject(command_queue,d_mem,map_ptr,0,NULL,NULL);

// cl finish etc

CL_MEM_USE_HOST_PTR:
// pointer to hold the result
int * host_ptr = malloc(size * sizeof(int));
int i;
for(i=0; i<size;i++) {
  host_ptr[i] = i;
}

d_mem = clCreateBuffer(context,CL_MEM_READ_WRITE|CL_MEM_USE_HOST_PTR,
                       size*sizeof(cl_int), host_ptr, &ret);

// No need to map or unmap here, as we use the HOST_PTR the original data
// is already initialized into the buffer?

//Set OpenCL Kernel Parameters
ret = clSetKernelArg(kernel, 0, sizeof(cl_mem), (void *)&d_mem);

size_t global_work[1]  = { size };
//Execute OpenCL Kernel
ret = clEnqueueNDRangeKernel(command_queue, kernel, 1, NULL,
                             global_work, NULL, 0, 0, NULL);

// this returns the host_ptr so need need to save it (I assume it always will?)
// although we do need to call the map function
// to ensure the data is copied back.
// There's no need to manually copy it back into host_ptr
// as it uses this by default
clEnqueueMapBuffer(command_queue,d_mem,CL_TRUE,CL_MAP_READ,
                   0,size*sizeof(int),0,NULL,NULL,&ret);

ret = clEnqueueUnmapMemObject(command_queue,d_mem,map_ptr,0,NULL,NULL);

// cl finish, cleanup etc

A: If you use CL_MEM_ALLOC_HOST_PTR you have the chance that the underlying implementation of OpenCL might use page-locked memory.
That means that the page cannot be swapped out to disk and that the transfer between host and device memory would be done DMA style without wasting CPU cycles. Therefore in this case CL_MEM_ALLOC_HOST_PTR would be the best solution.
nVidia has the page-locked (pinned) memory feature and they should also use it in their OpenCL implementation. For AMD it's not certain if they do the same. Check here for more details.
Using CL_MEM_USE_HOST_PTR would just make the programmer's life easier so in the unlikely case when the hardware cannot use page-locked memory you could just use this option.


text:
Joe Kennedy III Accepted $2,500 From A Private Prison Corporate PAC In 2012
By Tom Joyce | June 13, 2020, 1:03 EDT
Printed from: https://newbostonpost.com/2020/06/13/joe-kennedy-iii-accepted-2500-from-a-private-prison-corporate-pac-in-2012/
U.S. Senate candidate Joseph P. Kennedy III poses for a photo with men who attended the Quincy Democratic City Committee Caucus on Saturday, February 15, 2020. Kennedy, a Democrat and U.S. representative who lives in Newton, is challenging U.S. Senator Ed Markey in the September 2020 Democratic primary. Photo by Tom Joyce for New Boston Post.
In his quest to be elected to the U.S. Senate, Democratic U.S. Representative Joseph P. Kennedy III is not taking a dime of corporate political action committee money. Previously, that was not the case.
Kennedy (D-Newton), who represents Massachusetts's Fourth Congressional District, has received a significant amount of corporate PAC donations over the years. That includes a $2,500 contribution from The GEO Group Inc. on June 1, 2012, according to Federal Election Commission campaign filings. That donation came during Kennedy's first campaign for the U.S. House of Representatives.
GEO Group operates 65 "secure services" facilities, including detention centers and federal Immigration and Customs Enforcement processing centers, according to GEO Group's web site. Open Secrets considers the corporation part of the for-profit prison industry. According to the Business & Human Rights Resource Centre, GEO Group has faced lawsuits over allegations that the company use forced labor at its ICE facilities.
In the 2012 cycle, GEO Group contributed $61,500 to federal candidates, 72 percent of which went to Republicans. The biggest recipients were Connie Mack, a Republican who unsuccessfully ran for re-election to the U.S. Senate in Florida that year against Democrat Bill Nelson, and U.S. Representative Henry Cuellar (D-Texas); GEO Group's PAC gave $10,000 to each. Additionally, GEO Group contributed $2,500 to then-Republican presidential candidate Mitt Romney's election bid.
Daniel Medwed, a professor of law and criminal justice at Northeastern University, told New Boston Post that candidates accepting money from private for-profit prisons like GEO Group is usually a good indicator that they're not truly interested in criminal justice reform.
"For-profit prisons generally have incentives to maximize profit at the potential expense of other values, such as treating inmates more humanely (which involves investment to improve conditions) and making efforts to reduce mass incarceration by coming up with alternatives to imprisonment for nonviolent offenders (which means fewer inmates)," Medwed said in an email message. "Accepting political contributions from for-profit prisons, either directly or indirectly from a PAC, strikes me as inconsistent with the objectives of many advocates for prison reform and decarceration."
Jeremiah Goulka, a senior fellow of justice policy at the Health in Justice Action Lab, which supports criminal justice reform, offered New Boston Post his perspective of what it means when a politician takes that kind of a donation.
"Everyone understands that while it might not be an explicit process to pass legislation for the donor, they are quite friendly to inviting them into the room to discuss," Goulka told New Boston Post in a telephone interview. "Donations get you a seat at the table."
"Any candidate who takes money from private prisons and talks about reforms to the criminal justice system is talking out of both sides of their mouth," he added.
Goulka also said that the primary motive private prisons have is to make money for their shareholders — not serving the public. He likened it to police and prison guard unions, and said their top priorities are keeping their jobs — which means there has to be crime.
When asked to comment by New Boston Post, the Kennedy campaign dismissed the inquiry, saying that the representative has changed his position on corporate PAC money.
Emily Kaufman, a spokesman for Kennedy's Senate campaign told New Boston Post in an email message, "This money was donated several years ago. Joe does not accept money from private prison companies."
Kennedy's Senate campaign web site says he is in favor of criminal justice reform. It now states that he would like to ban for-profit prisons.
GEO Group could not be reached for comment on Wednesday, Thursday, or Friday.
Senator Markey's campaign press office declined to comment.
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States Take Key Role in Fighting Fake Online Reviews


text:
Who is God? The Writer vs Director
We're going to keep this chicken and egg debate between the Writer and the Director. Before you chime in with alternate answers like "The Producer", or "The Advertisers" (both valid) I want you to think of your immediate impression of who is God in the world of film.
Now lets break it down…
The Case for the Writer…
He created the story. He gave life to something that didnt exist before. The world. The story within that world. The characters within that story. The words coming out of the characters' mouths.
The writer created everything… the very definition of God.
Case closed, right?
The Case for The Director…
By definition, he directs the story. So doesn't that "trump" the writer's role as God?
The writer who believes himself God hates the director who alters a single word of their genius. But why should the writer be the only artist in the entire process who isn't directed? In fact, the writer has no power over any other cast or crew member. So the Director is God.
I am deeply grateful for all that I have learned from my former acting school, the Beverly Hills Playhouse (BHP) under the tutelage of the late great, Milton Katselas. One of the things he said regarding story-telling was
"The Writer is a genius until proven otherwise."
This is important for actors as well as directors to keep in mind when interpreting the author's work.
To take it a step further I had another BHP teacher tell me that a writer shouldn't direct their own work. As someone who fancies himself a writer/director, I was understandably miffed at this proclamation.
Their perfect example cited was the film and play collaborations between Tennessee Williams and Elia Kazan on works such as "A Streetcar Named Desire", "Camino Real", "Cat on a Hot Tin Roof", and "Sweet Bird of Youth".
These brilliant pieces of artistry came from Williams slicing truth from life and Kazan using his own life experiences to personalize those truths, which inevitably evolved the writing. They are nothing without each other.
I would argue that Williams is the quintessential writer who doesn't direct, while Kazan, one of the finest directors of last century, TRIED to write but couldn't.
But where does that leave the writer/director…? The single visionary auteur who sees the entire picture in his head and uses the script simply as a means of translating that vision to the other collaborators on his film…?
As someone who values everyone from Woody Allen to Christopher Nolan, I had to find my own path.
It was clear my beloved Katselas (as an artist who studied under and assisted Kazan for so many years) favored the Director-as-God mentality. He was also the same man who brilliantly reworked "Romeo and Juliet", arguably creating one of the greatest adaptations of Shakespeare ever. Katselas' entire philosophy of instilling classic material with real flesh and blood beings with modern issues can be summed up with one line…
"Fuck Iambic Pentameter."
To Katselas' credit, and to every producer who loathes having an author on set, there are some screenwriters who think everything they write is gold and that an altered word could upset the very core of their genius construct.
When it comes to filmmaking, that writers needs to observe…
The 3 Phases of Story-telling
PHASE 1: Script
This is where the Writer has creative reign to play God and invent the story he wants to tell. At this point, everything the writer creates IS Gold…
(until he shows the script to a producer of course.)
PHASE 2: Production
This is the point when actors step in front of the camera and breathe life into words that formerly only existed on a page; all of which is orchestrated by the Director.
It is immediately before this stage when the writer is often abandoned by the Studio, left at home wondering how fresh the on-set Red Vines must taste. This is probably due to the disgruntled purist writers who have complained over the decades about their words being altered. They may have real merit to complain about in some cases but, then again, they may not understand the magic that can happen when real actors get on set.
PHASE 3: Editing
This is where you have the ability to re-imagine everything you did up to this point and transform it into a comedy or horror, fast-cut or slow-paced, etc.
This is the final stage where both writer and director can be at fault for falling in love with their work in one or both of the previous phases and deny the ability to tell an evolved story.
Hitchcock vs Coppola
Hitchcock was credited as previsualizing his stories to such a degree that he would actually look through the lens, call action and walk away, assuming his storyboards would communicate everything the cast and crew needed to know at that point.
I'm guessing this reputation was over-simplified, but the point was that he certainly didn't need some writer to be giving him suggestions along the way; Hitchcock already had everything in his head and communicated via storyboards.
But then there's Coppolla who sees every moment as a collaboration and is rewriting scenes on the hood of a car moments before shooting.
From what I've heard he, to a large degree, had a "we'll figure it out when we get there" mentality, which I also assume was somewhat exaggerated.
Regardless, I think the ideal scenario is a combination of these two methodologies; where the writer and director become one being… the way I imagine Kazan and Williams worked on a film.
Lets assume… you are a director (not the writer/director) and lets also assume the writer is still alive to collaborate with.
The Ideal Writer/Director scenario
PRE-PRO
a) Writer completes their version of script.
b) Director comes on board, interpreting what writer intended, while personalizing the story from his own perspective.
c) Writer AND director rework script together, to tell this "new story" combining writer's original intentions with director's personal experiences. (Hopefully, if the writer found the right director, these stories will not be "different"- yet "evolved".)
d) Director works with EVERY CREATIVE ENTITY on set to make sure they understand the vision of the project set out by him and the writer.
While shooting, the beast of the story can/will change. The Director is trained to roll with these changes. The writer should be ready to rewrite anything that can strengthen this new interpretation.
Arguably the most important elements other than Director and Writer are the actors and the DP, mostly because they all have to be aware of every potential moment when "magic" could be happening.
e) The Director should closely collaborate with the editor. At this point the writer is done, unless the director needs clarification; but hopefully he knows the story so intimately, as well as the footage captured on film, that his job just becomes translating that to the editor.
Lets face it- the real God is the story.
In its purest form the story should be inevitable, a perfect mirror of our lives. Art imitating life, imitating art, imitating life.
The writer (hopefully) saw something illuminating to our lives and captured it with words. And the director (hopefully) understood the writer's intentions and used their own understanding of life to see it all the way to the hearts of the audience.
The best art makes artists out of those who interpret it.
When we, as viewers, watch art we're seeing a representation of ourselves. Its our job to constantly redefine what life is… which gives filmmakers fodder to create.
So maybe God… is us.
Categories: Deep Adderall-Induced Thoughts . . Author: Jesse Warren
Pingback by Auteur Theory: who is the "author" of a film? | VAST 231: Don't Buy This Book, Spring 2012 on February 9, 2012 9:03 pm
[…] The biggest problem people have with this idea: what about screenwriters? […]
Comment by Vishvas on April 2, 2012 5:43 am
I was actually searching for inputs on the debate of writer versus director with reference to drama not cinema. However, the core of debate remains more or less the same in both. The drama is a form of art which is born twice, once when the script is written and second time when it is performed on the stage. The script of a play is a form of literature like novel, short story or poem. It may be relished with detached contemplation. However purpose of the script gets completed after it is performed on the stage. The performance is as much a creation, in fact as much an independent, fresh creation as writing the script. The creator is the director. He uses the script as launching pad and imparts to it an audio visual form. It intuitively appears alright to grant freedom to the director. The question is "How much? To what extent?" One extreme position is- "To any extent. As much as the director wants to". The other extreme being- "Not even a comma, let alone the word. Not even "If" in place of "Whether"!
However, one needs to tread on a golden mean.
If the author and his play are well known (e g Shakespeare and Hamlet respectively) then every one knows what the author had written in the script. If the director has changed anything, it is never missed and automatically noted as the change made by the director. If the change is worth it, it is appreciated by the audience and critics. If it is not, it is rejected by them and it becomes insignificant. If some like it and some do not, it invites a debate and serves the purpose of breaking new paths.
If the author is not so well known, he may choose to forbid the director from making any changes and the director may or may not comply. This is a situation where we have to arrive at a consensus. How so ever we call script as original creation, it has some origin on which author may- repeat 'may', not 'can'- not claim his ownership. So he may allow the director to make some change. After all a performance of the play is "Now and here". It is not the last and only performance. If one or two performance as per director's interpretation are allowed, it may be alright.
What is a Web Series? Protecting Ideas- Is it a Good Idea?


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text:
Q: A significant part of sql server process memory has been paged out. Lots of free memory though Having a problem where my SQL Server 2012 SP2 Enterprise server says that most of SQL Server's memory has been paged out to disk but there's over 100GB free (of 256GB).
From there system performance drops to the point where it starts dropping network connections.
Looking in Resource Monitor I see a large amount of Modified memory and lots of disk activity to the page file.
I just don't understand why it's paging if there is a lot of free memory available.
I've tried the Lock Pages in Memory setting which didn't seem to work (about to try again).
Googling the problem only seems to return hits talking about Lock Pages in Memory or situations where there actually was a memory pressure problem.
Any help or suggestions would be appreciated. Thank you!


This shirt has a rainbow Adidas trefoil logo on the back. On the front, there is a graphic of Bob Wieland inside an outline of the continental US. Wieland is a Vietnam War veteran who lost his legs in an explosion in 1969. He became well known for completing marathons without a wheelchair or prosthetics. The graphic on the front says "Walk For Hunger" and there is the Adidas logo underneath.
This shirt is deadstock and unworn. There are small spots on the front. See pics.


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Chantelle Bateman is a mama, artist and multi-hyphenate 1099er. She loves unraveling problems into clear solutions and dancing herself into a pile of sweat.
CrashSpot founder Chantelle Bateman is tired of the white maleness of Techlandia. Here are the events she's scouring at Philly Tech Week 2017 presented by Comcast in her quest to build a diverse startup.