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Michael T Keene
- SHOW NOTES
TALKING HART ISLAND PODCAST EPISODE 38
Episode 38 "Lloyd "The Whistler" Threlkeld": with Douglass Fraser,
Professor and Musicologist.
Lloyd Buford Threlkeld, also known as "The Whistler" for his ability to make sweet melodious sounds emerge from his practiced nose flute, also played the guitar and sang. "Whistler and his Band" was one of the most famous jug bands of its time.
Threlkeld was born in Kentucky and in 1932 moved to Harlem in New York City. He continued performing, but had stopped recording. In May of 1935 he was admitted to Bellevue Hospital with tuberculosis where he died, later that year. He was without family or friends and, like thousands before and since in similar circumstances, was buried on Hart Island.
Listen to Professor Douglass Fraser as he takes us on a musical tour of not only jug band music, but also jazz and rock in-roll, which incredibly owed their very origins to this pioneering music.
Jug Band Music
by Michael "Hawkeye" Herman
The good timey sounds of jug band music – infectious and influential – have enjoyed popularity since its beginnings in the "spasm" and "novelty" bands that developed in New Orleans in the late 19th and early 20th Century.
The spasm bands not only featured improvisation on a wide variety of standard musical instruments, but the instruments themselves were often homemade and improvised – like the jug in place of a tuba or upright bass. Hence the name, "Jug Band." Homemade instruments like the jug, washboard, spoons, and one-string 'bucket' bass have a long tradition in both early African American and white American cultures.
These early New Orleans jug bands expanded to other regions like Memphis and Louisville by the turn of them 20th Century, playing jazz and blues long before the music was recognized and labeled as such. Jug bands played on the Ohio and Mississippi riverboat paddle wheelers and in many southern night clubs. They were in vaudeville, on the streets, and in traveling medicine shows. These bands created a colorful and exciting aspect to country blues, classic jazz, country & western, and hillbilly musics.
In the 1920s, some of the first jug bands to record were: Clifford Hayes (Louisville Jug Band, Old Southern Jug Band, and Dixieland Jug Blowers); Earl McDonald (The Ballard Chefs, the Original Louisville Jug Band); Buford Threlkeld (Whistler's Jug Band); and the Birmingham Jug Band of Ben Curry (aka Ben Covington) and Jaybird Coleman. Many of these bands played popular dance band jazz, using the jug as a novelty element.
Vaudeville-blues singer Sara Martin and "The Father of Country Music," Jimmie Rodgers, both employed jug band ensembles. Some of the biggest names in jazz, blues, and swing worked in these "novelty" bands: Louis Armstrong, Johnny Dodds, Clarence Williams, King Oliver, Willie "The Lion" Smith, Lonnie Johnson, Eddie Condon, Jimmy Dorsey, Gene Krupa, Eddie Lang, Red McKenzie, Jack Teagarden, Frankie Trumbauer Muggsy Spanier, and Glenn Miller.
The Memphis area jug bands were more firmly rooted in country blues and earlier African-American traditions. Groups such as Jack Kelly and his South Memphis Jug Band, Jed Davenport's Beale Street Jug Band, Noah Lewis' Jug Band, Will Shade's Memphis Jug Band, and Gus Cannon's Jug Stompers recorded the great songs that became the basis for the later jug band revival: "Stealin'," "Jug Band Music," "On the Road Again," "Whoa, Mule," "Minglewood Blues," "Walk Right In," and many others. Blues great Ma Rainey's tub-jug band featured the first recordings of slide guitarist Tampa Red, who later formed his own Hokum Jug Band. Blues legends Big Bill Broonzy and Memphis Minnie cut a few sides each backed up by their own jug bands.
The Great Depression of the 1930s and the devastating effect of radio on record sales reduced the output of jug band music to a trickle. The sound of the washboard and tub bass, however, lasted into the 1940s as an integral part of the "Bluebird Beat" in Chicago, a form of vaudevillian-rooted classic, country, and Delta acoustic blues. Slide guitarist/singer Bukka White's "Fixin' to Die," recorded in 1940, is driven by the syncopatedrhythms of Washboard Sam.
There was a revival in the late 1950s and early 1960s in the United States. Gus Cannon's "Walk Right In" was a #1 hit for The Rooftop Singers in 1963; the only time a jug band song topped the charts. This sparked the formation of a number of jug bands that reached national prominence: the Orange Blossom Jug Five featuring Dave Van Ronk, the Jim Kweskin Jug Band, the Even Dozen Jug Band, The Nitty Gritty Dirt Band, and many others. Jug band music was experiencing a revival in Europe as well, where it was called "Skiffle." The word "skiffle" – meaning "rent party," a house party with admission to raise money to pay the rent – originated in 1920s Chicago.
Jug band music certainly influenced rock & roll. The Even Dozen Jug Band featured John Sebastian, who later formed The Lovin' Spoonful, and Steve Katz, who became a member of Blood, Sweat & Tears. Maria Muldaur was in the Even Dozen and the Jim Kweskin Jug Bands before embarking on a solo career as a blues/jazz and country artist. Zal Yanovsky had been a member of The Mugwamps Jug Band before joining The Lovin' Spoonful. Fellow Mugwumps Cass Elliot and Denny Doherty went on to become famous as one half of The Mamas and the Papas. Mother McCree's Jug Champions – featuring Jerry Garcia, Bob Weir, and Ron "Pigpen" McKernan – evolved into the legendary rock band The Grateful Dead. Country Joe and the Fish began as The Instant Action Jug Band. Mungo Jerry, who had evolved from an earlier blues group, Good Earth, was initially a jug band. Jesse Colin Young of The Youngbloods' first hit was "Grizzly Bear," a jug band standard.
Tributes to jug band music can even be found in pop-rock, including "Willie and the Poor Boys" by Creedence Clearwater Revival; Sebastian's "Younger Girl," which used the melody of Gus Cannon's "Prison Wall Blues;" and "Jug Band Music" by The Lovin' Spoonful. The Lovin' Spoonful also recorded songs from the classic jug band repertoire like "Blues In The Bottle," "Sportin' Life," "My Gal," "Fishin' Blues," and "Wild About My Lovin'." "Do You Believe In Magic," a Top Ten hit, fondly pays tribute to the fun and impact of jug band music:
"If you believe in magic, don't bother to choose
If it's jug band music or rhythm and blues
Just go and listen, it'll start with a smile
That won't wipe off your face no matter how hard you try."
Today there is an ever-growing interest in jug band music with bands around the globe, jug band festivals, and competitions. The infectious joy, swagger, sensitivity, and creativity of jug band music contributes to its long lasting popularity in its own right, and continuing influence on popular music and culture.
*Source: "Jug Band History" by Prof. Douglas Fraser. http://www.thegenuinejugband.com/history.html
Michael "Hawkeye" Herman
"One of America's finest acoustic guitarists and blues educators."
– Cascade Blues Assoc./Portland, OR
by John Sebastian
I was down in Savannah, eatin' cream and bananas, when the heat just made me faint. I began to get cross-eyed, I thought I was lost, I'd begun to see things as they ain't. As the relatives gathered to see what's the matter, the doctor came to see was I dyin'. But the doctor said, "Give him jug band music. It seems to make him feel just fine".
I was told a little tale about a skinny-as-a-rail, eight-foot cowboy with a headache. He was hung up in the desert swattin' rats and tryin' to get a drink of water with his knees a-gettin' mud-caked. And I'll tell you in a sentence how he stumbled in to Memphis,Tennessee, hardly crawlin', lookin' dust-baked. We gave him a little water, a little bit of wine. He opened up his eyes, but they didn't seem to shine. Then the doctor said, "Give him jug band music. It seems to make him feel just fine".
So if you ever get sickly, get Sis to run quickly. To the dusty closet shelf and pull out a washboard, and play a guitar chord. And do a little do-it-yourself and call on your neighbors to put down their labors. And come and play the hardware in time 'Cause the doctor said, "Give him jug band music. It seems to make him feel just fine".
I was floatin' in the ocean greased with suntan lotion, when I got wiped out by a beach boy. He was surfin' when he hit me but jumped off his board to get me and he dragged me by the armpit like a child's toy. As we staggered into land with all the waiters eatin' sandwiches, he tried to mooch a towel from the hoi polloi. He emptied out his eardrums, I emptied out mine. And everybody knows that the very last line Is "the doctor said, 'Give him jug band music. It seems to make him feel just fine".
1965 The Lovin'Spoonful "Daydream" Kama Sutra Records.
www.michaeltkeene.com
Buford Threlkeld and the Golden Age of Louisville Jug Bands
by Michael L. Jones
There was a continuum of music in cities along the Ohio and Mississippi rivers in the 19th century. Louisville, St. Louis, and Cincinnati developed string and brass bands at the same time as New Orleans because of musicians traveling back and forth on the steamboats. So, when spasm bands – kids' groups that used homemade instruments – started appearing in the Crescent City around 1890, similar bands also appeared in other river towns.
When the spasm concept arrived in Louisville, the city's bourbon distilleries immediately recognized a huge promotional opportunity. Empty whiskey jugs became a prominent part of the spasm bands in Louisville and marked the beginning of Louisville jug music. The early jug ensembles were basically string bands with plucked instruments like guitars, banjos, and mandolins.
The jug has been called the poor man's tuba, but jug blowing requires a different embouchure than a brass instrument. The blower holds the opening inches from their face and makes a buzzing sound into it. The container acts a resonating chamber, amplifying the noise. Tone and pitch are controlled by loosening and tightening the lips and changing the angle of the jug. As an instrument, the jug has only a two-octave range, but a talented player can do a lot within that space.
There were more than 30 active jug bands plying their trade on Louisville's streets and riverboats in the genre's heyday. They played a mixture of old minstrel show tunes, pop standards, ragtime, and blues. Among the most popular groups was Whistler's Jug Band led by Buford Threlkeld. He was born in Eminence, Kentucky in 1893, and moved to Louisville in 1914. Threlkeld formed a string band with his longtime collaborator Willie Black on mandolin and influential fiddler Jess Ferguson. After seeing how much money the jug bands made performing the Haymarket, Threlkeld added jug blowers B.D. Tite and Rudolph "Jazz Lips" Thompson to his band.
Jug playing was not unique to Louisville, it was a southern phenomenon. However, Louisville considers itself the home of jug band music because it produced the first jug bands to record. In late September 1924, blues singer Sara Martin went into a New York recording studio with three members of the Louisville Jug Band to produce the first jug band recordings. Just a few days later, Threlkeld went into a studio in Richmond, Indiana, to record nine songs for Gennett Records. They included "In the Jailhouse," an old minstrel show song that most people know today because of the Coen Brothers movie "O' Brother, Where Art Thou?"
Although Threlkeld would do other recording sessions for Gennett and, later, Okeh Records, he did not have the long recording career of jug blower Earl McDonald and fiddler Clifford Hayes, who led several groups together and separately. Part of the reason for Threlkeld's lack of production was self-inflicted woes.
According to researcher Fred Cox, Threlkeld had a cocaine problem and he was accused of stealing money from the purse of a guest at the Brown Hotel during a Kentucky Derby party in 1932. This made him very unpopular with the other musicians because the Brown management banned all jug bands from the premises.
After Threlkeld's disgrace at the Brown Hotel, he moved to New York City, where Black joined him. They did return to Louisville for the 1933 Derby but Threlkeld found himself shunned by hosts. He died in Bellevue Hospital in 1934. It is sad that Threlkeld has been largely forgotten outside of folk circles because Whistler's Jug Band was a fine example of the African American string band tradition. There is incredible footage shot by ABC News in 1930 that shows the group on a farm performing the classic song "Foldin' Bed," which is also known as "Tear It Down." The clip is interesting because it features the musicians playing along with three jug players.
Michael L. Jones is the author of "Louisville Jug Music: From Earl McDonald to the National Jubilee" and a board member of the "National Jug Band Jubilee," which celebrates Louisville jug band legacy.
New York City's Hart Island: a Cemetery of Strangers, Michael T Keene
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The Door with Seven Locks
Edgar Wallace 2 stories
THAT MOMENT of terror when Sybil stared up into the round face of Cawler, the chauffeur, remained with her all her life, Behind she heard the grunts and thuds of the beast - man who was trying to open the door. Above her, behind the bars and the glass, another possible enemy. The face disappeared for a moment, and then she heard the sound of hideous squeaking and the grating was turned back on its rusty hinge. A few seconds and the frame of the skylight was lifted, and a hand reached down to her. Without a moment's hesitation she sprang on to the chair, gripped the hand, and found herself being pulled upward.
"Hold on to the edge for a minute - I'm puffed!" gasped Cawler, and she obeyed.
Over her shoulder she saw the door bulging, and then there came a crash as a huge body was thrown against it.
"Up with you!" said the chauffeur, and, stretching down, gripped her beneath the arms and pulled her far enough up to enable her, by her own exertions, to reach the flat, lead - covered roof.
Cawler looked round anxiously. As he gazed at the door he saw a panel shiver. Holding the girl by the arm he drew her along the roof. An old lantern, illuminated by a candle, was all the light there was to guide them, but she saw the end of the ladder, and, without a word of instruction, swung herself over and, remembering a trick of her childhood, slid down; it was not dignified, but it was rapid. She had hardly reached the ground before she was joined by Cawler.
He looked anxiously at the parapet. The moon was momentarily obscured by clouds, but there was enough light to see the silhouette of the giant man as he too came to the ladder. There was no time to pull it down. Gripping the girl by the arm, they raced along a path, turned abruptly, and, threading their way through the trees, ran without stopping until they reached a shallow ditch, across which he assisted her.
Cawler had tossed the lantern away before the flight began. They had no other light to lead them but the fitful rays of the moon. At the other side of the ditch he stopped.
"Don't make a noise," he whispered.
She could hear nothing, but he seemed uncertain.
"If I could only get at my car," he muttered. "Come on!"
They laboured through a field of growing corn until they came to a gate; which was open. Now they were on a road and facing a very high, old wall.
"That's Selford Park," explained Cawler, and the girl started. Selford Park! She had no idea they were anywhere near that dreadful place, and she shivered.
"There's a gap in the wall farther along; I think that'll be the best place to take you. If he gets on our track we shan't be able to shake him off."
"Who is he?" she asked, and then: "What happened? I heard somebody scream."
"So did I," said Cawler in a low voice. "I thought it was you. That's why I got the ladder and came up to see what was happening. I've been up there before, and I know that old skylight like a book."
He did not explain that he was by nature curious and suspicious, and that he had his own views as to Cody's sincerity in certain matters and had indulged in a little private investigation of his own. As it happened, this theory that Cody was a swell mobsman (Mr Cawler invariably theorized on a magnificent scale) was miles away from the truth; but he had made many surreptitious visits into the forbidden portions of the house without succeeding, however, in confirming his natural prejudices against the man who was his master.
"Something's happening; I know that," he said, as they walked along the road. "I've seen him once before - that naked man. At least, he's not naked; he's got an old pair of breeches on, but he don't wear any shirt."
"Who is he?" she asked, in a horrified whisper.
"I don't know. A sort of giant - a bit mad, I think. I only saw him at a distance once, and he scared the life out of me. I've got an idea - but that won't interest you. Here's the hole in the wall." It was not visible, even in daylight, for the gap was filled with a seemingly impassable barrier of rhododendrons, but Mr Cawler had evidently been here before also, for he lifted a bough, and, crawling under, she found herself inside the park.
It was not that portion of the park with which she was familiar, and he told her, as they trudged across the billowy grass, that it was called Shepherds' Meadows, and that here the old lord had kept his famous Southdowns. He kept up an intermittent flow of talk; told her, to her surprise, that Mrs Cody was his aunt.
"She brought me up when I was a kid, me and my brother Johnny; he died when I was about six."
"Have you been with her all your life?" asked the girl, glad to have some interest to take her mind off her experience.
He laughed contemptuously. "With her? Lord, no! I got away as soon as I could."
"Wasn't she kind to you?"
"She's never heard the word," was the uncompromising reply. "Kind? I'd say she was! If I went to bed without feeling hungry I used to think I was ill! She used to whack me to keep her in good shape, the same as you take dumb - bell exercise. She hated Johnny worse than me. He was my twin brother. I reckon he was pretty lucky to die."
She listened in amazement.
"And yet you went back to her?"
Cawler did not immediately answer, and when he did he prefaced his words with a little chuckle.
"She made good and I made bad," he said. "Not to tell you a lie, miss, I've been in prison sixteen times, mainly for hooking."
"For thieving?" she guessed.
'That's right," he said, in no sense abashed. "I'm a natural - born thief. Motor - cars mostly. I've taken more cars from racetracks than you'll ever own, young lady. But the last time I was up before the judge," he added in a more serious tone, "he gave me a warning that the next time I went up to the Old Bailey I'd be charged as an 'habitual'. That means a man who's always doing the same kind of crime, and they can always give you twelve years for that, so I quit. Came down on dear auntie for a job. I don't know why she took me on. Perhaps she thought, being a relation, I'd do any dirty work she wanted done - and I've done one or two queer jobs."
He stopped and motioned her to be silent, and suddenly lying down looked along the fairly level patch of ground across which they were moving. The landscape was unfamiliar to her.
On their left was what looked like a high white cliff, and she saw at its foot the gleam of water.
"That's the quarry," he said, following the direction of her eyes. "There is a sort of road running along the top, but it is very dangerous - no rails or wall or anything. People have been killed falling over."
He stopped again and looked back the way they had come. Evidently he saw something.
"You go on," he whispered. "Bear to the left. There's a bit of a wood there. Keep well away from the quarry."
"Who is it you see?" she asked, her knees trembling.
"I don't know." He was deliberately evasive. "You walk on and do as I tell you, and don't make too much noise."
She was terrified at the idea of being alone, but his instructions were so urgent that she could not refuse, and, turning, she made in the direction of the little copse which she saw outlined against the sky.
Cawler waited, flat on his face, his eyes watching the figure that was aimlessly wandering left and right, but coming inevitably in his direction. Fear, as we understand fear, Mr Cawler did not know. His shrewd Cockney wit, allied to a certain ruthlessness in combat, steeled him for the coming encounter. In his hand he gripped a long, steel, flat spanner, the only weapon he had brought with him, and as the great awkward figure loomed up before him, Tom Cawler leapt at him.
The sound of an animal howl of rage, the thud and flurry of battle came to the ears of the fearful girl, and she ran forward blindly. In the dark she stumbled into a tree and dropped, breathless, to the ground; but with a superhuman effort she scrambled to her feet and continued her flight, feeling her way through the closely grown copse. Every minute seemed to bring her to some new impenetrable barrier which defied circumvention.
Now she was clear of the wood and crossing a level stretch of grassland. Again she was climbing. No sound came from behind her. She was ignorant of the direction she was taking, or whither this erratic path of hers would lead; and when she came to another wood, she thought that she had run in a circle and returned to the place whence she had started. And then, most unexpectedly, she came into a clearing. The moonlight showed the white dome of a rock, and threw into shadow the black gap in its face. She nearly fainted. She was at the mouth of the Selford tombs, and the iron gate was open!
Her heart thumped painfully. It required the exercise of a supreme will to prevent herself from collapsing. Presently, gritting her teeth and commanding her faltering limbs, she walked towards the mouth of the tomb. The key was in the lock, she saw, and peered fearfully down into its dark depths. As she hesitated, she heard something behind her - a deep, sobbing, blubbering sound that froze her blood.
That beast - shape was coming through the wood after her. She reeled against the face of the tomb, her hands gripping the bars of the open gate, and then, with a sudden resolve, half - hysterical with terror, she darted into the mouth of the vault, and, slamming the gate behind her, thrust her hand through the bars, turned the key, and withdrew it.
She listened; there was silence in the tomb, and, creeping down the moss - grown stairs, she reached the first chamber. At the foot of the stairs she waited, listening, and after a while she heard the soft pad of feet above and a sound of crying. She shrank back towards the barred gate which separated the antechamber from the tomb. And then a shadow fell athwart the upper door, and she breathed painfully, her eyes fixed on the steps. Suppose he broke the lock? And she was alone … down here with the dead, in the dark.
She pushed her hand through the bars, and even as she wondered and dreaded, a new horror afflicted her; for her hand was suddenly gripped by a large, cold, clammy paw that had reached out from the darkness of the tomb.
With a scream she turned to face the new terror.
Frozen Fanfiction
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redpajama_set_name: RedPajamaCommonCrawl


of September from 13.00 hrs NYC/ 18.00 hrs Spain ……ENJOY!!!!
durante el dia 16 de septiembre, a partir de las 13.00 hrs NYC y 18.00 en Espanha!
Def missed u here. It was great as always.
Me encantó sobre todo el mono azul, besos!


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Sort By: No Preference Title Author Just Arrived Oldest Pub. Year Newest Pub. Year Publisher Price, Low to High Price, High to Low
By Gustave Courbet
Publisher: Phaidon
(Art & Ideas series). This monograph addresses the full range of the 19th-century French realist's work by way of an original and substantive account that combines a close reading of Courbet's paintings with an engaging discussionof the personal, political, economic and social circumstances in which they were created. 214 color/b&w illus. 351p. Pap.
Linda Nochlin presents her complete writings on Gustave Courbet's work. Every aspect of his oeuvre – from his vast realist depictions of provincial French life, allegorical works, and paint-encrusted landscapes to his dark, brooding portraits, sensual nudes, and earthy still lifes – comes under her scrutiny. Nochlin considers Courbet's lasting impact not only on later painting but also on the practice of art history itself. With essays spanning forty years. Notes, Index. 109 illus., 14 in color.
Courbet and the Modern Landscape (Getty Trust Publications: J. Paul Getty Museum)
Format: Oversize Hardcover
Publisher: Getty Publications
Published: February 2006
In the case of the 19th-century French artist Gustave Courbet, it is in the genre of landscape that the artist laid the groundwork for a vital current of Modernist painting. Drawinginspiration from natural motifs, Courbet reset the course of French painting to embrace immediacy, vitality, and paintrly self-expression. This volume accompanies the exhibition (2006-2007), illustrating a highly selective group of landscapes, 1855-1877, most of them from the 1860s, & reflecting Courbet's discovery in his native Franche-Comte and on the shores of the Normandy coast a consistent source of visual stimulation evident in his paintings. 83 color/18 b&w.
Courbet Reconsidered
Publisher: Brooklyn Museum
A fresh, modern look at Gustave Courbet, one of the most radical painters of 19th-century France, who in spite of continued battles with aesthetic and political authority wielded considerable influence as a realist, andcontinues to be admired today. His entire range of paintings, from early self-portraits to sweeping landscapes of the later years, are examined in depth, with more color than in any previous English-language study.Color, B&W illus. 245p.
Format: Oversize Paperback
Publisher: The Brooklyn Museum
Courbet: Mapping Realism - Paintings form the Royal Museums of Fine Arts of Belgium and American Collections
Publisher: McMullen Museum Of Art, Boston College
Gustave Courbet (1819–77) was a French artist whose work heralded the realist movement of the nineteenth century and his paintings have had a profound influence on other artists from around the world, including Claude Monet, James McNeill Whistler, and Paul Cézanne. This catalog is published to accompany an exhibition of the same name at the McMullen Museum, Boston College, in the autumn of 2013, which was put together in tandem with the Royal Museums of Fine Arts of Belgium. Approaching its subject from a unique perspective, Courbet: Mapping Realism looks at the artist's reception on both sides of the Atlantic, and includes paintings by Courbet himself, as well as Belgian and American realist-influenced artists. American and Belgian scholars, including Jeffery Howe, Claude Cernuschi, Dominique Marechal, and Katherine Nahum, contribute essays that explore Courbet's art in light of this expanded view of his career. Complete with color illustrations, Courbet: Mapping Realism showcases artwork from both the United States and Belgium that are rarely exhibited or published together.
Publisher: Frederick. A. Praeger
Publisher: Pall Mall Press
Traces the life of the flamboyant French painter, discusses his revolutionary approach to art, and assesses his influence on modern painting
Publisher: Hatje Cantz
Publisher: Metropolitan Museum of Art
Gustave Courbet 1819-1877
Publisher: Philadelphia Museum of Art / Museum of Fine Arts, Boston
Gustave Courbet: Peinture et histoire
Publisher: Editions Du Belvedèee
La vie et l'oeuvre de Gustave Courbet Catalogue raisonne: Volume I, 1819-1865; Volume II, 1866-1877
Publisher: Fondation Wildenstein
2 Volumes. Folio.Text in French. Some toning to leaves and edges of covers. Mild bumping to edges of boards and spine ends. Toning to d.js. Toning, edgewear to publisher's heavy cardstock unprinted slipcases. VG/VG in VG slipcases.
Vie Et L'Oeuvre De Gustave CourbetTome I: 1819-1865; Tome II 1866-1877
2 Volumes. Folio. Text in French. Some toning to leaves. Mild soiling to bottom edge of boards. A little toning to d.js., hint of fading to spines. Toning, minor edgewera to publisher's unprinted cardboard slipcase. VG/VG in VG slipcases.
Oversize Hardcover (6)
Oversize Paperback (3)


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A sneak peek at Young Voices!
Check out these snaps from some of our children who are currently singing their hearts out at Young Voices in the O2 Arena. It's such a great experience, these children are very lucky they have had the chance to go!!
Next Post Swim Gala Fun!


This utility installs the originally shipped version of the Keyboard Unit Wait Wake Registry Patch.
Download the EP0000552011.exe file to a temporary or download directory (please note this directory for reference).
Go to the directory where the file was downloaded and double-click the EP0000552011.exe file to begin the installation.
At the "Keyboard Unit Wait Wake Registry Patch Ver. 20130722" screen, click "Next".
At the "Finisheded" screen, click "Finish".
After the computer restarts, the installation of the Keyboard Unit Wait Wake Registry Patch is complete.


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Kent named International Garden Tourism Destination of the year
Things are looking very rosy indeed in south east England with Kent named International Garden Tourism Destination of the Year in the 2016 International Garden Tourism Awards organised by the International Garden Tourism Network
The awards are presented to organisations and individuals who have distinguished themselves in the development and promotion of the garden experience as a tourism attraction.
Chief executive of Visit Kent Sandra Matthews-Marsh MBE said: "We are thrilled to have been named Garden Tourism Destination of the Year by a panel of garden tourism champions from around the world. 2016 is VisitEngland's Year of the English Garden, so the timing of this award couldn't be better. Kent is truly The Garden of England, and we are extremely proud of the diverse offer Kent has for garden tourists.
"Not only do we have some of the most famous and beautiful gardens in the world – such as Sissinghurst and Hever Castle – but we also have 'gardens' producing wine, cider, beer, and fruit that are open to visitors wanting a tour with a twist, as well as alternative coastal 'gardens' such as our desert at Dungeness.
"Add to this National Trust and English Heritage properties with palatial yet personal grounds, unconventional landscapes such as Riverhill Himalayan Gardens and Lullingstone World Garden, horticultural literary links to Jane Austen and Charles Dickens, and tranquil city-centre escapes, and Kent really does have something to offer every garden lover."
The IGTN is led by The Canadian Garden Council and Going Gardens, a UK based garden tourism consultancy, with the support of a global network of garden leaders, and aims to increase visits and business for gardens, horticulture exhibitions and flower festivals across the world. The IGTN highlighted that tourism is the world's fourth largest industry, with around 300 million garden tourists worldwide.
Melbourne Named World's Most Liveable City for the 4th Consecutive Year
The Rose & Crown Pub named Pub of the Year
Chester Residence named Small Hotel of the Year


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In addition to her practice, Mallory is actively involved in a diverse range of pro bono matters at every level of the legal system, which includes free legal clinics and appellate briefings. While pursuing her law degree at Columbia Law School, Mallory worked on a team that represented and eventually exonerated a prisoner wrongfully convicted for a double murder.
Prior to joining O'Melveny, Mallory represented a gay Jamaican man who fled his country and applied for asylum after a brutal assault by a neighborhood mob. Mallory dedicates her time to fully understanding the scope of her clients' cases.
She thoroughly examines and analyzes each matter's implications and how they may impact her client's business operations, competitive positioning, and reputation. She works tirelessly and aggressively to guide her clients through their legal hurdles and develops effective strategies to position them for success.


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text:
This Filmmaker Required NATURAL HAIR for Her Cast & There's a Really Good Reason Why
By BITCHES BREW BY ERICKKA SY SAVANÉJanuary 27th, 2021No Comments
Sens Dessus Dessous Cast
By Ta-ning Connai
Matamba Kombila is not your average filmmaker. While most directors have the primary focus of creating stories to engage their audience, she takes it a step further with goals to impact her cast through a hair challenge aimed to build true self-esteem. Who in the world does something like that?
Matamba did that.
Matamba (right) on set
With a melting heart for society's outcasts, Matamba was compelled to do a film that showed the everyday life of young deaf individuals in her home country of Gabon (Africa). Being void of the sense of hearing sadly places them on the outskirts of society and they are forced to navigate life mostly amongst themselves, with the feeling of rejection constantly surrounding them.
Through her short film series, Sens Dessus Dessous (Upside Down), Matamba tells a story which reveals that the hearing impaired are no different that anyone else and that they should be seen and regarded with the dignity and respect they deserve, as well as have access to better education, quality job training and employment equality. It is her hope that doors of unity will be opened, that the bridge of isolation will be closed and that the stigma placed on such differences will one day be erased.
Matamba incorporated some interesting regulations into her project that, in and of itself, is a pretty bold story that also needs to be told. All of her talent was required to either wear their hair natural or they had to wear headwraps that reflected the beauty and richness of African culture. Now that's all good, a beautiful thing indeed, but you know how we black women are about our hair! So, demanding we let go of the styles we believe fit us the most, especially on film where we will be seen by tons of people, could be a problem in the making. But Matamba approached her talented crew with such amazing grace and some really amazing things happened…
See, many women in the region have been struggling with issues of natural hair. No different than here in the good ol' USA, the "supposed" superiority of western culture had its evil way and the brainwashing tactics intended to redefine the beauty standards from colonization still exist today. Euro-influenced styles and textures are deemed as best, and weaves, wigs and relaxer kits saturate the market.
Matamba (right) & her sister (left)
No stranger to the ups and downs of her own hair struggle- as a child, Matamba was proud to don a short trimmed fro and the occasional braids, but as a teen she switched over to perms and color that eventually made her hair fall out- now she wants to encourage young women to overcome the temptation to conform to standards that cause them to permanently abandon and develop disdain for their own unique beauty.
Knowing that her target audience (teens and tweens) are a very captive audience, she vowed to only represent natural hair in her film series. But while actors are accustomed to making drastic changes in appearance for a role, she was actually working with a lot of students. So she kindly schooled them on the dangers of hair processing and long term possibilities of hair loss. More importantly, she pointed them to the true beauty that lay beneath their relaxers, wigs and weaves. Sister Matamba was preaching the truth!
Didn't take much else for her crew to give real hair a try and they actually loved how they looked! And those who were hesitant to change on the spot, were pleased with the regalness the headwraps brought about. For most, au naturale became a permanent way of life and that's only the beginning! Hopefully, her film will do the same to change the way we look at natural hair.
To keep up with Matamba's project, follow her IG!, website & Indiegogo campaign!
What do you think about Matamba's choice to feature natural hair in her film?
TA-NING is a former model and clothing designer who one day got the "call" to leave the fab world of fashion behind. While in Bible College, she discovered her knack for mixing her quirky style of writing with her gift to teach. TA-NING'S TELL IT TUESDAY is a weekly column that uses doses of pop culture to tear down the walls of churchy tradition, change the face of Christianity, and present it's message in a lively way. Ta-ning resides in Santa Monica (by way of BK), is obsessed with dogs, and is an old school Hip-Hop junkie!
#africa#beauty#confidence#disabled#entertainment#film#hair#kids#movies#naturalhair#self-esteem#taningconnai#teensCurly Nikki
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text:
Q: RuntimeException: Operation not permitted, failed to write trailer. When using IMediaWriter I am having an error when using IMediaWriter.close(); from Xuggle.
relevant code of Main Class:
 protected IMediaWriter WRITER = ToolFactory.makeWriter(OUTPUT_FILE);
 protected static final String OUTPUT_FILE = "C:/Users/Ryan.D/Desktop/fileTest.mp4";
 protected void stopThreads() {
    textField.setBackground(Color.RED);
    capture = false;
    try {
        thread.join();
    } catch (InterruptedException e) {
        e.printStackTrace();
    }
    WRITER.addVideoStream(0, 0, ICodec.ID.CODEC_ID_MPEG4, SCREEN_BOUNDS.width / 2, SCREEN_BOUNDS.height / 2);
    long startTime = System.nanoTime();
    for (int index = 0; index < (FRAME_TIME * images.size()) * FRAME_RATE; index++) {
        BufferedImage converted = convert(images.get(index), BufferedImage.TYPE_3BYTE_BGR);
        WRITER.encodeVideo(0, converted, System.nanoTime() - startTime, TimeUnit.NANOSECONDS);
        try {
            Thread.sleep((long) (1000 / FRAME_RATE));
        } catch (InterruptedException e) {
            // e.printStackTrace();
        }
    }
    WRITER.flush();
    WRITER.close();
}

Error:
Exception in thread "AWT-EventQueue-0" java.lang.RuntimeException: error Operation not permitted, failed to write trailer to C:/Users/Ryan.D/Desktop/fileTest.mp4

I am not sure why this is happening, I have looked around for a solution but most of the other solutions relate to Audio whereas mine is just Video.
Thanks
Ryan.

redpajama_set_name: RedPajamaStackExchange


The Kansas City Kings put together a convincing win at The Throne Room, defeating the Chicago Machine, 11-3. Will Rhodes was one of the hitting stars. He went 3-4 with a home run, 2 singles, and a walk, while scoring 2 runs and driving in 4 for Kansas City. Rob Lucas finished the game for Kansas City and earned his 1st save. At 6-2, the Kings have played well so far.
Douglas Taylor, who is a three-time All-Star, helped out the Kansas City cause in the bottom of the second inning with a run-scoring single. For the game, the first baseman was 3-4 with 3 singles and 2 walks, while adding 3 RBI.
"We put it together today and came out with the win," Taylor said in postgame remarks. "That's the main thing."


I do not understand why we should prefer the origins before the statement lines.
statement line report when there are origins given.
In this case always an origin report is printed.
> statement line report when there are origins given.
> In this case always an origin report is printed.
I think it is not the topic of this change. I did not change this behaviour.
> > statement line report when there are origins given.
> > In this case always an origin report is printed.
> I think it is not the topic of this change.
Yes, right, it is not the topic of this change.


text:
Order at the courthouse
A new plan for an old building.
By Megan Voeller on Wed, Apr 9, 2008 at 5:00 am
Aia Tampa Bay
TAKE NO PRISONERS: The proposed east entrance on Marion Street is where the sally port -- the holding area for prisoners -- used to be.
Fix It Now
#2 Urban density
#5 Living green
For nearly a decade, Tampa's old federal courthouse has sat empty, its stately classical façade a backdrop for drivers whizzing by on Florida Avenue. Plans to reuse the space have cropped up from time to time, including a brief flirtation with the idea of relocating the Tampa Museum of Art there, but nothing has come to fruition. Now, a plan that may be the most promising of all has come from the Tampa Bay chapter of the American Institute of Architects: Members want to restore many features of the 1903 building to their original condition and adapt the structure as a mixed-use facility to house AIA offices and other businesses.
Last fall, Mayor Pam Iorio agreed to let the architects study the building's potential for adaptive reuse during a six-month exploratory period; last week, they unveiled their design.
The project, if completed, would be a significant victory for the nonprofit group, which has ramped up its efforts in recent months to link preservation with the newly popular concept of sustainability.
"There's nothing greener than the restoration of an historic building," says architect Vivian Salaga, who leads the committee that developed the courthouse plan.
In the proposed design, the west façade of the courthouse on Florida Avenue would remain unchanged, but the building's eastern frontage on Marion Street would get a new, canopied entryway. Construction crews would demolish the high wall that currently separates the rear of the building from the transit corridor, a relic from the area's use as an unloading site for prisoners. "We don't need that kind of barrier to the community any more," Salaga says.
Inside, the most elegant feature of the proposed restoration is the refurbishment of a central light well that runs from an historic skylight at the top of the building down to the first floor, where a coffered ceiling of wood panels on louvers permits the adjustment of air circulation and natural light levels. Other green features include retaining the functionality of the building's large windows for ventilation and the installation of an efficient new air-conditioning system.
Because the building's historic corridors are so wide, the total usable space is much smaller than the building's 98,000 square feet. footprint would suggest, Salaga says. The AIA estimates that its own offices will occupy 4,000 square feet, leaving approximately 64,000 square feet for use by other occupants. So far, architecture and law firms, the Tampa Downtown Partnership and the Florida Museum of Photographic Arts have expressed interest. If the mayor and City Council approve the plan, AIA Tampa Bay would sign a 99-year lease with the city, Salaga says; construction could begin next year, and the restored building might re-open as soon as the beginning of 2010.
To make the case that their plan is viable, the group still has to clear a major hurdle: securing financing for the project's estimated $18 million construction costs by May 15, the conclusion of the six-month exploratory period. As of last week, how much had they raised? "Not much," says Dawn Mages, executive director of AIA Tampa Bay. The group has culled $28,000 from their members to recoup the costs of the study and hopes to receive a state grant to match the amount. Approval of the grant is now in the hands of the Florida legislature.
An exhibit of the design renderings, accompanied by black-and-white photographs of the courthouse by Todd McDonald, continues through June 1 at Gallery AIA, 200 N. Tampa St., Suite 100 in downtown Tampa. Hours are Monday through Friday from 9 a.m. to 5 p.m. For more information, go to aiatampabay.com.
Check the "What you can do" section of fixitnowtampabay.com for more information on how you can help solve Tampa Bay's Top 10 civic problems.


text:
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ENG ESPCAT
Debt Claim
Everything you need to know about the Embezzlement Crime
What is Embezzlement of Public Funds? What to do when faced with an Embezzlement Crime? What are the penalties for the Crime of Embezzlement?
What is the Crime of Embezzlement?
The crime of embezzlement is one of the crimes directly related to corruption. The crime of embezzlement is a crime of misappropriation, through which an official or authority exercises an unfair administration of the assets that comprise it.
As the criminal lawyers comment, by means of the crime of embezzlement there is a misappropriation committed by an official or authority. Thus, embezzlement is committed when these subjects alter public assets by carrying out the activities that the Penal Code punishes.
In order for the crime of embezzlement to occur, the alleged perpetrator and person responsible must appropriate the public property of others, and, in addition, the order must be an official or a Public Authority.
Where is the Crime of Embezzlement regulated?
The crime of embezzlement is regulated in articles 432 to 435 bis of the Penal Code, and punishes the authority or public official who commits the crime of article 252 on public property.
Example of the Crime of Embezzlement
Mr. "X" is the mayor of city "A", he has public funds of € 1 million, of which € 500,000 goes to projects to improve the municipality's infrastructure, but the other € 500,000 goes to Mr. X's personal accounts, money he uses to buy a chalet.
In this case, we are facing a crime of embezzlement, since Mr. "X", which is a Public Authority, uses his own position, to unduly seize public funds, and for his private and personal use. Furthermore, as the value of the damage caused is € 500,000, he would be sentenced to a prison term of 4 to 8 years.
What are the penalties for the basic Crime of Embezzlement?
As stated in Article 432 of the Penal Code, the penalties for the basic rate will be from 2 to 6 years:
"The authority or public official who commits the crime of article 252 on public property, will be punished with a prison sentence of two to six years, special disqualification for public office or employment and for the exercise of the right to passive suffrage for time of six to ten years.
The same penalty shall be imposed on the authority or public official who commits the crime of article 253 on public property.
What are the penalties for Aggravated Embezzlement?
As stated in article 432.3 of the Penal Code, the penalties aggravated for the crime of embezzlement will be from 4 to 8 years:
"The prison terms of four to eight years and absolute disqualification for a period of ten to twenty years will be imposed if any of the following circumstances occurred in the events referred to in the previous two issues:
a) serious damage or hindrance to the public service had been caused, or
b) the value of the damage caused or of the appropriate goods or effects exceeds 50,000 euros.
If the value of the damage caused or of the appropriate goods or effects exceeds 250,000 euros, the penalty will be imposed in its upper half, being able to reach the upper one in degree."
Is there any way to lessen the penalties established for the Crime of Embezzlement?
Article 434 of the Penal Code allows the perpetrator and guilty of the crime of embezzlement to have his sentence reduced, if he had effectively and fully repaired the damage caused to public property, or had actively collaborated with the authorities or their agents to obtain decisive evidence for the identification or capture of other perpetrators or for the full clarification of the criminal acts.
In this case, the judge will impose a lesser penalty of one or two degrees on the person responsible for this crime.
The penalty to be applied for the crime of embezzlement will also be less than that which regulates the basic type of this crime in the Penal Code, in the event that the amount of the abducted is less than € 4,000.
In this case, the penalty would be a fine of 2 to 4 months, imprisonment of 6 months to 3 years and suspension of public office for a maximum of 3 years.
When do you prescribe the Crime of Embezzlement?
As established in article 131 of the Penal Code, the basic crime of embezzlement prescribes at 5 or 10 years depending on the penalty imposed.
In the event that the crime of embezzlement is of the aggravated type, it will prescribe at 10 or 15 years, depending on the number of years of disqualification with which the subject is punished.
Contact us, and our lawyers specializing in criminal law will study your specific case.
At Forcam Abogados we have offices in Barcelona, Tarragona, Reus and Tarrega.
Money laundering. What are the obligated subjects?
What is money laundering? What are the obligated subjects? What sanctions can you face? All these and other questions will be resolved in this article.
What do I do if I am a victim of a scam?
What is the crime of scam? What to do in case of scam? What are the penalties for fraud? Does the crime of fraud prescribe? All these and other questions will be resolved in this article.
5 aspects in the fight against corporate crime
Lawyers specialized in criminal law must differentiate the different characteristics of business crimes into the following types.
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During the last 15 years automated image analysis has invaded research in cell biology in such a way that it now has become fully part of it. In this talk, we will visit a few example of image analysis approaches we designed to address computational biology challenges. We will describe a multi target tracking algorithm we developed to study the HIV virus dynamic during infection. We will also show how the miniaturization of samples and the full automation of their analysis led to process half million cell based conditions in parallel to discover therapeutic targets or decipher the mechanism of action of a drug. We will also show that both approaches can be combined to operate tracking on a large number of miniaturized experiments. Then we will describe technics we are developing to make possible the analysis of irregular tissue samples.
Image Analysis for Neural Circuit Reconstruction – and everything else!
Reconstruction of the directed graph of neural connections requires analysis of huge 3D stacks of electron microscopy images. The main components are segmentation of neurons (the nodes of the graph), detection of synapses (the edges of the graph) and estimation of synaptic partners (the directions of the graph edges). This talk is going to cover our efforts to solve these three problems using CNNs for pixelwise prediction and graphical models for higher level prior information. Besides, I will talk about ilastik – the software we write to make these and other learning-based methods accessible to life scientists, things we learned while making it and our future plans for it.
Imaging the developing heart in vertebrate models such as the zebrafish and characterize its shape and motion patterns, in three-dimensions, could provide key insights to better understand normal and diseased cardiac development. Imaging the heart at early stages involves capturing cellular motion at slow temporal scales while the beating heart undergoes rapid contractions. These rapid motions make the imaging particularly challenging, as they can lead to motion artefacts—such as blur—and poor image quality due to low photon count. We have devised methods to improve specific imaging limitations (e.g. frame rate, limited dimensionality, low signal-to-noise) by leveraging the repeating nature of the cardiac heartbeat. In this presentation, I will highlight how we relaxed requirements on the redundancy assumption to allow us to use only quasi periodic signals (as opposed to strictly periodic signals) via an elastic registration procedure and how we derived efficient procedures to limit the contribution of outliers in reconstruction procedures by considering L1-norm data fidelity terms. Taken together, these techniques have allowed us to assemble composite multi-dimensional (volumetric) image sequences of the beating heart at resolutions exceeding those possible by direct imaging devices alone. Our results show that spatial and temporal redundancy in the sample motion can be exploited to computationlly push the limits of optical instruments. I will conclude by mentioning remaining limitations, inherent to our approach, and opportunities for further developments.
Modern developmental biology increasingly relies on imaging of large samples with high spatial and temporal resolution. Scientists can acquire high-resolution images of large living and fixed samples by extending the field-of-view of high-resolution optical microscopes using multi-tile or multi-view acquisition modes. We present software to interactively view and reconstruct such terabyte-sized acquisitions of developing organisms and entire cleared samples such as mouse brains or mouse embryos.
We will illustrate how we apply these powerful imaging tools to study transcriptional regulation underlying C. elegans development. We will present approaches that combine single-molecule fluorescent in-situ hybridization to detect individual mRNA molecules with lightsheet and electron microscopy acquisitions of entire C. elegans specimen. These powerful multi-modal approaches will enable us to decipher molecular mechanisms underlying important developmental events such as dosage compensation or choice of alternative developmental stages, and thereby ensure proper development of organisms.
Capturing rare cells in heterogeneous samples with Correlative Light and Electron Microscopy (CLEM).
CLEM uniquely combines fluorescence imaging of living cells or tissues with electron microscopy to link functional assays on biological systems with high resolution ultrastructural information. My team is actively working on developing new methods that enhance the throughput for collecting structure-function data from both adherent cultured cells or from multicellular specimens. In this talk, I will present our latest progresses and applications for screening subcellular phenotypes on cultured cells challenged with genes knockdowns and for tracking single tumor cells in the mouse brain. Besides CLEM, this talk will also introduce volume electron microscopy, a set of techniques the impact of which is significantly increasing in the Cell Biology community.
New microscopy paradigms, such as light sheet microscopy, enable capturing of complete developmental lineages of living organisms. That means that for a given biological system, be it an embryo or an organ, we can potentially follow the patterns of cell behaviour that build up its final shape and form. In combination with genetic labelling techniques, we can connect the cellular level description with the molecular one and assess its impact on the macroscopic tissue level. The computer vision challenges are to accurately segment and track cells in big 4D image data, to map static gene expression patterns to the dynamic lineages, to extract quantitative information about cell behaviour from the recordings and finally, to build multiscale models of tissue morphogenesis. I will present computational tools that were developed to meet these challenges and explain their impact on our understanding of enigmatic morphogenetic processes such as appendage formation and gastrulation during early embryonic development.
A pilot survey conducted in 2015, including 1841 researchers from the European bioimaging community, showed that more than 70% of all high-impact bioscience publications rely on advanced microscopy techniques, and that 95% of those surveyed considered image analysis important-to-essential in their research. Image analysis provides the key to boosting innovative microscopy technology even further. However, the huge investments made by research institutes in advanced microscopes (roughly 1-2 billion Euros in Europe), are not well balanced by the capacity to analyse the data produced. Image analysis is the final step in imaging-based research workflows and appears to be the narrowest bottleneck; only ca. 42% of captured images are quantitatively analysed. The survey also revealed that 68% of respondents considered support and training in image analysis lacking.
This situation with no doubts calls for engaged development of advanced and well suited methods to handle the sophisticated, challenging, and valuable bioimage data. However, reliable and fast automated data analysis requires not only advanced computational methods, but also high level of understanding of the details of sample preparation, as well as particular imaging processes. Bio-image computing grows as an interdisciplinary field which imposes demands on involved researchers (biologists, computer scientists, engineers) to collaborate, communicate, share and protect data, develop and benchmark algorithms and tools, and spread knowledge through the whole community of developers as well as users, via training courses, conferences, and publications.
This talk will present the activities of NEUBIAS – Network of European BioImage Analysts, initiated with an aim to address these challenges in BioImage computing.


I have all eight of these.
It should be noted that Vengeance and Judgment Day were exclusives through the WWE catalog and sellers are asking upwards of $100 for used copies of each on ebay.
Also, I know that Unforgiven 2002 and Rebellion 2002 are included in the 2003 list, but both titles have 2002 copyrights.


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View All Study Guides Altered States: Diasporas American History Australian History European History Food Global History Natural History Global Cities Travel
A Brief Introduction to the Industrial Revolution
Pilot Guides Global History, History, Revolution
Although bears little in common with any other revolution due to its lack of political context, the Industrial Revolution was nonetheless one of the most significant periods of upheaval in recorded history.
The Chinese Revolution
Pilot Guides China, Global History, Revolution
Their activity, aimed at curtailing the power of local warlords was hampered by a brutal purge by the Nationalists, who purged them during the 'White Terror' of 1927.
Pilot Guides Culture, France, Revolution, The French Revolution
The French Revolution is one of the most important instances of political upheaval in history, marking France's transition from Empire to Republic after centuries of monarchy. Lasting a period of ten years, the French Revolution was a time of violence and major change, which not only changed France profoundly but also reshaped the entire world, suggesting the vulnerability of monarchies and paving the way for republics as a common means of ruling.


Citation: Joyce, A.L., White, W.H., Nuessly, G.S., Solis, M.A., Scheffer, S.J., Lewis, M.L., Medina, R.F. 2014. Geographic population structure of the sugarcane borer, Diatraea saccharalis (F.)(Lepidoptera: Crambidae), in the southern United States . PLoS One. 9(10): e11036. DOI: 10.1371/journal.pone.0110036.
Interpretive Summary: Larvae of the sugarcane borer moth tunnel into the stalks of sugarcane causing extensive damage to the sugarcane plant. This insect is present in all of the sugarcane producing areas of the continental United States (e.g. Florida, Louisiana, and Texas) and is considered the most important insect pest of sugarcane in these areas. Sugarcane borer is also an important pest of corn, rice, and sorghum being grown in proximity to sugarcane and throughout the entire gulf coastal region. Although considered the same species, antidotal evidence suggests the existence of more than one species of sugarcane borer. Examples of such evidence are variable response of moths to different host plants and variation in moth attractiveness to different formulations pheromone trap lures. Advances in molecular techniques provide the means and therefore the opportunity to determine if there is sufficient genetic variation to verify the existence of more than one species of sugarcane borer. We found a geographic population structure in the southern United States which suggests two introductions and the presence of a previously unknown cryptic species. Determining the existence of multiple sugarcane borer species can have a profound influence on developing more efficient management techniques for controlling damaging infestations of this insect. For example, multiple chemical formulations of pheromone lures and new varieties of crops that are resistant to the predominate species of borer found in a specific area. Such advances will result in less insecticide usage thereby improving farmer profit margins and reducing environmental pollution.
Technical Abstract: The sugarcane borer moth, Diatraea saccharalis, is widespread throughout the Western Hemisphere, and is considered an introduced species in the southern United States. Although this moth has a wide distribution and is a pest of many crop plants including sugarcane, corn, sorghum and rice, it is considered one species. The objective was to investigate whether more than one introduction of D. saccharalis had occurred in the southern US and whether any cryptic species were present. We field collected D. saccharalis in Texas, Louisiana and Florida in the southern United States. Two molecular markers, AFLPs and mitochondrial COI, were used to examine genetic variation among these regional populations and to compare the sequences with those available in GenBank and BOLD. We found geographic population structure in the southern United States which suggests two introductions and the presence of a previously unknown cryptic species. Management of D. saccharalis would likely benefit from further investigation of population genetics throughout the range of this species.


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Reaching travelers where they plan
Nov 17, 2017 | Newsletter
Bell bottoms. Betty White. Zima.
And now, travel agents.
All have made comebacks. Sure, some in their industry insist that travel agents didn't need to make a comeback. They forget that not long ago, thanks to online booking, predictions were that travel agents were going to go the way of the milkman.
Not so fast.
"Research shows, surprisingly, that people are returning to travel agents," said Joni Allen, the tourism industry sales specialist for Polk County Tourism and Sports Marketing. "And millennials – those born from 1977 to 1994 – are leading the way."
According to research, while millennials are intrigued by travel, they rely on agents to provide itineraries.
"They enjoy getting expert advice," said Allen. "And that's what a travel agent is."
Thus, Allen, whose job it is to reach those who influence travelers' decisions, takes to the road to share her knowledge of Polk County.
"When we hold our seminars, I'm reaching not only veteran agents, but the rookies as well," she said. "And so are many of the other destinations in Florida. So if we aren't there, they are – and the agents won't even think of us."
Working a circuit from the Northeast – namely New York and Massachusetts – to Pennsylvania, Michigan and Illinois, Allen joins with other destinations around the state to hold educational seminars on the Sunshine State while also sponsoring meetings and attending trade shows – sometimes in excess of 20 shows a year.
"You try to maximize how many people you can get in front of," she said. "At the same point, it isn't quantity, its quality. Still, we can reach anywhere from 125 to more than 200 agents in a night, sometimes."
In-between working meals and trade shows, Allen makes sales calls.
"Especially to AAA offices," she said. "Those remain the travel agents most sought after by travelers."
Allen says that for the majority of agents, the questions isn't if their client is traveling to Florida, its where.
"The agents always say that clients are already coming down this way, whether it is to Orlando or the beaches. My job is to plant a seed in their head so when someone says Florida, they remember us," she said. "So many already come here to visit the theme parks and don't even realize they are in Polk County."
But when it comes to experiences, millennials and baby boomers share much in common.
"After they see the theme parks, people are looking for authentic experiences, like picking an orange at Ridge Island Groves, seeing a bald eagle or going to Bok Tower Gardens," said Allen. "Polk County has all this in droves, and more. We're as authentic Florida as you could get."