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Home Uncategorized Eddie's Attic Turns Twenty
Eddie's Attic Turns Twenty
For his whole life, Eddie Owen has been searching for the perfect place to hear live music. But if you thought he found it at Eddie's Attic, the legendary Decatur venue he opened twenty years ago, think again
Tony Rehagen
UPDATE: On May 14, Eddie Owen announced that he had been fired from Eddie's Attic. Read Rich Eldredge's blog post about Owen's departure, Owen's response, and Alex Cooley's take on the situation.
Shut up and listen.
You can drink your beer and scrape the last bits of mac and cheese from the bottom of the bowl. You can even leave your cell phone on to illuminate the menu—just be sure the ringer is switched to silent. If you don't have the patience to read the entire seventy-five-word mission statement hanging on the stage backdrop, just focus on the first two sentences: Eddie's Attic is a music venue concentrating on the performing and touring singer-songwriter and acoustic musician. We encourage a listening atmosphere. "We need you to eat and drink as much as possible," announces the Attic's namesake, fifty-six-year-old Eddie Owen, before the opening act. "But please, hush up."
You can't smoke, either. Owen, a longtime pipe-smoker himself, banned the practice when he first opened the Attic in 1992. Just one less distraction.
If you, the paying customer, are feeling put upon, you're probably not alone. The Americana band you paid to see tonight, Drew Holcomb and the Neighbors, left their electric instruments on the truck. Instead they lugged a half dozen acoustic guitars and a man-sized stand-up bass along with the drums to the second floor and have crammed their five-piece unit onto the tiny corner stage. They stripped down their songs so as not to overwhelm the confines with distorted guitar, booming bass, or crashing cymbal. The band has played 800-seat theaters, but tonight will put on two shows to two capacity audiences of around 180 people in this room.
So why are we here? Why do we pay to be treated like children in church? Why do established artists agree to take the Decatur detour on their tour of theaters and arenas? And why does management discourage patrons from buying another round in the name of quiet, a business model that has kept this venue teetering for twenty years?
John Mayer, who started out at the Attic fourteen years ago and has since moved 20 million albums and sold out Madison Square Garden four times, explains why he comes back to the Attic for surprise shows: "When a room is making noise—let's say on a scale of one to ten, it's a four—you lose all the music you can make from one to four," he says. "You lose so much touch and nuance. There's so much beautiful music that happens between a pin dropping and the first bit of chatter. That's where some of the best music in the world came from, and that's why Eddie's has that magic."
Owen, a failed musician and lover of whiskey and baseball, lives for that ethereal space, the space between pin-drop and chatter, and his devotion has attracted like-minded acts such as Mayer, Shawn Mullins, Sugarland, and the Civil Wars, who launched their careers from this stage. It has also provided thousands of moments between listeners and artists you've never heard of, songwriters selected by Owen himself. Attic regulars show up without even knowing who's on the calendar. "It's like having someone picking your Netflix queue for you," says Sugarland's Kristian Bush, who played here on the Attic's second night, twenty years ago. Owen's ear for talent and his dedication to the idea of a listening room have enabled the Attic to celebrate two decades of national renown in Decatur this month, while music venues around the country sit shuttered and silent.
But despite the Attic's artistic success, the struggling business has become more of a distraction for its founder. Twenty years on, Owen's search for the perfect place to hear live music has taken him miles away from his Attic.
"My respect for songwriters is built out of a failure to be able to do it myself," says Owen, who grew up singing in the church choir and around his grandma's upright Baldwin piano. He fell in love with the Beatles and the way John Lennon crafted poetic lyrics with complementary chords. But then he picked up the guitar in high school and started writing his own songs, compositions he never even titled. "I sucked," he says. "They weren't good enough for names."
In 1981 Owen was twenty-six, tending bar at the Trackside Tavern, a rowdy brick and wood-paneled joint along the railroad less than half a mile from Decatur Square. Back then the music scene was built around bands like R.E.M., which was drawing national attention to Athens. The only places to see live music in Atlanta were loud bars, clubs like Hedgens in Buckhead, Rumors in Decatur, 688 on Spring Street, or the Moonshadow Saloon on Piedmont Road, and the singer-songwriters were lost in the ruckus. To Owen acoustic music was pure and clean; he could hear every note and savor every word. "But there was no place to just sit and listen," he says. "It drove me crazy." Owen persuaded the Trackside owners to let him book acoustic acts in the middle of the week.
But Trackside was like any other bar, with TVs, dartboards, and high-backed booths. It was hard to see where the singer and his beat-up Taylor guitar fit in. "It was a drinking bar," says Matthew Kahler, who played for Owen at Trackside. "It was pretty interesting that he wanted to put something that delicate in that setting. Where a drunk could fall off a barstool and wreck the entire thing. It wasn't perfect. But we were there because the guy behind the bar was crazy about music."
"I was trying to nurture songwriters at a point where most folks were trying to nurture their next beer or joint," says Owen, who sometimes had to personally quiet the audience, shushing people while serving drinks from behind the bar. "But once the word and the vibe spread, it sort of took care of itself." Trackside became home for not only local folk luminaries like Caroline Aiken and Kodac Harrison, but also budding singer-songwriters like Shawn Mullins, Emily Saliers, and Amy Ray, whom Owen had first spotted playing in a Decatur pizza parlor before she joined Saliers to form the Indigo Girls. In a business where it's almost impossible for a young artist to be heard, Owen listened. In the late 1980s, an underage Kristian Bush sneaked into Trackside and did his Emory homework at the bar, just to be close to the music. One night, Bush says, Owen handed him a guitar and a Budweiser and asked to see what the young man could do—the bartender recognized potential. "I sucked pretty bad for years," says Bush. "But he let me play. He protected us. He allowed us to write what we wanted to write."
But at Trackside, acoustic music was still the sideshow. One night in the spring of 1992, Owen took Kahler and Bush to Conversations, a bar at 515 North McDonough Street where Owen worked a second job, and led them to an empty upstairs storage room with hardwood floors, a high ceiling, and a giant palisade window that looked out on downtown Decatur. Here, Owen told them, he was going to lease the space and build a place where they could play, and people would be quiet and listen.
"When he called me with the idea, I said, 'How can I help?'" says Saliers. Fresh off the success of the Indigo Girls' eponymous major label debut, she and bandmate Amy Ray were two of the Attic's initial investors (some of whom, Owen says, he is still paying back). Saliers and Ray also donated a pair of speakers for the sound system. Mullins, Bush, and Harrison helped paint the walls. Meanwhile Owen, who still lived alone in a Decatur apartment, threw everything into the project—his savings and his passion. At the time, he didn't really know what a mission statement was, but he wanted to reiterate to everyone what the music room was about. He composed the seventy-five-word message and a coworker stenciled it onto a folded-over king-sized bedsheet.
The sheet was hung onstage, with a half dozen plastic Budweiser banners that simply read Shhhh on the walls. And on May 7, 1992, Eddie's Attic opened its doors. There was no bar in the listening room, the drinks being dispensed solely from the patio. There were only stools, chairs, and tables packed with eager fans focused on the stage. "It's just you and your guitar," says Bush, whose band Billy Pilgrim was one of the first acts booked. "And at the end of the day, it's all about your songs."
The Lovely Drifters are setting up. With their guitar and cello, Amy Andrews and Alex Sia, who relocated from Baltimore a year and a half ago to Atlanta's more nurturing music scene, are Owen's fill-in for a last-minute cancellation. Owen is a sucker for the cello, which, he says, is the closest instrument to the human voice.
Standing in front of the sound booth in the back of the room with a coffee cup of bourbon, Owen surveys the forty or so people scattered throughout the room—not a bad draw for a Wednesday night and just ten days' notice. The lights go down and Attic chatter yields to simple strings. But as Andrews's soprano washes over the room, Owen winces, as if his whiskey has been replaced with day-old coffee. After a few bars, he turns and leaves through the swinging kitchen door and strides back to the patio bar. Something is wrong with the sound in the room. "I can't tell you exactly what it is," he says. "And I love this song and I love her voice, but I just couldn't stand it in there."
He joins three patrons sitting at the bar, watching the live feed through the monitor. The man seated next to Owen is an aging musician, evident by the receding line of his long, dishwater-blond coif, which seems to be gradually sliding off the back of his head.
"I've been in Decatur, playing Eddie's Attic with various bands for fifteen years," he announces. "I remember Jennifer Nettles before she talked with a Southern accent. John Mayer took money at the door for my band. He was a tool back then, too, acting like he was too good for that . . . which, I guess he was."
But the man only gets Owen to engage when he brings up the Red Clay Theatre, Owen's latest project, a 14,000-square-foot theater in downtown Duluth that Owen believes could match—and even surpass—the Attic, in terms of a pure "listening environment."
"I've heard it sounds awesome," says the man. "Like Symphony Hall."
Owen pats the man's back. "And I didn't pay him to say that," he says.
"And I'm not going to ask him to book my band here in a second," says the man with a wink.
The chuckles subside, and the musician returns to the Lovely Drifters on the monitor hanging above the bar. Owen turns away and just above a whisper says, "This is a very important part of my job. Because I don't know this guy, but I have to pretend that I do."
In the weeks and months after the Attic's grand opening, cafe tables and chairs were set out, and a standing bar was built in the middle of the room. Later came oversized carpeted stairs for people to climb and sit on like the studio audience of an old afternoon TV kids show. The official seating capacity has always been about 150, but they often cram in an extra twenty or thirty.
In the early days, there were pool tables in the back room. One night in the mid-1990s, Saliers was shooting pool with Owen and singers Uncle Mark Reynolds and Andrew Hyra, when local songwriter Pierce Pettis came bounding up the steps and threw his guitar case on the felt in the middle of the game: You have got to hear this. Pettis broke out a driving ballad called "You Move Me," which was eventually recorded by Garth Brooks.
Stories like this drew young musicians to Eddie's. "You don't know who is in the back of the room," says Bush. "This industry is pretty impossible. At Eddie's, it seems like it is possible." Billy Pilgrim got picked up by Atlantic Records—they signed their contract at the Attic. Even when major label A&R guys weren't at the bar, Eddie's was a place where connections were made. It was there that Bush met a singer named Jennifer Nettles, who fronted folk-rock act Soul Miner's Daughter and the Jennifer Nettles Band before joining Bush in the country megagroup Sugarland.
But often, the best connection a young act could make was with Owen. In 1994 he started the Songwriter's Open Mic Monday, a weekly contest where artists could perform two original songs for one judge: Owen. The winners were invited back for the biannual shoot-out, a single-elimination tournament for $1,000 toward recording an album. Ten to twenty hopefuls were signing up every Monday. By the mid-1990s, Owen was fielding twenty to thirty CDs—many containing full-length albums—each week. Owen enlisted help from Bush and Mullins and other trusted ears to pare down the stack, but the owner always had the final say. He looked for energy and chemistry, but in the end only one thing mattered. "They all work their asses off, and they're all talented," he says. "But if you don't have the songs, you can't get there."
And once he found a songwriter he liked, there was little he wouldn't do to help—even if it meant grooming him to outgrow the Attic. Bush remembers Owen standing at the bar, listing the other clubs Bush should be calling. In the late 1990s, Owen met a twenty-year-old guitar player who had just moved down from Boston. John Mayer's first gig ever was a Monday night open mic. He won. "I remember asking Eddie how to get booked there for a show of my own," says Mayer. "He told me to send him a demo packet, which was a folder you'd mail with a photo, a CD, and a bio—he had to explain that to me." Owen gave Mayer a regular gig and hired him as a doorman for $40 a night, and whenever there was a cancellation or a twenty-minute opening, Mayer was Owen's go-to guitar. Mayer went on to play South by Southwest in Austin and was later picked up by Columbia Records, recording 2001's "Room for Squares," which won a Grammy and sold 4 million copies. Mayer gave Owen framed versions of the platinum records, which now hang above the Attic door.
"For a little bitty shithole, we book pretty far out," says Owen, phone to ear, sitting by the Attic window in the waning March daylight. The spectacles that usually dangle on a lanyard around his neck are balanced on the tip of his nose, magnifying his foggy blue eyes. On the bar is a calendar of May, boxes marred with names and numbers. But the voice on the other end doesn't seem to understand. "Any date between now and June is going to be booked," says Owen.
The voice belongs to a network producer from Los Angeles, calling to schedule a film session with Jennifer Nettles for an upcoming TV special. "We don't have a greenroom," Owen continues. "And we're on the second story with no elevator." Pause. "A lot of the time, the TV grips say, 'Oh, shit!'" Pause. "Well, I sold it to Jennifer and her husband, so she knows the space better than I do," he says, and then he grins with an overbite. "Now I just work here."
In 2002, after ten years of being the first one in and last one out six days a week, Owen was torn. His family was growing—a brand-new baby girl to join two boys, five and six—and he felt like he was missing their lives. For years he had thought about selling. So when his good friends Nettles and her husband, aspiring nightclub owner Todd Van Sickle, called to ask Owen's advice on getting into the business, Owen saw a way out. "Emotions were very mixed," he says. "I was losing a part of me. But my family is the most important thing." And he was leaving the Attic in trusted hands. In the spring of 2002, Owen sold the place and found a regular job as an events coordinator at the Ritz-Carlton in Morgan County, where he moved his family. Over the next three years, he hardly set foot in the Attic.
Meanwhile Van Sickle made the mistake of trying to run the Attic as a viable business. While Owen had given 98 percent of the door to the artist, keeping only enough to pay the soundman and doorman, Van Sickle cut it to 80 percent, which he saw as closer to par with the industry (a split the Attic still applies). He hired Shalom Aberle, a soundboard maestro who had worked clubs in California and has become an Attic institution known for recording live stereo mixes that sound studio-made. Van Sickle also informed staff that they should no longer silence people. He took down the Shhhh banners and the mission statement. He thought he was liberating the customer. But some regulars and artists became resentful. "It was still a good place," says Kahler. "But it was too loud for me."
In May 2005, Van Sickle sold the Attic to Bob Ephlin, a former exec with Wolf Camera. One of Ephlin's first moves was to ask Owen to return to run the bar and booking. "In a brief fit of insanity," Owen says, he accepted. But he made sure he had a set schedule and made it a point to eat breakfast with his kids every morning at 6.
The mission statement returned to the stage. "It just seemed like the place was reconnected with its legacy," says Aberle, who was working with Owen for the first time. "The Indigo Girls and John Mayer magically reappeared. Musicians and fans so wanted to reach out, hug him, look him in the eye and tell him how happy they were and what he meant to them." Over the next four years, attendance doubled. The Attic expanded its email database to more than 9,000 addresses. In 2008 Georgia Public Broadcasting launched "Eddie's Attic Presents," a weekly radio show featuring Attic performances interwoven with Owen spinning the stories behind the artists and songs from a script he wrote himself. Ephlin even recorded an "Austin City Limits"–style TV pilot to shop to the networks. Owen interviewed the acts.
Magic still happened at the Attic. In the age of iTunes, artists submitted a couple of songs instead of albums, enabling Owen to handle the talent search alone on his seventy-minute commute from Morgan County, listening to CDs, and eventually MP3s and links through his iPhone. Today he receives more than 500 emails a day.
In 2009 Owen booked a young Nashville songwriter named John Paul White to open a Friday night show. At the last minute, White wanted to bring along a new singer, Joy Williams, whom he had just met. Owen agreed. It was their second show together. But during sound check, Owen says, "every head turned and every jaw hit the floor." The Civil Wars recorded their nine-song Attic set and made it available for free on the Internet—an album on which you can hear silverware clanging in the background and which was eventually downloaded by more than 100,000 people. The duo has since won two Grammys.
To fans and artists, it was as if the founder had never left. But from behind the bar, it was clear that the Attic was no longer Eddie's. Owen felt pressure to book acts that would bring in more customers. "When it was my money, I didn't give a rat's ass if three people came, as long as I was one of those three," he says. "I had to reshift that thinking," taking into account what will sell as opposed to just booking acts he liked.
You can drink your beer at the Red Clay Theatre, but there is no long-winded mission statement on the wall, no signs shhhh-ing you. In fact, aside from a gentle reminder to silence your phone, Owen's preshow spiel from the Red Clay stage is devoid of lecture. "I don't have to," he says. "Here, when the lights go down, the people know to hush up. This is a theater." The only interruption is the horn of a nearby freight train that rumbles by thirty-five times a day.
Last fall officials from Duluth approached Owen about starting a concert series in a downtown church that the city had bought and spent $800,000 converting into a home for a performance theater company. The theater company went under in 2008, and the building, with its stage, seats, and industrial-grade sound system, had sat vacant and unused ever since. "This building has the capability of being the best listening house anywhere," says Duluth Economic Development Manager Chris McGahee. "And if it is associated with Eddie Owen, you know it doesn't suck. Especially now, when iPods and iPads enable anyone to make music, Eddie is the filter. These days, his talent is even more critical."
Owen was smitten. Here was a building tailored for music. With 257 seats, it was bigger than the Attic, but still small enough to be intimate. And since the note had been paid for by the city, the private-public partnership made the bottom line work, theoretically. The city would provide the building in exchange for 40 percent of the proceeds. Owen would take care of operating costs. Owen quietly left the Attic in October 2011 to pursue the Duluth concert series, "Eddie Owen Presents," full time. But he quickly ran short of capital. Meanwhile, Ephlin announced he was selling the Attic to legendary concert promoter Alex Cooley and his partner, Dave Mattingly. They just needed someone to run the place. "I agreed to help them, if they helped me," Owen says. After a two-month hiatus, Owen was back at the Attic—but with Cooley's and Mattingly's investment, "Eddie Owen Presents" was now a reality.
You still can't smoke at the Red Clay Theatre—law of Duluth, not that it stops Owen. The billiard pipe hanging from his lips leaves a locomotive trail of sweet tobacco smoke throughout the Red Clay corridors, down the stairwell, and into the artists' dressing room, where Owen is laying out the hummus, Triscuits, and trail mix that he fetched from a nearby Publix for Shawn Mullins, tonight's headliner. That's right, there's a dressing room. Two, actually—complete with light-lined mirrors. Down the hall, there's a greenroom, a kitchen, and two other empty rooms. That's just the basement. Upstairs the stage alone is as big as half the entire Attic.
Tonight will be the fourteenth show in five months, but the goal is to fill the theater's calendar as full as the Attic's. Then Owen can set his sights on the other half of his Red Clay dream: using the two vacant basement rooms as classrooms for a music and songwriting school, where artists can teach children the craft. "The school is bigger than Eddie Owen," says Owen. "So much of the Attic is all about Eddie, my personality, my relationships with agents and artists . . . there's definitely a different feel to the Attic when Eddie's not there. And that's not a good thing. I wish I had known that I would need more than Budweisers and hamburgers and that I'd need to monetize what we were doing there. I wish I could be certain that Eddie's will keep doing that after I'm gone." The Red Clay offers Owen a new beginning.
The doors open at 6:50 p.m. Owen slides on a gray blazer over his navy Nike mock-turtleneck and rushes out to shake hands with every person who walks through the glass doors. He asks each one of them where they are from. He wants to get an unofficial tally of how many people are Attic folks from intown and how many are from outside the Perimeter. In order for the Red Clay Theatre to work, he says, he needs to show that there are two audiences. As the auditorium fills, the theater's fifth sellout, Owen's estimate is about 80 percent OTPers.
Once Mullins is onstage, Owen continues his ambassadorship by giving a tour of the theater to Mullins's entourage. Even when the ambience is broken by the train horn running within a hundred feet of the building, rattling the floor, Owen just smiles. It reminds him of his days at Trackside. "I don't think I'll ever leave the Attic," he later says. "But there is an energy and a feeling when I'm in this place that I haven't felt in a long time."
The next day, Owen is back at the Attic for a Shawn Mullins double feature—Owen tries to get a lot of Attic artists to play in Duluth while they're in town. But of course, Mullins is an old friend. The shows are to celebrate the singer's forty-fourth birthday.
The Attic is packed—both shows sold out—and Owen wends his way to the stage. His face is sunburnt, his mouth dry from six packs of sunflower seeds, having come straight from watching his sons play a baseball doubleheader. "When I first met Shawn," he tells the crowd, "I was a bartender at Trackside Tavern. Shawn wasn't of drinking age—he was fifteen. But even then, he was a talented, talented singer and songwriter . . . "
Owen finishes the quick bio. And then: "For those of you who haven't been here before, we do something a little weird for a bar. Now thank God for Budweiser and hamburgers and we want you to partake heavily. But please, hush up. Just shhhh!"
The room of regulars answers with enthusiastic applause.
As Mullins starts his show, Owen slips back to his post in front of the sound booth. The set kicks into gear, and Owen gradually gives in to the music—first a head bob, then the long body begins to sway, eyes close, fingers snap, and eventually he sings along, adding harmonies in a high Irish tenor. Right now, he's not dreaming about Duluth, or fretting about the Attic's future. He isn't thinking about anything at all. He is caught up in the moment, lost in the song.
Eddie's Attic
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SADOW: Blame Edwards, Not The Rain, For His Bad Virus Policy
August 26th, 2020 Jeff Sadow
Don't go all Milli Vanilli and blame it on the rain. Go all reality and blame it on the governor.
That would be Louisiana Democrat John Bel Edwards, who found yet another way to snatch defeat from the jaws of victory when he declared onerous restrictions on some businesses would last past this Friday as part of his response to the Wuhan coronavirus pandemic. In place since mid-July and in full needlessly extended in early August, Edwards declared these would continue because, even as in his estimation the state had shown progress in keeping down infections and the resulting hospitalizations and deaths, looming bad weather would interfere with population testing for the next several days. Plus, educational institutions have restarted on-campus classes, adding another element of congregation that could spread the virus.
If this comes off as grasping at straws to continue command and control over the political environment, it is. Edwards still clings to the notion, believing a ratcheting down of disease metrics now can compensate for his botched performance to date, that government must indemnify everybody from any risk, rather than pursue policies that only intrude upon individual autonomy insofar as to protect the vulnerable while also placing that responsibility as well in the hands of free people making their own decisions.
His overboard response also serves a more blatantly political end. By unnecessary depression of the state's economic activities, this puts pressure on the federal government to accede to demands for more state and local government bailouts and onto skeptical state legislators to raise taxes, as part of a campaign to institutionalize supersized state government, rather than concentrate on a prudent paring of unnecessary, counterproductive, and low-priority spending.
The act has worn thin over the last few months, but his latest justifications for its continuance are at best risible. Even if some testing locations shut down, ongoing test collection disruptions that have plagued efforts from the start never guided Edwards policy before. And school districts and the University of Louisiana System opened up classrooms over a week ago, so if students reconvening is such a big deal, why didn't Edwards factor that in at the last renewal or announce last week an extension, waiting only until now?
As it is, what progress the metrics have uncovered has less to do with continued restrictions than with the increasing acquisition of herd immunity – a point driven home by Edwards himself, unwittingly, when he discussed results from a study of virus-positive individuals; three-fifths of them had no symptoms. As of today, tests equating to 38 percent of the state's population had uncovered over 144,000 infections.
Doing the math and carrying forward the assumption that for two persons who had symptoms that three didn't and thus never were counted, this means in reality 350,000 have had it or 7.5 percent of the population. This is statewide; in some places like St. John the Baptist Parish it's closer to 9 percent.
However, this actually tremendously undershoots similar studies nationally and internationally, which instead look at antibodies in blood. These show far higher undetected infection rates; perhaps the most recent rigorous computation comes from a Swedish study which calculated 44 infections per confirmed case, although the lowest point along a two-tailed 95 percent confidence interval suggests 25.
Just taking the lower amount, Louisiana has reached herd immunity, even based upon a crude unadjusted standard of 80 percent. That actually well overstates the level, because of crossover immunity from other coronaviruses. That's also suggested by the study's infection fatality rate of the virus at 0.58 percent, relative to the immunity level adjusted for these other factors of 17 percent.
(This rate is about twice that for seasonal flu. Consider at that rate that it's business as usual, but then double it and suddenly government has license to upend most people's lives, drive a significant portion of the public into unemployment or business loss, and dictate behavior in public. There's little logic behind any of this.)
These calculations don't mean immunity has become universal across the state; later hit parishes probably haven't gotten there. And policy still must account for the wildly different infection fatality rates; in the Sweden study, the rate was just 0.09 percent for anybody under the age 70, but 4.29 percent for those 70 on up.
Yet it's quite clear what's going on, regardless that Edwards policy ignores this: herd immunity, not restrictions, largely has caused the progressively-improving metrics. (Note that the restrictions have the impact of artificially lowering the immunity level needed as well.) Nor does Edwards pay any attention to the excess deaths restrictive policies like his appear to have produced.
Instead, he recklessly plunges ahead with restrictions well past their shelf life as helpful policy tools, with political motivations still having precedence over science and data in his calculations. Louisianans needlessly suffer more as a result.
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redpajama_set_name: RedPajamaCommonCrawl


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Q: How to read in Wed Oct 02 09:37:43 BST 2019 to datetime format using pandas? So I have an excel sheet which is Wed Oct 02 09:37:43 BST 2019  and Wed Oct 02 09:37:43 GMT 2019,
I want to read it in via the format 2019-10-02 09:37:43 (with the time being GMT) in pandas.
Thanks

A: If I understood well, you can use parser.parse
Here what it gives you:
date=('Wed Oct 02 09:37:43 BST 2019')
print(parser.parse(date))
out 2019-10-02 09:37:43

redpajama_set_name: RedPajamaStackExchange


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Falconer Daisy Bessant heading to South Africa to help save vultures
Falconer to document her South African journey on You Tube
By Ian Ross @ianrossguardian Senior Reporter
Daisy Bessant and Shadow
FALCONER Daisy Bessant is heading to South Africa to help save vultures from extinction as part of her work with Knowsley Safari Park.
Daisy, 18, has been surrounded by vultures all her life.
After growing up with her family's business Gauntlet Birds of Prey Eagle and Vulture Park at Knutsford, Daisy now also works at Knowsley Safari Park, and is using her knowledge and love of the birds to research the species in Johannesburg.
Wild vultures will be wiped out of Africa in the next 10 to 15 years if no action is taken, as they are targeted by poachers because they act as a signal to rangers that an animal has been killed.
Poachers are lacing elephants and rhinos with cyanide when they kill them for their ivory tusks, which is transferred to the vultures.
Daisy said: "I have grown up with vultures all my life, and despite what people think they are loving creatures.
"The ones I've known a long time act almost like a guard dog and walk ahead of me to protect me.
"I will hate seeing these beautiful birds suffer in Africa, but the research and help I can offer is more important.
"These birds suffer from poaching and power lines, and more needs to happen to stop them becoming extinct.
"They are often seen as ugly and dirty, but I want people to see how clever, instinctive and beautiful these birds are. I'm excited to get involved and do what I can to help."
Daisy will be documenting her journey via Knowsley Safari Park You Tube.


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Essay On Byzantine And Islamic Culture And Politics Comparison And Differentiation
Topic: Muslim, Islam, Women, Religion, Church, Turkey, Architecture, Family
The Byzantine and Islamic Empires are closely linked together, sharing similar influences in terms of technological advancements, their political systems, and their culture.
The Byzantine and Islamic Empires
Byzantium's capital, Constantinople, was the empire's core. It is where the trading takes place and it played a vital role during the Golden Ages of the empire during the 9th , 10th, and 11th centuries before the capital fell from the hands of Mohammed II, the Ottoman Turkish Sultan. During its Golden Ages under the rule of Justinian, Baths, churches and water supplies were built and city planning and social services were also established. Until now, some of the early buildings built during Justinian's time still stand in Istanbul and Ravenna, Turkey. The Hagia Sophia was the empire's orthodox patriarchal basilica where people go to worship. It is now a museum and one of the most beautiful structures in the world well known for its circular dome. Constantinople is now known as Istanbul.
The government of the Byzantine Empire focused on civil service, secular education and the scholarly elite. It is composed of 8 head eunuchs, a postmaster general, a treasurer, and a chancellor, all granted power and additional rights by the emperor. The Byzantine bureaucracy constantly reinvented itself based on the situation of the empire. Military force ran the provinces of the empire, as it was prone to invasion and attacks from the Arabs. The Emperor was the head of the state and the Church, a type of ruling called Caesaropapism. The senate, which was originally developed in Rome, was also created in Constantinople. However, the senate's power was reduced to a municipal body before it eventually vanished.
The spread of the Islamic empire was rapid and successful. Within two centuries from the death of their Prophet, Muhammad in 632, they were able to reach the borders of India and China to spread Islam and to influence people to convert to the religion. Their successive waves of invasion also allowed them to rapidly expand and spread their influence by 1400, which enabled them to secure the Indo Gangetic Plain. The Islamic Empire is headed by a Caliph, which is the head of state, similar to an emperor. The caliphates were the successor of Muhammad, to be able to continue the religious and political system developed by the Prophet. Caliphs are expected to rule according to their constitutional law and their Sharia or religious law.
Byzantine and Islamic Empire: Similarities and Differences
The Byzantine and Islamic Empire possess the same qualities in terms of their art forms and architecture. However, it was the Byzantines that were mainly influenced both by Greek and Roman traditions and architecture and it was only when the Muslims invaded the Byzantine where they decided to adapt the influence.
The Hagia Irene, built during the 6th century in Constantinople is a great example of early Byzantine architecture. Just like the Hagia Sophia, the Hagia Irene's follows the structure of a longitudinal basilica and a circular dome. Domes are also a prominent element in Islamic architecture, which is seen in the Selimye Mosque in Edirne, Turkey. The Muslims adapted the architectural style of the Byzantine as well as the Sassanid during Mohammed's rule. They have also preserved and improved the old models of buildings built under the Byzantine Empire and converted them into Mosques, tombs, or libraries. When Constantinople fell into the hands of the Muslim, they converted the Hagia Sophia, which was a church, into a mosque.
Byzantine Architecture not only influenced Islamic Architecture during the Umayyad Caliphate, but it has also given way to Romanesque and Gothic Architecture. The Dome of The Rock found in Jerusalem and the Umayyad Mosque in Damascus are two well-known examples of domed structures built during the Islamic empire under the architectural influence of the Byzantine.
Education and Knowledge
Both scholars of the two empires held great importance to knowledge especially during their golden ages. Scholars from the Byzantine Empire focused more on history and developing records while the Islamic empire were able to contribute a wide range of knowledge from math, medicine, philosophy, and astronomy. This is the reason why the Islamic empire built a lot of universities, which are still standing and used until now such as the Al-Azhar University in Cairo, Egypt, which is the chief center of Islamic learning and Arabic Literature. The Muslims were also knowledgeable about medicine, setting up hospitals that are very similar to the setting of hospitals today. The Muslims were the ones who wrote medical books used in Europe while the Byzantine Empire relied more on the study of history and the development of the European Renaissance. During the Islamic Golden Age, massive developments were made in terms of education as Arabic scholars wrote books on astronomy, medicine, math, and philosophy, among others. These scholars also translated Greek mathematics, which was eased its transmission to Europe.
Women in Byzantine and Islamic Society
Women in Byzantine society spend a major part of their life inside their homes. They were allowed to learn reading and writing but only a very few were able to acquire a wider form of learning. At 12 – 13 years old, girls can be arranged for marriage by their parents or with the aid of a matchmaker and they are expected to bear a lot of children. Women increase their social standing as they get married and bear lots of children. Women belonging to the poor social class often worked in farms and labored in fields. A very few become doctors who specialize in female health, while others become koines or prostitutes.
According to Gavin Hambly in his book entitled "Women in the Medieval Islamic World," women in the Islamic empire were seen as property. When still unmarried, the woman is the property of her father and she becomes the property of her husband, which her father or guardian chose for her. Although the Quran has entitled them with fairer treatment, it has been recorded that women were not given the power to manage or control inheritance or their own properties (3).
The practice of hijab or veiling is also prevalent in women in the Islamic Empire wherein only the husband is allowed to see the face of his wife. Nevertheless, the importance of women was still seen in records and in historical evidences such as the female prophet Khadija, which is highly revered by the Muslims. The love and respect for women was also seen in the building of the Taj Mahal, which was built in patronage for a woman and a wife.
The belief in a supreme being is a trait shared both by the Byzantine and Islamic empires. However, the Islamic empire, composed of Muslims, believed in Allah while the Byzantine Empire, composed of Orthodox Christians, believed in God. The Muslims followed the Five Pillars of Islam, read and followed the Quran, and prayed in mosques. The Christians read and followed the Bible, follow the 10 Commandments and prayed in the Hagia Sophia, which is their church.
The structure of Byzantine Churches was the main influence of Islamic mosques. During their invasion, Muslims usually converted the Byzantine churches into mosques, just like what happened with the Hagia Sophia.
Garland, Lynda. Byzantine Women: Varieties of Experience AD 800-1200. Great Britain:
Ashgate Publishing Limited, 2006. Print
Hambly, Gavin. Women in the Medieval Islamic World. New York: St. Martin's Press, 1999.
Kennedy, Hugh. The Byzantine and early Islamic Near East. Great Britain: Ashgate
Publishing Limited, 2006. Print
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Policies | Simple. I Just Do.
Please don't steal my stuff, and I won't steal yours.
Please respect my privacy and the privacy of others.
Be nice to each other and to me.
If you can't follow these policies, something bad will happen.


Impeccable 5 bedroom 4 bath NW Longmont home with a 3 car garage. Fabulous light filled floor plan with vaulted ceilings, new high quality carpeting, hardwoods and chef's kitchen with stainless appliances and large pantry. Spacious eat in kitchen overlooking cozy family room with gas fireplace. Finished basement offers a large rec room, 5th bedroom and a 3/4 bath. Professionally landscaped and private backyard with covered patio. Near park and schools. Truly move in ready must see property!
This listing at 2225 Frontier Street, Longmont, CO 80501 is a residential-detached listing with 2 full baths, 1 half bath, 1 three-quarter bath, 5 bedrooms and approximately 2,492 square feet	on a lot of 6,098 sqft (or 0.14 acres). It was built in 1992.	2225 Frontier Street is located in Longmont and in ZIP Code 80501. It has been listed on our site since 2019-03-12.


This is a placeholder page for Georgia Fields, which means this person is not currently on this site. We do suggest using the tools below to find Georgia Fields.
You are visiting the placeholder page for Georgia Fields. This page is here because someone used our placeholder utility to look for Georgia Fields. We created this page automatically in hopes Georgia Fields would find it. If you are not Georgia Fields, but are an alumni of Tolsia High School, register on this site for free now.


Choosing shed builders is one of the most important decisions you will make for your shed or storage building.
Before becoming BAS Buildings, our shed business was part of Cardinal Buildings, who has been constructing storage buildings in the Raleigh, Garner, Clayton area for 10 years. We are pleased to have their shed builders continue on with us. Our strategy is to start with reliable, experienced builders, and then offer them reasonal pay and treat them with respect due a skilled craftsman. All our shed builders have skills to do an expert job, and experience to offer guidance on shed options, location and styles.
Dave Jones, one of our builders has been with the company since the doors opened 12 years ago. Before joining us, he ran his own shed business, so has close to 20 years experience constructing storage sheds.
Jay Benson, has been a building contractor for over ten years, constructing homes and garages. He has been with us for three years.
Jeff Henning has run his own local business, Cochise Flooring and Construction, and is a skilled wood craftsman and builder. We are pleased that he also chooses to work with us.
Matt Charlesworth has worked with Cardinal Buildings as well as other builders in the local area, having many years experience as a framer, shed builder, and garage builder. He shares his time with us at BAS Buildings and Cardinal Buildings where he is one of their primary garage builders.


Also, developing news on the Gulf oil spill and this year's hurricane season, which officially starts Tuesday.
-- Each week, MetroWest posts a "Where'd She Go?" video clip and encourages readers to guess where the clip was filmed. Prizes are involved. Fun!
-- MySuburbanLife.com's The Hole View feature offers photos and tips on some of the area's most challenging golf-course holes. Useful!


Patricia M. Annino is a partner in Rimon's Trust and Estates Group. A nationally recognized authority on estate planning and taxation, Ms. Annino has more than 30 years of experience serving the diverse needs of families, individuals, and owners of closely held businesses. Ms. Annino's practice includes all aspects of private client work, including estate planning; will and trust planning; incapacity planning; prenuptial and postnuptial agreements; estate litigation; advising executors, trustees and beneficiaries and administration of estates and trusts. Ms. Annino particularly focuses on planning for family business owners, including coordinating their estate planning, corporate and succession needs. In addition, she represents non-profit entities and private family foundations. Ms. Annino testifies as an expert witness in high-stakes divorce cases where trusts and other inherited assets are at risk. Her testimony has been favorably reviewed by the Massachusetts Probate Courts.


Each area offers unique opportunities to undergraduate students, graduate students and postdoctoral investigators to perform original research and pursue rigorous training in Cell Biology and Molecular Genetics.
During the last several years, we have upgraded the research facilities throughout the department and college. We have created several state-of the-art shared instrumentation laboratories that enable our students and faculty to have access to sophisticated instruments whose purchase and maintenance costs far exceed the budgets of individual investigators. Two of these shared instrument laboratories center around biological imaging, for both electron and light microscopy, including brand-new a field-emission scanner, a new confocal microscope and an image reconstruction/deconvolution microscope. A newly established shared laboratory augments existing sequencing facilities on campus and serves the molecular geneticists for the large-scale processing and sequencing of nucleic acids, with multiple robotic sequenators and real time PCR.
Other core facilities in the department and elsewhere on campus provide instrumentation for fluorescence-activated cell sorting (FACS) and analysis, NMR, and mass spectrometry. Equipment and analytical instruments are available in both faculty and core laboratories for the maintenance of animal and plant tissue cultures, for the production of monoclonal antibodies, for the synthesis and micro-analysis of proteins, for large-scale fermentation and cultivation of microorganisms, and for computer assisted molecular modeling. Support staffing in shared instrumentation facilities is provided by the college, and maintenance costs have been subsidized by the college, thereby providing even occasional users with appropriate training and access, and simultaneously, keeping instrument use costs low. We have found that this strategy provides exceptional opportunities for research and training, and enables our students to perform experiments with instrumentation that is at the leading edge of technology.


Madison needs a community center and the Academy School is the answer for the following reasons. First, it is located in Madison's Historic District within walking distance to downtown. Second, a cultural center (which it would lend itself to perfectly) enhances and elevates a town. Third, the classrooms in the building are ideal for music lessons, art studios, dance studios, lectures. Why would we want to destroy 16 large classrooms, including some with 10-foot windows? There is also a gymnasium that seats 500, as well as a small auditorium that would be perfect for theatrical productions.
In reality, the Academy School is a gem just waiting to be updated so that everyone, young and old, can take advantage of its educational aspect, which is its original purpose. There are federal and state grants, fundraisers, and private and philanthropic donations available for renovation. Other community centers on the shoreline cover part of their yearly costs through revenue received from participants such as music, art, yoga, and dance instructors, who in turn charge their pupils nominal fees.
Andrew Carnegie said, "No man becomes rich unless he enriches others." The Academy School should remain a landmark in our town, a beacon to enhance knowledge.


MINNEAPOLIS – The Salisbury University men's basketball team is out to the best start in program history and is now getting national recognition, joining the top 25, released by D3hoops.com.
The Sea Gulls jumped into the poll at No. 23, receiving 99 points this week, just 11 points behind No. 22 Wabash College.
Salisbury has won its first nine games of the season, most recently coming back to defeat Wesley College in overtime, 91-89, on Sunday, December 9.
Also from the Capital Athletic Conference, Christopher Newport University also joined the poll this week, sitting at the No. 21 spot with 123 points following a 7-1 start to its season.
The Sea Gulls are back in action next Saturday, December 22, when they travel to Rowan University.


Which statistical model should I choose to process exported data from Google AdWords?
Seems, no one knows how to process the data from AdWords.
Your addon is full of options. Could you please navigate me, how to proces user behavior, I am sure you know how AdWords exports looks like, there are lots of data, for example date, city, search query, cpc, impressions, location, region..
I think there is BIG POTENTIAL for every AdWords user to use your addon to estimate future user behavior, future trends.
Do you have some tips I can share on AdWords forum for others what one can do with your addon? Myself, I am currently lost.
I am university student, we had 2 semesters statistics, but not realy in that deep.
Thanks for your message. Using statistical models to gain insight into AdWords data could be very interesting. We are not really aware of what's usually done outside the Google Analytics simple metrics and summary statistics. Or even if something additional is done.
1) Using log-linear regression to model count data on a certain period of time. For example we could imagine a data set with keywords in rows, a Y variable with number of converted clics and many X variables.
2) Doing the same thing but using ads in rows instead of keywords.
3) Using linear regression to analyze the effect of several X variables on the quality score using the same table as in 1.
5) All of the above models can be considered with row weights corresponding to the inverse of your bids (this would more or less give the same weight to each keyword / ad).
Well… If you have more ideas to share, let us know!


text:
Annuity Settlement
Auto Accident Claims
Injury Claims
Business Phone Providers in the US
Every business needs a reliable phone provider to ensure that customers, both old and new can get hold of you whenever they want.Verizon, AT&T, Sprint Nextel, and T-Mobile are the four leading national level business phone providers in the US.
Verizon Wireless is the biggest wireless carrier in the United States, and among the first to offer a wide range of differentiated products and services, including 3G network, GPS services, a music store, mobile TV network, and 4G LTE.
The basic Unlimited Local Calling Package, suitable for small businesses, start at $27.99. The Verizon Business bundle, which comes with two phone lines, Internet, and a host of applications, along with a two year agreement, starts at $84.99. The plan also offers a free wireless router and wi-fi access at thousands of public hotspots.
Verizon's "Share Everything" plan, launched in June 2012, put an end to unlimited data usage. Users however now got unlimited voice and text messages. They could also share the specified quota of data among ten devices. The plans start from $50, for 1 GB of data, and extend to $100, for 10 GB of data. Separate monthly charges of $40 per smartphone, $30 for other phones, $20 for a hot spot connection, such as, USB modem, notebook, or netbook, and $10 for a tablet also apply.
A two year contract for iPhone 5 with unlimited calls, unlimited text, and up to 3 GB of data per month, costs $2,635.
Verizon also offers monthly prepaid plans, available without any contract. The most popular prepaid plan is $50 for unlimited talk, text, and web. Smartphone plans start from $60, and tablet plans start from as low as $20.
AT&T is the second largest wireless carrier in the United States, offering a widespread network, and a large and varied selection of smartphones.
AT&T BusinessTalk plans allow sharing up to 30,000 minutes per month between as many as 50 employees, allowing optimization of usage among users. There are eleven BusinessTalk price levels, and additional messaging and data bundles . The additional cost per user is $5. AT&T's rollover plans allow rolling over unused minutes over to the next month.
AT&T has "Mobile Share" plans, which run similar to Verizon's "Share Everything." Mobile Share offers unlimited voice and text messages, and provisions to share the available data with 10 users. The plan starts at $40, for 1 GB, and extends to $200 for 20 GB. The device fees to connect smartphone starts at $45 for lower end plans, and comes down to $30 for higher end plans starting from $120 (for 10GB). Adding a basic phone costs $30, adding laptops, netbooks or USB cards cost $20, and adding gaming devices costs $10. Each additional GB is charged $15 over the limit.
The price of a two year iPhone 5 contract, with unlimited calls, text and 3 GB of data per month is $2,635.
Sprint Nextel
Sprint Nextel ranks third amongst the wireless operators, and second amongst CDMA operators, in the US, in terms of size. Boost Mobile and Virgin Mobile are its subsidiaries.
Sprint Nextel, unlike Verizon and AT&T, offers unlimited calling and data plans. The smartphone plans starts as low as $35 per month. The price for iPhone 5, with unlimited calling, texting and data, for two years, works out to $2,840.
Sprint has many offers running. Among the current offers, purchasing any iPad product gets a discount of $100. Switching to Sprint from other provider gets $150 credit.
T-Mobile is another major GSM operator in the US, at the national level. T-Mobile routes calls through its wi-fi calling app when the network connection is weak.
Unlike other providers, T-Mobile separates the cost of the phone from the monthly service fee, and offers phone on installments instead. The plans start from $50 per month, for unlimited talk, text, and 500 megabytes of data. An additional 2 gigabytes of data is available at $10, and unlimited data for $20. Although the offer is significantly cheaper than what competitors offer, users are locked into a two-year contract.
All together, an iPhone 5 with unlimited calls, and text, and 2.5 GB of data per month costs $2,020 over a period of two years.
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text:
A225479 Triangle read by rows, the ordered Stirling cycle numbers, T(n, k) = k!* s(n, k); n >= 0 k >= 0. 3
1, 0, 1, 0, 1, 2, 0, 2, 6, 6, 0, 6, 22, 36, 24, 0, 24, 100, 210, 240, 120, 0, 120, 548, 1350, 2040, 1800, 720, 0, 720, 3528, 9744, 17640, 21000, 15120, 5040, 0, 5040, 26136, 78792, 162456, 235200, 231840, 141120, 40320, 0, 40320, 219168, 708744, 1614816 (list; table; graph; refs; listen; history; text; internal format)
The Digital Library of Mathematical Functions defines the Stirling cycle numbers as (-1)^(n-k) times the Stirling numbers of the first kind.
R. L. Graham, D. E. Knuth and O. Patashnik, Concrete Mathematics. Addison-Wesley, Reading, MA, 1990, table 245.
Vincenzo Librandi, Rows n = 0..50, flattened
Digital Library of Mathematical Functions, Set Partitions: Stirling Numbers
S. Eger, Restricted Weighted Integer Compositions and Extended Binomial Coefficients J. Integer. Seq., Vol. 16 (2013), Article 13.1.3
For a recursion see the Maple program.
T(n, 0) = A000007; T(n, 1) = A000142; T(n, 2) = A052517.
T(n, 3) = A052748; T(n, n) = A000142; T(n, n-1) = A001286.
row sums = A007840; alternating row sums = A006252.
From Peter Bala, Sep 20 2013: (Start)
E.g.f.: 1/(1 + x*log(1 - t)) = 1 + x*t + (x + 2*x^2)*t^2/2! + (2*x + 6*x^2 + 6*x^3)*t^3/3! + ....
T(n,k) = n!*( the sum of the total weight of the compositions of n into k parts where each part i has weight 1/i ) (see Eger, Theorem 1). An example is given below. (End)
T(n,k) = A132393(n,k) * A000142(k). - Philippe Deléham, Jun 24 2015
[n\k][0, 1, 2, 3, 4, 5, 6]
[0] 1,
[1] 0, 1,
[2] 0, 1, 2,
[3] 0, 2, 6, 6,
[4] 0, 6, 22, 36, 24,
[5] 0, 24, 100, 210, 240, 120,
[6] 0, 120, 548, 1350, 2040, 1800, 720.
T(4,2) = 22: The table below shows the compositions of 4 into two parts.
n = 4 Composition Weight 4!*Weight
3 + 1 1/3 8
2 + 2 1/2*1/2 6
A225479 := proc(n, k) option remember;
if k > n or k < 0 then return(0) fi;
if n = 0 and k = 0 then return(1) fi;
k*A225479(n-1, k-1) + (n-1)*A225479(n-1, k) end;
for n from 0 to 9 do seq(A225479(n, k), k = 0..n) od;
t[n_, k_] := k!*StirlingS1[n, k] // Abs; Table[t[n, k], {n, 0, 9}, {k, 0, n}] // Flatten (* Jean-François Alcover, Jul 02 2013 *)
(Sage)
def A225479(n, k): return factorial(k)*stirling_number1(n, k)
for n in (0..6): [A225479(n, k) for k in (0..n)]
Cf. A048594 (signed version without the first column), A132393.
nonn,tabl
Peter Luschny, May 20 2013


text:
Former Stony Brook professor sentenced to prison for stealing cancer research funds
Geoggrey Girnun, a former Stony Brook cancer researcher, leaves federal court in Central Islip in January. Credit: James Carbone
By Michael O'Keeffe michael.okeeffe@newsday.com Updated October 6, 2020 8:17 PM
A former Stony Brook University professor who admitted that he had stolen $225,000 in cancer research grant money to pay his mortage and other personal expenses was sentenced to a year and a day in prison Tuesday.
Cancer researcher Geoffrey Girnun, 49, a former associate professor of pathology at Stony Brook, told U.S. District Judge Denis R. Hurley that he had brought shame to his family and cancer research colleagues -- and that he would spend the rest of his life trying to atone for his crime.
"I need to learn to make amends and become a better person," Girnun told Hurley during a sentencing hearing conducted by telephone because of coronavirus concerns.
Girnun was arrested in September 2019 and charged with theft of state and federal government funds, wire fraud and money laundering. He pleaded pleaded guilty to a single count of theft of government funds as part of a deal with federal prosecutors in January.
Federal prosecutors said Girnun stole approximately $78,000 in National Institutes of Health funds that were earmarked for cancer research and about $147,000 from the Stony Brook Foundation and state-sponsored grants, The theft began in December 2013, shortly after Girnun was hired by the university, and continued until December 2017. Girnun used the money to pay his mortgage and other personal expenses, prosecutors said.
Girnun created shell companies that billed the National Institutes of Health and Stony Brook for research-related equipment and services that were never provided, according to prosecutors. After receiving payment in the shell companies, Girnun transferred the funds to his personal bank accounts.
Michelle Bulls, director of the NIH Office for Policy for Extramural Research Administration, said before the ex-professor was sentenced that Girnun's theft robbed funds that other researchers could have used help cancer patients and eroded public trust in medical researchers.
Richard Reeder, Stony Brook's vice president for research, and Deborah Lowen-Klein, the university's interim vice president for advancement, said Girnun had betrayed donors and colleagues, and that his crime is especially egregious because of the coronavirus pandemic.
"The university is satisfied with today's ruling in the case of Geoffrey Girnun," Stony Brook officials said in a statement after the sentencing. "Judge Hurley's sentence sends a strong message that criminal and unethical professional behavior that breaches the trust of donors and funding agencies who fund life-saving research will not be tolerated and will have severe consequences."
Girnun, a father of five, joined the Stony Brook faculty after spending several years as a professor at the University of Maryland School of Medicine. His attorney, Michael Yaeger of New York, told Hurley that Girnun did not take the money to fund a luxurious lifestyle. Gurnin, who earned $145,000 a year as an associate professor, wanted to buy a home on Long Island to spend time with his family.
"He wanted to stop commuting from Baltimore to Long Island," Yaeger said. "He wanted to stop sleeping on the floor of his office."
Yager said Girnun has agreed to pay back the money he stole and has already paid back $100,000.
But prosecutor Erin Argo said Gurnin conducted a "sophisticated and complex scheme" that lasted for years and would have continued if he had not been arrested.
Girnun, who resigned from the university in December, was the main investigator on a number of cancer research projects. He was the senior author of a widely circulated 2012 study about a significant discovery in cancer research that indicated the drug metformin, normally used to treat diabetes, may also prevent liver cancer.
"The defendant's theft of cancer research funds undermined the important mission of the National Institute of Health, Stony Brook University and his fellow researchers, who are dedicated to curing this deadly illness," said Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York.
By Michael O'Keeffe michael.okeeffe@newsday.com
Michael O'Keeffe covers Suffolk County police and other Long Island law-enforcement agencies. He is an award-winning journalist and the co-author of two books, "The Card" and "American Icon."


As word spread, the headlines got headier: "Google could be about to destroy the language barrier," said the Telegraph. Google contented itself with saying it was "one step closer" to breaking the language barrier. But the casual reader could be forgiven for focusing on the more excitable responses.
Whichever your view, don't throw away the language textbooks yet. Google Translate's update does two nifty things. One is that when you point your camera at a foreign-language text (a book cover, sign or menu), optical-character-recognition and translation software instantly work together to try to render the text into your language—on your camera screen, so you can see the words in context. The second update is to make the voice-recognition and voice-synthesis parts of Google Translate recognise languages, instantly convert spoken words into text, translate the text, and then say the words in the target language. This looks closer to our Universal Translator than anything yet devised.
Alas, reality is different. What Google has done (in steps, not revolutionary leaps) is truly impressive. But anyone relying on it in a sensitive situation is likely to confuse lots of other people. At worst, it may annoy or insult them.
Johnson tested the app with a German colleague. We had the following exchange, both of us speaking our native languages slowly and carefully, pretending that we were trying to reserve a restaurant table. The text at the top is the original language as spoken; the text below is the words Google heard and transcribed in the original language. The third line of text is the translation (which was then synthesised into speech in the target language).
Translated: Guten Morgen, wie geht es Ihnen?
Colleague: Guten Morgen, wie geht es dir?
Translated: Good morning, how are you?
This is word salad; the German reads something like "I'd like a table for four you keep please". Understandable; if you were a willing and friendly restaurant host, you'd get it.
Recognised: Wir haben leider keinen Tisch moments.
Translated: We did not get a table moments.
Me: That's a shame. I'll come back later.
This is worse than nonsense: I have now told her, in somewhat broken German, "It's a shame that I'll be back later." We have the opposite of the Babel Fish. Perfect understanding would have meant a nice friendly interaction. Instead, I have insulted the restaurant. And for most people, such mishaps would be unwitting ones: the problem with using Google Translate with a language you don't speak is that you don't know when it has made a whopper of an error.
The camera-based optical recognition works rather better: picking letters out of an image is relatively straightforward, and translating carefully worded writing is far easier than doing the same with speech. That the character-recognition now works instantly and on the screen—even replacing the German text with English words in the same colour, size and font—is the most science-fictional thing about the new Google Translate.
But for the instant-interpreter functionality, most of my tests have gone roughly as well as the one above. Speech recognition is vastly harder than optical-character recognition. Speech is full of false starts and mumbles, throwing much more garbage into the translation engine. As engineers say, garbage in, garbage out. In another test, a mention of "Siemens" turned into "demons" and, thus, Dämonen in German.


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Living statue - great entertainment show, It's what your guests will be talking about after your party!
Find and book Living statues you can right now. We are available in Beirut and throughout Lebanon and beyond.
Living sculpture from ShoWow welcome guests, give flowers or souvenirs, take pictures with the guests (the statue can be supplemented with elements of branding) they become wonderful entertainment for "welcome drink".
Amazing living angels will make your wedding an unforgettable experience! Do you have a birthday? Excellent! Living statue best meet and entertain your guests! You want to attract attention to your store or salon, assemble and surprise people? Living statues – the best helper in this!


text:
ADB may extend capital market loan deal tenure by one year
FE Report | Published: July 03, 2019 10:58:24 | Updated: July 04, 2019 10:37:44
The Manila-based lender Asian Development Bank (ADB) is likely to extend the third Capital Market loan agreement by one more year as the term of the deal expired on June 30 last, an official said.
He mentioned that the finance ministry would request the ADB to extend the third Capital Market loan agreement by one more year.
The lender might extend the tenure up to December 2020, he added.
To this end, the Bangladesh Securities and Exchange Commission (BSEC) requested the Financial Institutions Division (FID) and the FID also requested the finance division to take the next course of action on the BSEC request.
When contacted, a deputy secretary of the FID said, "We have discussed with ADB the extension of the agreement. The lender has given green signal in this connection."
"We received a letter from the FID on extension of the third capital market loan agreement of ADB," a high official at the finance ministry told the FE on Thursday last.
An agreement was signed between the government and the ADB on November 22 2015 to provide a loan amounting to US$ 250 million as budgetary support for taking necessary steps relating to development of capital market under Capital Market Development Program-III (CMDP-III) implemented by the BSEC.
Out of the US$ 250 million, US$ 150 million is from ordinary capital resources (OCR) fund and US$ 100 million is as a soft loan from ADB.
Under the loan agreement on the CMDP-III, a total of 26 conditions have to be fulfilled by the financial market regulators like BSEC, Bangladesh Bank (BB) and Insurance Development and Regulatory Authority (IDRA).
ADB has already released US$ 80 million after compliance with eight conditions under the first tranche (dated December 15, 2015).
Disbursement of the remaining loan amounting to US$ 170 was subject to compliance with other 18 conditions within 18 months after the first tranche disbursement.
Out of the 18 conditions, the BSEC said 15 conditions were already met.
The ADB attached some conditions, including approval of the proposed organogram of the securities regulator, to the release of the second tranche of $170 million.
Currently, three conditions have not been met yet. They are: The organogram of the BSEC, approval of a new information and communications technology (ICT) procurement plan and endorsement of the draft asset investment rules for life and non-life insurance companies, according to the FID.
rezamumu@gmail.com
DSEX slumps to 30-month low amid panic sell-offs
Sea Pearl Beach makes debut Tuesday
GP declares 90pc interim cash dividend
Stocks slump at opening amid panic sell-offs
Baraka Shikalbaha Power starts commercial operation
Paramount Textile to buy brand new machinery
Stocks keep losing Sunday amid low confidence
Paramount Textile to purchase brand new machinery
CSE, DSE witness downturn in early trading
DSE suspends shares trading of People's Leasing


In the month of November when Catholics remember and pray for their deceased family, friends and neighbours, our Bishops have launched a new website that offers help and support to those grappling with issues around the meaning of dying and death. It features real-life stories about dealing with the journey through death to eternal life. It is called, The Art of Dying Well (from the ancient Latin name Ars Moriendi) and is drawn from Catholicism's rich treasury of resources and reflections as well as consulting with experts and professionals in palliative care, ethics, chaplaincy, history and the media.
It is found at www.artofdyingwell.org. It will be of particular interest to those who are dying (that's of all of us!) to family, friends and carers. At the back of each church there are cards with the address of the site and a prayer for the dying.
Last week I dealt with the Bishop's response to the recent consultation on deacons. Today I quote his decision on Confirmation.
"Having considered all the opinions and arguments, I would like to see the Sacrament of Confirmation celebrated with candidates aged 13 (Year 8) or above, which is within the age range agreed by the Bishops' Conference. Normally, I would hope to celebrate the Sacrament myself. The precise logistics still need to be worked out but I would prefer to confirm from Easter to the summer school holidays and, if necessary, into the following school term. We might also consider holding some celebrations at the Cathedral or some of the larger churches of the Diocese (such as St. Alban's, Blackburn) to give the candidates a sense of being part of the larger Church.
the call to serve those in need.
At Forum on Wednesday we shall consider these and other decisions made by the Bishop following the consultation.


text:
13 Surprising Symptoms of Lyme Disease
Erin Migdol
When most people think of Lyme disease, they probably picture a tick bite and the classic bullseye rash (if they've heard of Lyme disease at all). But there's so much more to Lyme disease than that. Not everyone with Lyme disease even gets the bullseye rash, and there's a huge range of other symptoms that can crop up and continue to affect you long after the bite. In fact, Lyme disease is often called "the great imitator" because its symptoms can mimic so many other diseases.
With Lyme disease expected to become even more common this summer, it's important for the general and medical communities to be educated about the reality of possible symptoms. So we asked our Mighty community with Lyme disease to share some of the "surprising" symptoms they've experienced that others may not know about. Let's move beyond the stereotypes and show people the other life-altering symptoms of Lyme disease.
Here's what our community told us:
1. "Severe nausea. I can't eat for days and then will eat everything in sight once the nausea goes away… making me feel even worse."
2. "Trigeminal neuralgia. Lyme loves to mess with cranial nerves."
3. "Eye pain to the point of not being able to see colors correctly."
4. "Suddenly having a severe increase in pain and stiffness that leads to a lot of difficulty walking. I could have been fine an hour ago, but then I need to lean on someone. It's scary."
5. "Now that I have started Lyme treatment I get localized pain that feels just like a bull ant bite. The pain is horrendous, and the first time it happened I ripped off my clothes because I thought I was being bitten, but when I revealed the area there was no ant, just my muscle violently twitching where the pain was."
6. "I started to misplace or rearrange words/sounds in several sentences. Even though I knew exactly what I wanted to communicate, I would say it over and over the wrong way."
7. "I actually feel as though my body is being attacked from the inside. It's never just one thing going on, and the stress of hurting literally never goes away. Whether it be pulsing sharp pain in my joints, weakness in my legs, cramping in my hands, aching in my head and chest, or any one of the other 20-some symptoms that occur. There are always at least five physical symptoms occurring at any given minute."
8. "Short term memory loss. 'Did I just take my meds?' I seriously can't remember, I can't remember 30 seconds ago."
9. "Seemingly random joint pain, dizziness, and fatigue."
10. "There are a lot more physical symptoms of Lyme disease than people think. Joint pain, headaches, fatigue, insomnia, chest pain, heart palpitations, stiffness, Bell's palsy, and many, many more."
11. "Inability to eat due to severe metallic taste from medication. Tinnitus for three-plus years [that] still continues on and off. Pronounced veins and varicose veins. Postural orthostatic tachycardia syndrome: feeling faint/fainting or blurred/lost vision when standing up, inability to stand for long periods of time."
12. "Paralysis in my limbs."
13. "Loss of hearing, vision, muscle spasms, memory loss, fatigue, extremely prone to infections, unusual body sensations, to list a few."
Erin is the former senior editor and chronic illness editor of The Mighty. She joined The Mighty in 2015 and previously worked at Inside Weddings magazine, Mic, and The Huffington Post. She was also the features editor at The California Aggie, UC Davis' student newspaper. She is honored to be a part of the Mighty community!
erin-migdol


My guest today is Gail Pallotta, whose latest release is hot off the press, releasing November 2nd. BUT, you can preorder her new book for 99 cents before the official release date. Afterwards, it's strictly full price – so – obviously you know what to do! Hop on over to AMAZON and reserve your copy at the bargain price! Gail's website will break the news when this romantic comedy is available for preorder.
So, Gail, can you tell everyone a little about "Hair Calamaties and Hot Cash" and your inspiration for it?Sure. . My mother's beauty shop in a small town at the foothills of the North Carolina Mountains inspired the book. Her customers shared their problems and joys with her and each other while she created snazzy hairdos. On busy days, amid the smell of shampoo and caustic permanent mixes conversations bounced from weddings, births, family relations and funerals to finances and world situations.
The hair dryers hummed while the clientele read magazines, sewed everything from cross stich to mending or worked crosswords puzzles. Teachers finished grading papers and students completed homework. If one of them caught wind of a bit of gossip or detected an unusual look on someone else's face, the dryer top flew back while she listened to the latest or gave an opinion. Many a problem found a solution while hair flew.
The clients had disagreements, but they didn't hate those who thought differently from them. They had close friends, acquaintances, people they tolerated and those they kept at a distance. However, when someone grieved for a loved one, suffered from an illness or any other crisis, prayers went up and casseroles went out no matter whether the person was a best friend or someone held at a distance. They all were God's children.
I sought to re-capture the warm down-home atmosphere of that place.
The heroine, Eve Castleberry, would like creating this up-do in her shop.
Blurb: What happens when a New York stockbroker crashes his car into Eve Castleberry's North Carolina beauty shop…on the same day the young widow's defective hair products are causing wild hairdos? Soon Eve finds herself helping the handsome stranger hDunt the thieves who stole his client's cash…and hot on the trail of two of the F.B.I.'s most-wanted criminals! Romance blossoms amid danger, suspense and Eve's hair-brained plan to get back the money.
Philip heard there were a couple of suspicious characters hanging out at the drugstore. He sits in booth at the soda fountain area and eats while he watches for them.
Sounds like a fun read, Gail! Good luck with your launch!
Thank you for stopping by and the good wishes!
I love Triville! Gail's stories are lots of fun.
I got a little sneak peak of this great book. It's a fun read.
Thank you for coming by and mentioning Triville.
As soon as it comes out, I"m buying it. It sounds like my kind of book.


Acclaimed British artist Diz Wallis is well known for her beautiful natural history illustrations but with her historical animal portraits she has made a detour into 'un-natural' history. Filthy Beasts, is a rogues' gallery of badly behaved beasties. Some of these villains you will recognise, others will be new to you but whether royalty or ruffian you are sure to want to know more about this motley crew.
Diz is not content with simply dressing up animals, for there is always a story behind every character and that is what makes these limited edition prints so very special. For whether it's in the glint of a eye or the curl of a feather, every detail conveys something essential about the subject. And with her astounding attention to the dirty details, the more you look at these pictures the more you will see there is to find. The intricate detailing which she adds to these portraits is reminiscent of the work of the tradition portrait painters and natural history artists who so inspired her. But Diz's unusual take on these historical animal portraits means that these contemporary fine art limited edition prints are genuinely collectable.
Filthy Beasts' award winning website (Fine Arts Trade Guild Art Business of the Year 2018), offers secure payment by PayPal or credit/debit card and fast worldwide shipping. (UK next working day, Europe 3-5 days, Rest of World 5-7 days). As a member of Art Sure each print is registered and accompanied by a certificate of authenticity giving you confidence that you are purchasing art produced to the highest quality. Each of our limited edition prints is produced to order by our Fine Art specialist printer here in the UK and dispatched directly to you. Prices start from £95 unframed (plus postage & packing).


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I had never had nor wanted a Nissan before this purchase. Have been pleasantly surprised by how well it drives and how reliable it has been.
I actually went and purchased lumber and put it in a Nissan Sedan. Desperation was met by the forward-thinking design, and I fit several 4x4x8' in aforementioned sedan.
Great looks, stylish. Great tech features. Good gas mileage. Smooth ride. Plenty of trunk space. An actual spare tire, which is rare these days. Great service at the dealership. Pretty much everything about the car is very likable.
It is a bit pricey for what it is. I don't feel as safe as I would in a larger vehicle. Interior stains easily.
2017 Nissan Maxima - My favorite car.
Acceleration and ride comfort are outstanding. Fuel efficiency is excellent, engine is superb.
We had a lot of memories with this car by going for long trip with friends.
Well-made and attractive cabin rivals for those of luxury-branded sedans. Easy to use tech controls and abundant features for the money. Sharp driving dynamics for a midsize sedan and top crash scores.
Backseat and trunk aren't very spacious.


text:
We don't have power to ban media usage — National Media Commission
Published in National News
The National Media Commission (NMC) has said it is not clothed with the law to ban any group of professionals or individuals from using the media in reaching out to the public.
However, such professionals or individuals must follow the guidelines developed by the NMC on various subject areas, including religious broadcast.
The Chairman of the NMC, Mr Yaw Boadu-Ayeboafoh, in an interview with the Daily Graphic, said self-regulation and ethical values should guide media owners in the production of media content.
Expatiating on the appearance of mallams and money doublers on the electronic media, he said the NMC could only engage media owners and not the mallams and money doublers.
He explained that in Ghana's democratic dispensation and Constitution, the word 'ban' was not in the language of the media.
Information Minister's admonition
Recently, the Minister of Information, Mr Kojo Oppong Nkrumah, petitioned two state institutions, the Bank of Ghana (BoG) and the NMC, on the activities of money doublers on television and urged the institutions to take appropriate action.
The minister, in a tweet, said: "I have written to the BoG and the NMC to take note of the activities of money doublers on TV and act appropriately to tackle it."
"The Ghana cedi, which is produced under the authority of the BoG, cannot and ought not to be duplicated," he noted, adding: "The BoG and the NMC have a responsibility to take a view on such acts on our television and act accordingly."
Mr Boadu-Ayeboafoh, in the interview with the Daily Graphic, said Article 173 of the 1992 Constitution provided that the NMC shall not exercise any control or direction over the professional functions of a person engaged in the production of newspapers or other means of communication.
In that context, he argued, until Parliament passed a specific law for the NMC to enforce, the commission would continue to engage media owners to abide by the various guidelines set by it to ensure decency on the media landscape.
He further indicated that any attempt to stop such acts would not be successful, as the courts could overturn any directive or action geared towards that.
GIBA
Mr Boadu-Ayeboafoh said the NMC could only appeal to members of the Ghana Independent Broadcasters Association (GIBA) to deny access to mallams, fetish priests and money doublers, so that they did not pollute the airwaves.
According to him, in such a situation, the commission would also include some religious broadcasts, since some of the pastors or religious leaders indulged in worse acts than the money doublers.
Unfortunately, he said, when the NMC attempted to transform its guidelines into regulations, GIBA took the commission to court.
He said the Supreme Court ruled in favour of GIBA, thereby halting the NMC's efforts to instill discipline on electronic media platforms.
Broadcasting Bill
He appealed to Ghanaians to take keen interest in the Broadcasting Bill when it was laid before Parliament.
He said it was only when the NMC was empowered by law to act on such matters as media content that it would be able to deal with abuses or ensure decency.
"So far, no law exists that empowers the NMC to enforce or regulate media content," he stressed.
"The commission doesn't have any legal backing to ban or regulate media content. What we do is mediate and call on the guilty party to render an apology," he said.
Mr Boadu-Ayeboafoh said the NMC could not take the law into its hands without any law backing it.
Source: Graphiconline
Okyenhene bans alien 'juju', shrines from Akyem jurisdiction
Western North:Don't ostracize against covid-19 survivors and relatives'- Western North Regional
Ashanti: Court overturns Offinso Traditional Council's decision; reinstates Chief.
Kumasi: Man found dead in an uncompleted building at Atwima Aburaso
Kumasi: SHS 2 student bit off lower lip of an SHS 2 student.
COVID-19: Otabil, Ghana Medical Association kick against opening of churches	' No PPE supply to EC by Government '
Our service covers predominantly local news, current affairs, musical genres, as well as covering lifestyle and interests. Daily watch is dedicated to covering the unique issues, events, personalities, and diverse cultures in the Ashanti Region and Ghana.
Opp. CSIR-Forestry Gate, Fumesua Kokobra Street, Kumasi City, Ghana
+(233) 244-830658
dailywatchgh@gmail.com
www.dailywatchgh.com


text:
package io.fabric8.gateway.api.handlers.http;

/**
 * The details of the mapping from the front end gateway to the back end service implementation so that
 * we can do things like rewrite reponse headers
 */
public class ProxyMappingDetails {
    private final String proxyServiceUrl;
    private final String reverseServiceUrl;
    private final String servicePath;

    public ProxyMappingDetails(String proxyServiceUrl, String reverseServiceUrl, String servicePath) {
        this.proxyServiceUrl = proxyServiceUrl;
        this.reverseServiceUrl = reverseServiceUrl;
        this.servicePath = servicePath;
    }

    @Override
    public String toString() {
        return "ProxyMappingDetails{" +
                "proxyServiceUrl='" + proxyServiceUrl + '\'' +
                ", reverseServiceUrl='" + reverseServiceUrl + '\'' +
                ", servicePath='" + servicePath + '\'' +
                '}';
    }

    /**
     * If a URL is relative to the back end proxy service then redirect it to be relative to the front end service
     *
     * @return the rewritten URL or the original if it does not start with the {@link #getProxyServiceUrl()}
     */
    public String rewriteBackendUrl(String backEndUrl) {
        if (backEndUrl != null && backEndUrl.startsWith(proxyServiceUrl)) {
            String remaining = backEndUrl.substring(proxyServiceUrl.length());
            if (reverseServiceUrl.endsWith("/") && remaining.startsWith("/")) {
                remaining = remaining.substring(1);
            }
            return reverseServiceUrl + remaining;
        }
        return backEndUrl;
    }

    /**
     * Returns the base URL of the back end service being invoked including the exposed path of the service.
     */
    public String getProxyServiceUrl() {
        return proxyServiceUrl;
    }

    /**
     * Returns the base URL of the front end request including the matched path.
     */
    public String getReverseServiceUrl() {
        return reverseServiceUrl;
    }

    /**
     * The full path being invoked on the back end service
     */
    public String getServicePath() {
        return servicePath;
    }
}

redpajama_set_name: RedPajamaGithub


text:
CNN Daily News News United States
مشابه Erin Burnett OutFront
The Situation Room with Wolf Blitzer
The Situation Room with Wolf Blitzer: The command center for breaking news, politics and extraordinary reports from around the world. The Situation Room airs weekdays 6p-7p Eastern, Monday through Friday on CNN. Visit CNN.com/TheSituationRoom.
CNN 5 Things
We bring you 5 stories that will get you up to speed and on with your day. Updates at 6am, 9am, 12pm, 5pm and 11pm Eastern, every weekday.
Hosted by Nosheen Iqbal and Michael Safi, Today in Focus brings you closer to Guardian journalism. Combining personal storytelling with insightful analysis, this podcast takes you behind the headlines for a deeper understanding of the news, every weekday
CBC News: The World at Six
CBC News: World at Six
روزانه+
The World at Six is your destination for coverage, context and analysis of the day's top stories. It's a showcase for the best in CBC journalism prepared by reporters in Canada and around the world.


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