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text:
Utah Jazz arena evacuated postgame due to suspicious package
Written by John Coon - Associated Press
People leave Vivint Smart Home Arena after the Utah Jazz's NBA basketball game against the Golden State Warriors on Friday, Nov. 22, 2019, in Salt Lake City. Most fans had already left the building when players, coaches and reporters were instructed to leave after a suspicious package was found following Utah's 113-109 victory over the Warriors. (AP Photo/Rick Bowmer)
SALT LAKE CITY (AP) — Minutes after an NBA game ended Friday night, the Utah Jazz's home arena was evacuated because of a suspicious package.
Salt Lake City police said the package turned out to be a toolbox, and the Jazz said employees were cleared by authorities to re-enter the building a couple of hours after the evacuation.
Most fans had already exited Vivint Smart Home Arena following Utah's 113-109 victory over the Golden State Warriors when players, coaches and reporters were instructed to leave immediately.
Not long after both coaches finished answering postgame questions from the media, a spokesman for the Jazz told reporters to exit the building due to the suspicious package. Outside, they were directed by security to leave the premises.
Utah players quickly headed for their cars in the parking lot — center Rudy Gobert was still in uniform as he left. Warriors players boarded their team bus.
Salt Lake City police Lt. Carlos Valencia said he received a call about the package from an officer working part-time at the game around 9:30 p.m. Valencia said the suspicious package looked like a shoebox and was discovered under a table behind a restaurant in the northeast corner of the arena.
"With that information, my next step was to call the bomb squad to have them come out, secure, and render the suspicious package safe," he said. "From what I was told by the officers, was that the arena K-9 bomb dogs got a hit on the package. By the time I arrived, they had already secured the area."
Valencia said the sellout crowd was already starting to leave when the evacuation began.
"We wanted to take all precautions necessary because public safety is paramount to us," he said.
In a statement, the Jazz said Salt Lake City police issued an "all-clear" at 11:32 p.m., and employees were permitted to re-enter the building to prepare for Saturday night's Jazz home game.
"Guest safety is the top priority at Vivint Smart Home Arena. At the conclusion of the Utah Jazz-Golden State game, an employee noticed an unattended package on the main concourse. Upon further examination, it was concluded that we would enact our emergency action plan. Security was promptly alerted and guests were diverted away from the area and cleared from the arena. Salt Lake City Police Department assumed control of the situation, executing its suspicious package protocol," the Jazz said.
"We would like to thank fans for their attention and cooperation, as well as the Salt Lake City Police Department for their responsiveness and partnership."
Posted in News, StateTagged Salt Lake City Police, Utah Jazz, Vivint Smart Home Arena
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Gioacchino Antonio Rossini (February 29, 1792 – November 13, 1868) was an Italian musical composer who wrote more than 30 operas as well as sacred music and chamber music. His best known works include Il barbiere di Siviglia (The Barber of Seville), and Guglielmo Tell (William Tell (opera))—the end of the overture is popularly known for being the theme song for The Lone Ranger.
Rossini was born into a family of musicians in Pesaro, a small town on the Adriatic coast of Italy. His father Giuseppe was a horn player and inspector of slaughterhouses, his mother Anna a singer and baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's band.
Rossini's father was sympathetic to the French, and welcomed Napoleon I of France's troops when they arrived in Northern Italy. This became a problem when in 1796, the Austrians restored the old regime. Rossini's father was sent to prison and his wife took her son to Bologna, earning her living as lead singer at various theatres of the Romagna region, where she was ultimately joined by her husband. During this time, he was frequently left with his aging grandmother, who was unable to control the boy.
He remained in Bologna in the care of a pork butcher, while his father played the horn in the bands of the theatres at which his mother sang. The boy had three years instruction in the harpsichord from Prinetti of Novara, but Prinetti played the scale with two fingers only, combined his musical profession with the liquor business, and fell asleep while he stood, so that his critical pupil ridiculed him.
He was taken from Prinetti and apprenticed to a smith. In Angelo Tesei he found a congenial master, and learned to sight-read, to play accompaniments on the piano forte, and to sing well enough to take solo parts in the church when he was ten years of age. At 13, he appeared at the theatre of the Commune in Paër's Camilla — his only public appearance as a singer (1805). He was also a capable horn player in the footsteps of his father.
In 1807, the young Rossini was admitted to the counterpoint class of Padre P. S. Mattei, and soon after to that of Cavedagni for the cello, at the Conservatorio of Bologna. He learned to play the cello with ease, but the pedantic severity of Mattei's views on counterpoint only drove the youngster toward a freer school of composition. His insight into orchestral resources is generally ascribed to knowledge gained independently while scoring the quartets and symphonies of Joseph Haydn and Wolfgang Amadeus Mozart. At Bologna he was known as "il Tedeschino" ("the Little German") on account of his devotion to Mozart.
Through the friendly interposition of the Marquis Cavalli, his first opera, La Cambiale di Matrimonio, was produced at Venice when he was a youth of 18. Two years earlier, he had received the prize at the Conservatorio of Bologna for his cantata Il pianto d'Armonia sulla morte d'Orfeo. Between 1810 and 1813, at Bologna, Rome, Venice, and Milan, Rossini produced operas of varying success. All memory of these works is eclipsed by the enormous success of his opera Tancredi.
The libretto was an arrangement of Voltaire's tragedy by A. Rossi. Traces of Paër and Giovanni Paisiello were undeniably present in parts of the music. Appreciation of such melodies as "Di tanti palpiti...Mi rivedrai, ti rivedrò," became so popular that Italians would sing it in crowds at the law courts, until called upon by the judge to desist.
Rossini continued to write operas for Venice and Milan during the next few years, but their reception was tame after the success of Tancredi. In 1815, he retired to his home at Bologna, where Barbaja, the impresario of the Naples theatre, concluded an agreement with him by which he was to take the musical direction of both the Teatro San Carlo and the Teatro Del Fondo at Naples, composing for each of them one opera a year. His payment was to be 200 ducats per month. In addition, he was to receive a share of Barbaja's other business, popular gaming-tables, amounting to about 1000 ducats annually. This was an amazingly lucrative arrangement for any professional musician at that time.
Some older composers in Naples, notably Nicolo Antonio Zingarelli and Giovanni Paisiello, were inclined to plot against the success of the youthful composer; but hostilities were made futile by the enthusiasm which greeted the performance of his Elisabetta regina d'Inghilterra, in which Isabella Colbran, who subsequently became the composer's wife, took a leading part. The libretto of this opera by Schmidt, was in many of its incidents an anticipation of Sir Walter Scott's Kenilworth. The opera was the first in which Rossini wrote the ornaments of the airs instead of leaving them to the fancy of the singers, and also the first in which the "recitativo secco" was replaced by a recitative accompanied by a string quartet.
In Il barbiere di Siviglia, produced in the following year in Rome, the libretto, a version of Beaumarchais' Barbier de Seville by Sterbini, was the same as that already used by Giovanni Paisiello in his own Barbiere. This was an opera which had enjoyed European popularity for more than a quarter of a century. Paisiello's admirers were extremely indignant when this opera was produced, but it was so successful that the fame of Paisiello's opera was transferred to his, with the title of Il barbiere di Siviglia used as an inalienable heritage.
Between 1815 and 1823 Rossini produced 20 operas. Of these, Otello formed the climax to his reform of serious opera, and offers a suggestive contrast with the treatment of the same subject, at a similar point of artistic development, by the composer Giuseppe Verdi. In Rossini's time, the tragic close was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to Otello.
Conditions of stage production in 1817 are illustrated by Rossini's acceptance of the subject of Cinderella for a libretto only on the condition that the supernatural element should be omitted. The opera La Cenerentola was as successful as Barbiere. The absence of a similar precaution in the construction of his Mosè in Egitto led to a disaster in the scene depicting the passage of the Israelites through the Red Sea. When the defects in stage contrivance always raised a laugh, the composer was at length compelled to introduce the chorus "Dal tuo stellato Soglio" to divert attention from the dividing waves.
In 1822, four years after the production of this work, Rossini married singer Isabella Colbran. In the same year, he directed his Cenerentola in Vienna, where Zelmira was also performed. After this he returned to Bologna, but an invitation from Prince Metternich to come to Verona, Italy and "assist in the general re-establishment of harmony" was too tempting to be refused. He arrived at the Congress in time for its opening on October 20, 1822. Here he made friends with François-René de Chateaubriand and Dorothea Lieven.
In 1823, at the suggestion of the manager of the King's Theatre, London, he came to England, being much fêted on his way through Paris. In England he was given a generous welcome, which included an introduction to King George IV and the receipt of £7000 after a residence of five months. In 1824, he became musical director of the Théatre Italien in Paris at a salary of £800 per annum, and when the agreement came to an end he was rewarded with the offices of Chief Composer to the King and Inspector-General of Singing in France, to which was attached the same income. At the age of 32, Rossini was able to go into semi-retirement with financial independence.
The production of his Guillaume Tell in 1829 brought his career as a writer of opera to a close. The libretto was by Victor Joseph, Etienne de Jouy, and Hippolyte Bis, but their version was revised by Armand Marrast. The music is remarkable for its freedom from the conventions utilized by Rossini in his earlier works, and marks a transitional stage in the history of opera. Though a very good opera, it is rarely heard uncut today, as the original score runs more than four hours in performance.
In 1829, he returned to Bologna. His mother had died in 1827, and he was anxious to be with his father. Arrangements for his subsequent return to Paris were upset by the abdication of Charles X of France and the July Revolution of 1830. Rossini, who had been considering the subject of Faust for a new opera, returned, however, to Paris in the November of that year.
Six movements of his Stabat Mater were written in 1832 and the rest in 1839, the year of his father's death. The success of the work bears comparison with his achievements in opera, but his comparative silence during the period from 1832 to his death in 1868 makes his biography appear almost like the narrative of two lives — the life of swift triumph, and the long life of seclusion. Here biographers give us pictures in stories of the composer's cynical wit, his speculations in fish culture, his mask of humility and indifference.
His first wife died in 1845, and political disturbances in the Romagna area compelled him to leave Bologna in 1847, the year of his second marriage with Olympe Pélissier, who had sat for Horace Vernet for his picture of Judith and Holofernes. After living for a time in Florence, he settled in Paris in 1855, where his house was a centre of artistic society. He died at his country house at Passy on November 13, 1868 and was buried in Père Lachaise Cemetery in Paris, France. In 1887 his remains were moved to the church of Santa Croce in Florence, where they now rest.
In Rossini's genre bel canto does not simply mean "beautiful singing." It can be described as the particular art of voice production where the distinctive timbres of the classical Italian school of singing can be achieved. In this, singers acquired a unique ability to develop as outstanding soloists. The unusual timbres and limpid production that they made, together with their messa di voce and coloratura, made their operatic arias internationally famous. The tuition of bel canto was not based on any special theoretical method. The maestri, were themselves expert performers. They instructed their pupils in the way that they had learned, by trial and error and until their pupils were able to achieve the right vocal quality. As they did not make their art explicit, the maestri were suspected of using their method to protect a professional secret.
For Renee Flemming (American diva) bel canto represents the culmination of all the elements of great singing. To the sense of line and beauty of tone required bel canto brings extended range and fiery coloratura. It also asks the artist to plumb every emotional depth to flesh out characters that are often loosely drawn. It has real structure and demands the exercise of good taste but within these rules there is an exhilarating and creative freedom.
"Mr. Wagner has beautiful moments but bad quarters of an hour." Typical of Rossinis' witicisms.
In his compositions, Rossini plagiarized even more freely from himself than from other musicians, and few of his operas are without such admixtures frankly introduced in the form of arias or overtures.
A characteristic mannerism in his orchestral scoring earned for him the nickname of "Monsieur Crescendo."
"Wait until the evening before opening night. Nothing primes inspiration more than necessity, whether it be the presence of a copyist waiting for your work or the prodding of an impresario tearing his hair. In my time, all the impresarios of Italy were bald at 30. . . .
I wrote the overture of Otello in a small room of the Palazzo Barbaja, where the baldest and rudest of directors had shut me in.
I wrote the overture of the Gazza Ladra the day before the opening night under the roof of the Scala Theatre, where I had been imprisoned by the director and secured by four stagehands.
For the Barbiere, I did better: I did not even compose an overture, I just took one already destined for an opera called Elisabetta. Public was very pleased."
His music is associated with the names of the greatest singers in lyrical drama, such as Tamburini, Mario, Rubini, Delle Sedie, Albani, Grisi, Patti and Christina Nilsson. Marietta Alboni was one of his pupils.
Shortly after Rossini's death, Giuseppe Verdi suggested that all Italian musicians should assemble a Requiem in honor of the master opera composer and conductor and began the effort by submitting the "Libera me." Until the next year a Requiem for Rossini was compiled; however, this work was never performed at Verdi's lifetime. Helmuth Rilling premiered the complete Messa per Rossini 1988 in Stuttgart.
↑ His first name is usually spelled as Gioacchino but currently the Rossini Foundation uses in its pages five times Gioachino, five times "Rossini," and three times "G. Rossini." In its name, however, the foundation calls itself "Gioacchino Rossini" once (in its name immediately after the name of the composer), "G. Rossini" once, and "Fondazione Rossini" three times, including when giving its address.
↑ The Foundation, fondazionerossini.org. Retrieved February 7, 2008.
"Home Page" – Fondazione G. Rossini.
"Home Page" – Rossini Opera Festival.
"Gioacchino Rossini" – Classic Cat.


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text:
\section{Studies of Active Galactic Nuclei with VLBI}
In recent years, our view on AGN has changed from being radio-dominated to multi-wavelength.
With the performance of extensive surveys in different wavebands (e.g. SDSS, deep X-ray surveys),
the starting of the operation of new earth- and ground-based telescopes (e.g. VLTI, CHANDRA, HESS),
and the advent of fascinating powerful new observational possibilities like SKA, ALMA, and GLAST in
the forseeable future, extragalactic astrophysics is faced with unprecedented possibilities for
research. Different aspects of astrophysics -- formerly strictly separated -- now fruitfully combine
and provide us with new insights into evolutionary processes in our universe. Active galacti nuclei,
the growth of the black holes and their evolution within the surrounding galaxies might closely be
connected with the evolution of the universe itself. An association between galaxy interactions and
AGN (e.g. Bahcall et al. \cite{bahcall}) seems to be likely although the details of a possible
AGN-activity cycle are not yet proven. However, it seems possible that e.g. quasar hosts involved
in recent collisions are not only common, but perhaps ubiquitous. It has been speculated that
super-massive black holes (SMBH) may be fed or even formed in galaxy-merging events (e.g.
Kauffmann \& Haehnelt \cite{kauffmann}). \\
Investigating the {\it AGN-phase} requires combining deep interferometric monitoring of the
radio jets with continuous observations of the flux-density evolution across the wavelength regime
in order to locate the emission regions.\\

\subsection{Pc-scale jets}
In recent years observers have made great progress in mapping (with interferometric techniques)
the morphologies and the evolution of jets in AGN from cm- down to mm-wavelengths and measuring
the emission over a wide range of luminosities which presently cover eight orders of magnitude.
Dedicated campaigns for prototypical objects (e.g. Mkn\,421, 3C\,279, S5\,0716+71) have combined
simultaneous observations across the wavelength regimes with detailed VLBI monitoring of the
structural evolution. Approaches to also obtain statistically valid kinematic fundamentals for
AGN led to major surveys, such as the 2cm survey (e.g. Kellermann et al. \cite{kellermann}),
and the CJF survey at 6cm wavelength (Britzen et al. \cite{cjf}). A comparison of the results
of the two surveys suggests higher average apparent velocities in the jets of AGN with higher
observing frequencies (Jorstad et al. \cite{jorstad}, Kellermann et al. \cite{kellermann},
Britzen et al. \cite{cjf}). In addition to the observed faster apparent motions, bending seems
to be more pronounced at higher frequencies (e.g. Britzen et al. \cite{nullvier}). Despite the
wealth of kinematic information derived so far, it is still unclear how the kinematic properties
at different radio frequencies are related. \\
In a growing number of jets upstream motions, slow moving and quasi-stationary components trailing
superluminal features have been observed (e.g. G$\acute{o}$mez et al. \cite{gomez}; Kellermann et al.
\cite{kellermann}; Britzen et al. \cite {cjf}). Relativistic hydrodynamic simulations of jets
explain these as a complex combination of phase motions and interactions between perturbations
and the underlying jet and/or ambient medium. Jet components should no longer be regarded as related
to fluid bulk motions alone, and {\it component} motions depend on the angular resolution with which
the jet is observed, since different beam sizes probe different jet structures. The proper
identification of phase motions requires high time sampling of the jet emission structure. Sparse
time sampling fails to detect e.g. reconfinement shocks as in 1803+784 (Britzen et al. \cite{mnras}).
Curved jet structures and ``wiggling'' jets seem to be the rule and straight jets the minority
(e.g. Britzen et al. \cite{cjf}). Some of the bent jets seem to result from helical structure and
components are ejected at different position angles with time. A precessing jet nozzle is capable
of explaining these observations and can result from different physical mechanisms, such as a
precession of the accretion disk (e.g., Linfield \cite{linfield}) or fluid-dynamical instabilities
in the interface between the jet material and the surrounding medium (Hardee \cite{hardee} and ref.
therein). Disk precession can be driven by a companion super-massive black hole or another massive
object (Stirling et al. \cite{stirling}). Alternative possibilities include the precession of the
disc as an intrinsic property of the accretion system (Lai \cite{lai}; Liu \& Melia \cite{liu}).
Models of super-massive binary black holes provide an attractive scenario to explain the observed
properties based on our current concept of hierarchical structure formation in the universe as shown below.

\subsection{Curved jet structures and Binary Black Holes}
The expected frequent mergers of galaxies over the course of their formation and cosmological evolution
must lead to the formation of super-massive binary black holes (e.g. Milosavljevic \& Merritt \cite{milos}).
The observation of a luminous accreting binary AGN in the merging galaxy NGC 6240 (Komossa et al.
\cite{komossa}) can provide an important test of this scenario. Black hole binary mergers could be
responsible for many or most quasars according to Gould \& Rix \cite{rix}. Detecting more such binary
systems is therefore of great interest for key topics in astrophysics ranging from galaxy formation to
activity in galaxies. Here, the expected number of systems based on hierarchical galaxy merger models
and activity models is large (up to 40\% of bright ellipticals, Haehnelt \& Kauffmann \cite{haehnelt}).
In accordance with other independent groups we presented evidence that these systems can be identified
by periodicities observable in different wavelength regimes, e.g., repeated flares in the light curves
(e.g. optical, X-rays, $\gamma$-rays), and helicities in the motions in radio jets as derived from the
curvature of jet motions (e.g. Britzen et al. \cite{jacques}, Lobanov \& Roland \cite{lobanov}).

\subsection{The unknown}
Despite much observational effort and success in cm- and mm-VLBI, impressive progress in theoretical
modeling and simulations of magnetohydrodynamical jets, several questions concerning the black
hole/jet connection remain unsolved:\\
- how are the powerful radio jets of AGN launched?\\
- where is the foodpoint of the jet and how can we detect it?\\
- what is the relation between accretion disk, black hole, magnetic fields and winds?\\
- what is the spin of a black hole (Sgr A* in particular)?\\
- does the spin of the black hole influence the radio jet?\\

\noindent
With future VLBI experiments we can hope to address at least some of these questions.

\section{mm-VLBI: current status and challenges}
Very Long Baseline Interferometry at millimeter wavelengths (mm-VLBI)
allows to image compact galactic and extragalactic radio sources
with micro-arcsecond resolution, unreached by other astronomical observing techniques.
Future global VLBI at short millimeter wavelengths therefore should allow to map
the direct vicinity of the super-massive black holes located at the centers
of nearby galaxies with a spatial resolution of only a few to a few ten gravitational radii.
With the lower intrinsic self-absorption at these short wavelengths, mm-VLBI opens
a direct view onto the often jet-producing "central engine".\\
In the following we report on new developments in mm-VLBI, with emphasis on
experiments performed at the highest frequencies possible to date.
We demonstrate that global VLBI at 150 and 230 GHz now is technically feasible
and yields source detections with an angular resolution as high as $25 - 30 \mu$as.
The combination of the existing mm-/sub-mm telescopes
with future telescopes (e.g. APEX, SMA, CARMA, ALMA, LMT, etc.) will
improve present day imaging capabilities by a large factor. Within the next
decade, one therefore could expect direct images of galactic and extragalactic
(super-massive) black holes and their emanating outflows.\\

\subsection{Imaging the Jet Base of M87 with 20 ${\bf R_{\rm S}}$}
The Global mm-VLBI Array (GMVA)\footnote{web link: http://www.mpifr-bonn.mpg.de/old\_mpifr/div/vlbi/globalmm}
is operational since early 2000. At 86\,GHz ($\lambda=3.5$\,mm), it combines the European antennas
(Effelsberg 100\,m, Pico Veleta 30\,m, the phased Plateau de Bure Interferometer 6x15\,m, Onsala
20\,m, Mets\"ahovi 14\,m) with the VLBA. With the participation of the two sensitive IRAM telescopes
and the 100\,m Effelsberg telescope, the array sensitivity is improved by a factor of $3-4$, when
compared to the VLBA alone. For compact galactic and extragalactic radio sources, the GMVA provides
VLBI images with an angular resolution of up to $40$\,$\mu$as. As an example, we show in Fig.
\ref{m87} a new global-VLBI image of the inner jet of M87 at 86\,GHz (taken from Krichbaum et al.
\cite{krich5}).  At a distance of 18.7 Mpc, the angular resolution of $300 \times 60$\,$\mu$as
corresponds to a spatial scale of 30 $\times$ 6 light days, or 100 $\times$ 20 Schwarzschild-radii
(assuming 3 $\times$ $10^6$ $\rm{M}_\odot$ for the SMBH). The existence of a fully developed jet
on such small spatial scales gives important new constraints for the theory of jet formation
and may even indicate rotation of the central SMBH (via comparison with the width of the light
cylinder).\\
\begin{figure}[t]
\includegraphics[bb=50 185 470 625,clip=,angle=-90,width=.4\textwidth]{m87b.ps}
\hspace{1cm}\begin{minipage}[t]{6cm}
\vspace{0.3cm}
\caption{\label{m87} VLBI image of M87 (3C\,274) obtained in April 2003 at 86 GHz with the Global mm-VLBI
Array (Krichbaum et al. \cite{krich5}).  Contour levels are -0.5, 0.5, 1, 2, 4, 8, 16, 32, and 64 \% of
the peak flux of 0.79 Jy/beam. The beam size is 0.30 x 0.06 mas, pa=-6.3$^\circ$. The identification of the
easternmost jet component as VLBI core or as part of a counter-jet is still uncertain.}
\end{minipage}
\end{figure}

\subsection{VLBI observations of Sgr\,A* at 3, 2, and 1\,mm wavelength}
With VLBI at centimeter wavelengths, the compact radio source Sgr\,A* in the center of our Galaxy
exhibits a scatter-broadened point like image. Above $\lambda \geq 1.3$\,cm, Sgr\,A* appears
stationary, i.e. non-variable with time (e.g. Alberdi et al. \cite{alberdi}; Lo et al. \cite{lo93};
Lo et al. \cite{lo98}; Marcaide et al. \cite{marcaide}, and references therein). Early VLBI observations
at  $\lambda =7$\,mm gave first hints that towards shorter wavelengths the source structure may be
resolved and that the measured source size is larger than the scattering size (Krichbaum et al.
\cite{krich92}). Better 7\,mm VLBI experiments, performed with more stations and higher sensitivity,
now confirm an elliptical, point-like brightness distribution, with the major axis of the ellipsoid
being slightly larger than the scattering size (Lo et al. \cite{lo98}, Bower et al. \cite{bower}).
Since interstellar scattering effects vanish towards shorter wavelengths, VLBI observations at short
millimeter wavelength provide the unique opportunity to image the `underlying' and from scintillation
not affected, {\it intrinsic} source structure.\\

\noindent
{\bf Results at 3\,mm:}
From the early 1990's onwards, Sgr\,A* was repeatedly observed with VLBI at 3.5\,mm (86\,GHz) in
various array configurations, using European, American and global VLBI arrays (Krichbaum et al.
\cite{krich94}; Rogers et al. \cite{rogers}; Doeleman et al. \cite{doeleman}; Shen et al. \cite{shen}
and reference therein). In Fig. \ref{sgra97} we show one of the early maps obtained from global VLBI
at 86\,GHz, which reveals a partially resolved point source, similar to the recently published VLBA
image (Shen et al. \cite{shen}).
\begin{figure}[t]
\begin{minipage}{18pc}
\includegraphics[width=18pc,angle=-90]{3mmapr97new.epsi}
\end{minipage}
\begin{minipage}[h]{14pc}
\caption{\label{sgra97}Probably the first 86\,GHz VLBI image of Sgr\,A*, as observed in April 1997 (image
from Krichbaum et al.~\cite{krich6}). The participating antennas are: Effelsberg (100\,m), Pico Veleta (30\,m),
Haystack (37\,m), Quabbin (14\,m), Pie Town (25\,m), Kitt Peak (12\,m), Owens Valley (5 x 10\,m). A circular
Gaussian parameterizes Sgr\,A* with flux density $S=1.73 \pm 0.25$\,Jy and size $\theta=0.28\pm0.08$\,mas.}
\end{minipage}
\end{figure}
At mm-wavelengths, the accurate determination of flux density and size is often affected by calibration
uncertainties (low source elevation on the northern hemisphere, atmospheric opacity variations). This
requires special observing and calibration methods. In parallel to the ongoing research with the VLBA
(see Shen et al. \cite{shen}), we have continued to observe Sgr\,A*, using the sensitive and large
antennas at MPIfR (Effelsberg 100\,m telescope) and at IRAM (Pico Veleta 30\,m, Plateau de Bure 6 $\times$ 15\,m).
With baseline lengths in the range of $\sim 750 - 1700$\,km, and a detection sensitivity of $\sim 50$\,mJy
($7\sigma$, 512 Mbit/sec) per baseline, this array measures the visibility amplitudes and (closure-)
phases with particular high $\rm{SNR}$ (in October 2005, Sgr\,A* was detected with $\rm{SNR} \leq  96$).
The measured sizes obtained with this European mm-VLBI array agree well with similar results obtained
at the VLBA and show a point source (zero closure phase) with a FWHM size in the range of $\sim \theta=0.2\pm 0.05$\,mas,
clearly indicating that at 86\,GHz ($\lambda=3.5$\,mm) the source is larger than the extrapolated scattering
size (see Fig. \ref{size}, see also Krichbaum et al. \cite{krich6}).  \\
\begin{figure}[h!]
\begin{center}
\includegraphics[width=23pc,angle=-90,bb=64 39 567 705,clip=]{size_sgr.epsi}
\caption{\label{size}Angular size of Sgr\,A* plotted versus wavelength. The line denotes a fit
($a \lambda^\beta$), excluding the short wavelengths $\lambda \leq 7$\,mm, which are not affected by
interstellar scattering. The fit parameters $a$, $\beta$ are given inside the figure. Published 3\,mm
measurements are plotted as open squares, new 3\,mm data (Krichbaum et al. \cite{krich6}) by open
circles. New measurements at 2\,mm (shaded triangle, an upper limit) and 1.4\,mm (diamond) are also shown.}
\vspace*{-1.3cm}
\end{center}
\end{figure}

\noindent
{\bf Results at  2\,mm and 1\,mm:}
VLBI observations at wavelengths shorter than 3\,mm are still difficult and are limited
by the number of available radio telescopes and their sensitivity. In a pilot VLBI experiment
at 147\,GHz (2\,mm), Sgr\,A* was detected with a signal-to-noise ratio of $\sim 7$ on the
short (85\,M$\lambda$) baseline between the Arizona telescopes Kitt Peak (KP, 12\,m) and the
Heinrich-Hertz telescope (HHT, 10\,m) (Krichbaum et al. \cite{krich2}). This detection
resulted in an upper limit of the size of $\leq 0.7$\,mas, fully consistent with the measured
sizes at 3\,mm and 1.4\,mm. So far, all attempts to observe Sgr\,A* with global VLBI at
wavelengths shorter than 2\,mm failed mainly due to weather and technical problems. This
leaves the 1.4\,mm VLBI observation performed in March 1995 with the two IRAM telescopes
still as the only one, in which Sgr\,A* was detected in the 1\,mm band (Krichbaum et al.
\cite{krich98}). Based on a more accurate knowledge of the total flux density at 215\,GHz,
Krichbaum et al. \cite{krich6} derived a new value of the source size: $\theta = (110 \pm 60)
\mu$as. This corresponds to a linear size of only $R_{S} = 11 \pm 6 $ Schwarzschild radii.
The size measurements at 2\,mm and 1.4\,mm are shown in Fig. \ref{size}. It is obvious that
future 2\,mm and 1\,mm VLBI experiments are necessary, to confirm these
results and provide more accuracy. If Sgr\,A* can be detected with 1\,mm-VLBI on long,
inter-continental baselines, images of its intrinsic structure will be made with a spectacular
angular resolution of only a few Schwarzschild radii.

\section{State of the art: VLBI at 2 and 1\,mm}
A convincing demonstration of the feasibility of VLBI at wavelengths shorter than 3\,mm was made
at 2\,mm (147\,GHz) in 2001 and 2002 (Greve et al. \cite{greve}; Krichbaum et al. \cite{krich2}).
These first 2\,mm-VLBI experiments resulted in detections of about one dozen quasars on the short
continental and long transatlantic baselines (participating telescopes: Pico Veleta - Spain;
Mets\"ahovi - Finland; Heinrich-Hertz and Kitt Peak telescope - Arizona, USA). A big success
was the detection of 3 quasars on the 4.2\,G$\lambda$ long transatlantic baseline between Pico Veleta
and the Heinrich-Hertz Telescope: NRAO150 (SNR=7), 1633+382 (SNR=23) and 3C\,279 (SNR=75) (Krichbaum et al. \cite{krich2}).
Motivated by this success, the observations were repeated in April 2003, this time at 1.3\,mm (230\,GHz)
(Krichbaum et al. \cite{krich4}). Now also the phased IRAM interferometer on Plateau de Bure (France) participated.
On the 1150\,km long baseline between Pico Veleta and Plateau de Bure the following sources were
detected: NRAO\,150, 3C\,120, 0420-014, 0736+017, 0716+714, OJ\,287, 3C\,273, 3C\,279, and BL\,Lac.
On the 6.4\,G$\lambda$ long transatlantic baseline between Europe and Arizona fringes for
the quasar 3C\,454.3 (SNR=7.3) were clearly seen. For the BL\,Lac object 0716+714, however, only a
marginal detection (SNR=6.8) was obtained. These transatlantic detections
mark a new record in angular resolution in Astronomy (size $< 30 \mu$as). They indicate
the existence of ultra compact emission regions in AGN even at the highest frequencies
(for 3C\,454.3 at z=0.859, the rest frame frequency is 428\,GHz). So far, we find no evidence for
a reduced brightness temperature of the VLBI-cores at mm-wavelengths, however some variability is
possible.

\noindent
\section{Future prospects: Approaching the Black Hole}
In order to approach the black hole, the angular resolution will have to be increased even further.
The angular resolution of radio interferometric observations can be improved either by increasing the
separation between the radio telescopes (longest baseline), or by observing at shorter wavelengths. We
describe both attempts for the future in the following.\\
\begin{figure}[t!]
\begin{center}
\hspace*{-4.3cm}
\begin{minipage}{17pc}
\includegraphics[width=17pc,angle=-90]{sgr1mm-vis.epsi}
\includegraphics[width=17pc,angle=-90]{close.epsi}
\end{minipage}
\caption{\label{1mmvis} Simulated visibility amplitudes (top) and closure phase (bottom) for a future
1.3\,mm VLBI experiment on Sgr\,A* with the following telescopes: Pico Veleta (Spain), Plateau de Bure
(France), CARMA (California), SMA (Hawaii), HHT (Arizona) and APEX (Chile). For the simulation, a circular
Gaussian of 2.5\,Jy and $\sim 25$\,$\mu$as FWHM size was assumed.}
\end{center}
\end{figure}

\subsection{mm-VLBI: new telescopes}
Good quality micro-arcsecond resolution VLBI images of the nuclei of galaxies will require an
increased array sensitivity and better uv-coverage.
The ongoing development towards observations with much larger bandwidths (several Gbits/s),
and for instantaneous atmospheric phase corrections and coherence prolongation (e.g. via water
vapor radiometry), will further enhance the sensitivity. For sources near the celestial equator and
below (e.g. Sgr\,A*), antennas in the south of Europe and on the southern hemisphere will play an important
role. At 86\,GHz, the addition of Noto, the new 40\,m telescope at Yebes, and the
Sardinia Radio telescope (D=64\,m) would nicely extend the uv-coverage to the south, largely improving the
imaging capabilities of the GMVA. At higher frequencies ($ > 150$\,GHz), new telescopes like APEX (and later
ALMA) located in the southern hemisphere and phased interferometers operating as single VLBI antennas
(PdB, CARMA, SMA) are crucial to provide the necessary resolution and sensitivity for observing
the 'shadow' of the super-massive BH in the galactic center Sgr\,A*. To illustrate this, we show in Fig. \ref{1mmvis}
simulated visibility amplitudes and closure phases for a not unrealistic future VLBI observation
of Sgr\,A* at 230\,GHz. With such an experiment one may hope to detect possible deviations of the source
from circular symmetry, as expected for a rotating Kerr black hole.

\subsection{Space-VLBI}
At cm-wavelengths, VLBI with orbiting radio antennas (so called space-VLBI) has revealed high quality
images with an angular resolution 3-4 times higher than achievable by earth-bound VLBI.
One major highlight of the HALCA (VSOP) project certainly is the ability to resolve
prominent quasar jets also in transverse direction (e.g. 3C\,273: Lobanov \& Zensus \cite{zensus};
0836+714: Lobanov et al. \cite{lobanov6}), which facilitated a detailed study of jet propagation and
jet internal processes, like i.e. the development of instabilities. Another important aspect is the
detection of complex and variable polarization structure, as e.g. seen in 5 GHz VSOP maps of the IDV
source 0716+714 (Bach et al. \cite{bach}). When extended to shorter wavelengths (higher frequencies)
space-VLBI experiments, like the planned VSOP2 mission, will provide even higher angular resolution.
At 43 GHz, the angular resolution of VSOP 2 will be of order of a few ten micro-arcseconds,
closely matching the angular resolution from future ground based mm-VLBI at 230 GHz. Images
obtained at different frequencies and with matched angular resolution, will lead to a determination of the spectral
properties of compact regions, otherwise not observable. Combined with polarimetric imaging
from space and ground, we could hope to obtain definite answers to the question of how jets are
created and accelerated.

\end{singlespace}
\bigskip

\begin{small}

redpajama_set_name: RedPajamaArXiv


This is the foundational work of Authentic Golf. Everything we are about flows out of the concepts found within these pages. If ever there was a golf instruction book that blew the status quo of golf teaching right off its hinges, this is it. Different in concept, scope and implementation, The Blueprint gives you a golf swing construction project with teeth, and your very own "site foreman" to make sure you are sticking to the specifications.
The "twilight zone" of golf Instruction.
I don't have video capability - I don't want to hassle with video - I don't want the video checkpoint service...etc. Can I still buy the book?
No problem! The book only option allows you to purchase the book for $35, without the video checkpoints. If you decide later you need a checkpoint, you can purchase one for $10 (reg price $25).
Actually, the best time to make improvements to your golf swing is when you are taking time off from playing. But really, ANY time is a good time to get started. It is a challenge to work on your swing during the middle of your playing season, as you have a tendency to try and incorporate the things you are working on into your play. The results often aren't good because the improvements haven't "taken" yet. It is better to take some time off from playing to focus exclusively on developing sound habits that can then be taken to the course once complete. For those that live in areas with a fixed golf season, my system is perfect for the winter layoff. Heck, you can even do the first two exercises in your living room during commercials while watching the game, or um…desperate housewives, or whatever!
I'm not a "computer type person", and prefer to have something printed – a hard copy. Is that available?
Absolutely! Remember the book is delivered electronically as a standard PDF file, so you can print it easily on any printer right from your PC. If that isn't an option, contact me and I will give you a quote to print and ship you a spiral bound printed copy. Since I do not have a volume printing contract yet, and with all the color photos, the cost of printing individual copies will be high. Your purchase price will be the cost of the book, plus the cost of printing and shipping. I will add $8 to these costs (I will send you the receipts from the printing contractor) and that will be your price.
You say there is no need for a golf range or course – How does the learning take place without hitting balls?
Very well actually! The way we learn a motion doesn't change because it is a golf swing. The motions required to hit a golf ball long and straight simply must be practiced enough times so that they are ingrained. Your body and mind doesn't care whether there is a ball or not. Most golfers are too "ball oriented". When balls are hit during the swing acquisition process, the "result" is often not what we like. The player then becomes distracted by all manner of "unsuccessful" golf shots. Other disciplines like the martial arts, dancing, or playing guitar understand the importance of learning proper TECHNIQUE first, before "going live". Removing the ball from the first critical stages of learning means the student is totally focused on the correct positions and motion. A side benefit of this is that the bulk of the learning can take place right in your own home or backyard. This eliminates the time and expense of going to the range!
What makes your book/learning system different?
We are designed by our Creator to learn all motor activity in a certain optimized way. The mechanisms and structure for learning new skills and habits is the same no matter whether we are learning to walk, tie our shoes, rappel down a cliff, snow board or swing a golf club. This is the system I use. The system I teach allows ingraining the correct positions and moves so that eventually you can do them without having to think about them. At the same time you are learning how to engage the subconscious to execute the habits that you have stored at the subconscious level. I know of no other golf swing instruction that brings the physical and mental parts of learning the swing together the way I do. By providing video checkpoints throughout the learning phase, mistakes are eliminated before they become ingrained. I know of no other system where this checkpoint service is provided at such a reasonable price.
How does the video checkpoint service (VPS) work? What's the process?
How can you guarantee your instruction? I've never heard of a golf instructor that does that.
I guarantee my instruction because I know my students will get better. The only way they will not get better is if they do not follow my instruction. Despite what many "pros" would have you believe, improvement in golf is easy to measure. You either hit the ball better or you don't, chip closer to the hole or not, sink more putts than before, or not. But improvement doesn't come without work. If someone doesn't apply what I teach, they won't improve. Thanks to video and the unique characteristics of The Blueprint system, it is also easy to determine who has applied the teaching correctly and who hasn't.
How does the guarantee work? What are the terms of the guarantee?
The guarantee is available to anyone that purchases the full subscription option, and is valid for 18 months from the date of purchase. I want to make sure that you give yourself and my instruction an honest chance. One of the biggest obstacles people face when embarking on a golf improvement program is what I call the "tip of the day syndrome". We try a tip, or take some lessons, or try a new swing method in the hopes of improving. When it doesn't happen in the time frame we expect, we declare "it doesn't work" and move on to the next thing. Wash, rinse and repeat over and over! I will not allow that to happen with my students. I KNOW my instruction works…if it is followed. I also know when someone isn't "working my instruction". To see positive changes that will last a lifetime will take time and effort. But if after 18 months of following The Blueprint, having utilized all your check points and completed The Blueprint, and you still haven't improved, I will refund your money.
How long will it take to have "a swing I will never forget"?
That's what we all want to know isn't it? In our "instant gratification" society we all want to have whatever it is we want immediately and this includes golf improvement. But the fact is lasting changes take time. Some take more time, some take less time. It takes as long as it takes. The better question to ask is "If it takes you1-3 years to build a swing and game that will allow you to shoot 70's golf the rest of your life, would it be worth it?" However, you will see some improvement along the way as you progress through the program.
What are your credentials? Are you a PGA pro? Why haven't I heard of you?
This is a commonly asked question and it deserves an honest response. For someone that needs a teacher that "has credentials" I have no good answer that will satisfy them. Go find yourself a PGA teaching pro, buy a book on the swing written by a famous player, or sign up for one of the $1,000 golf schools. My credentials are simply this – that which you will learn. It is the same program this 100's shooter used to develop a swing and game to a 70's shooter. My offer is simple and comes with a guarantee. Remember, If you complete my program as instructed, and do not improve I WILL REFUND THE ENTIRE COST – NO QUESTIONS ASKED.


How To Reset Your Metabolism With A Ketogenic Cleanse.
Yep, all those low carb options and more are totally possible on a ketogenic diet. You just need to know what to do, and my guest on today's podcast, Maria Emmerich, knows exactly how to do it.
Do you have questions, thoughts or feedback for Maria or me? Leave your comments below and one of us will reply!
BTW I've made Maria's waffle recipe (with hard boiled eggs) and it's outstanding. She also has a "brioche" recipe made from boiled eggs and whole eggs and it's fantastic – very moist and not eggy at all. One of the things I really like about Maria is that she experiments like a mad scientist to come up with the recipes you're going to miss when you get down to business with carb restriction. I'm struggling with an impaired metabolism and 2 autoimmune disorders and Maria and Craig's recommendations for macros have helped me lose weight (while hypothyroid). They are a fantastic team if you are really struggling.
This is the best for milk frothing (Hot or Cold), and I bet it would do wonders for your matcha tea. I use it for all kinds of drinks and milks and it's obviously more gentle than throwing things in a vitamix (which I also love to do).
Thanks again for all of the great content. Funny enough, I grew up in Idaho and spend some time in Spokane as a young adult. Every time I hear you mention something local to Idaho or Spokane I have flashbacks of my childhood and college, lol. I'm actually headed that way this week!
Again, thank you for all great content and personal info you share. It's much appreciated!
Great episode Ben & Maria. If someone is on the Keto diet, what is an average range for their cholesterol? How high is too hig? Are there any good studies to support this? Lastly, is there a good way to test the level of the body's inflammation?
Is the Rootz egg white protein powder heated at a lower temp to reduce oxidation?
Yes, that is bad stuff. Thanks!
Counter top brother for your tea…the struggle is real.
I was curious about Paleo Protein and what your thoughts are. The brand, developed by Julian Bakery, claims it uses a flash frozen method that turns the egg whites into powder. Could you shed some light on this method or product and if its safe to use as an egg protein powder?
Not sure but I shy away from Julian's Bakery. They did some shifty stiff with their breads claiming a lot less carbs than there was in them and they got in trouble for it.
Is Rootz egg white protein powder heated at a lower temp to prevent oxidation?
Not sure. Maybe Ben can pipe in on this. Might have to ask the manufacturer about their process and how much heat is used.
They are actually freeze-dried, which is the best way to preserve nutrients when converting the egg whites to powder form.
Ben, love all your work.
I have a specific questions re: a comment both you and Maria made concerning chia seeds. You both mentioned that chia seeds have estrogenic properties. I have not been able to find anything about this on the web, and in fact several articles state that chia have "anti-" estrogenic properties. Could you provide more detail about this?
Im glad I'm not the only one who questioned and googled this extensively as well….I am also curious to the answer of the question you are asking here!
Yes, Chia seeds have phytoestrogens that act like estrogen in the body.
This machine is great for anything. So much fun to create and experiment with your own recipes. I've had mine for 3 years and highly recommend it. I purchased mine from Amazon.
health and well-being with each episode. Keep doing what your doing!! And thank you for all of your PROMOS!


text:
ejercito del aire
General Atomics delivers final two MQ-9A Block 5 remotely piloted aircraft to Spanish Air Force
General Atomics Aeronautical Systems, Inc. (GA-ASI) delivered the final two MQ-9A Block 5 Remotely Piloted Aircraft (RPA) and a Ground...
First NH-90 helicopter for SAR missions delivered to Spanish Air Force
NHIndustries and its Partner Companies (Airbus Helicopters, Leonardo and Fokker) have delivered the first NH90 to the Spanish Air Force...
Spain, France and UK take up Baltic air policing second 2020 rotation
Spain, France and the United Kingdom will take up NATO's Baltic Air Policing mission starting in May, guarding the skies...
The Spanish Air Force buys Pilatus PC-21 training system including 24 aircraft
The Spanish Air Force, Ejército del Aire, is the third European air force to opt for the Swiss-produced PC-21 Next...
Spanish F-18 Hornets of Ala 15 in Zaragoza
Spain did not join NATO until May of 1982, but even before that date the Spanish Government had issued a...
First two new-build Eurofighter with enhanced air-to-surface capabilities delivered to the Spanish Air Force
On 23 January 2018 Airbus Defence and Space has delivered to the Spanish Air Force the first two Eurofighter Typhoons...
Return of 82nd Squadron – Wing 46 of Spanish Air Force from the detachment Grappa in Sigonella
The historical evolution of this group goes back sixty-three years, since its origin dates from 1955 with the creation of...


Applied the most comprehensive OMNI board, Vaporesso Attitude supports max 80W output and Smart VW /CCW/ VT(Ni200/SS/Ti) /CCT/TCR/ Bypass modes. And the Estoc tank comes with EUC coils which is very easy to replace, long-lasting and guaranteeing the best possible taste of your juice. The kit will provide you with the most innovative experience. Black and White color.


Home » Blog » Business Loans » How Are Lease Rules Changing?
How Are Lease Rules Changing?
Big changes are coming to the world of leasing, but for those of us without accounting certification, these changes might appear a bit arcane. In this article, we'll give you a zoomed out view of what's changing and give you a few resources for further reading on the topic.
What Effects Will This Have?
Currently, as many of 85 percent of leasing commitments go unreported, leading to a call from investors for regulatory bodies to update their leasing standards. Ostensibly, the changes are meant to make leasing activities more transparent and accountable.
The Financial Account Standards Board was established in the early 70s to help standardize accounting practices in the U.S. These generally accepted accounting principles (GAAP) are used, in turn, by the Securities and Exchange Commission (SEC) to establish accounting standards for public companies.
Though they have an enormous impact on policy, the FASB is a private, non-profit entity.
Before we get to why they're making changes, here's a quick overview of how things currently work with leases.
Chances are (unless you do a lot of leasing), when you think of a lease, you'll be thinking of an operating lease.
Sometimes referred to as a "true lease," an operating lease is essentially a form of rental agreement where you, the lessee, pay a monthly fee to use another party's (the lessor's) assets for an agreed- upon term. At the end of the term, the lessee usually has the choice to buy or return the asset or renew the lease.
In the past, this kind of lease came with some accounting advantages for lessees: the asset never had to show up on your books, and you could write off your lease payments as operating expenses.
Capital leases, on the other hand, tend to function as alternatives to loans. The lessee is essentially purchasing the product they're leasing and the lessor is offering financing. The title of the asset passes to the lessee, who assumes all the responsibilities and liabilities for that item.
You can buy the product at the end of your lease term for a well-below market value price ($1, for example).
The current value of your lease payments is greater than 90 percent of the fair market value (FMV).
The title automatically passes to you, the lessee, by the end of the term.
The length of the lease exceeds 75 percent of the useful life of the equipment.
New lease laws will take effect after December 15, 2018 for public companies and a year later for private ones. Under the updated standards, capital leases will continue more or less unchanged but will be referred to as "finance leases" in FASB documentation.
There will also be significant changes to the way sale-leaseback transactions are handled, but that is outside of the scope of this article.
Companies that relied on keeping leased assets off their books will have to cope with the consequences of declaring those assets and liabilities.
How this will affect your company's taxes and debt obligations precisely is a question for your accountant, but companies that make use of longer-term operating leases should start implementing systems to make sure they can accurately report their leased assets.
If your company relies on operating leases for a large amount of its equipment, you should begin building a strategy to account for those assets and the costs associated with doing so. If you're interested in doing a deep dive into the upcoming changes, you can read more on the FASB's website.
How will the new changes in leasing effect the Public Sector?
In your article it states that the new lease laws will take effect 12/15/18 for Public companies, and one year later for private companies.
What about Public sector accounts? Municipalities, cities, public universities? How will they be effected?


The web site has undergone a major reorganization, and this web page is not up to date. It will be improved with a better list of changes between C05.07 and C96.01 as time permits.
A great deal of work has gone into expanding the chemistry network (see Abel et al. here) and improving the model of the hydrogen molecule (see Shaw et al. here). This is the greatest improvement over the previous version.
no photoionization command was added to disable photoionization.
The model Fe VII atom now includes the atomic data of Berrington, K.A., Nakazaki, S., & Norrington, P.H. 2000, A&AS, 142, 313. The lowest eight levels within the lowest three terms are included, along with indirect excitation by photopumping of the lowest term that is connected to ground by an allowed transition.
The ism.ini initialization file that is part of the data distribution now includes chlorine since it can be an important part of the chemistry. It had been turned off to save time. As a result scripts that include ism.ini and also set abundances will now need to specify a Cl abundance.
The code runs under Cygwin again. Several very large arrays came off the stack and caused Cygwin to crash before handoff to Cloudy. These arrays are now malloc'd and free'd. Cygwin is happy.
The CMB command replaces the fireball command to enter cosmic microwave background. The fireball command still exists.
The effects of La upon the 21 cm spin temperature are now fully included. The printout gives some properties of the 21 cm line, including its mean temperature and a comparison with the mean kinetic temperature. Note that the 21 cm spin temperature is profoundly affected by La transport so requires that several iterations be performed to obtain a stable solution for the Lyman lines.
The atom H-like Lyman pumping off command is introduced to turn off pumping of the H Lyman lines by the incident continuum.
The cosmic microwave background has been removed from the table ISM and table HM96 continua so that these can be used at any redshift. The CMB should be added separately with the CMB command. The CMB is still included in the continuum produced by the background command.
The chemistry network has been expanded to include more elements, molecules, and ices. See Abel et al. (2005, on astro-ph here and a high resolution version here; and in preparation).
PAHs are not included by default. They are specified with a separate grains PAH command. In all previous versions the PAH abundance was constant. This is unphysical since they appear to be absent in ionized or molecular regions. The PAH abundances are now proportional to n(H0)/n(Htot) by default. There is a keyword function on the grains command to change this to other abundance laws.


text:
require 'spec_helper'

describe ProjectsController do

  render_views

  before(:each) do
    @current_user, @company = login_user
  end

  def valid_attributes(client= FactoryGirl.create(:client))
    attributes = {}
    attributes[:project] = FactoryGirl.attributes_for(:project)
    attributes[:project].delete(:client)
    attributes.merge!(client_id: client.id)
  end

  describe "GET index" do
    it "should render index" do
      get :index
      response.should render_template("index")
    end
  end

  describe "GET show" do
    it "assigns the requested project as @project" do
      project = FactoryGirl.create(:project)
      @company.projects << project
      get :show, :id => project.id
      assigns(:project).should eq(project)
    end
  end

  describe "GET edit" do
    it "assigns the requested project as @project" do
      project = FactoryGirl.create(:project)
      @company.projects << project
      get :edit, :id => project.id
      assigns(:project).should eq(project)
    end
  end

  describe "POST create" do
    before(:each) do
      request.env["HTTP_ACCEPT"] = "application/json"
    end

    describe "with valid params" do
      it "creates a new Project" do
        expect {
          post :create, valid_attributes
        }.to change(Project, :count).by(1)
      end

      it "assigns a newly created project as @project" do
        post :create, valid_attributes
        assigns(:project).should be_a(Project)
        assigns(:project).should be_persisted
      end

      it "redirects to the created project" do
        post :create, valid_attributes
        response.should be_success
        response.body.should_not be_blank
      end

      it "should assign the client to the new project if the user selects the client in the clients list" do
        client = FactoryGirl.create(:client, company: @company)
        post :create, project: {name: Faker::Company.name, client_id: "new", active: "1", assignment: {proposed: "0"}}, client_id: client.id
        assigns[:project].client.should_not be_nil
        assigns[:project].client.name.should eq(client.name)
        assigns[:project].client.company_id.should eq(@company.id)
      end
    end

    describe "with invalid params" do
      it "assigns a newly created but unsaved project as @project" do
        Project.any_instance.expects(:save).returns(false)
        post :create, :project => {client_id: FactoryGirl.create(:client).id}
        assigns(:project).should be_a_new(Project)
      end

      it "responds with the invlaid project JSON attributes" do
        Project.any_instance.expects(:save).returns(false)
        post :create, :project => {}, client_id: FactoryGirl.create(:client).id
        response.content_type.should eq("application/json")
        json = JSON.parse(response.body)
        json["id"].should be_nil
      end
    end
  end

  describe "PUT update" do
    before(:each) do
      request.env["HTTP_ACCEPT"] = "application/json"
    end

    describe "with valid params" do
      it "updates the requested project" do
        project = FactoryGirl.create(:project)
        @company.projects << project
        put :update, :id => project.id, :project => {name: new_name = "new name"}
        project.reload.name.should eq(new_name)
      end

      it "assigns the requested project as @project" do
        project = FactoryGirl.create(:project)
        Assignment.create(user_id: @current_user.id, project_id: project.id, proposed: true)
        @company.projects << project
        put :update, :id => project.id, :project => valid_attributes
        assigns(:project).should eq(project)
      end

      it "responds with a 200 JSON response" do
        project = FactoryGirl.create(:project)
        Assignment.create(user_id: @current_user.id, project_id: project.id, proposed: true)
        @company.projects << project
        put :update, :id => project.id, :project => {name: "new name"}
        response.should be_success
      end

      it "should save correctly when being passed all the params that backbone will send" do

      end
    end

    describe "with invalid params" do
      it "assigns the project as @project" do
        project = FactoryGirl.create(:project)
        @company.projects << project
        # Trigger the behavior that occurs when invalid params are submitted
        Project.any_instance.expects(:save).returns(false)
        put :update, :id => project.id, :project => {name: nil}
        assigns(:project).should eq(project)
      end

      it "renders JSON back with the name unchanged" do
        project = FactoryGirl.create(:project)
        @company.projects << project
        put :update, :id => project.id, :project => {name: nil}
        json = JSON.parse(response.body)
        json["errors"].should_not be_blank
        json["errors"]["name"].should_not be_blank
      end
    end
  end

  describe "DELETE destroy" do
    it "destroys the requested project" do
      project = FactoryGirl.create(:project)
      @company.projects << project
      expect {
        delete :destroy, :id => project.id
      }.to change(Project, :count).by(-1)
    end

    it "respond with nothing" do
      project = FactoryGirl.create(:project)
      @company.projects << project
      delete :destroy, :id => project.id
      response.should be_success
      response.body.should be_blank
    end
  end

end

redpajama_set_name: RedPajamaGithub


text:
Charles Francis O'Connor (September 22, 1897 – November 7, 1979) was an American actor, painter, and rancher and the husband of novelist Ayn Rand. Frank O'Connor performed in several films, typically as an extra, during the silent and early sound eras until about 1934. While working on the set of the 1927 The King of Kings, O'Connor met Rand, and they eventually dated each other steadily. They married in 1929. When O'Connor and Rand moved to California so Rand could work on the movie adaptation of her novel The Fountainhead, O'Connor purchased and managed a ranch in the San Fernando Valley for several years. In addition to raising numerous flora and fauna on the ranch, he there developed the Lipstick and Halloween hybrids of Delphinium and Gladiolus.

After the couple moved to New York City in 1951, he took up painting and became a member of the Art Students League of New York. He provided the cover art for some of Rand's published work after this time. Rand attributed to O'Connor inspiration for some of the themes and characters in her writing, and he provided the title for her novel Atlas Shrugged.

In 1954, Rand pressured O'Connor into assenting to her having a sexual affair with Nathaniel Branden. The affair deeply troubled O'Connor and lasted until 1968. Late in his life, O'Connor struggled with excessive alcohol consumption. He died in 1979 and was buried in Kensico Cemetery; after Rand died in 1982, she was buried alongside him.

O'Connor has been said to "elude" Rand biographers. Rand said that O'Connor was an inspiration for her writing and the model for her idealized male protagonists, like Howard Roark and John Galt. Other associates of Rand and O'Connor have objected and said that Rand's claims about O'Connor's personality were inaccurate and that their marriage struggled because he was much more soft-spoken, gentle-hearted, and unintellectual than she preferred. Nevertheless, he remained committed to Rand and never left their marriage.

Biography

Early life
Charles Francis "Frank" O'Connor was born September 22, 1897, in Lorain, Ohio to steelworker Dennis O'Connor and homemaker Mary Agnes O'Connor, the third of their seven children. Although raised Catholic, Frank O'Connor dropped out of his Catholic school when he was fourteen years old, and he was atheist thereafter. When he was fifteen, his mother died, and O'Connor and three brothers left Ohio to live on their own; the brothers moved to New York, where O'Connor began an acting career. When filmmaking moved to Hollywood, he moved there as well, sometime around 1926.

Acting

In Hollywood, O'Connor worked part-time in acting, primarily as a film extra. His first Hollywood role was as a Roman legionnaire in Cecil B. DeMille's The King of Kings, and he first met Rand on the film's set. As an adult, O'Connor was "mesmerizingly handsome" and had "a slender build", and  Rand was smitten with O'Connor virtually at first sight. To get his attention, Rand intentionally tripped O'Connor, whereupon he apologized for stepping on her, and they shared their names with each other.

O'Connor ran into Rand again at a public library in Hollywood, and this time they kept in touch and began courting, going to movies and having dinner with each other and with O'Connor's brothers Joe and Harry. O'Connor was most likely Rand's first kiss.

Perhaps partly in order to help her obtain legal residence before her temporary visa expired, O'Connor married Rand on April 15, 1929, in the Los Angeles City Hall of Justice. After marrying, O'Connor eked out a modest life with Rand, and they both worked odd jobs. Rand was, in the words of historian Jennifer Burns, "the breadwinner from the start". Soon, however, O'Connor's acting career improved, and for a few years he had regular employment in small roles for early talkies. With his income, O'Connor also provided for Rand, including by buying her a writing desk, her "first portable American typewriter", and a copy of Webster's Daily Use Dictionary into which he wrote a love poem in which he complimented Rand with every letter of the alphabet: to him, she was "Ayn; adorable, angel / Beloved; / Cupid", all the way to "Zenith". O'Connor also took the lead in decorating their apartment.

O'Connor's acting career "slowly gain[ed] momentum" as he performed in several films released in 1933 and 1934, though he continued landing relatively small roles, sometimes as humorous characters who were "clumsy or foolish", which dismayed his wife Rand, who believed he deserved to play a romantic lead. O'Connor did feature in a speaking role as Jake Canon for both the film and stage versions of As Husbands Go. The Austin Daily Texan highly complimented the film's entire cast in its review stating that "the stars and the supporting cast are discerningly chosen, fit their roles exactly, and enact them to the uttermost nuance of perfection."

When Rand received a producer's offer to take her play Night of January 16th to Broadway, she convinced O'Connor to move with her to New York City; they departed in November and arrived in December. In New York, O'Connor's career idled, and he joked that he was "Mr. Ayn Rand" as she was the breadwinner while he took care of paying bills, doing household chores, and decorating their apartments "imaginatively and beautifully", Anne C. Heller reports.

O'Connor did land roles for summer stock theater in Connecticut 1936 and 1937. In August 1936, he temporarily moved to Connecticut to perform in Night of January 16th as Guts Regan. O'Connor returned to Connecticut in July 1937, this time accompanied by Rand, and they stayed in Stony Creek where he performed for several plays, including reprising his role as Guts Regan for Night of January 16th.

Although O'Connor was not particularly intellectual the way Rand was, he was socially adept. At social gatherings, he secretly passed Rand notes with suggestions about what to talk about, and she found his sense of humor hilarious. With each other, they could be silly; O'Connor nicknamed Rand "Fluffy", and she called him "Cubbyhole".

After overhearing a phone conversation between Rand and Isabel Paterson during the summer of 1943 in which Rand mentioned that "all the creative minds in the world [going] on strike… would make a good novel", O'Connor affirmed to her "That would make a good novel." This idea eventually became Atlas Shrugged.

Ranching

When Rand sold the film rights to her novel The Fountainhead and was called on to write the script for a movie adaptation, O'Connor moved with Rand back to California in December 1943. While they started out in a small apartment in Hollywood, O'Connor researched purchasing land in the San Fernando Valley. O'Connor picked out a Richard Neutra house with thirteen acres of land in an area that later became Chatsworth, and O'Connor and Rand bought it and moved into it in 1943. "Reinventing himself as a gentleman farmer," in historian Jennifer Burns's words, O'Connor "thrived in California". He tended the San Fernando property's acres, gardens, and orchards as a working ranch. He raised peacocks, chickens, and rabbits on the property and tended flowers, fruit trees, and gardens. O'Connor developed a skill for horticulture and raised alfalfa, bamboo, blackberries, chestnuts, pomegranate trees, and gladioli; he earned some money selling alfalfa and extra produce, and after learning flower arranging he sold gladiolas to hotels in Los Angeles. By breeding delphiniums and gladiolas in a greenhouse, he created two new hybrids: Lipstick and Halloween. O'Connor once joked to a friend that his activity was "Not the sort of thing Howard Roark would do!" He tended the property with great satisfaction and happiness.

The August 1949 edition of House and Garden featured the San Fernando Valley ranch, along with O'Connor and Rand, calling it "a steel house with a suave finish". House and Garden complimented the property's "Massed evergreens" which gave "depth and shade" to the house's porte-cochere, the "arresting pattern" of philodendron above the living room fireplace, and the "enrich[ing]" effect of colorful gladiolus. O'Connor managed the ranch from 1944 to 1951.

In 1950, O'Connor and Rand became acquainted with Nathaniel Blumenthal (later Branden) and Barbara Weidman, whom the O'Connors took to calling "the children". When Branden and Weidman moved to New York City for graduate university studies, Rand, missing Branden who had become an important intellectual disciple and emotional connection, pressed O'Connor to join her in moving back to New York to be near "the kids", despite how happy the ranching life made him. O'Connor made the cross-country trip with Rand to New York City in 1951. According to friend Ruth Hill, Rand told O'Connor that the New York move would be temporary and they would return to the ranch (O'Connor even asked the Hills to take care of his flowers until he was back) but that Rand never actually planned on doing so. They never returned to California and eventually sold the Chatsworth property, in 1962.

Painting
In New York City, O'Connor obtained part-time work as a florist, making flower arrangements for hotels. He also took up visual art with what Jeff Britting calls "serious interest", drawing sketches and painting people, urban landscapes and floral still lifes. Some observers thought O'Connor was a talented artist, albeit unrefined and untrained. He became a member of the Art Students League of New York, and Ilona Royce Smithkin mentored him. His "most important artwork", according to Richard Campbell, was a portrait of Ayn Rand he painted in 1961. When O'Connor had his own painting studio in the 1960s, Rand sometimes liked to visit his studio to watch him paint; he generally appreciated her attention, though a guest observed that "the only time I ever saw him [O'Connor] lost his temper" was on an occasion when Rand pressed with a criticism and O'Connor insisted she "leave [him] alone".

In 1953, Branden and Weidman were married, and O'Connor attended the wedding as Branden's best man while Rand was the matron of honor. As a wedding gift, O'Connor filled the Brandens' new studio apartment with flowers of his arrangement.

During the fall of 1954, Rand and Nathaniel Branden averred, to O'Connor and Barbara Branden, that they had fallen in love with each other. Rand and Branden coolly demanded their respective spouses give the two of them a few hours alone with each other, twice a week, for a romantic but nonsexual relationship. In November, Rand and Branden invoked Rand's value theory of sexuality to insist their spouses also give them permission to escalate the affair to a sexual relationship. O'Connor apparently assented, and he vacated the apartment twice a week for Rand and Branden, often going to a bar. There is no known written record by O'Connor of his thoughts on Rand's relationship with Branden, and he only ever discussed it with Rand and the Brandens. Historian Jennifer Burns concludes that of all those involved in the affair, O'Connor may have been "the hardest hit" emotionally.

In 1956, while Rand was writing a novel she up to that point tentatively titled The Strike, O'Connor suggested that she rename it Atlas Shrugged, a phrase which had up to then only been the title of a chapter in the book. Rand adopted Atlas Shrugged as the novel's title. She later averred, "When I couldn't think of a title for one of my novels, he did. He told the whole story in two words".

O'Connor oil painted Man Also Rises, which Rand reported was his depiction of a sunset they saw in San Francisco. A reproduction of Man Also Rises was used as the cover art for the 1968 twenty-fifth anniversary edition of The Fountainhead; Rand dubbed it "the proper climax of the book's history".

O'Connor "withdrew into his painting" in the 1960s. The Art Students League was a rare respite in his life, and he wanted to be known there as himself rather than only as Ayn Rand's husband. He eventually won a seat on the league's Board of Control.

Later life
As O'Connor aged, his health declined. A surgery temporarily staved off painful contractions in his hands' tendons in the late-1960s, but the difficulty recurred in 1968, and he withdrew from the Art Students League and resigned from its Board of Control. The Brandens reported often finding him drinking alcohol as Rand pulled him into her increasingly contentious social world, including by having O'Connor be present for difficult conversations between Rand and Nathaniel during the waning period of their affair. (Rand broke off her affair with Branden in 1968, after learning that he was having another affair with a different, younger woman.)

O'Connor continued accompanying Rand. He gave her a ring with forty rubies to celebrate their fortieth wedding anniversary in 1969. In 1974, he was a guest, with Rand, to the swearing in of Alan Greenspan (one of Rand's acolytes in Objectivism) to the Council of Economic Advisers.

In the late 1970s, O'Connor's health worsened further. He mentally declined, fell victim to alcoholism, and eventually became homebound. Sometimes, he could not recognize people; sometimes he refused to eat and was "terribly frightened" when Rand tried to force him. He still retained his habit of standing when a woman entered the room.

O'Connor died on November 7, 1979, at New York Hospital. He was buried in Kensico Cemetery in Valhalla, New York. When Rand died a few years later, in 1982, she was buried in Kensico next to O'Connor.

Personality
Robert L. Campbell observes that "On the personal side, it is Frank O'Connor who still eludes every biographer" of Rand. Rand said that O'Connor was her "top value", and she claimed that he was the model for "every hero" in her fiction and "as near to" being Fountainhead protagonist Howard Roark as "anyone I know". Ayn Rand Institute archivist Jeff Britting writes that O'Connor "did share her [Rand's] deepest values and approach to life."

Others who knew O'Connor, however, aver that Rand mischaracterized O'Connor and that in reality while he was witty, kind, and chivalrous, he was emotionally restrained and very passive. Mimi Gladstein summarizes, "there is not much public evidence to corroborate Rand's" claims about O'Connor. Despite how Rand described him, Robert Sheaffer concludes that O'Connor "was no John Galt". Unlike Rand, O'Connor had little interest in books or the kind of ideas she enjoyed thinking about, and he was kind and insisted on politeness. Murray Rothbard remembered him as the "only genuinely nice person in the Randian movement". An acquaintance later reported that during their time in the San Fernando Valley, Rand actually considered divorcing him out of frustration with his lack of intellectuality and sexual drive. Despite this tension between them and despite his melancholy, O'Connor was consistently there for Rand and in the end did not turn on her or ever leave her.

Legacy
The Passion of Ayn Rand, a 1999 biopic directed by Christopher Menaul and based on the 1986 biography of the same name by Barbara Branden, depicts O'Connor as an unintellectual, gentle man whom Rand becomes frustrated with for not fulfilling her erotic ideal of an aggressive, dominant partner. Peter Fonda performs in the role of O'Connor. Writing for Variety, reviewer David Kronke observes that Fonda lends "an air of Quaalude dependency" to his depiction of O'Connor through acting with a "droopy and curious turn". New York Times reviewer Ron Wertheimer criticizes the film as "pretty muddled" but praises Fonda's performance, writing that "only Peter Fonda, as Rand's pathetic husband, Frank O'Connor, is really worth watching" and that "Fonda can't save" the movie but does "make it more interesting".

Jennifer Grossman claimed in 2016 that O'Connor's "main claim to fame was being married to Ayn Rand" and observed that although there were several people with the name Frank O'Connor who were "of enough public note" they were documented in "their own Wikipedia page[s]", at the time O'Connor was not among them. According to Campbell in a 2013 review essay, "Ayn Rand too often spoke for" O'Connor when they were alive, and since their deaths, followers of Rand's teachings have been "keen on reducing him to a cipher" for their own purposes; O'Connor is "poorly known" despite "his character" and "the support he provided to Rand".

Filmography
Much of O'Connor's acting work was as a film extra, sometimes with unnamed or uncredited roles. This list may be nonexhaustive because whether or not O'Connor appeared in films after As Husbands Go is unclear due to the emergence of another actor named Frank O'Connor.

See also

 Classical Hollywood cinema
 Horticulture
 Leonard Peikoff
 Visual art of the United States

Notes

References

External links
 Front cover of the twenty-fifth anniversary edition of The Fountainhead, with O'Connor's Man Also Rises visible, hosted by the Jewish Women's Archive

1897 births
1979 deaths
20th-century American actors
20th-century American painters
Actors from Ohio
American ranchers
Articles containing video clips
Art Students League of New York alumni
Ayn Rand
Painters from Ohio
People from Lorain, Ohio

redpajama_set_name: RedPajamaWikipedia


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