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Cleveland Cavaliers match last season's win total with 132-129 overtime victory against San Antonio Spurs
Cleveland Cavaliers vs. San Antonio Spurs, March 8, 2020
By Chris Fedor, cleveland.com
CLEVELAND, Ohio -- The Cleveland Cavaliers are learning how to close games.
One night after stunning the Denver Nuggets and making clutch plays in the fourth quarter, the Cavs did the same Sunday against San Antonio, coming away with a second overtime win against the Spurs this season, 132-129, while capping this homestand with a second straight victory.
"It just means that we can. I think that's the biggest thing, the belief in what you can accomplish," Cavs head coach J.B. Bickerstaff said. "We've shown that we can put together some really good stretches against some really good teams. We've played some tough teams since we've been here at home, well-coached teams, talented teams, and we were able to find a way. It lets you know and it gives you that confidence that you are capable of winning and winning tight games."
Second-year guard Collin Sexton buried a pair of free throws with 3.2 remaining in regulation, giving the Cavs a two-point lead. But Rudy Gay answered, drilling the tying jumper. Larry Nance Jr. had one last chance, leaping high for the inbounds pass and tossing a desperation shot at the hoop that hit the back of the rim as the buzzer sounded.
In overtime, even when the Cavs looked in control, the Spurs continued to fight back.
Derrick White's 3-pointer with 3.1 seconds left pulled the Spurs within two points and put a scare into the crowd. The ensuing inbounds pass went to Sexton, who had a chance to seal the game at the line -- the kind of moment he relishes.
Sexton made the first. The Cavs were up by three. Then San Antonio head coach Gregg Popovich smartly used his final timeout to ice the youngster in between free throws. It worked. Sexton's second attempt came up short. Even though the Spurs grabbed the rebound, they couldn't get the final shot off in time and the Cavs celebrated another late-game victory, as all five starters reached double figures in scoring.
Andre Drummond, who missed the previous three games with a calf strain, led the way for the Cavs. Overcoming foul trouble, he scored 28 points to go with 17 rebounds, including a timely put-back late in regulation following a Sexton miss.
Sexton finished with 26 points on 8-of-19 shooting to go with four assists and one rebound in 40 minutes. Clearly agitated that he left the door ajar for San Antonio, Sexton grabbed the front of his jersey and tugged on it while walking back to the locker room.
Cedi Osman tallied 19 points, six assists and four rebounds. Kevin Love, who missed his first eight shots, finished with 14 points and 18 rebounds. His 3-pointer from the corner at the 1:50 mark of overtime led to another halfcourt celebration with teammate Matthew Dellavedova, who recorded one of his game-high 11 assists on that play.
Dellavedova, getting another spot start for injured Darius Garland, shined once again. He scored 14 points to go with those 11 assists. It's his first double-double of the season and just the seventh of his career.
Nance finished with 19 points and 10 rebounds, the fourth Cavalier double-double. It's the first time since 1990 four teammates have recorded a double-double in the same game.
With Bickerstaff at the helm, the Cavs continue to show resilience. These were the kinds of games the Cavs lost earlier this season. When former coach John Beilein stepped down after the All-Star break, that was one of the things he pointed out to the group. He discussed the numerous could've, should've, would've games that might have changed the view of the season.
Well, the Cavs have learned from those early-season stumbles. They understand what it takes to win. They are executing when it matters most. Clearly bought in to Bickerstaff, they are playing hard, playing together.
"There's a camaraderie, there's a bond, there's a common goal of the way that we're playing," Bickerstaff said. "No one person is bigger than the team. You can see by different nights who contributes, there's no pouting if it's not your night. It's all about the team. I think that's the biggest difference."
With more than a month still remaining, Sunday gave the Cavs their 19th win. That equals last season's total. They are 5-5 under Bickerstaff and continue to make the most of these final games, salvaging what's left of the season.
That's growth -- exactly what they wanted during this rebuild.
"We're just going to keep pushing for 20, keep pushing for 25," Nance said. "Who knows where this … I don't even know how many games we have left, but we're going to try to get 'em all."
Tristan Thompson injured
Thompson was taken out of the game in the first half after getting hit in the eye. He went back to the locker room for examination and was ruled out for the remainder of the game. Thompson finished with two points and three rebounds in eight minutes.
Lindsay Gottlieb wore a purple suit jacket on Sunday night. In support of Gottlieb and others on International Women's Day, the entire Cavaliers coaching staff wore that color in their shirts or ties. Drummond praised Gottlieb on social media. Rookie Kevin Porter Jr., who missed his second consecutive game with a concussion, had sneakers customized to honor eight different females, including Gottlieb, whose first name was inscribed in purple lettering.
This offseason, Gottlieb was hired to be part of former head coach John Beilein's staff, becoming the first NCAA women's head coach to be hired as an assistant in the NBA. Beilein's departure moved everyone on the staff over one seat, putting Gottlieb on the front of the bench.
"She's intelligent for one, and she's really good at her job," Bickerstaff said prior to Sunday's game. "She has a way of teaching by putting people at ease first. She has a really calming demeanor and you know by how she treats you that she's about the right things. She can say things to some people that other people might not be able to say. And it's automatic. It's not something that takes a month to get to know her, you just feel it right away. She's been really good for us and she's been really good for me."
The Cavs will begin a six-game homestand in Chicago on Tuesday night. Tipoff is set for 8 p.m.
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More Cavaliers coverage
Thompson embracing reserve role: 'I feel bad' for second-unit guys who face him
Collin Sexton etches name alongside LeBron James and Kyrie Irving: 'Being in that conversation is amazing'
Kevin Porter Jr. placed in concussion protocol, will be sidelined indefinitely
Cedi Osman endured a rough shooting night prior to productive fourth quarter in loss to Celtics
Indians, Cavaliers games will remain on YouTube TV after deal with Sinclair
Sexton sends loud message with 41-point night in loss to Celtics


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Published: May 4th, 2010
Sports Buffet for 05/04/10
Tags: Adam Schefter, Bill Smith, Brady Quinn, Central Ohio, Columbus, Dame, Darren Sharper, Detroit, former Browns 1st round pick, Home court advantage, Jones, M. The, Ohio, Patrick Willis, S FS, Tampa Bay, team, Texas, Tim Tebow, year
The Sports Buffet will be a regular feature of FPS.
UFA S FS Darren Sharper (NO) is reported to have had microfracture knee surgery during the off season according to ESPN's Adam Schefter. Sharper was a key part of the Saints D and their playoff run. The typical recovery time for that procedure is 18-24 months. That would also explain why he had such a delay in getting a contract offer. He has signed back with the Saints on a 1 year deal for 1.5M.
The Jones formerly known as "Pacman" is still shopping his services around the league. He went to Detroit last week and visited the Bengals recently. There was no interest by the Lions but the Bengals are at least considering an offer.
The 49ers signed LB Patrick Willis to a new 5 year deal worth 50M with 29M guaranteed.
With the draft of QB Tim Tebow, QB Brady Quinn could be on the move again. The Jags are reported to be interested in obtaining the former Browns 1st round pick.
There is a very fine line between a veteran team and just an "over the hill" team. Teams can go from one side of that line to the other in a single playoff series. The problem is that there is no way back except to blow the roster up and rebuild. After building a 11 point lead in game 1 vs. the Cavs, the Celts looked like they crossed the line at half time by losing the game by 8. However, they came back in game 2 and now have stolen home court advantage. The most interesting part of that game was that the "old" Celts outscored the Cavs 31-12 in the 3rd quarter. There is an old adage, in the NBA it isn't a series until a home team loses a game. Now that the Celts have smacked the Cavs up side the head, it will be interesting to see if the Cavs can recover.
It is still VERY early in the season but there are a couple of things we can see now. The Red Sox are reeling. At 12-14 they are digging themselves a hole that will be very hard to crawl out of. They look old and done. Meanwhile, Tampa Bay has gotten off to a really good start. It is hard to see them challenging the Yanks all year but they are playing well now. My two favorite teams are looking forward to high picks in this year's draft–The Cubs and Indians.
The Columbus Blue Jackets are looking for a new coach AGAIN! Is there anyone out there that can turn what seems to be a team with a couple of very good players into a winner. If not, the city of Columbus will let the team leave. Central Ohio will not support a loser and that is all the CBJ have done. In their history they have had just 1 sniff of the playoff coffee beans.
The new NCAA rule changes include the right of a ref to take a TD off the board if the player "showboats" on his way to the endzone. Having spent some time in zebra stripes myself, I must give the officials some advice. Be VERY careful how and when you make that call. If it were made against the home team at Ohio State, Texas, Notre Dame or any number of CFB hotbeds, it might result in a tumult that would make the Hundred Years War seem like a minor disagreement between two 3 year old girls at a church picnic.
Bill Smith is a former coach of several semi-pro teams, has officiated both football and basketball, done color on radio for college football and basketball and has scouted talent. He is a senior writer for and edits https://fryingpansports.com. He is a regular contributor on Cleveland Sports Radio http://www.sportstalkcleveland.com/ Monday afternoons at 1 Eastern. He has also published several novels on
Technorati Tags: NFL Football,NFL Draft,Saints,Bengals,Lions,Sharper,Jones,Tebow,NBA,Celtics,Cavilers,NBA Championship,NBA Playoffs,MLB,Tampa Bay,Red Sox,Indians,Cubs,NHL,College Football,NCAA,RULES
Published: Nov 30th, 2009
What did we learn in the College football last weekend?
Tags: Alabama, Bill Smith, Colorado, Dame, Florida, Georgia, Johnson, M. The, Nevada, Oklahoma, State, team, Texas, USSR, West Virginia
Both Weis and Bowden are fired.
Weis used the players recruited by Tyrone Willingham for his early success. The experience at ND proved that as head coach, Weis was one step beyond his level of competence. ND will likely never again be a regular contender for a national title. It may wander close from time to time but no matter who is the next coach, the team will not regain the status that both the administration and the fan base assume is their natural right.
Bowden is an entirely different story. Florida State was a joke prior to him becoming head coach. The "what have you done for me lately" group of FSU fans don't seem to remember that. He had 14 straight top 5 finishes, 2 national championships, 12 conference championships, a bowl record of 21-10-1 and the second most wins in division 1 college football history. He is still loved by both his current and former players and the parents of those players. Now he has decided to retire the way that former USSR heads of state did—by threat of force. That is not the way that a great coach should end his career. FSU will have some problems getting a better coach. That is a hard act to follow.
The BcS is busted.
This season there are 6 undefeated teams going into the last week of the regular season. Either Florida or Alabama will drop from that list next week. Even so, it is clear to anyone that has watched TCU and Cincy are capable of playing with anyone. But until the pinhead college presidents get a kick in the butt from major donors that will suspend their gifts until Mr. Pinhead votes for a playoff, nothing will change. The fans are being cheated by a system that takes all meaning out of the regular season.
The big boys struggle with lessor competitors
#2 Alabama struggles to beat rival Auburn 26-21.
The Tide didn't roll in the annual Iron Bowl. They looked sluggish and incapable of taking advantage of an Auburn D that was depleted by injury. They did show good fortitude coming back to win with less than 2 minutes left. But some cracks were obvious. The Tide managed only 73 yards rushing. RB Ingram who was considered a top Heisman prospect looked very average with 16 carries for 30 yards. They will have to play better than that to beat Florida.
#3 Texas D allows 39 by Texas A&M.
The strength of the Texas team was supposed to be the D beside QB McCoy. But TAM QB Johnson threw for 342 yards against the Texas D while McCoy could manage only 175. TAM WR Fuller ran through the Texas D so wide open it was like he was contagious with the H1N1. Something that should concern all Horn fans is that TAM lost to Oklahoma 65-10 and Colorado 35-34 in the last couple of weeks. Texas did not look good on either side of the ball.
#6 Boise State almost gets Kaepernicked.
Boise went into the game against Nevada with one thought—stop QB Kaepernick. They jumped out to a 20 point lead in the first quarter. Even so, they were forced to score in the 4th quarter to win over a team with one threat—Big K. Kaepernick is a great runner and a better passer than most think. As always, he put the team on his back and almost pulled off the upset of decade for his school. The Boise D was so focused on K that they allowed a much less talented team to get back in the game.
#7 Georgia Tech gets lost in the hedges.
As I have said for several weeks, the way to beat GTk is to get in front quickly and then hold on for dear life. Georgia found its running game and used it to keep the GTk O off the field. Tech scored 17 points in the 2nd half but fell short 30-24.
#9 Pitt gets upset by West Virginia.
Pitt had to score 10 points in the last 8 minutes just to get the game into overtime. They were in a position to challenge for a BcS bowl but not now. WV took revenge for Pitt knocking them out of a potential BcS Championship game a couple of years ago.
#12 Oklahoma State looked inept against an angry Sooner team.
Perhaps the biggest turkey of the weekend was OkS that looked totally outclassed by a wounded and angry Oklahoma team. OkS was shown to be a pretender not a contender.
Bill Smith is a former coach of several semi-pro teams, has officiated both football and basketball, done color on radio for college football and basketball and has scouted talent. He is a senior writer for and edits https://fryingpansports.com. He has also published several novels on and edits .
Technorati Tags: NCAA Football,BCS,BCS Championship,Flroida State,Notre Dame,Weis,Bowden,Alabama,Auburn,Texas,Texas A&M,Boise State,Nevada,Georgia Tech,Georgia,Pitt,West Virginia,Oklahoma State,Oklahoma

redpajama_set_name: RedPajamaCommonCrawl


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Overview of the Hall of Fame Induction Process
Banquet Program Archive
Brandon "Brandy" Davis
Davis, a three-sport star at Newark High School, lettered in basketball and track at Duke University. Branch Rickey signed Davis for the Pittsburgh Pirates organization in 1951. He was on the Pirates roster 1952-54. Brandy set a minor league base stealing percentage record, stealing 82 out of 85 chances (96,5%) in 1951. His major contributions to organized baseball have been as a manager, coach and scout. He worked closely with Dallas Green in the Phillies and Cubs organizations. Brandy had a hand in signing Hall of Famer Mike Schmidt. Davis also worked in the Los Angeles Dodgers and Houston Astros organizations. He joined the Chicago Cubs as a National scouting supervisor and remained under a Cubs contract through 1989. He signed with the San Diego Padres as an area scout in 2000.
Chris soared to Olympic heights with the Fosbury Flop before it even had a name. His 7 ft 3 inch jump in the 1972 Olympic trials earned him a berth on the U.S. team in Munich, Germany where he cleared 6 ft 11 1/2 inches to finish 24th. He cleared 7 ft 2 inches or better in NCAA indoors, Penn Relays, Martin Luther King games and ICHA Championships in 1972. Chris was an outstanding jumper at Newark High School and Colgate University where he won the state "open" decathlon in 1970 after the close of the scholastic season. Chris was named the 1972 "Delaware Athlete of the Year'. In 1973 he bested Dwight Stones who had finished third in the 1972 Olympics. He competed until 1983 with his best jump ever of 7 ft 3 1/2 inches as a touring professional with the International Track Association.
Steve Gregg
He was an All-American at North Carolina State University for four straight years, 1974 to 1977 and earned a place in the North Carolina Swimming Hall of Fame. The Wilmington native set an Olympic record of 2:00:24 in a qualifying heat for the 200 meter butterfly surpassing super star Mark Spitz's record of 2:00:70 set four years earlier. Gregg was the Delaware Sportswriters and Broadcasters Association " 1977 Co-Athlete of the Year". Other career highlights included winning the NCAA National Championship in the 200 meter butterfly and a Silver medal in the 1975 Pan-Am Games. Steve won the U.S. National butterfly championship five years running.
Jennifer Franks Hilliard
Jenni Franks started setting records at an early age and went on to a distinguished swimming career in the 200 and 400 meter individual medleys. She did this on the collegiate, national and international levels. With the Wilmington Athletic Club she set American records in the 400 IM at the U.S. national championships in 1974-75 and the 200 IM in August 1975. Jenni came within one second of breaking the World 400 IM record at the 1975 Long Course Nationals which earned her a birth on national teams that competed in Japan and the Pan-American games in Mexico and New Zealand. Earlier she competed with the U.S. Junior and Senior National teams in East and West Germany and New Zealand. At Villanova, Jenni was the swim teams' MVP three consecutive years serving as the l981 team captain. In 1980 she became the first woman to be named Villanova University's "Athlete of the Year". Jenni coached at the Mobile, Alabama Aquatic Club.
Robert Kelley
The versatile Kelley was the radio voice of University of Delaware football for 36 years, starting in 1950. Coach Dave Nelson credited him with being a key to the tradition of Blue Hen football, and Bob also did Hens' play-by-play basketball. He had come to Wilmington after the demise of the New York Sun, hired by the Wilmington Morning News as sports writer and columnist. As a writer and broadcaster, Bob quickly became a factor in the sports community. For 19 years, he was Delaware's " Sportscaster of the Year". He was a director with the Delaware Sports Hall of Fame. After his newspaper career, he served as Delaware Park's Publicity Director for 17 years. .
Francis Lore
A Bucknell University graduate, Franny moved to Dover, Delaware in 1951 and began organizing and promoting youth and high school athletics on the local scene. He helped organize the Dover Little League in 1951 and managed a team for several seasons. He was instrumental in starting Pop Warner football in Kent County and helped organize the Mid-Del Football Officials Association in 1950 and officiated eight years. Lore had a daily sports radio show on WDOV, Dover (1963-1978) and broadcast Dover High School football 1968-78; he was color man in basketball from 1970-78. Lore wrote a weekly sports column for the Dover Post, served as President of the Wesley College Booster Association for two years, and was a guiding force in organizing the Lower Delaware Gridiron Club banquets from 1975-78. The club's major annual award, the "Fran Lore Scholarship" is presented to a young athlete who overcame a handicap and went on to excel in a sport or sports. Franny was a member at both Maple Dale and Pine Valley (N.J.) Country Clubs. He was recognized as a true giant in promoting a wide variety of sports in Lower Delaware for 25 years (1953-78).
Gretchen Vosters Spruance
An incredibly dominant player in the racket sports, Gretchen never lost a championship series in which she participated. Her record of 12 National squash championships in singles, doubles, and mixed doubles is yet to be equaled as of 1995, and she was never beaten in tennis in Delaware or the Middle States area from the 11 and under age group through 18 and under. She won the Middle State Interscholastic title for girls in all four of her high school years at Wilmington Friends, another unequaled unbeaten record. She won the Delaware women's tennis championship 20 consecutive times. Teaming with her mother Bunny Vosters, also a Delaware Sports Hall of Fame inductee, Gretchen won 24 mother-daughter double titles. She also played varsity field hockey and basketball in high school. In 1988 Gretchen and her parents were the U.S. Tennis Association Family of the Year.
Back to List of Inductees
Back to Alphabetical List of Inductees
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An Interview With Brazilian American Singer ALEXIA BOMTEMPO On Her Latest and Third Collection, Favorite Artists And More!
Tag: Alexia Bomtempo, All Access, All Access Music Group, Artist Interview, Chasing Storms And Stars
Brazilian-American singer Alexia Bomtempo delivers an electrifying tour de force with CHASING STORMS AND STARS, recently released on September 22nd. STORMS is Bomtempo's third studio album and the first to be released in the U.S. The release offers hints of blues, folk, country and Motown soul, while never forgetting the Brazilian beats that are in Bomtempo's blood.
This album comes after Bomtempo's 2012 second release I Just Happen to Be Here, which was a collection of Veloso's songs, written during his 1969–71 exile in London.
On CHASING STORMS AND STARS, Bomtempo collaborated with her partner in music and life, Texan guitar player, producer-composer, Jake Owen. They recorded the album with celebrated producer-engineer David Boyle (Patty Griffin, Trixie Whitley, Robert Plant) at his "Church House Studio" in East Austin. Other featured artists on the release include percussionist Mauro Refosco (Red Hot Chili Peppers, Atoms For Peace, Forró in the Dark), drummer Darren A. Beckett (Madeleine Peyroux, Brandon Flowers) and others, including their sadly departed friend, legendary Austin bassist George Reiff.
Born to an American mother and a concert-promoter Brazilian father, Bomtempo was raised in the beach culture of Rio De Janeiro, while traveling to America frequently over the years. She grew up listening to Brazilian popular music and Bossa Nova, as well as rock, folk and jazz.In 2008, she began touring throughout Brazil, Japan and the U.S. in support of her debut release Astrolabio.
Connect With Alexia Bomtempo here:
Website Facebook Twitter Instagram
Learn more about Alexia in the following All Access interview:
Thanks for your time for another All Access today! Where does this interview find you? Is there music playing in the background? If so, what is it? What music gets you instantly out of a bad mood? What is a song you are loving these days?
I am chilling at home in New York City, having a glass of wine and listening to the new Beck album "Colors". If I happen to be in a bad mood, any João Gilberto record has the power to take me to a good place, reminding of my beach-side upbringing in Rio de Janeiro.
Growing up, did you always want to be a musician? Can you recall your earliest musical memory? Was there a time where you thought of doing something completely different?
I always knew that I wanted to be a performing artist. I flirted with the idea of acting in my early teens, but was completely drawn to music once I joined my high school chorus group. I was very fortunate to grow up in a home where listening to records was a great part of our everyday life. My dad used to be a concert promoter in Brazil and most of my childhood memories involve going to shows and experiencing all the magic behind the scenes. I never wanted to do anything else. In fact, with the ebb and flow of the music business, I think that it's more important than ever to remind myself why it is that I choose to be a musician everyday.
Musically, did you approach this year any differently then you did last year? How has 2017 been treating you and your career? What are you most excited about for in 2018?
2017 has been all about getting ready for the release of my new album "Chasing Storms and Stars", which just came out a few weeks ago. I am excited about touring the U.S for the first time and starting to build a fan-base.
I always like to ask artists about where they came from and how that city or town has influenced them as an artist now. So how do you think your hometown has affected you and your music today?
Growing up in Rio de Janeiro, surrounded by echoes of bossa nova and being exposed to so much live music as a child due to my father's work was very powerful and has undeniably helped shape me as an artist. Rio is home to some world-class talent and I was very fortunate to have the opportunity to collaborate with musicians that still influence the music that I make today.
What was it like finally releasing your US debut album, "Chasing Storms and Stars"? How long have you been wanting to introduce it here?
It's this very odd sensation of excitement, relief, disquiet and curiosity. I'm thrilled to make my way back to my American roots, after having a life in music on the Southern part of the hemisphere. I've always wanted to write songs in English and explore the art scene in New York. This album embodies some life changing decisions that I've made over the past few years and I am so grateful for what it represents.
What was it like putting this album together? Did anything surprise you about the whole process? How long did it take? How is this collection different than anything else you have released in the past?
This is the third album of my career, but my first American release. It represents a big change for me, in music and in life. It's been 5 years since my last album came out ("I Just Happen to Be Here", an English language tribute to Caetano Veloso) and so many things in my life have changed since then. In 2013, I relocated from Rio to New York and had the chance to explore and experiment with my music, collaborate with artists from all over the world, make new friends, find true love. Shortly after, I was offered a performance residency in Tokyo and completely immersed myself in a foreign culture. All these key circumstances inspired me to write. Up until then, I had only done co-writes with other Brazilian songwriters; so for the first time, I felt the freedom and the independence as an artist to make my own voice be heard in what I was creating. I had always been a bit self-conscious about writing, especially having started out in Rio as a singer of Brazilian Popular Music, where historically, female vocalists didn't really write their own material. This album made me explore my identity and experiment with my surroundings. Perhaps New York has a substantial influence, in the sense that the whole cliche of "you can be whoever you want to be" plays a card in how you conduct your life here. The collaboration with Jake Owen (my partner in music and in life) is an essential element to the album. From the writing process to the final product, he challenged me to work hard and believe in my potential to create.
What are some of your favorite songs on this new album? Can you talk about how a few of the songs were created? Generally, how do you go about writing songs?
"Maybe I'm a Fool", "Mexico" and "Letting It Die" are some of my favorite songs. Jake and I wrote "Mexico" together a couple of years ago, during a road trip through West Texas. I had never seen that part of the country and was completely taken by the landscape, the open roads, the sky…the power of nature and how small and fragile we may be. I usually start with a melody and then everything comes together. But the writing process is always different, I don't have a particular system that I follow. It really depends on how the essence of the idea comes about. Sometimes it is very natural and all in one flow. For instance, I wrote "I Thought About You" alone in a hotel room, strumming a few chords on the guitar- in less than 30 minutes it was a finished song. But the process can also be arduous, painful, time consuming, especially when you're looking for that perfect line. I often dream of melodies… The entire melody for "Letting It Die" materialized in my dreams! I've learned to respect the ideas that come in my sleep and try to keep a voice recorder nearby so I don't miss out on anything.
With the summer over now, what was something fun or new that you tried this summer?
I did a tour through Japan in June and that was an incredible experience: playing a different city every night, riding the bullet train, enjoying some of the best food in the world… Other than that, I was so busy in preparation for the album release that I didn't have much downtime to relax this summer once I was back in NYC. I'm planning a trip to Rio in the winter so I am hoping to take my beach days in then.
We are living in a crazy and at times rough world right now so I am curious how you think being a musician gives you the most joy in life today? Do you think that new music being created today is going to reflect these difficult times?
I really enjoy collaborating with other artists. Often, I can embark on a lonely path in songwriting, which can be a quite challenging, but also relieving. I love it when the time comes to share a piece that I've been working on with other musicians, bringing a song to life. There is something to be said about people making music in a room. It's a powerful thing. I think that the current stage of the world has forced artists to become more resilient. There is constant pressure to get a message out and to express meaningful sentiment. I do hope that, down the road, we can look back at these difficult times and see that some great art was born from the chaos.
So many… Caetano Veloso, Gal Costa, Thome Yorke, Paul McCartney, Dinah Washington, Blossom Dearie, Fiona Apple…and the list goes on.
It would be a dream to have Nigel Godrich, Jon Brion or David Byrne produce one of my records. I love Brazilian singer-songwriter Rodrigo Amarante and would love to write and do a track with him.
What do you hope fans take away from your music? Do you think there is a message to a lot of your songs?
I often hear fans revealing how they've used my music to escape, how the songs and the sounds bring them to a different time and space. I think that means the therapeutic and expressive feeling is coming across and that is something that I aspire to continue doing. Many songs on "Chasing Storms and Stars" are about understanding life and the people that come into your life, accepting the directions you take and the choices you make, taking risks and dealing with the aftermath, letting go and being open to receive.
Being a working musician is a challenge and the idea that your career is going to play out exactly as pictured is something that you should probably let go of. Not to say that dreams don't come true, but you have to be able to focus on the everyday work and, most importantly, enjoy the ride. If all your attention is turned to the finish line, you will be missing out on this fundamental process of building your artistry.
Is there anything else that you would like to share with our readers about yourself, your music or the show?
I'm over the moon to be playing in LA for the very first time on November 4 at Hotel Cafe, which is such a cool room and so many musicians that inspire me have been on that stage. With the world at our fingertips, I still believe that getting out to have real experiences is what shapes us as human beings. Not even the most high-tech live stream can replace the sensation of being part of a live performance.
KATY PERRY's Space-Themed Concert at LA's Staples Center Was Out Of This World!
An Interview With JINCO About New Music, His Favorite Artists and More!


Justice Robert H. Jackson delivers his opening statement at the Nuremberg Trials, 1945 November 22. olvgroup12379.
The Harvard Law School Library's Historical & Special Collections is a repository for many manuscripts collections relating to the Nuremberg Military Tribunals. You can find the finding aids for the personal papers of several prosecutors from the trials, such as Leonard Wheeler, Jr, Belle Mayer Zeck, and Joseph M. Stone in OASIS. However, perhaps most impressively, the library holds approximately one million pages of documents relating to the trial of military and political leaders of Nazi Germany before the International Military Tribunal (IMT) and to the twelve trials of other accused war criminals before the United States Nuremberg Military Tribunals (NMT).
In 2003, the library undertook the task of digitizing the records from all twelve trials and launched the Nuremberg Trials Project by presenting documents from and relating to the Medical Case, which was Case 1 of the NMT trials. The Medical Case (U.S.A. v. Karl Brandt et al., also known as the Doctors' Trial) was held in 1946-1947 and involved 23 defendants accused of organizing and participating in war crimes and crimes against humanity in the form of harmful or fatal medical experiments and other medical procedures inflicted on both civilians and prisoners of war.
Now, the library is pleased to present the digitized documents from trials two and four, as well. NMT 2 (U.S.A. v. Erhard Milch) took place in 1946-1947. Milch was indicted on counts of war crimes and crimes against humanity. The prosecution presented 161 written exhibits and 3 witnesses. The defense presented 51 written exhibits, 30 witnesses, and testimony by Milch himself. NMT 4 (U.S.A. v. Pohl et al.) took place in 1947. Chief of the SS Economic and Administrative Main Office (Wirtschafts und Verwaltungshauptant, WVHA), Oswald Pohl and seventeen other WVHA official were charged with conspiracy to commit war crimes, crimes against humanity, and membership in a criminal organization. The crimes occurred between 1942 and 1945 in WVHA-managed concentration camps and labor camps of the SS, where up to 10,000,000 individuals were imprisoned.


Ask any (KS2) teacher to name the task which takes them the most time and you are pretty much guaranteed to get the response, "marking". At the beginning of your teaching career, it feels like an endless slog with no light at the end of a very long tunnel. Along the way, you borrow or create certain strategies to reduce the amount of time you spend on it; providing answer sheets, peer marking and, a favourite of mine, using assessment stampers. But still, it is the task which takes the biggest proportion of your time.
Firstly, it tells me what I need to know in order to personalise the learning in the next lesson. This may require me to change the learning objective, make activities easier or harder, move groups around or go back over something which has not been achieved. It tells me who got it and is ready to move on, who struggled through and who doesn't have a clue. Also, I gain an insight into the volume of work produced in the lesson; with 30+ children in a class, laziness can sometimes go under the radar if books are not checked regularly.
Secondly, it gives me the perfect opportunity to truly personalise the learning for each individual child, through comments, questions, suggestions, instructions, quick revisions to support them in their learning, whatever point they're at.
Marking will achieve the first purpose if children's learning is assessed every lesson. This doesn't require any written comments or response but could be accompanied by a stamper for the sake of SLT/OfSTEd or anyone else you answer to! I usually like to use a piece of scrap paper, post it note or the back of the lesson plan to keep notes, write groups or reorganise the next plan. However, it is the second purpose, which only becomes meaningful if acted on by the pupils, that I would like to focus on.
Since working with @HTBruce, I have been a big believer in ensuring the time taken on a task results in an equal or better impact on the children's learning. Therefore it hit me hard in my NQT year when, despite my hours of effort marking their books, my class were not reading, let alone responding to, the personalised comments I had lovingly written or prepared for them. I had learned at University the importance of feedback and my comments were appropriate and formative. I was also aware of my school's assessment policy and was only marking in depth as often as was required of me. However I hadn't learned the importance of routine and so the comments were making zero impact on the learning while making a big impact on my time - Definitely not the right way round.
Early on, I discovered stampers and they helped me cut my marking time (read how and why here) but they still didn't solve my problem. How could I get the children to read and respond to every comment I made? After all, if I was going to spend even the smallest amount of time writing a comment, I needed to ensure it would be seen. I started off giving time in the school day, here and there, to respond to comments. This solved a bit of the problem but there was still about a third of my class who just weren't reading them. It wasn't until this last year, my third in teaching, that I created a routine that meant no comment was left unread or un-responded-to. Simultaneously it improved the quality of my feedback as I was seeing the impact it was having and could adjust it accordingly.
My Solution - Gel Pens!
Having dabbled around in different routines and strategies, I started the new year armed with a class set of gel pens. Basically the rule was this: no one was to write the title and date (as required by the school every lesson) without having initialed or responded to any previous comments in gel pen. Why gel pen? I hear you cry! Simply because it creates a physical movement before and after responding to comments and the children LOVE using them!
At the beginning of lessons, every child starts with a gel pen. They initial all comments, including stampers, and then they respond appropriately. This gives the added bonus of their corrections or new work being in a different colour so when I/SLT/OFSTEd/whoever looks through their books, the corrections are easy to distinguish from their original lesson work. Once they have read, initialed and responded, they switch to their normal writing implement for the start of the lesson.
- circling where mistakes are in own/peer's book.
Using the gel pens has made my marking more meaningful. The reading/responding of comments has increased to 100% and it has created learning conversations in books when there is no time in class. Children have become much more willing to make mistakes and they enjoy hunting for corrections. At the end of each lesson, they now reflect on their learning (in gel pen) and write any questions/comments about the lesson in their book. They are expectant of comments or activities which will move them forward when they read my marking; that in turn makes me more willing to write them. Also, they make my marking more regular and focused on the children's learning, particularly because they call me up on it if I forget! Overall, I enjoy marking more (shock horror!) because of the anticipation of children's responses and the knowledge of the impact it will have; now the time I'm putting into marking is finally making a difference.


text:
Henri M. J. Boffin is a Belgian astronomer from the European Southern Observatory, credited by the Minor Planet Center with the discovery of 11 numbered minor planets between 1999 and 2001, some in collaboration with Thierry Pauwels.

Henri Boffin received his PhD in 1993 from the Université libre de Bruxelles for his work on the formation of barium stars and has since gone on to work on a variety of problems in the study of binary stars. Most recently, he has dedicated his time to the study of binary stars in planetary nebulae, including discovering the binary central star of Fleming 1, and the use of optical interferometry to study mass-transfer.

He is also extremely active in science communication, having been coordinator of the International Year of Astronomy 2009 Gigagalaxy Zoom project, as well as being interviewed about his work in a wide range of publications.

Boffin named the main-belt asteroid 37392 Yukiniall after his two sons, Yuki and Niall. Naming citation was published on 24 July 2002 ().

References

21st-century Belgian astronomers
Discoverers of asteroids

Living people
Year of birth missing (living people)
20th-century Belgian astronomers

redpajama_set_name: RedPajamaWikipedia


text:
STEVE LIEWER Staff WriterSUN-SENTINEL
Neighbors are screaming betrayal following a Palm Beach County Zoning Commission decision on Thursday to allow a Checkers drive-in restaurant on Boca Rio Road at Glades Road.
If the County Commission ratifies the decision on Oct. 28, it will cancel a 1986 restriction barring the developer of the Lakeside Center from building a fast-food store at the mall. The drive-in, with a peach-and-teal color scheme, would be just east of Pete Rose's sports restaurant.
But neighbors, especially those in the adjacent West Lakes Mobile Home Park, want the restriction left as it is.
"We don't need another fast-food situation out here," said Richard Hickey, treasurer of the park's homeowners' association. "I can see Boca Rio Road turning into a trash bin."
Milton Brenner, president of the West Boca Community Council, said his organization grudgingly supported Lakeside Center seven years ago as a replacement for what he described as an "ugly, sleazy" hotel and strip mall.
He said Lakeside Development Corp. already reneged on promises to fill the center with upscale boutiques. Instead its tenants include a Freddy's discount pharmacy and a Service Merchandise.
"The high-class boutiques gave way to a strip mall," Brenner said. "We feel the county was negligent in allowing this to happen."
The developer's representatives disagreed.
"The promise of boutique shops is absolutely not true," said attorney Alan Ciklin. "It doesn't make any sense that you would fill 24 acres at a major intersection with boutiques."
Ciklin also said the no-fast-food condition only meant that the County Commission wanted to review any future requests, not rule them out entirely.
Five of the commissioners agreed with that logic.
"I don't see any adverse effect because of this use," said Commissioner Sherry Hyman. "I think it's a beautiful addition to the center."
But two commissioners, Al Miller and Phil Leslie, said the county should stick to its word.
"The Board of County Commissioners made that commitment, and I think we should honor that commitment," Miller said.


In full consideration for all services rendered by the Performer at the Performance, the Client agrees to pay the Performer the agreed fee (the "Fee").
Unless paying the full balance up front, the Client will pay to the Performer 50% of the Fee as a booking fee (the "Booking Fee") upon receiving the invoice, or within 24hours of receiving the invoice. The Booking Fee is non-refundable as it 100% secures your event, meaning the Performer may no longer accept other bookings for that time. If the Client fails to provide the Booking Fee by the afore mentioned time, the Performer may cancel this Agreement without further obligation. Without the Booking Fee the date/time is not secured. By paying the Booking Fee you agree to these terms and conditions.
The Client will furnish at its sole cost and expense the ground transportation for the Performer for all needs related to the Performance.
The Client will provide at its sole cost and expense airline/train tickets for the Performer to and from the Venue.
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Please note that all fees quoted will include/cover all transport within the quoted fee, this is done for your ease of booking. The only exception will be for overseas events in which transportation/accommodation is itemized.
The remaining balance is to be paid promptly 30 days prior to the date of the Performance. Last minute bookings will require an early payment time, such as a week or two prior to the event, a date set by the Performer or immediate payment. The Client will pay too the performer any outstanding balance via bank transfer.
The Performer reserves the right to cancel this Agreement without obligation upon written notice (email) to the Client prior to the Performance date. In the event the Performer cancels the Performance under the terms of this section, the Booking Fee or full Fee (if paid) will be returned to the Client promptly. Cancellation by the Client cannot be accepted via an answer machine, voicemail or sms text. In the event of a cancellation 90 days prior to the date of the event, the Client will be subject to promptly pay 25% of the remaining balance of the Performance fee. In the event of a cancellation 60 days prior to the date of the Performance, the Client will be subject to promptly pay 50% of the remaining balance of the Performance fee. In the event of a cancellation 30 days prior to the date of the Performance, the Client will be subject to promptly pay 100% of the remaining balance of the Performance fee. If the booking is made within 30 days, full balance is to be paid no later than seven days prior to the event date. Please note, as mentioned above that the Booking Fee will not be able to be refunded upon cancellation by the Client.
Those obligations of the Client that are to be performed prior to the Performance of the Performer are conditions precedent which must be performed in full by the Client before the Performer is required to perform unless otherwise agreed to by all parties in writing. If the Client cancels or postpones any performance without proper notice, fails to make any payment or fails to perform any other condition precedent as required by this Agreement the Client will be in breach of this Agreement and the Performer will have no further obligations under this Agreement. The Client will forfeit any Deposit or balance already paid to the Performer.
The Performer has the right to refuse performance if the temperature within the Venue is too warm. The Client will be responsible for making sure that the temperature at the Venue is suitable for the Performance.
If a dispute will arise under the terms of this Agreement, the party claiming the dispute will have 7 days to notify the other party. The party not claiming the dispute will have 7 days to remedy the dispute. In the event that the dispute is not remedied within this time period, then any party at its option will have 10 days to submit the dispute to mediation in accordance with any statutory rules of that program. If such services are not available, the dispute will be submitted to arbitration in accordance with the laws of England. The arbitrator's award will be final, and judgement may be entered upon it by any court having jurisdiction within England.
The Client and the Performer agree to perform their obligations under this Agreement, in all respects, in good faith.


text:
Q: Phpmyadmin not selecting correct vaues I am running this query in my database:
SELECT * FROM posts INNER JOIN profile ON posts.user_id = profile.user_id
WHERE posts.user_id IN
  (SELECT user_id FROM users WHERE class_name IN
    (SELECT class_name FROM classroom WHERE created_by = '456'))
OR posts.user_id IN
  (SELECT user_id FROM users WHERE role = 'teacher' AND school_name = 'SK Taman Megah')
ORDER BY posts.created_at DESC;

This is my classroom table:

This is my users table:

This is my post table:

This is my profile table:

This is my output:

Expected output should have a total of 4 rows with post_id of (60,57,61,56) but only 2 was shown. Is there a mistake in the SQL query?

A: I think following one is what you are expecting:
SELECT * FROM posts INNER JOIN profile ON posts.user_id = profile.user_id where posts.user_id IN (select distinct user_id from users left join classroom on classroom.class_name = users.class_name where classroom.created_by='456' or (users.role='teacher' and users.school_name='SK Taman Megah') )

redpajama_set_name: RedPajamaStackExchange


For a wedding venue that has one of the best coastal views around, Port Annapolis Marina in Annapolis, Maryland, is the place to consider! Situated in the Chesapeake marina, Port Annapolis provides captivating and picturesque panoramic waterfront views ideal for both ceremonies and receptions.
Couples may host up to 175 wedding guests within the pavilion's 3,000-square-foot event space. An adjoining gazebo, floral landscapes and beautiful views surround the site, giving guests breathtaking backdrops at every turn. There's also a bridal suite and sitting room with a half bath perfect for wedding party preparation.


Cappadocia offers you an unforgettable holiday with its unbelievable history. To discover this mysterious history, to touch its made of stone houses, check our day tours in Cappadocia. Choose the most attractive one to you!


text:
\section{Introduction}
\label{sec:intro}

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To achieve the best rendering both in printed proceedings and electronic proceedings, we
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\section{Introduction}
Age estimation has a broad spectrum of applications, including video surveillance, customer profiling and general facial analysis.
Age estimation is known for the difficulty of collecting sufficient training images with precise annotations.
Since the ground truth age can only be accessed by authorities, a popular alternative is to utilise appearance-based estimations by a group of human annotators.
However, such apparent age estimation also needs to address ambiguous labels resulting from subjective assessment.

Existing approaches for age estimation can be generally grouped into two categories: classification-based methods and regression-based methods.
For classification-based methods \cite{rothe2015dex, chen2017using}, age estimation is treated as a classification problem, \emph{i.e}\onedot} \def\Ie{\emph{I.e}\onedot, each year is considered a class.
For regression-based methods \cite{niu2016ordinal, chen2013cumulative, yang2018ssr}, age estimation is treated as a regression task.
Alternatively, other methods may apply different mechanisms, \emph{e.g}\onedot} \def\Eg{\emph{E.g}\onedot, label distribution learning \cite{geng2013facial, geng2016label}.

In this paper, we propose a novel framework named Age-Granularity-Net, which combines four classification losses and one regression loss for separate output branches from a shared backbone model---thus adding tolerance to label ambiguity.
The final loss is the sum of all individual losses for separate branches.

More specifically, the four classification losses consist of age labels representing different levels of granularity.
For example, in addition to one-year grid with 100 classes, we add output branches for lower granularities, \emph{e.g}\onedot} \def\Eg{\emph{E.g}\onedot, 20 classes (with 5-years grid) and 10 classes (with one-decade grid).
Moreover, the ultimate granularity is represented by a regression branch, which uses the mean squared error as the loss function.
Note that the Age-Granularity-Net framework can be applied to several well-known neural networks, so it is more of a framework than a network type.

\section{Related work}
\label{sec:related_work}

\begin{figure*}[ht]
\begin{center}
\end{center}
    \includegraphics[scale=0.70]{materials/architecture.pdf}
   \caption{The architecture of the proposed method which combines different losses.}
\label{fig:architecture_cnn}
\end{figure*}

Age estimation is a representative task, where neural networks excel.
Until the surge of modern deep learning techniques, it was considered extremely challenging for computer programmes, while being quite straightforward for humans.
The root cause for this challenge is the holistic effect of ageing to the entire face, which is difficult to capture by classical machine learning methods.
However, convolutional neural networks can perceive higher-level concepts via their larger receptive field. Due to these reasons, recently CNNs have been adopted more widely than traditional approaches \cite{lowe1999object, ojala1994performance}.Yi \emph{et al}\onedot \cite{yi2014age} firstly utilized a CNN models to extract features from several facial regions.

Classification and regression methods are two main approaches in age estimation. Regarding the classification methods for age estimation, Rothe \emph{et al}\onedot \cite{rothe2015dex} proposed to use the expected value of the probabilities on discrete age values as the predicted age, with each year of age representing one class.
Chen \emph{et al}\onedot \cite{chen2017using} utilized ranking-CNN for age estimation, in which there were a series of basic binary CNNs, aggregating to the final estimation.
Regarding the regression approaches for the age estimation,
Niu \emph{et al}\onedot \cite{niu2016ordinal} formulated age estimation as an ordinal regression by employing multiple output CNNs.

Multiple losses approaches are used in age estimation task recently. Zhang \emph{et al}\onedot \cite{zhang2017quantifying} proposed to combine cross-entropy loss and distribution loss to quantify the facial age. Besides, Pan \emph{et al}\onedot \cite{pan2018mean} proposed the mean-variance loss as the final loss function, consisting of cross-entropy loss for the predicted age class and ground truth age class, L1-loss for the predicted age and ground truth age, and Kullback-Leibler divergence loss for the estimated age distribution and the probability distribution model of the ground truth age.

Our approach differs from the related work in that we use multiple classification branches where each classifier has a task of different granularity constructed from the original labels.
The benefits of our approach are two-fold:
Firstly, using multiple granularities is a natural way to increase the tolerance against ambiguous labels---even nearby predictions get rewarded by the lower-granularity targets.
Secondly, using multiple simultaneous losses has been shown to improve the accuracy---possibly due to interpreting this as a form of label augmentation \cite{Bai2018, Zhou2019}.

\subsection{Attention models}

Much of progress in neural networks was enabled by so
called neural attention, which allows the network to focus
on certain elements of a sequence [xx], [xx], [xx] or certain
regions of an image [xx] when performing a prediction. The
appeal of such models comes from their end-to-end nature,
allowing the network to learn how to attend to or align data
before making a prediction.
It has been particularly popular in encoder-decoder frameworks, where it was first introduced to better translate between
languages [xx]. The attention network learned to focus on
particular words or phrases when translating sentences, showing large performance gains on especially long sequences. It
has also been extensively used for visual image and video
captioning, allowing the decoder module to focus on parts
of the image it was describing [xx]. Similarly, the neural
attention models have been used in visual question answering
tasks, helping the alignment between words in the question
and regions in the image [xx]. Spatial Transformer Networks
which focus on a particular area of image can also be seen as
a special case of attention [xx]. Somewhat relatedly, work in
facial expression analysis has explored using particular regions
for facial action unit detection [xx], [xx], however, they did
not explore dynamically attending to regions depending on
the current facial appearance. Our work is inspired by these
attention models, but explores different ways of constructing
neural attention and applying it to age estimation.

\section{Proposed method}
\label{sec:proposed_method}

Due to ambiguity of age labels, we study the possibilities to increase the flexibility by introducing classification losses for targets at multiple granularities.
In the following, we consider four classification losses and one regression loss, but the number of losses is not limited to this configuration.

\subsection{Age-Granularity-Net Framework}

The neural network architecture of the proposed Age-Granula\-rity-Net framework is shown in Figure \ref{fig:architecture_cnn}. More specifically, we append five branches to any of the commonly used classification backbones. Each branch learns a variant of the age estimation task: The first branch estimates the age at 1-year granularity; the second one at 5-year granularity (20 classes; age target quantized to the mean of each 5-year interval); the third one at 10 year granularity and the fourth at 20 year granularity.
Additionally, we insert a regression output branch to represent the ultimately high granularity.

As mentioned, the proposed method can be easily applied to any neural network backbone.
In our experiments, we study the AlexNet \cite{krizhevsky2012imagenet}, MobileNet-V1  \cite{howard2017mobilenets}, ResNet50  \cite{he2016deep},
and DenseNet121 \cite{huang2019convolutional} models as the backbone.

\subsection{Aggregate Loss Function}

\begin{table*}[t]
    \begin{center}
      \scalebox{0.9}{
      \begin{threeparttable}
        \begin{tabular}{|l|c|c|c|c|c|c|c|c|}
          \hline
          \multirow{2}{*}{Model}   & \multicolumn{4}{c|}{Classification loss combination}              & Regression   loss                                                     & \multicolumn{3}{c|}{Evaluation} \\ \cline{2-9}
                                                  & 100-classes & 20-classes & 10-classes & 5-classes  &  mse          & MAE           & improvement      & relative                            \\ \hline \hline
          \multirow{4}{*}{AlexNet}                & \checkmark  &            &            &            &            & 7.35          &                     &                         \\ \cline{2-9}
                                                  & \checkmark  & \checkmark &            &            &            & 6.81          & 0.54                &    7\%                     \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark &            &            & 6.86          & 0.49                &      7\%                   \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark &            & 6.11          & 1.24                 &       17\%                 \\  \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark & \checkmark & \textbf{3.74\textsuperscript{1}}          &  3.61       &     49\%                                \\  \cline{2-8}   \hline \hline

          \multirow{4}{*}{MobileNet-V1}           & \checkmark  &            &            &            &            & 5.35          &                    &                          \\ \cline{2-9}
                                                  & \checkmark  & \checkmark &            &            &            & 4.90          & 0.45                &   8\%                      \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark &            &            & 4.71          & 0.64                &   12\%                        \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark &            & 4.63          & 0.72                 &   13\%                        \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark & \checkmark & \textbf{4.11}         &  1.24         &  23\%                                  \\ \cline{2-9}  \hline \hline

          \multirow{4}{*}{ResNet-50}              & \checkmark  &            &            &            &            & 4.84          &                       &                       \\ \cline{2-9}
                                                  & \checkmark  & \checkmark &            &            &            & 4.85          & 0.01                   &   0\%                   \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark &            &            & 4.59          & 0.25                   &  5\%                    \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark &            & 4.40          & 0.44                   &  9\%                    \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark & \checkmark & \textbf{4.03} & 0.81                    &   17\%                  \\ \cline{2-9}   \hline \hline

          \multirow{4}{*}{DenseNet-121}           & \checkmark  &            &            &            &            & 6.16          &              &                                \\ \cline{2-9}
                                                  & \checkmark  & \checkmark &            &            &            & 5.48          & 0.68          &    11\%                           \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark &            &            & 5.34          & 0.82          &       13\%                        \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark &            & 5.16          & 1.00           &       16\%                          \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark & \checkmark & \textbf{3.86}  &   2.30         &       37\%                           \\ \cline{2-9}   \hline \hline

          \multirow{4}{*}{VGG-16-BN}              & \checkmark  &            &            &            &            & 5.35          &                 &                             \\ \cline{2-9}
                                                  & \checkmark  & \checkmark &            &            &            & 5.25          & 0.10             &    2\%                         \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark &            &            & 4.93          & 0.42          &       8\%                        \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark &            & 4.99          & 0.36           &      7\%                        \\ \cline{2-9}
                                                  & \checkmark  & \checkmark & \checkmark & \checkmark & \checkmark & \textbf{4.13} &  1.22          &      23\%                            \\ \cline{2-9} \hline \hline
          DLDL-v2 (ThinAgeNet)\textsuperscript{2} &             &            &            &            &            & 3.45         &                  &                            \\ \cline{2-9}  \hline
        \end{tabular}
        \end{threeparttable}
      }
      \begin{tablenotes}
        \footnotesize
        \item 1 the initial learning rate is $10^{-5}$ instead of $10^{-3}$ when training the model in this experiment because of the convergence cross entropy issue.
        \item 2 the state-of-the-art accuracy on the CVPR 2016 ChaLearn dataset \cite{gao2018age}.
      \end{tablenotes}
    \end{center}
    \caption{The different granularity classification loss experimental age estimation results on the ChaLearn 2016 dataset. The lowest MAE is highlighted in bold.}
    \label{tab:the_combination_with_different_classification_loss}
\end{table*}

We define the aggregate loss function $\mathcal{L}$ as a combination of $N$ components: $N-1$ cross-entropy classification losses   $\mathcal{L}_1,\ldots,\mathcal{L}_{N-1}$ and one mean squared error $\mathcal{L}_\text{mse}$ regression loss.
Also, we denote the ground truth for the $n$'th branch by $\mathbf{y}_n$  and the corresponding network outputs by
$\hat{\mathbf{y}}_n$ ($n=1,\ldots,N-1$); and the scalar ground truth and network output for the MSE loss by $y_N$ and $\hat{y}_N$, respectively.
In order to compensate for different magnitudes of the classification and regression loss, we define a weight $\lambda\in\mathbb{R}_+$, which compensates for the magnitudes of the two types of losses.

Formally, we can represent the aggregate loss as
\begin{equation}
    \label{Eq:total_loss}
    \mathcal{L} = \sum_{n=1}^{N-1}\mathcal{L}_n(\mathbf{y}_n, \hat{\mathbf{y}}_n)  + \lambda \mathcal{L}_\text{mse}({y}_N, \hat{{y}}_N).
\end{equation}
In our experiments, the weight $\lambda$ is set to 1, but might require tuning for regression problems with different range of values.

\textbf{Cross-entropy losses.}  In our experiments, we use four classification losses based on cross-entropy ($N=4$).
Thus, the aggregate loss is given by
\begin{align}\begin{split}
    {\cal L} &= \mathcal{L}_{100}(\mathbf{y}_{100}, \hat{\mathbf{y}}_{100}) + \mathcal{L}_{20}(\mathbf{y}_{20}, \hat{\mathbf{y}}_{20}) + \mathcal{L}_{10}(\mathbf{y}_{10}, \hat{\mathbf{y}}_{10})
    \\
    & + \mathcal{L}_{5}(\mathbf{y}_{5}, \hat{\mathbf{y}}_{5}) + \lambda\mathcal{L}_\text{mse}({y}_N, \hat{{y}}_N),
    \end{split}
    \label{Eq:calculate_multiple_classification_loss}
\end{align}
where $\mathcal{L}_{100}$ represents the cross-entropy loss with 100 classes and
 age granularity  one year,
$\mathcal{L}_{20}$ represents the cross entropy loss with 20 classes and  age granularity  5 years,
$\mathcal{L}_{10}$ represents the cross entropy loss and age granularity 10 years, and $\mathcal{L}_{5}$ represents the cross entropy loss with 5 classes and age granularity 20 years.

The classification losses are illustrated in Figure \ref{fig:age_estimation_classification_loss}, where the ground truth of a sample image is 44 years. For the four classification losses, this is viewed as the ${43}$'rd class in the 100-class loss, the ${8}$'th class in the 20-class loss, the $4$'th class in the 10-class loss and ${2}$'nd class in the 5-class loss variant.

\begin{figure*}
	\includegraphics[width=\linewidth]{materials/age_losses_classification_combination.pdf}
	\caption{Illustration of the four classification branches on age estimation.}
	\label{fig:age_estimation_classification_loss}
\end{figure*}

\textbf{MSE loss.} In addition to the $N-1$ classification losses utilizing cross-entropy, we also include another loss term defined by the mean squared error between the ground truth age and the network output from the regression branch produced by a dense single-output node with linear activation.

\section{Experimental Setup}
\label{sec:experiments}

\subsection{Dataset}

In our experiments, we use the \textit{CVPR 2016 ChaLearn Looking at People dataset} \cite{escalera2016chalearn} with altogether 7,591 facial images (4,113 in the training set, 1,500 in the validation set and 1,978 in the test set) with human-annotated apparent ages.
Images in this dataset were taken in non-controlled environments and had diverse backgrounds.

\subsection{Face landmark detection and alignment}

Face alignment process is a common procedure for age estimation.
We use the MTCNN alignment model \cite{zhang2016joint} to detect face and five facial keypoints: left eye, right eye, nose, left and right corner of mouth.
The detected face is aligned by similarity transformation obtained from the five keypoints.
For more details, refer to the alignment procedure of \cite{Bai2018}.

\begin{figure}
    \centering
	\includegraphics[width=0.9\linewidth]{materials/CVPR_AGE_ChaLearn_2016_dataset_samples.pdf}
	\caption{Example images with five years as the age granularity in CVPR ChaLearn 2016 dataset after face detection, alignment and data augmentation.}
	\label{examples_CVPR_ChaLearn_2016_dataset}
\end{figure}

\subsection{Preprocessing and Training}

Data augmentation is used in the experiments, including random crops with four paddings and a random horizontal flip.
Examples of training samples are shown in Figure \ref{examples_CVPR_ChaLearn_2016_dataset} with five years as age granularity.
The ImageNet pre-trained weights are used to initialize the main backbone network, and the five branches are initialized at random.
All face images are resized to size 224 $\times$ 224 after alignment.

During the training phase, the initial learning rate is $10^{-3}$.
The learning rate is divided by 10 every time when the validation loss has not decreased for 8 epochs.
In the inference phase, we use the output from the ${\cal L}_{100}$ loss branch---with one year granularity.
This turned out to be the most accurate predictor among all five branches and their combinations.

\subsection{Evaluation metrics}
The mean absolute error (MAE) is the evaluation metric in our experiments. MAE is the average of absolute differences between the neural network predicted age and the ground truth age, where $k_{th}$ is one image from the $K$ total images.

\section{Experimental Results}

The age estimation accuracies using different numbers of losses are shown in Table \ref{tab:the_combination_with_different_classification_loss}. The table shows mean absolute errors in the test set when using five different backbone networks; each with five different combinations of loss functions. Moreover, we emphasize the difference to the single-loss version (with 100 classes, since this is the most common setup in the literature).

From the table, it is clear that adding more losses increases the accuracy almost monotonously.
More specifically, almost every time when a new loss is added, the accuracy improves; suggesting that more losses are always better. One explanation for this that as we add losses with lower granularity, we also increase the tolerance to ambiguous labels.
The added accuracy brought by the new branches varies between 0\% and 11\% for the classification branches (5\% per branch on the average), while the relative decrease brought by the MSE loss branch ranges from 8\% for ResNet-50 to as high as 39 \% for the AlexNet (21\% on the average over all backbones).

Also, at the bottom is the state-of-the-art accuracy that a tailored architecture can reach on this dataset. Although the goal of this paper is not to compete against tailored age estimation networks, we can see that the reached accuracies are not far from those of the state-of-the-art.

\section{Conclusions}
\label{sec:conclusions}

In this paper, we proposed the Age-Granularity-Net framework for visual regression tasks. The method utilizes an aggregate loss function combined of losses at different target granularities. The key result is the observation that every added loss improves the accuracy, without increasing the computational load at inference: We only train with multiple losses, but infer with only one branch. Moreover, an important observation was that the MSE loss was very beneficial for the accuracy; indicating that the added losses should be complementary to each other in order to bring in novel aspects of the data.

\bibliographystyle{IEEEbib}

redpajama_set_name: RedPajamaArXiv


45 minute instructor led on board yoga lesson with 30 minute exploration paddle following.
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Thorough overview by The Wall Street Journal on "how pizza night can cost more in data than dollars". Though I do wonder who actually reads these kinds of articles and cares. The additional data collected by Facebook is astounding. Apple, of course, looks like the good guy here.


text:
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Home / Industry Spotlight / Interview with Patrick Doyle
Interview with Patrick Doyle
By Daniel Schweiger • June 12, 2012
If there's one picture that Patrick Doyle was fated to be the composer of, then it's no contest that movie is "Brave," Pixar's animated salute to all things Scottish in the form of a feisty lass named Merida. Like all modern, high-born Disney heroines, this red hair rebels against the chauvinist-conformist path set by her well-meaning royal parents, with her archery skills representing the sharply pointed spirit of her determination. Not only does Merida's shooting skill outrage her highland clansmen and intended suitors, but her unbreakable will also ends up incurring a witch's ursine curse- the rampaging results of which provide the slings and arrows for Doyle's adventurously rousing, and emotional approach that's the ultimate salute to his homeland.
click on the cover to buy the "Brave" soundtrack
"Brave" isn't Doyle's first time aiming at a cartoon bull's eye, having done yeoman musical work on 1998's "Quest for Camelot" and 2008's "Igor." But there's a far bigger likelihood that "Brave" will find its mark in the box office red where a two-headed dragon and a mad scientist's assistant didn't. As such, "Brave" represents the continued, on-target re-invention of Doyle for the 22nd century, a process that the genre has certainly abetted with "Harry Potter and the Goblet of Fire" and last summer's one-two hit combo of "Thor" and "Rise of the Planet of the Apes," two scores which saw Doyle transform his old-school orchestral approach with today's favored blend of symphony and rhythmic percussion. While just as fresh, and forward-looking in its sound, "Brave" represents a sort of return to form for Doyle, its action music hearkening to such enjoyably bombastic scores as "Frankenstein" and "Dead Again."
But make no mistake that "Brave" is more importantly all things that are Scottish, using a ripping orchestra as a base to bringing on the Highland bagpipes, jigs, flutes and violins for a clannish spirit that Braveheart himself would approve of- as passionately wrapped into Disney's newfound, determinedly feminist spirit. And while there's joyful energy to spare in Doyle's always-robust approach, "Brave" is also very much forged in the tender, sometimes humorous approach of the Mouse House's enchanted kingdom, full of songs, danger, Celtic mysticism and the kind lyrically melodic heart that will always bring a seemingly wayward daughter back into parental arms' embrace by the soaring end. It's a score that's a much about Doyle's proud, ancient ethnic identity as it is about a Disney tale as old as time, given a newfangled shot of CGI toon energy the Pixar way that's now made this composer the likeliest Scottish fellow to win "Brave"'s hand.
How did you come on board "Brave?" It would seem like a natural for you.
I was in Scotland when Pixar first approached me to go up and meet everyone. The following week after I did, they officially asked me if I would like to do the score. I think it was important for Pixar to have a Scott writing the music for a quintessential Scottish piece, so it seemed very natural for me to do it. It was also certainly a thrill for me because I adore animation. And this was Pixar. I've also worked with some of the voice actors in "Brave," including Billy Connolly, Kelly Macdonald, Craig Ferguson, and Robbie Coltrane, who's a very close friend of mine. And of course there's Emma Thompson, who I've known since 1983. So it was nice to be part of this ensemble.
You also appear in "Brave."
Yes. Pixar asked if me I'd play a small part, which ended up being a castle gate keeper, which gave me a couple of lines. It was funny and wonderful when they asked me to sign the wall where all the actors who've ever performed in the Pixar films had left their signature. It was lovely to be on that wall of fame.
How early were you brought into the filmmaking process of "Brave?"
Three years ago. I made many, many trips to Pixar to watch the animators at work. They showed me lots of various parts of the process. including how the bears were going to be. They also explained the process where they actually gave the characters layers and layers of clothing, as opposed to giving them one garment, as one does in normal animation. That gives the characters movement and fluidity, with a depth of perspective that's new for animated films. Pixar is enthusiastic about each part of the process in that way. As the storyboarding process developed, I would send some basic ideas, including a lullaby. Each step, and each change was a very organic process. They are incredibly enthusiastic people and generous and a sponsor your ideas. So you're given an immense amount of freedom within what is in fact a rigid, but very flexible structure. It's just a very un-hysterical process.
How "Scottish" did you want to make the score?
Clearly, "Brave" is very, very Scottish. The animators made a lot of field trips over there to capture the land's colors, skies and seasons. Very often in the summer you'll have a wet morning. Then the sun comes out after lunch, and the rest of the day will have the most beautiful white clouds, and lovely sunshine. So when I saw those wonderful images of the skies, mountains and lochs, it just kindled all of the Celtic connections in my upbringing. I'm very fascinated by my own culture in terms of its art and music. I've also been strongly attuned to the music of Ireland, as half of my family is Irish. So there's always been cross-fertilization between those two countries for me. I also wrote the score to evoke Scotland's ancient culture, a Celtic quality that comes across with indigenous instruments like bagpipes and the flute. I also used instruments from other cultures just to sweeten the sound on occasion and give the score a contemporary feel. Jim Sullivan came in and provided some incredible homemade drums, as well as deep drums with big pieces of deer hide, which he'd whack with a wooden mallet to make these incredible sounds. We even used a washboard. But the score also has very delicate and intimate moments, along with the big dance pieces and montage sequences that make particular use of the bagpipes.
How do you want to approach the orchestra in the context of the Scottish music?
I was always keen on having "Brave" sound as contemporary as it did ancient. So the orchestra is big, but only when it needs to be, so as to not overpower these wonderful images and characters. To accomplish that, we used various small groups that we recorded with close microphones, and larger groups with other mics, all of which could give us the sense of a small, chamber sound.
What did you want the music to say about the heroine Merida?
She's very much a strong person, as opposed to a strong "woman." Merida just happens to be a princess, as opposed to a prince. And she has to go through the process of learning and discovery when things don't go according to her parents' plans. Because she's such a strong protagonist, her music in no way sounds "cute" for her. It shows her strength of character, one that also evokes her culture's ancient, mythological quality. Merida's music is like an arrow that flies through the air.
You also create some really interesting sounds that revolve around "Brave''s magical qualities.
I was very keen on these magical moments not only came from the world of the colors I had, but also from my personal point of view that gives you a sense of the tradition of Pixar magic, and Disney magic. As a kid, I remembered clearly the magic of film and animation, but that magic always involved the story. It can be a dark, grim magic that's mixed with wonder, which is a beautiful concoction.
"Brave" is very much about family. In that respect, your son Patrick Neil Doyle wrote the Gaelic lyrics for "Noble Maiden Fair" ("A Mhaighdean Bhan Uasal") that Emma Thompson performs in the film.
It was just wonderful to work with my son, and have the opportunity for him to write some lyrics. Patrick's also a very gifted composer. I suppose in a sense that the actual story itself is about the relationship between Queen Elinor and this very feisty young child. It's this mother-daughter thing where they're both very strong and set in their ways, with the older person set in her ways for reasons of experience. The young person, realizes that not everything works out a according to plan, and that she'll have certain responsibilities. It's a rite of teenage conflict, and passage that is completely normal in every family on the planet. It's a constant affirmation to try and follow your own path, a conflict that can be both frustrating and rewarding. There's always a kind of joy at the end of it when an actual learning process takes place.
There are a lot of composers from the 80's era you got started in with the likes of "Henry V" and "Dead Again" who also wrote big, lush orchestral scores. But many of them can't seem to get work anymore because of how the whole dynamic of film scoring is changing. Yet you've managed to "re-invent" your sound with scores like "Thor" and "Rise of the Planet of the Apes." How've you continued your career in that way?
I'm enthusiastically about all the arts from reading to the theater, and I'll go to the cinema, as opposed to watching movies in my living room. I've always liked the visceral response of the cinema. Because when I go see movies, I'm also subliminally taking in the whole process of what is contemporary and modern. One of my favorite composers is Jerry Goldsmith. And if you listen to his work through the years, you'll hear how he always embraced the world of technology and modern sound, but remained fundamentally strong in his traditional musical training. I like all music in that way, and am inquisitive about it. I really can adapt quite regularly. The process of writing "Thor" was fairly hard because I had to stop myself from becoming too, what would you say, "old school?" I had to keep pulling myself back all the time. Everything in the movies has changed. Maybe you'll be in a phase where everybody is fast cutting, or there are long shots, hand-held shots. All these kinds of images and cutting dictate a certain rhythm in music. If you're on a project like that, you have to learn to take stock in what you see in front of you, as opposed to you coming in with all your old bags. You have to come in and start buying some new stuff. I have always been updating my sounds, whether it's finding them, or creating them. I remember for example when I did a film called "Blow Dry" many years ago. It was a small movie and didn't do well, but it was a wonderful experience for me because I worked with a young programmer. He came from the pop world. I told him that I was going to make sounds and noises that I wanted him to emulate. And from that, I created some really new, different sounds. I made a conscious decision to something far from anything I'd ever done before.
What's it part of you now being a part of the Magic Kingdom with "Brave?"
It's fantastic. It's absolutely terrific. I was only 14 when I went to Glasgow to see the very first movie on my own. It was at a privately owned theater called the Cosmos Cinema, which was playing a matinee performance of "Fantasia." So for me to have finally scored an animated film for Disney and Pixar is quite something special.
Interview transcribed by Peter Hackman
By gemma on March 20th, 2014 at 9:59 am
i need a factfile on his harry potter music!!
By gemma on March 20th, 2014 at 10:01 am
i need help doing my music homework about all of the harry potter movie composers
p.s. harry potter is my favourite film
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Violence in general can be prevented by changing mindsets in men about masculinity and getting them to become part of the solution.
That is the view of Jens Van Tricht, who is the founder of a Netherlands organisation called Emancipator, which strives to create a world in which everyone can develop fully as a person in freedom, equality and security. He is in Samoa for the initial meeting of the MenEngage Global Alliance.
He said the meeting in Samoa is important and they will have to convince the policy makers, partners and large organisations of the importance of violence prevention in general, but specifically on the role of boys' and men's masculinity.
"The world has made some steps through empowering works for women in general equality on violence prevention. We have an expression in Dutch: 'we are mopping while the tap is still running, and no one is turning off the tap'."
"And so turning it off would mean preventing boys and men to develop highly masculinity – this would solve 90 per cent of the problem," he said, in an interview with Samoa Observer.
The initial meeting in Samoa is important, added Mr. Tricht, as it is important to show that the issue of masculinity and its link to boys and men is a global problem and not confined to a community.
Mr. Tricht said he is yet to come across a country where men don't live up to the expectations of masculinity, wherein characteristics such as being tough, aggressive, dominant and strong are accepted and promoted.
"The impact that we have as six organisations – with the limited funding and resources we have – is small while facing this huge challenge. We believe that both men and women will benefit from gender justice."
"I do believe that we are working on the global movement, where men and women and everyone else, work together for a better world. I am also keen on witnessing who plays what role and I want to learn, share, connect, and I also want to build," he added.
The MenEngage Global Alliance meeting is coordinated by the Centro Rural Joven Vida, a non-profit organization based in Spain. The meeting in Samoa is currently attended by the Youth First in Madagascar, the Foundation for Innovative Social Development in Sri Lanka, the Centre for Health and Social Justice in India and Samoa's own Samoa Victim Support Group.


text:
Harlem Globetrotters DJ arrested for allegedly inappropriately touching girl
Authorities said the incident happened at a Globetrotters event in Albany, New York in February.
March 11, 2019, 6:15 PM UTC
ALBANY, N.Y. — Police have arrested a DJ for the Harlem Globetrotters who they say inappropriately touched a 14-year-old girl.
The Times Union reports Jon Buckner, also known as DJ FullFrame, was arrested Saturday night after the basketball team performed in Syracuse.
Jon BucknerAlbany Police Department
The 32-year-old man from Riverdale, Georgia, is facing misdemeanor charges of sex abuse and endangering the welfare of a child. Albany police say Buckner touched the girl during a Globetrotters event in Albany on Feb. 10.
The police department announced his arrest in a tweet.
Buckner was arraigned Sunday morning and sent to the county jail where he is still in custody. A message has been left with the public defender's office seeking comment.
It's unclear whether Buckner is an employee of the team or hired for events.
A Globetrotters spokesman says the team is fully cooperating with authorities and will not comment further during the initial investigation.


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text:
Q: Django form class never appear in template View function to represent the form, never appear in template.
This is my from class
from django import forms

class SearchForm(forms.Form):
    search_compNum = forms.CharField(label='Compound_Number', max_length=10)
    search_formula = forms.CharField(label='Molecule_Formula')
    search_format = forms.CharField(label='InChI or Smiles', widget=forms.Textarea)

This is the view function.
from django.shortcuts import render
from .forms import SearchForm

def get_query(request):
""" molecule search form. """

    form_class = SearchForm

    if request.method == 'POST':
        form = form_class(data=request.POST)
        if form.is_valid():
            Query_Compound_Number = request.POST.get('search_compNum', '')

    else:
        form_class = SearchForm()

    return render(request, 'search.html', {'form': form_class})

This is a template.
{% extends "index.html" %}
{% block content %}
    <form action="{% url 'chemdb:results' %}" method="post">
    {% csrf_token %}
    {{ form }}
    <input type="submit" value="Search"/>
    </form>
{% endblock %}

And the urls.py
from django.conf.urls import url
from . import views

urlpatterns = [
    url(r'^index/$', views.index, name='index'),
    url(r'^search/$', views.SettingView.as_view(), name='search'),
    url(r'^search/$', views.DataBaseView.as_view(), name='search'),
    url(r'^search/$', views.SortView.as_view(), name='search'),
    url(r'^search/$', views.TypeView.as_view(), name='search'),
    url(r'^search/$', views.FilterView.as_view(), name='search'),
    url(r'^search/$', views.get_query),
    url(r'^results/$', views.result, name='results')
]

And I'm using Django 1.8.x version. So, I don't need to import 'pattern'.
Help me plz!!!!


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