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Screenshare uses some patented technologies owned by Spring Design's parent company, QuickBiz Limited. This free application intends to showcase the patented architecture and to attract OEMs to license the technologies. It provides a subset of features and is limited to work with Android phone sharing with Android tablet. Any commercial usage for additional platforms and new features would require a separate license from Spring Design Inc.
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A great way of accessing quality, meaningful learning is through The FA's suite of online courses.
Suitable for coaches of all levels, these specially designed courses are free to take and provide support for a range of learning topics, including counter-attacking, behavioural management, and working with goalkeepers.
How do I access these courses?
They are hosted on The FA's Learning Management System, which you can access by clicking here.
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To access the course you will need to firstly select VIEW AWARD, followed by ACCESS AWARD.
You will then be prompted to provide your FAN and password. Once entered you will then be taken back to the course and you will be able to select LAUNCH COURSE.
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These course have a credit value that will be added to your FAN record. To ensure your credit is added to your FAN you need to be logged in.
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text:
African Women on the big screen, in more ways than one
Sella Oneko
Lupita Nyong'o at San Diego Comic Con. Image credit Gage Skidmore via Flickr
When it comes to African women on the big screen, the Kenyan actress Lupita Nyong'o, is currently the signifier for how far black African women have traveled in big budget film. Nyong'o won an Academy Award for her debut film 12 Years a Slave, starred in the reboot of the Star Wars series (The Force Awakens) and her new film, Queen of Katwe, about a chess prodigy in Uganda, recently opened "nationwide" in US commercial cinemas. Basically, Nyong'o has achieved bona fide Hollywood stardom – unprecedented for an African actress. Of Queen of Katwe Nyong'o has said: "This is a view of Africa told with Africans front and center. It's their narrative, whereas in most films where you see Africa or the Africans, it's told from a foreign perspective."
With credit due to Nyong'o's individual achievements and the Queen of Katwe's hype, these may obscure the number of recent, small budget films doing the festival rounds that give great insight into African women as actors, characters and filmmakers. When women make films about women, at least we know they no longer stand on the sidelines – there are well-developed characters, who the audiences can identify with.
Films made by Africans initially emerged in the 1960s as colonized countries gradually attained independence. Senegalese director and writer Ousmane Sembene (celebrated in a new documentary film) produced the first feature film by an African in 1966, La noire de … The first film by a female director, Kaddu Beykat by Safi Faye, also came from Senegal. West Africa has generally had a very vibrant film-making culture, and works from Algeria and Egypt films have also garnered international attention over years. At Burkina Faso's renowned Fespaco Film Festival, a woman has never won the award for best film, but the last edition of the festival, in 2013, the runner-up prize for best documentary went to Nadia El Fani from Tunisia for Meme pas mal, and best African diaspora film to Mariette Monpierre from Guadeloupe, for Le bonheur d'Elza. And at the African Movie Academy Awards in Nigeria, Kenyan director Wanuri Kahiu won best film in 2009 with From a whisper. Filmmakers from the sub-Saharan region have enjoyed less of the international spotlight, with the exception of a handful of South Africans.
From a selection of films shown at the African Film Festival, Cologne, which this year focused on African women in cinema, there was no particular typecast in the films by female directors. Tunisian filmmaker Leyla Bouzid's first feature film A peine j'ouvre les yeux (2015), has toured several film festivals and won the awards at the Venice Days of the Venice Film Festival, as well as, as best fiction film at the Dubai International Film Festival. It revolves around 18 year old Farrah, a rebellious young woman who would rather perform subversive rock music and be critical of the regime of the Ben Ali, than accept her admission to medical school. And although Farah is pressured by her family, society and the regime, she dares to dream, has her first sexual experiences, and pushes boundaries like any other teenager.
As I Open My Eyes (2015)
Bouzid noted that Young Tunisians, Egyptians, Moroccans identified with Farrah: "'That's us, that's how we are', they said". As she told U.S. website Fusion: "It's important that they see that young Arab people are exactly the same, like anywhere else. They have hopes, they have desires, they want to be free, they want to express sexuality."
W.a.k.a (2013) by Cameroonian filmmaker Francoise Ellong, is another courageous film. It tells the story of a young mother, who turns to sex work to fend for herself and her son. While the film over-explains at times and the characters are perhaps a bit too polished for the milieu they work in, it nevertheless draws you in and manages to tell the story of the main character as she strives to separate her two lives. W.a.k.a breaks the taboos and highlights the issue of prostitution in a way that makes it more accessible and digestible, than for instance, the Congolese film Viva Riva!, which is deserving of strong praise, but delves deeply into Kinshasa's crime scene and does not make for easy viewing. We see the lighter side of life in short films like Soko Sonko from Ekwa Msangis, as it pokes fun at "male and female roles" – will the father, who would rather be at a football match make it through the jungle of hairdressers in time for his daughter's first day at school?
A welcome offering from Southern Africa is Sara Blecher's film, Ayanda (2015). Set in Johannesburg, it revolves around a young woman who decides to revamp the auto-mechanic shop she inherits from her father. Blecher manages to balance light-hearted romance, family dynamics and the struggle of the youth to gain a foothold in modern-day South Africa. Blecher herself compared the film to Juno, the comic drama — set in the American Midwest — about a suburban teenager coping with an unplanned pregnancy. But critics say that Ayanda falls short of dealing with the deeper emotional aspects of the story. However, the work caught the attention of acclaimed filmmaker Ava DuVernay (Selma, 13th) and is now being distributed in the US by her company.
Ayanda (2015)
Diversifying the image of Africa on the screen is of course not limited to African women, but as Kenyan filmmaker Judy Kibinge (Something Necessary, 2013) puts it, the film industry on the continent is still young and "women aren't a rare species." New technology has made it easier to produce home-made or low-budget films and for filmmakers to distribute their content independently. This means that many young people are trying their hand at the craft that many Africans traditionally had less access to – and African women are no exception.
Filmmaking however remains a difficult terrain says Kibinge. It's become easier to make films, in the age of Netflix, but actually making money from the work remains a huge problem. Through her company Docubox, Kibinge now supports young documentary filmmakers by running workshops, finding funds and providing a platform for them.
"Every film", she says, "is still a labor of love by the filmmaker."
When it comes to African women on the big screen, the Kenyan actress Lupita Nyong'o, is

redpajama_set_name: RedPajamaCommonCrawl


text:
Medical Update: Paul Byron
The 30-year-old forward underwent knee surgery, and his recovery period is expected to be four weeks
by Montreal Canadiens @CanadiensMTL / News Release
MONTREAL - The Montreal Canadiens announced that forward Paul Byron underwent knee surgery on Tuesday.
His recovery period is expected to be four weeks. The procedure was performed by Dr. Thierry Pauyo in Montreal.
Byron suffered the injury during the 3rd period of the game against the Capitals on November 15 in Washington.
Byron has registered four points (1-3-4) in 19 games with the Canadiens thus far this season. He also posted a +3 differential, and amassed four penalty minutes.


Blood of Angels is a musical group that blends the core genres of death metal, black metal, old school thrash metal, to create their own, unique sound. Reigning from their infamous hometown of Tampa, Florida, Blood of Angels uses their vocal and instrumental influences to comment heavily upon the lies that have enveloped as truth amongst the general population. Influenced by such artists who include Slayer, Amon Amarth, Dark Tranquility, and Morbid Angel, Blood of Angels has completed their debut release, a studio EP, "Rise of the Fallen Gods". The album was released to fans and fellow listeners independently and delivered the group's ideas and collective beliefs that are saturated in a sense of self-empowerment and individuality.
Recorded, mixed, and mastered at Matt Johnson Productions in Deltona, FL, with producer Matt Johnson. Blood of Angels debut release pays homage to Amon Amarth, Pantera, and Machine Head all of whom have served as inspiration for various members of the band. Band members, Chris Iibucha (vocalist), Aaron Robinson (guitarist), Jonathan Rushford (drummer), and the Maggot (bassist), have been united under Blood of Angels umbrella since October 2015.
The success of Blood of Angels presently and in the future of the mainstream industry, stems from their ability to avoid the pressures and standards of metal music to dictate their visions and creativity. Ultimately, the group wishes to inform, motivate, and enlighten the mind set of their fans and listeners.
Watch the lyric video for their latest hit, "Miscreant Deeds of Loki," and reach out to them to let them know how their sounds made you feel after you listen!


text:
Home Community Spotlight Rock The Schools Concert Supporting VH1 Save the Music Foundation A Big...
Rock The Schools Concert Supporting VH1 Save the Music Foundation A Big Hit
The 4th Annual Rock for the Schools Concert to support the VH1's Foundation for Saving the Music was held on December 17 at the fabulous Gramercy Theatre in New York City. As always, the show was put on to support music education by keeping music programs available to children in America's public schools. The cause also focuses on raising the awareness of the need to keep instrumental music programs available as part of a well-rounded and complete educational curriculum for all children. Official event sponsors and partners were Live Nation, OK! TV, Vita Coco, Honest Tea, Baked by Melissa and Bohemian Guitars.
The highly anticipated concert was very well attended and the crowd was rocked by an all-star lineup co-headlined by Kate Voegele and Secondhand Serenade. Lee DeWyze, Michael Lombardi (star of FX hit series "Rescue Me"; co-starring in upcoming film "The Last Knights" alongside Morgan Freeman and Clive Owen) and Alexis Keegan put on outstanding performances. A special guest appearance was made by Rosi Golan. The event was hosted by National Radio Personality Trey Morgan and OK! TV's Julie Alexandria. Before the night was even close to finished it was clear there was enough support from the public to ensure a 5th Annual concert would be justified. This year's event was viewed as a tremendous success and is a perfect example of how the Publicity and Event Production company, Promenade Music Entertainment continues their support and to give back to the kids by producing this annual event created by PME's President, Alaina Bendi and supports the VH1 Save The Music Foundation, which has long been thought of as a partner and mentor for various worthy causes with ties to the music industry. The Rock for the Schools Concert series may be the worthiest of causes and nothing was overlooked to ensure the event went off without a hitch. Nearly 10 press photogs including WireImage and Getty came out to shoot red carpet photos of the artist lineup at the packed pre-show VIP party held at the venue where fans got to mingle with the whole lineup, enjoyed champagne and product provided by our sponsors Vita Coco, Honest Tea and Baked by Melissa. The Rock the Schools Concert has become a brand in the entertainment industry and is notorious for special guests, surprise performances and a large lineup of some of music's most popular names and overwhelming talent. "One Tree Hill" fans who were already excited to see Kate Voegele perform had the chance to see former cast member and front man of Wakey!Wakey, Michael Grubbs. He performed a surprise duet with Rosi Golan. The crowd went wild when Secondhand Serenade brought famous singer/songwriter Veronica Ballestrini on stage to surprise fans with a duet. Rock the Schools Founder/Producer Alaina Bendi even joined the couple on stage to perform a song. Fans also engaged in a bidding war for a silent auction to win a unique, custom built guitar signed by the entire artist lineup provided by Bohemian Guitars. "I'm so overwhelmed by the success and outpour of incredible feedback by fans approaching me throughout the night congratulating me on an amazing show. We're already planning an explosive 5th year anniversary show!" said Alaina Bendi, Creator and Founder of Rock the Schools Concert. Past performers have included: Ryan Cabrera, Tyler Hilton, Bryan Greenberg, Bethany Joy Lenz, Teddy Geiger, Thomas Ian Nicholas, Matthew Perryman Jones, Wakey! Wakey!, Josh Kelley, Blake Lewis, Keaton Simons and more. Past celebrities in attendance have included Katherine Heigl, David Duchovny, Constantine Maroulis, James Lafferty, Robert Buckley and many more. About Promenade Music Entertainment PME is a music publicity, management and event production company that was formed in 2011 by Producer/Publicist, Alaina Bendi. The company reps talent such as Actor/Musician Thomas Ian Nicholas, Actor/Musician Michael Lombardi (Rescue Me), "American Idol" season 6 runner-up Blake Lewis, Rebecca Perl, Universal Attractions Agency, Alexis Keegan and More. Past clients include Ryan Cabrera and Teddy Geiger. The company also produces concerts, most recently having the honor to curate a show for NYC's CBGB Festival. For additional information, please visit www.promenademusicent.com. About VH1 Save The Music Foundation The VH1 Save The Music Foundation is a nonprofit organization dedicated to restoring instrumental music education programs in America's public schools, and raising awareness about the importance of music as part of each child's complete education. To date, VH1 Save The Music has provided nearly $51 Million in new musical instruments to almost 1,900 public schools in more than 192 districts around the country, impacting the lives of over 2.3 million children. To get involved and learn more about the Foundation's exclusive sponsorship opportunities, please visit www.vh1savethemusic.org. Kate Voegel Interview: http://youtu.be/TAlC9RzAnLQ Check out footage from the concert and more on our YouTube page: https://www.youtube.com/watch?v=5qPjQizmpFo&list=UUlCvDXAai8Y-aD9RvpjEAfA https://www.youtube.com/watch?v=nFDxYBkjVTA&list=UUlCvDXAai8Y-aD9RvpjEAfA https://www.youtube.com/watch?v=NAxATWn9VLY&list=UUlCvDXAai8Y-aD9RvpjEAfA https://www.youtube.com/watch?v=r67Ucjj_3_g]]>
Rock The Schools Concert
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text:
EU moves closer to Washington's view of Beijing threats, US official says
John Demers, who heads the Justice Department's counter-espionage effort, says 'Hong Kong and the Uygurs have been the biggest issues' for Europe. The US is working with European partners to develop digital standards to address 'the long-term threat to data privacy, security and human rights
China's recent actions in Hong Kong and the Xinjiang Uygur Autonomous Region (XUAR) have driven European countries closer to Washington's position about dangers posed by Beijing, the US assistant attorney general for national security said on Wednesday.
"Hong Kong and the Uygurs have been the biggest issues … in my discussions with the Europeans," said John Demers, who heads the Justice Department's counter-espionage effort, known as the China Initiative.
"We have a lot of our disagreements with the Europeans about different things, but the truth is at the end of the day we do share the same political values, and that is very helpful when we're having these discussions," he said in an online discussion at the Washington-based think tank Centre for Strategic and International Studies. "What happened in Hong Kong with the breaking of promises that they made in '97, what's happening with the Uygurs has really helped us."
Success usually comes to those who are too busy to be looking for it.
Hong Kong poised to require two-week quarantine for flight crew
Hong Kong is set to require flight crew entering the Asian financial hub for more than two hours to quarantine in a hotel for two weeks.
Oath to uphold Basic Law looms for all district councillors
District councillors will be required to take an oath to uphold the Basic Law, with an amendment bill facilitating the arrangement to be tabled to the Legislative Council after ...
World's second-largest short video platform seeks US$5 billion in Hong Kong IPO
Kuaishou will raise the curtain for other China's short video-sharing platforms to raise funds via IPO in Hong Kong.
Newborn girl's heart stopped beating in suspected hospital blunder
Infant, who has congenital heart disease, was given three infusions to raise potassium levels in her blood, and suffered cardiac arrest during the third.
Amend security law so extradition agreements return: Bar Association chief
Paul Harris makes comments after being elected as new chairman of city's Bar Association on Thursday. The veteran human rights barrister also pledges to strengthen rule of law i...
Lands official takes legal action against boss after eight-year wait over houses
Lands Department assistant director Anita Lam and her husband apply for judicial review, accusing lands director of failing to determine the application.
Alipay and WeChat Pay's monopoly status remains unclear in new regulation
A draft regulation from China's central bank specifies two different markets for assessing companies' market power, sowing confusion over the impact on China's two fintech giants.
Hong Kong set to hit long-haul aircrew with strictest quarantine measures
Sources say pilots and cabin crew from Hong Kong, after a layover in any country, will have to undergo hotel quarantine for 14 days upon their return.
Hong Kong's democracy activists see kindred spirits in the US Capitol insurrection
What does it mean for a movement fighting for democracy to support Donald Trump's efforts to undermine it?
Hong Kong Stocks Are Asset Class of Choice for China's Investors
Investors in mainland China are showing unprecedented interest in Hong Kong stocks, powering the city's fastest rally for a new year in more than three decades.
Hong Kong's pro-Beijing politicians to get mainland Covid-19 jab this week
Some 200 members of the political bloc are bound for Shenzhen on Friday for first of two Sinopharm doses.
London blasts Beijing over Hong Kong BN(O) passports threat
British embassy says ending recognition of the documents would be a breach of the Sino-British Joint Declaration.
Florists have till Friday to decide on joining Lunar New Year flower fairs
They will also have to submit by Friday details of their staff members taking part in the Lunar New Year event.
Hong Kong bank staff arrested in US$810m laundering probe
Seven former and current bank employees have been arrested in Hong Kong as part of a major operation against a US$810 million international money-laundering syndicate, police sa...


Air Koryo is the state-owned national flag carrier airline of North Korea. Unfortunately, they do not allow pets to travel on any of their flights.
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text:
\section{#1} \setcounter{equation}{0} }
\newcommand{\partial \! \! \! /}{\partial \! \! \! /}
\newcommand{p \! \! \! /}{p \! \! \! /}
\newcommand{k \! \! \! /}{k \! \! \! /}
\newcommand{l \! \! \! /}{l \! \! \! /}
\newcommand{q \! \! \! /}{q \! \! \! /}
\newcommand{D \! \! \! \! /}{D \! \! \! \! /}
\newcommand{x \! \! \! /}{x \! \! \! /}
\newcommand{y \! \! \! /}{y \! \! \! /}
\newcommand{z \! \! \! /}{z \! \! \! /}
\newcommand{\half}{\mbox{\small{$\frac{1}{2}$}}}
\newcommand{\halfsmall}{{\mbox{\footnotesize{$\frac{1}{2}$}}}}
\newcommand{\langle}{\langle}
\newcommand{\ra}{\rangle}
\newcommand{\Nf}{N_{\!f}}
\newcommand{\Nff}{\tilde{N}_{\!f}}
\newcommand{\MSbar}{\overline{\mbox{MS}}}
\begin{document}
\title{Large $\Nf$ calculations in deep inelastic scattering}
\author{J.F. Bennett\footnote{Talk presented at Quarks '98, Suzdal, Russia.}\,
\& J.A. Gracey, \\ Theoretical Physics Division, \\
Department of Mathematical Sciences, \\ University of Liverpool, \\
Peach Street, \\ Liverpool, \\ L69 7ZF, \\ United Kingdom.}
\date{}
\maketitle
\vspace{5cm}

\noindent
{\bf Abstract.} We describe the evaluation of the anomalous dimensions of
twist-2 deep inelastic light cone operators to $O(1/\Nf)$ as a check on future
perturbative calculations. In particular we present recent results for the
singlet gluonic operator dimension in polarised and unpolarised scattering and
give three loop predictions for the $O(1/\Nf)$ gluonic eigenoperator. The
section of the 3-loop $O(1/\Nf)$ DGLAP splitting function proportional to the
adjoint quadratic Casimir is also calculated for the singlet gluonic operators.

\vspace{-19.5cm}
\hspace{13.4cm}
{\bf LTH-432}

\newpage

\sect{Introduction.}

Our modern view of hadronic matter is based upon the rich quantum field theory
of Quantum Chromodynamics (QCD) (for a review see \cite{1}) in which we picture
hadrons as bound states of valence quarks in a sea of vacuum excitation
quark/antiquark pairs and gluons. Because QCD has the remarkable property of
asymptotic freedom \cite{2} we can use high momentum transfer reactions such as
deep inelastic scattering $( lepton$ $+$ $nucleon$ $\longrightarrow$ $lepton$
$+$ $hadrons )$ to compare experiment with the predictions of perturbative QCD
(pQCD) and so refine our ideas on the structure of strongly interacting
particles.

The formal QCD approach to deep inelastic scattering (DIS) allows us to predict
structure function behaviour using moment sum rules. Key to this method is the
formalism of the light cone expansion (LCE) in which the non-local time ordered
product of electromagnetic quark currents appearing in the general DIS
cross-section is expanded in a series of local, spin-$n$ operators together
with $c$-number Wilson co-efficients. The LCE is easily seen to be dominated by
operators of lowest twist $( \tau$ $=$ $operator$ $dimension$ $-$ $operator$
$spin )$. For QCD the lowest twist operators available are twist-$2$. It can be
shown by using the anomalous dimensions associated with the renormalisation of
insertions of these operators in 2-point Green functions, that we can determine
the evolution of the moment sum rules with the large momentum transfer scale.

The unpolarised twist-2 operators are \cite{3},
\begin{eqnarray}
{\cal O}^{{\mbox{\footnotesize{NS}} i}}_{\mu_1 \ldots \mu_n} &=&
i^{n-1} {\cal S} \bar{\psi} \gamma_{\mu_1} D_{\mu_2} \ldots D_{\mu_n}
\half \lambda^{i} \psi \nonumber \\
{\cal O}^{{\mbox{\footnotesize{q}}}}_{\mu_1 \ldots \mu_n} &=&
i^{n-1} {\cal S} \bar{\psi} \gamma_{\mu_1} D_{\mu_2} \ldots D_{\mu_n} \psi
\nonumber \\
{\cal O}^{{\mbox{\footnotesize{g}}}}_{\mu_1 \ldots \mu_n} &=&
\half i^{n-2} {\cal S}~G_{\mu_1\alpha} D_{\mu_2} \ldots D_{\mu_{n-1}}
G^{\alpha}_{~\,\mu_n}
\label{unpol}
\end{eqnarray}
and the polarised twist-2 operators are \cite{4},
\begin{eqnarray}
{\cal R}^{{\mbox{\footnotesize{NS}} i}}_{\sigma\mu_1 \ldots \mu_{n-1}} &=&
i^{n-1} {\cal S} \bar{\psi} \gamma_5 \gamma_{\sigma} D_{\mu_1} \ldots
D_{\mu_{n-1}} \half \lambda^{i} \psi \nonumber \\
{\cal R}^{{\mbox{\footnotesize{q}}}}_{\sigma\mu_1 \ldots \mu_{n-1}} &=&
i^{n-1} {\cal S} \bar{\psi} \gamma_5 \gamma_{\sigma} D_{\mu_1} \ldots
D_{\mu_{n-1}} \psi \nonumber \\
{\cal R}^{{\mbox{\footnotesize{g}}}}_{\sigma\mu_1 \ldots \mu_{n-1}} &=&
\half i^{n-2} {\cal S}~\epsilon_{\sigma\alpha\beta\gamma} G^{\beta\gamma}
D_{\mu_1} \ldots D_{\mu_{n-2}} G^{\alpha}_{~\, \mu_{n-1}}
\label{pol}
\end{eqnarray}
Here, $\psi$ is the quark field, $G_{\mu\nu}$ is the gluon field strength
tensor, $D_{\mu}$ is the QCD covariant derivative, $\lambda^{i}$ are the
generators of $SU(\Nf)$, ${\cal S}$ stands for symmetrisation over Lorentz
indices and \mbox{NS} denotes the non-singlet operator under $SU(\Nf)$ as
opposed to the other singlet operators.

An alternative, less abstract means of providing theoretical predictions for
DIS is given by the parton model. Here the structure functions may be expressed
in terms of parton distribution functions (PDFs). These give the probability
that the struck nucleon constituent (parton) carries a particular fraction of
the total nucleon momentum. The evolution of the PDFs are then governed by the
DGLAP equation \cite{5}. This contains the DGLAP `splitting functions' which
express the probabilities for the struck parton undergoing certain collinear
decays as the energy scale changes. The DGLAP splitting functions can be
explicitly obtained from the previously mentioned operator anomalous dimensions
through an inverse Mellin transform. Solutions of the full DGLAP equation
provide us with scale dependent PDFs which may than be used as inputs for other
hard scattering processes where the formal QCD approach is not necessarily
applicable as well as giving us a deeper insight into hadron structure in the
asymptotic regime.

With facilities such as HERA currently opening up new kinematical regimes for
unpolarised and (soon) polarised DIS, there presently exists a need to perform
a NNLO twist-2 analysis to ensure a high precision examination of pQCD. This is
especially important where the new order's effects are expected to be seen
experimentally (as in low $x$, high $Q^{2}$ scattering at HERA). This programme
requires the 2-loop Wilson co-efficients and 3-loop anomalous dimensions of all
the DIS twist-2 light cone operators with full spin dependence. Although the
complete 2-loop operator dimensions have been known for many years now
\cite{3,6,7,8}, the full 3-loop computations have only become viable in recent
years. The current state of play is that the 3-loop unpolarised singlet and
non-singlet operator dimensions have been calculated for particular spins of
the operator ($n$ $=$ $2$, $4$, $6$, $8$ and $n$ $=$ $2$, $4$, $6$, $8$, $10$
respectively) \cite{9,10}. In addition, the 2-loop finite parts required for
the full 3-loop results have recently been calculated for all twist-$2$
unpolarised and polarised operators \cite{11,12}. As one might expect, these
are particularly difficult calculations involving thousands of Feynman
diagrams. It is clear that a check on the final full $3$-loop results would be
useful. One way of approaching this would be to calculate the dimensions using
an alternative expansion parameter to the QCD coupling and check that there is
agreement where overlap exists. We can do this by use of the $1/\Nf$ expansion
and a critical point approach.

\sect{The Method.}

By applying the critical large $\Nf$ method developed in the series of papers
\cite{13} it is possible to obtain expressions for the twist-2 operator
dimensions to\, $O(1/\Nf)$. The method entails the analysis of operator
insertions in QCD Green functions at a $d$-dimensional non-trivial
renormalisation group fixed point. This fixed point may be found as a stable
zero of the $d$-dimensional four-loop QCD $\beta$-function \cite{14} and is
located at
\begin{eqnarray}
a_c &=& \frac{3\epsilon}{4T(R)\Nf} ~+~ \left[ \ \frac{33}{16}C_2(G) \epsilon
{}~-~ \left( \frac{27}{16}C_2(R) + \frac{45}{16}C_2(G) \right) \epsilon^2
\right. \nonumber \\
&& +~ \left( \frac{99}{64}C_2(R) + \frac{237}{128}C_2(G) \right)
\epsilon^3 \nonumber \\
&& \left. +~ \left( \frac{77}{64}C_2(R) + \frac{53}{128}C_2(G) \right)
\epsilon^4 ~+~ O(\epsilon^5) \ \right] \frac{1}{T^2(R)\Nf^2} ~+~
O \left( \frac{1}{\Nf^3} \right)
\end{eqnarray}
where $a_c$ is the strong coupling constant at criticality, $C_2(R)$ and
$C_2(G)$ are the fundamental and adjoint quadratic Casimirs respectively,
$\mbox{tr}(T^aT^b)$ $=$ $\half\delta^{ab}$ for $T^a$ the generators of
$SU(N_c)$ and $d$ $=$ $4$ $-$ $2\epsilon$.

Several good things come out of using such an approach;

\begin{enumerate}
\item Propagators take on a simple, dressed, scaling form due to the scaling properties of Green functions at a renormalisation group fixed point.

For example, the quark and gluon propagators are respectively \cite{15},
\begin{equation}
\psi(k) ~ \sim ~ \frac{Ak \! \! \! /}{(k^2)^{\mu-\alpha}} ~~~,~~~
A_{\mu\nu}(k) ~ \sim ~ \frac{B}{(k^2)^{\mu-\beta}} \left[ \eta_{\mu\nu} ~-~
(1-b) \frac{k_\mu k_\nu}{k^2} \right]
\label{props}
\end{equation}
where $b$ is the covariant gauge parameter, $d$ $=$ $2\mu$, $A$ and $B$ are
momentum independent amplitudes and the exponents $\alpha$ and $\beta$ are
defined using simple dimensional analysis of the massless QCD action as
\begin{equation}
\alpha ~=~ \mu ~-~ 1 ~+~ \half \eta ~~~,~~~ \beta ~=~ 1 ~-~ \eta ~-~ \chi
\label{defexp}
\end{equation}

Here, the critical exponent $\eta$ is the quark anomalous dimension associated
with the quark wave function renormalisation at the critical coupling and
similarly $\chi$ is the anomalous dimension of the quark-gluon vertex.

\item Using the critical renormalisation group it can be shown that the form of
a particular $O(1/\Nf)$ operator anomalous dimension at $a_c$ may be calculated
by evaluating the residues of first order poles (we use an analytic
regularisation of the gluon dimension) in appropriate $O(1/\Nf)$ two-point
Green functions at $a_c$. These Green functions consist of an insertion of the
operator into a QCD two-point function. (We also need to take the field
renormalisations into account).

\item Since, in the language of statistical mechanics, we are working at a
critical point, we know that we have an essentially massless theory which
enables us to use integration tricks such as uniqueness and conformal
transformations to evaluate diagrams.

\item In $d$-dimensions and to $O(1/\Nf)$ there exists a universality
equivalence between QCD and the non-abelian Thirring model (NATM) at $a_c$
\cite{16}. This may be seen through the reproduction of the QCD triple and
quartic gluon vertices by fermion loop integration in three and four point NATM
Green functions at $a_c$ using the above propagators. The upshot of this is
that we can use the simpler NATM interactions in our calculations and dispense
with the tricky three and four-point gluon vertices.

\item The fact that we work with a fixed $d$-dimensional spacetime with an
analytic rather than a dimensional regularisation seems to alleviate some of
the problems caused when treating $\gamma_5$ in arbitrary dimensions \cite{17}.
This obviously becomes important in the calculation of the dimensions of the
polarised operators.
\end{enumerate}

\sect{Comparing singlet operator dimensions at $O(1/\Nf)$ with perturbation
theory}

A slight complication in this calculation arises due to mixing of the singlet
operators in both polarised and unpolarised scattering. Since the singlet light
cone operators share the same quantum numbers and have equal canonical
dimension in strictly four dimensions, they mix under renormalisation. This
means that we have to consider a matrix of renormalisation constants for these
operators
\begin{equation}
{\cal O}_{\footnotesize{\mbox{ren}}}^i ~=~ Z^{ij}
{\cal O}_{\footnotesize{\mbox{bare}}}^j
\end{equation}
Here the indices $i,j$ $=$ $q,g$ and we are refering to the operators
(\ref{unpol}) and (\ref{pol}).  The anomalous dimensions, $\gamma_{ij}(a)$, are
defined by
\begin{equation}
\gamma_{ij}(a) ~=~ \left(
\begin{array}{ll}
\gamma_{qq}(a) & \gamma_{gq}(a) \\
\gamma_{qg}(a) & \gamma_{gg}(a) \\
\end{array}
\right)
\label{mixmat}
\end{equation}
where $\gamma_{ij}(a)$ $=$ $\beta(a) (\partial/\partial a) \ln Z_{ij}$ and
$\beta(a)$ is the renormalization group function governing the running
of the QCD coupling constant $a$. The entries in $\gamma_{ij}(a)$ depend on the
colour group parameters, $\Nf$ and $n$ and since it is the $1/\Nf$ corrections
that we are interested in, we define the explicit form of the entries as
\begin{eqnarray}
\gamma_{qq}(a) &=& a_1a + (a_{21}\Nff + a_{22})a^2 + (a_{31}\Nff^2 + a_{32}\Nff
+ a_{33})a^3 + O(a^4) \nonumber \\
\gamma_{gq}(a) &=& b_1a + (b_{21}\Nff + b_{22})a^2 + (b_{31}\Nff^2 + b_{32}\Nff
+ b_{33})a^3 + O(a^4) \nonumber \\
\gamma_{qg}(a) &=& c_1 \Nff a + c_2\Nff a^2 + (c_{31}\Nff^2 + c_{32}\Nff
+ c_{33})a^3 + O(a^4) \nonumber \\
\gamma_{gg}(a) &=& (d_{11}\Nff + d_{12})a + (d_{21}\Nff + d_{22})a^2
+ (d_{31}\Nff^2 + d_{32}\Nff + d_{33})a^3 + O(a^4)
\label{matdef}
\end{eqnarray}
where $\Nff$ $=$ $T(R)\Nf$ and the coefficients $a_{ij}$, $b_{ij}$, $c_{ij}$
and $d_{ij}$ depend on $n$ and the colour group Casimirs.

We note that this matrix of anomalous dimensions has eigenvalues
\begin{equation}
\lambda_\pm(a) ~=~ \frac{1}{2} ( \gamma_{qq} + \gamma_{gg} ) ~\pm~
\frac{1}{2} \left[ ( \gamma_{qq} - \gamma_{gg} )^2 + 4 \gamma_{qg}\gamma_{gq}
\right]^{\half}
\end{equation}
Expanding in powers of $a$ and retaining the same orders in $1/\Nf$ with the
definitions (\ref{matdef}) we find,
\begin{eqnarray}
\lambda_-(a) &=& \left( a_1 - \frac{b_1c_1}{d_{11}}\right) a +
\left( a_{21} - \frac{b_{21}c_1}{d_{11}}\right) \Nf  a^2 +
\left( a_{31} - \frac{b_{31}c_1}{d_{11}}\right) \Nf^2 a^3 + O(\Nf^3 a^4)
\nonumber \\
\lambda_+(a) &=& \left( d_{11}\Nf + d_{12} + \frac{b_1c_1}{d_{11}} \right) a
+ \left( d_{21} + \frac{b_{21}c_1}{d_{11}} \right) \Nf a^2 \nonumber \\
&& ~ + \left( d_{31} + \frac{b_{31}c_1}{d_{11}} \right) \Nf^2 a^3
+ O(\Nf^3 a^4)
\label{blobby}
\end{eqnarray}
Here we can see that $\lambda_+(a)$, $\lambda_-(a)$ are dominated by
contributions from the gluonic and fermionic operators respectively.

When in our approach we consider the singlet sector operators in $d$-dimensions
at $a_c$, we find that they no longer mix. (It is easy to see that the
difference is $O(\epsilon)$.) This means that by calculating in $d$-dimensions,
we are accessing the above mixing matrix eigenvalues in perturbation theory.
This is borne out by explicit calculations. By evaluating the graphs required
for $\gamma_{gg}(a_c)$, $\gamma_{qq}(a_c)$ we actually obtain $\lambda_+(a_c)$
and $\lambda_-(a_c)$ respectively, with the universality equivalence between
QCD and NATM at $O(1/\Nf)$ accounting for the contributions from the
off-diagonal dimensions.

\sect{Results}

The unpolarised non-singlet operator dimension at $O(1/\Nf)$ was published in
\cite{18}. The polarised non-singlet operator result was published in \cite{19}
together with the expressions for $\lambda_-(a_c)$ to $O(1/\Nf)$ and
$\lambda_+(a_c)$ to $O(1)$ for polarised and unpolarised scattering.

We now give new results \cite{20,21} for $\lambda_+(a_c)$ to $O(1/\Nf)$ for the
unpolarised and polarised gluonic operator together with the $3$-loop
$n$-dependent eigenvalue predictions for comparison with perturbation theory
(\ref{blobby}). The relevant graphs are given in Fig. 1 with a different
operator insertion Feynman rule \cite{7,22} used for the separate unpolarised
and polarised cases.

\vspace{1cm}
\hspace{3cm}{\epsfysize=5cm
\epsfbox{qcdfig.ps}}

\vspace{0.75cm}
\hspace{3cm}{\bf Fig. 1. Leading order diagrams for $\lambda_+(a_c)$.}
\vspace{0.5cm}

\noindent
For the unpolarised gluonic singlet operator we have,
\begin{eqnarray}
\lambda_{+,1}(a_c) &=&
-~ [8\mu^3n^2 + 8\mu^3n + 8\mu^3 + 2\mu^2n^4 + 4\mu^2n^3 - 22\mu^2n^2
- 24\mu^2n \nonumber \\
&&~~~ - 28\mu^2 - 6\mu n^4 - 12\mu n^3 + 14\mu n^2 + 20\mu n + 32\mu
+ 5n^4 \nonumber \\
&&~~~ + 10n^3 + n^2 - 4n - 12]\Gamma(n+2-\mu)
\Gamma(\mu - 1)\mu C_2(R) \eta_1^{\mbox{o}} \nonumber \\
&&~~~~ /[(\mu - 2)^2(n + 2)(n + 1)(n - 1)
\Gamma(2 - \mu)\Gamma(\mu + n)n T(R)] \nonumber \\ && \nonumber \\
&&+~ \frac{2\mu(\mu - 1)S_1(n) C_2(G) \eta_1^{\mbox{o}}}
{(2\mu - 1)(\mu - 2)T(R)} \nonumber \\
&& \nonumber \\
&&-~ [32\mu^5n^2 + 32\mu^5n + 32\mu^5 - 144\mu^4n^2 - 144\mu^4n - 160\mu^4
- 4\mu^3n^4 \nonumber \\
&&~~~ - 8\mu^3n^3 + 240\mu^3n^2 + 244\mu^3n + 316\mu^3 + 16\mu^2n^4
+ 32\mu^2n^3 \nonumber \\
&&~~~ - 180\mu^2n^2 - 196\mu^2n - 306\mu^2 - 20\mu n^4 - 40\mu n^3 + 59\mu n^2
\nonumber \\
&&~~~ + 79\mu n + 146\mu + 8n^4 + 16n^3 - 6n^2 - 14n - 28]\mu C_2(G)
\eta_1^{\mbox{o}} \nonumber \\
&&~~~~ /[8(2\mu - 1)(\mu - 1)^3(\mu - 2)(n + 2)(n + 1)(n - 1)n T(R)]
\nonumber \\ && \nonumber \\
&&+~ [32\mu^5n^2 + 32\mu^5n + 32\mu^5 + 8\mu^4n^4 + 16\mu^4n^3 - 120\mu^4n^2
- 128\mu^4n \nonumber \\
&&~~~ - 160\mu^4 - 32\mu^3n^4 - 64\mu^3n^3 + 160\mu^3n^2
+ 192\mu^3n + 316\mu^3 + 48\mu^2n^4 \nonumber \\
&&~~~ + 96\mu^2n^3 - 78\mu^2n^2 - 126\mu^2n - 306\mu^2 - 31\mu n^4 - 62\mu n^3
+ 31\mu n \nonumber \\
&&~~~ + 146\mu + 7n^4 + 14n^3 + 7n^2 - 28]
\Gamma(n+2-\mu)\Gamma(\mu - 1)\mu C_2(G) \eta_1^{\mbox{o}} \nonumber \\
&&~~~\, /[8(2\mu - 1)(\mu - 1)^2(\mu - 2)
(n + 2)(n + 1)(n - 1)\Gamma(2-\mu)\Gamma(\mu + n)n T(R)] \nonumber \\
\label{answer}
\end{eqnarray}
implying,
\begin{eqnarray}
d_{31} + \frac{b_{31} c_1}{d_{11}}
&=& \frac{64(n^2 + n + 2)^2 (S_1(n))^2 C_2(R)}{3(n + 2)(n + 1)^2(n - 1)n^2
T(R)} \nonumber \\
&& -~ \frac{64(10n^6 + 30n^5 + 109n^4 + 168n^3 + 155n^2 + 76n + 12) S_1(n)
C_2(R)}{9(n + 2)(n + 1)^3(n - 1)n^3 T(R)} \nonumber \\
&& -~ 4[33n^{10}\! + 165n^9 - 32n^8 - 1118n^7 - 5807n^6 \nonumber \\
&& ~~~~~ - 12815n^5 - 16762n^4 - 13800n^3 - 7112n^2 \nonumber \\
&& ~~~~~ - 2112n - 288]C_2(R)/[27(n + 2)(n + 1)^4(n - 1)n^4 T(R)] \nonumber \\
&& -~ \frac{8(8n^6 + 24n^5 - 19n^4 - 78n^3 - 253n^2 - 210n - 96) S_1(n)
C_2(G)}{27(n + 2)(n + 1)^2(n - 1)n^2 T(R)} \nonumber \\
&& -~ 2[87n^8 + 348n^7 + 848n^6 + 1326n^5 + 2609n^4 + 3414n^3 + 2632n^2
\nonumber \\
&& ~~~~~ + 1088n + 192]C_2(G)/[27(n + 2)(n + 1)^3(n - 1)n^3 T(R)]
\label{dbcd}
\end{eqnarray}
For the polarised gluonic singlet operator we have,
\begin{eqnarray}
\lambda_{+,1}(a_c) &=& -~ \frac{(n + 2)(n - 1)\Gamma(n+2-\mu)\Gamma(\mu + 1)
C_2(R)\eta_1^{\mbox{o}}}{(\mu - 2)^2(n + 1)\Gamma(2 - \mu)\Gamma(\mu + n)n
T(R)} \nonumber \\ && \nonumber \\ && +~ \frac{2\mu(\mu - 1) S_1(n) C_2(G)
\eta_1^{\mbox{o}}} {(2\mu - 1)(\mu - 2) T(R)} \nonumber \\ && \nonumber \\
&& -~ [4\mu^3n^2 + 4\mu^3n - 8\mu^3 - 8\mu^2n^2 - 8\mu^2n + 16\mu^2 + 5\mu n^2
\nonumber \\
&& ~~~ + 5\mu n - 9\mu - n^2 - n + 2] \Gamma(n+2-\mu) \Gamma(\mu)\mu C_2(G)
\eta_1^{\mbox{o}} \nonumber \\
&& ~~~~~ /[8(2\mu - 1)(\mu - 1)^3(n + 1) \Gamma(3 - \mu)\Gamma(\mu + n)n T(R)]
\nonumber \\ && \nonumber \\
&& -~ [32\mu^4 - 4\mu^3n^2 - 4\mu^3n - 120\mu^3 + 16\mu^2n^2 + 16 \mu^2n
\nonumber \\
&& ~~~ + 160\mu^2 - 20\mu n^2 - 20\mu n  - 89\mu + 8n^2 + 8n + 18] \mu C_2(G)
\eta_1^{\mbox{o}} \nonumber \\
&& ~~~~~ /[8(2\mu - 1)(\mu - 1)^3(\mu - 2)(n + 1)n T(R)]
\label{res}
\end{eqnarray}
giving,
\begin{eqnarray}
d_{31} ~+~ \frac{b_{31}c_1}{d_{11}} &=& -~
\frac{64(7n^2 + 7n + 3)(n + 2)(n - 1) S_1(n) C_2(R)}{9(n + 1)^3n^3}
\nonumber \\
&& +~ \frac{64(n + 2)(n - 1) S_1^2(n) C_2(R)}{3(n + 1)^2n^2} \nonumber \\
&& -~ 4[33n^8 + 132n^7 + 142n^6 - 36n^5 - 263n^4 - 312n^3 \nonumber \\
&& ~~~~ + 280n^2 + 408n + 144] C_2(R)/[27(n + 1)^4n^4] \nonumber \\
&& -~ \frac{8(8n^4 + 16n^3 - 19n^2 - 27n + 48) S_1(n) C_2(G)}{27(n + 1)^2n^2}
\nonumber \\
&& -~ \frac{2(87n^6 + 261n^5 + 249n^4 + 63n^3 - 76n^2 - 64n - 96) C_2(G)}
{27(n + 1)^3n^3}
\label{3loop}
\end{eqnarray}
Throughout these calculations we used {\sc reduce} \cite{23} and {\sc form}
\cite{24} to handle tedious amounts of algebra. The quantity
$\eta_1^{\mbox{o}}$ is defined by
\begin{equation}
\eta_1^{\mbox{o}} ~=~ \frac{(2\mu-1)(\mu-2)\Gamma(2\mu)}
{4\Gamma^2(\mu)\Gamma(\mu+1)\Gamma(2-\mu)}
\end{equation}
and we have set $\lambda_+(a_c)$ $=$ $\sum_{i=0}^\infty
\lambda_{+,i}(a_c)/\Nf^i$. The finite sum $S_1(n)$ is given by $S_1(n)$
$=$ $\sum_{i=1}^n1/i$.

These expressions agree exactly with all known perturbative results. This can
be seen by putting $\mu$ $=$ $2$ $-$ $\epsilon$ in (\ref{dbcd}) and
(\ref{3loop}) and expanding in powers of $\epsilon/\Nf$. An interesting feature
of the mixing matrix (\ref{mixmat}) is that the $O(1/\Nf)$ contribution to
$\gamma_{gq}(a)$ depends only on the Casimir $C_2(R)$. This is evident from the
one and two loop results for all $n$ and the three loop results for $n$ $\leq$
$8$. Assuming this to be true for all $n$ at three loops we can see from
(\ref{dbcd}) and (\ref{3loop}) that we can deduce the exact form of the
coefficients $d_{31}$ in the $C_2(G)$ sector. This means that by using an
inverse Mellin transform we can calculate the $O(1/\Nf)$ part of the three loop
DGLAP function $P_{gg}$ for both unpolarised and polarised cases. For the
unpolarised splitting function we obtain,
\begin{eqnarray}
P_{gg}(d_{31},C_2(G)) &=& \frac{1}{4} C_2(G) \left( ~\frac{64}{27}
\left[\frac{1}{1-x} \right]_+ -~ \frac{64}{27} ~-~ \frac{58}{9}\delta(1-x) ~+~
\frac{128}{9}(x+1)\mbox{Li}_2(x) \right. \nonumber \\
&& \left. +~ \frac{8}{27}~ \frac{(x-1)(52x^2+19x+52)}{x}\ln(1-x) ~-~
\frac{128}{9}\psi^\prime(1)(x+1)\right. \nonumber \\
&& \left. -~  \frac{8}{27}~(52x^2+43x+76)\ln(x) ~+~ \frac{32}{9}(x+1)\ln^2(x)
\right. \nonumber \\
&& \left. +~ \frac{8}{81}\frac{(x-1)(236x^2+47x+236)}{x} \right)
\end{eqnarray}
Similarly for the polarised splitting function,
\begin{eqnarray}
P_{gg}(d_{31},C_2(G)) &=& \frac{1}{4} C_2(G) \left( ~\frac{64}{27}
\left[\frac{1}{1-x} \right]_+ -~ \frac{64}{27} ~-~ \frac{58}{9}\delta(1-x) ~+~
\frac{128}{9}(x+1)\mbox{Li}_2(x) \right. \nonumber \\
&& \left.   -~ \frac{128}{9}\psi^\prime(1)(x+1) ~+~ \frac{32}{9}(x+1)\ln^2(x)
{}~-~ \frac{8}{27}(67x-56)\ln(x) \right. \nonumber \\
&& \left. -~ \frac{328}{9}(1-x)\ln(1-x)
{}~-~ \frac{920}{27}(x-1) \right)
\end{eqnarray}

These results complete the programme to calculate the $O(1/\Nf)$ corrections
for the anomalous dimensions of the twist-2 light cone operators. At present it
seems that a continuation of this programme to include contributions of
$O(1/\Nf^2)$ may be viable. We conclude by noting that the results may also be
useful in estimating the full three loop corrections to the operator dimensions
by using asymptotic Pad\'{e} approximant techniques \cite{25}.

{\bf Acknowledgements.}
The author would like to thank the hosts of QUARKS '98 for their extremely kind
hospitality and is also grateful to many members of the workshop for helpful
and interesting discussions. This work was carried out with the support of
{\sc PPARC} through an Advanced Fellowship (JAG) and a Postgraduate
Studentship (JFB).

\vspace{0.5cm}

redpajama_set_name: RedPajamaArXiv


Complimentary copy received as part of blog tour.
Arn? Narn., while telling the true story of a disappearing rural Newfoundland, is also a cautionary chronicle of an imminent world wide concern. In 1992, the Canadian government enacted a cod fishing moratorium on the over 500 year old fishing industry, throwing over 40,000 fisherman out of work. In the next ten years, nearly 20 % of Newfoundland's population migrated off the large island. Now, 20 years later, the fish have not returned nor have the people.
The implications of this are only now just beginning to be understood. In 2006, Dr. Boris Worm of Dalhousie University in Nova Scotia published a paper which received world-wide attention. In it, he predicted that by the middle of this century all stocks of wild, edible fish will be in total collapse. What happened in Newfoundland is expected to occur planet-wide.
Arn? Narn. is a photo-documentary of a culture vanishing before our eyes; perhaps as an early warning to all countries to learn how to manage their resources more carefully. This could very easily happen anywhere.
The title refers to a short conversation in Newfoundland English. It comes from the story of two fishing boats in a Newfoundland bay: one boat is departing, the other returning. The departing boat's captain yells across his bow, "Arn?" The returning boat's captain replies, "Narn." The translation is simple: "Any fish?" "No fish." That is the tragedy of this story. Through over-fishing, government mismanagement, and greed, the fish are gone.
As a photographer, Bruce Meisterman has worked in areas as diverse as fine art and commercial photography, always looking to meld the two. Originally studying to be a painter, Bruce found that he could express himself and his art more effectively with a camera. Starting out as a photo-journalist with a newspaper, he honed his eye, insight, skills, and story-telling abilities from working with the demands of daily deadlines.
The book Arn? Narn. was initially conceived as an examination of a western culture, isolated from the world. Isolated not so much as to having no contact with the outside world, but as to being a destination rather than a place along one's way. In researching the then-untitled book, Meisterman determined Newfoundland would be the perfect place in which to do this study.
After his first trip up there to photograph, he realized that a core element to his photos was missing, necessitating another trip to Newfoundland the following year. It was then where the story became apparent to him. The title of the book tells it all.
"Arn? Narn." is the shortest conversation in Newfoundland English. The story behind it is this: two fishing boat captains are in the bay: one departing, the other returning. The departing captain yells out across the bay "Arn?' The returning captain responds "Narn." The translation is simple: "Any fish?"; "No fish." And this book is about a culture, that culture, having supported itself for many years on fishing, finding itself now unable to do. The fish are gone.
While Arn? Narn. is about Newfoundland, the implications are of a much broader scope. The lessons learned here have global ramifications. Meisterman likens it to a canary in a coal mine, but on a planetary scale. When the canary dies, it's time to get out of the coal mine and avert a human catastrophe. In this instance, the canary (the Newfoundland fishing industry) died, but no one took notice until it was too late. Evidence indicates other such global collapses are inevitable but may be avoidable, but only if action is taken.
Meisterman has been widely published in numerous publications such as: the New York Times, The Sun magazine, Yankee magazine, Country Journal magazine among many others and has been featured in a number of books. He has had numerous exhibitions ranging from galleries to museums. And his work resides in many private collections. Arn? Narn. is Meisterman's first book.
Visit Bruce on the web at www.bmeisterman.com.
As a geography major in college, one of the major issues I studied was economic sustainability and environmental and human interaction. This book could be a case study for such a class. The minimal text and the photos provide a sad commentary on a disappearing way of life. Newfoundland, Canada is an island in the Labrador Sea to the Northeast of the United States. This island was settled for one reason, and one reason only, FISH, specifically cod. You could not visit a single town on the island and not see the connection to the ocean. Unfortunately, places founded on a single resource often find themselves in trouble when that resource is threatened or disappears. And that is exactly what is happening here. With the disappearance of cod, the towns of Newfoundland are shrinking and the unique cultures that exist there are disappearing as well. Meisterman does a nice job of highlighting the things that make the island unique and how things are changing as a result of the loss of the cod. The black and white illustrations give a distinct feeling of the past and yet the cars indicate that the island isn't completely isolated. Clearly, the island is both a harsh place and a beautiful place. This book provides a thought-provoking look at what happens when a resource is not managed as wisely as it could be.
Check out the rest of the tour here.
"Kullu Manali provides best tours packages and unique experience to its visitors.Kullu Manali is a good and natural beautiful place to explore with kullu manali tour packages."


text:
My Account Partners The Dynamite Book Project Contact: 250-991-1694
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Amazing Animal Tales
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Home News B.C. publisher creates books for kids, written by kids
B.C. publisher creates books for kids, written by kids
BRIAN MORTON, VANCOUVER SUN 03.24.2016
Having trouble getting your kids to read?
How about giving them family-friendly books written for children and, more importantly, by children.
That is the idea behind Big Heart Publishing, a B.C. publisher that was a Small Business B.C. award finalist for Best Concept.
"The benefit is they're books written by kids for kids," said Lynn Stevens, who co-owns the company with mother-in-law Tammy Brown, of Wells, B.C. "They're basically telling us what they want to read and write. But it's also to inspire other students to write a story they might want to write. And to get published is the reward aspect (for the kids). It's an inspirational thing. They're written in a different type of language, I guess."
The philosophy of Big Heart Publishing, which was established in 2014, is simple: A child's imagination is a powerful gift with amazing stories to tell, especially when encouraged and supported.
Big Heart has sold about 400 books, with part of the proceeds going to the schools the child authors attend, or to charities.
The company has two full-time employees, Stevens and Brown, along with seven part-time employees twice a year for three-month periods when the books are published.
Stevens, who runs See What Eye See Photography, said Big Heart developed after she started a project in Wells using photography to inspire students to get more involved in writing.
"It was a success. And my mother-in-law owns a multimedia company, so they do everything from website design, logos. So, I approached her and … the numbers looked good and we thought, let's go ahead."
Stevens said she was inspired by one of the local students who was having a difficult time in school, but wanted to read and write. "We provide the inspirational images, and the kids write the books for other kids to read.
"The stories are mainly animal- and insect-based. They get an image card with the name of the animal, where it's found in the world, and then three fun facts about it that they can either include in their story or not include. They use that to inspire their stories, so they create a title, a plot, a problem, and a resolution."
"The books are anywhere from 24 to 36 pages. It depends on the class size."
Stevens said Big Heart now offers six books on its website, and hopes to expand the program.
"There are 120 (children) who have written stories in the six books. Each book is written by a classroom, one story per student. It's kind of a collection of short stories."
Stevens said that so far the company is pretty much breaking even.
Big Heart's Tiny Tales Book Series, with titles like Cariboo Kidlets and Amazing Animal Tales, is published with help from the students of the Wells-Barkerville School in Wells.
Ten-year-old James Escott is proud of a short story he wrote for Amazing Animal Tales called "James and The Golden Eagle".
"When we first started doing it, I didn't really like reading that much," said James. "After I started to write my story and started to get going, then I really started to like reading. Everybody in my class participated."
The story is about how a golden eagle saved a boy named James after he nearly fell from a tree while trying to save an eagle's nest.
"He was really, really scared," James said about his short story. "Then an eagle came out of nowhere and saved James. The eagle brought him to the ground. James looked at the Golden Eagle and knew that they would be friends for life."
James's father Cory Escott said his son now loves books. "It helps him be creative. This has really pushed him to want to read more."
SOURCE: http://www.vancouversun.com/business/publisher+creates+books+kids+written+kids
/11807640/story.html
Copyright 2018 BIG HEART PUBLISHING INC.
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This project is an exploration in colour using a basic turntable and primary paints, the idea was to create new colours through the use of spin movements to promote mixing. The experiment was set up with no prior testing, the result was unpredictable.
Materials: Acrylic paint, Basic turntable, 2X HD digital cameras.
I spent the day riding around Far Rockaway, 1 year after Hurricane Sandy had wiped out the area.


text:
No Sad Songs for Me is a 1950 film directed by Rudolph Maté, featuring Margaret Sullavan in her last film role as a woman dying of cancer. It was nominated for an Academy Award for Best Music Scoring in 1951. The sentimental film is known as a post-war Hollywood tearjerker.

Synopsis
Mary Scott thought she was pregnant. Instead she learns from her physician she has terminal cancer with only eight months to live. She gets the doctor's assurance to keep her illness a secret and not tell her husband Bradley and young daughter Polly. She wants to live her last year with each minute happy and important. Brad is a surveyor. and Mary is a wife, mother and housekeeper. Husband gets a new assistant at work. Chris Radna is a draftsman and much help to the business.

Christmas is coming, and Polly's joy at Christmas is evident. Mary keeps trying to do each thing just right. For New Year's Eve, Mary insists they invite Chris to the annual party. Brad sees Chris in a dress for the first time, and he flirts and dances with her all night. Husband Brad is paying so much attention that Mary hears the other women gossiping about it in the ladies' room. Mary is sure her ultimate sacrifice of secrecy is protecting her family, but she is still hurt.

It becomes clear that Brad and Chris are falling in love and to get away, Mary visits her father in San Francisco. Still she cannot tell her dad about the cancer. She comes home and decides if her husband no longer loves her that suicide may be the answer. Brad really does love his wife, he tells her of the affair, and he expresses remorse. It is over, and Chris is leaving town. Mary secretly visits Chris, and Chris is sorry too. Chris's first husband died in World War II, and she never expected to see love gain.

Mary sees that Brad and Chris were compatible and even sees that Chris and Polly got along so well. She convinces Chris to stay. She likes Chris and thinks she would be a good wife. Mary then goes about grooming everyone to know what to do when she was no longer with them. She allows Chris and Polly to get close. Because she loves her family, she wants to make her death and their lives as easy as possible. One day Brad finds Mary's pain pills, and he calls the doctor. Keeping the secret, Brad tries to make Mary's last weeks as wonderful as he can. They even take an idyllic vacation to Mexico. The final scene shows Polly and Chris at the piano, and Brad calls Chris from Mexico to inform her about Mary's death.

Cast

References

External links

1950 films
1950 drama films
American black-and-white films
American drama films
Columbia Pictures films
Films scored by George Duning
Films about cancer
Films directed by Rudolph Maté
1950s English-language films
1950s American films

redpajama_set_name: RedPajamaWikipedia


Mole-mapping is a medical record that records images and the location of lesions and/or moles or dark spots on the body. It is useful because not only does it detect an immediate problem but your moles are also scanned digitally and then stored so that when you return for a follow-up later, you can detect any changes in the composition and density of the mole – which is one of the key signs of skin cancer.
Who should come for this procedure?
Full body photography is done to record where the moles are located on the patient's body. Each mole is photographed with a specialised dermoscopic camera. The picture is stored in the computer's database and the position of the mole is captured on the patient's body.
The image of the mole in then analysed, either by the dermatologist or by the computer itself. On the patient's future return visit, each image can be compared with its earlier picture.


Who gets to call out white privilege?
At its simplest level, white privilege is walking into a pharmacy and finding the Band-Aids only match the skin tone of white people. At another level, it's the term increasingly being applied as a political weapon to bash opponents, as Beto O'Rourke, one of the latest to join the race for the Democratic presidential nomination, is learning.
"Beto's bizarre campaign rollout drips with white male privilege, the kind of navel-gazing, self-involved behaviour a woman or person of colour could never get away with," intones a recent advertisement by The Club for Growth, a conservative anti-tax group that supports President Trump's re-election.
The Club for Growth is not alone is accusing Beto of benefiting from having been "born with a blue-blood pedigree, the scion of a prominent family," and having a nigh-on billionaire father-in-law, Bill Sanders (so successful he became known as the "Warren Buffet of real estate").
Beto's mother actually dated Sanders before she met and fell in love with one of his friends, Pat O'Rourke, Beto's father, a politician. Beto has joked about the incongruity of his parents meeting on a date with his wife's father.
On the one hand, this slice of family history offers a good dinner-party tale of serendipity, though it could also serve as a parable of the insularity of the moneyed class that is the source of increasing scorn in America today, fuelling the derogatory application of "white privilege".
"Absolutely, as a white man, there is so much privilege built into that," Beto said, while adding he still felt it was necessary for his well being after such a disappointing defeat.
Media captionWho is Beto O'Rourke?
The exact origin of the terminology "white privilege" is unclear. Before the Civil Rights Act of 1964, "white privilege" was less commonly used but generally referred to legal and systematic advantages given to white people in the US, such as citizenship and the right to buy a house in the neighbourhood of their choice.
But after discrimination persisted for years following the Civil Rights Act, the idea began to gain traction that while privilege was more psychological – a subconscious prejudice compounded by white people's unawareness of holding this power – exerting itself in the everyday advantages that whites experienced.
"I find attention to these terms that are born in academia and then become the flavour of the day troubling sometimes, as they can be used in pretty facile and accusatory ways," says Kevin Foster, an educational anthropologist in the African and African Diaspora Studies department at the University of Texas at Austin.
But with conservative groups now using the term for political gain – all of Club for Growth's endorsed candidates for 2020 are white men – it begs the question of who gets to make the accusations?
Race doesn't necessarily come into who can call out white privilege, says Foster, who is African American. He notes that just as his being male doesn't mean he should refrain from calling out bad behaviour by other males, a white person can identify an incidence of white privilege by another person and take them to task.
"Privilege is not pejorative, but it should be accounted for," Foster says.
The way many people move through society involves a whole intersection of privileges – gender, religion, sexuality, class – some more subtle than others but all of which provide advantages in terms of access to power and resources, says Frances Kendall, author of Understanding White Privilege: Creating Pathways to Authentic Relationships Across Race.
In America, the recent college admissions cheating scheme, in which wealthy parents used both economic and social capital to solve a problem – securing their children's admission to elite colleges – served an example of an entitled elite conditioned to get what it wants, with the lengths they were willing to go creating a parody of 21st-century privileges run amok.
Beto clearly has class privilege – in addition to his white and male privileges – though almost all politicians have some sort of combination of privileges, and as they must do, Kendall says, if they are to have any chance of succeeding.
This feeds into America's somewhat contradictory relationship with privilege. Its "decision to throw off the British monarchy was accompanied by a new social ethos that rejected privilege on account of birth or family or station," says David Greenburg, a professor of history and journalism at Rutgers University.
"No one would have said Bobby Kennedy enjoyed 'white privilege' because the buzz phrase didn't exist then," Greenburg says. "He was born into a family of wealth and influence – that's what privilege properly means. And while some people held it against Bobby – and against Jack Kennedy before him – most Americans look at not where you come from but what you stand for.
Beto doesn't have a similarly successful record in office to draw on, critics point out. Furthermore, Beto stands among a crowded field of Democratic candidates emerging that includes progressives, women and people of colour. Combined with how privilege is increasingly being reappraised, this all leaves Democrats – and voters – with a decision to make about what Beto represents.
On the one hand, he and his wife are one of the most appealingly modern families in the run for the 2020 presidency: they employ social media to great effect, broadcasting much of their lives in real time, while Beto's propensity for jumping on cafe counters and high-octane energy on the campaign trail has a galvanising impact on crowds wherever he goes (as did Bobby Kennedy).
Media captionStarbucks staff got "unconscious bias" training, but what is it?
But Greenberg notes that while many Democrats may be pleased about the growing racial and ethnic diversity within their party, that doesn't mean they are comfortable about making the likes of skin colour a "litmus test" for a presidential candidate.
America is the consumerist society, and similarly, voters like to be able to consider their options, though it remains to be seen if and how the "white privilege" factor influences the outcome.
"I admit, when I look at two people, and one of them has been through this and that to get where they are, and the other has done well but had a gilded safety net, then I don't think they have the same credibility," Foster says.
So Beto O'Rourke is in. But who else has a shot at becoming the next president?


Practice was over, but Melvin Gordon's voice blared across the fields at Hoag Performance Center as he started pulling equipment out while waiting for Justin Jackson and Detrez Newsome.
This scene has become a familiar one post-practice. Most of the field clears out, but Gordon spends a good amount of time on his own working with the rookie running backs.
It may sound crazy, but Gordon is the elder statesman in the running back room as he embarks on his fourth season in the league. In a recent blog post, he admitted he's aware of the responsibility his seniority carries as he wants to do for others what those before did for him.
His gesture hasn't gone unnoticed.
Both rookies say Gordon has been working on technique and fundamentals with them, like speed cuts, spin moves and ball placement. But along with the physical aspects, Gordon is also imparting mental wisdom as well.
Having gone through the same rookie experience in 2015, Gordon knows how daunting this time in one's NFL career can be. But according to Jackson, he as well as the other veteran RBs on the roster are helping the rookies acclimate to life in the league. They're also ingraining them in the offense, which ultimately, boosts their confidence.


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Port Of Los Angeles Notches Busiest First Quarter On Record
by SEAANDJOB | Apr 16, 2021 | News | 0 comments
The Port of Los Angeles concluded the busiest March and Q1 on record, handling nearly 2.6 million TEU in the three months through March 2021.
The port moved 957,599 twenty-foot equivalent units (TEUs) in March, a large increase over the 449,568 TEUs moved during the same month last year at the onset of the pandemic, the port said April 14.
March was also the third busiest month on record for the port.
"The consumer spending surge continues unabated, with more of us vaccinated, businesses opening, economic outlook looks strong," said Gene Seroka, executive director of the port. "Consumers are spending as fast as importers can stock their shelves."
March volumes at the port marked the eighth consecutive month of year-on-year increases, driven largely by one-way trade imports. The port has averaged about 900,000 TEU per month over this period, a record in itself.
The port handled 490,115 loaded TEU imports, up 122.5% on the year. Firm consumer demand for furniture, home goods and appliances, athletic equipment and automotive parts helped drive the record number of imports, Seroka said.
Exports for March came in at 122,899 TEU, up just 1.5% when compared with March of 2020.
And the port expects volume strength well into Q2. Preliminary estimates suggest April volumes of 880,000 TEU, up 20% year on year, while May cargoes are expected at 840,000 TEU, an increase of 45% on the year.
And for the first time, the port is on track to exceed 10 million TEU for its fiscal year ending June 30.
On April 14, there were 20 vessels at anchor in San Pedro Bay, nine of which are set to berth at the Port of Los Angeles, down from the peak of around 40 ships at anchor in February as the port grappled with congestion.
The port of Los Angeles is the largest container gateway in North America.
Round-trip economics
Empty exports saw significant growth in March, when 344,585 TEU left the port unloaded, representing a 219% increase on the year.
"Based on our assessment, it's quicker [for ocean carriers] to get the empties moved out on the ships and to the loading port in Asia than it would be to give containers to exporters here," Seroka said.
This is consistent with current pricing dynamics on the trans-Pacific lane.
As export, or backhaul, rates from the North American West Coast to North Asia are currently at a steep discount to headhaul rates, there is little economic incentive for ocean carriers to load North American exports, which are typically low-value agricultural products and raw materials.
Platts Container Rate 14 — West Coast North America to North Asia — was assessed April 14 at $650/FEU, significantly lower than the $4,000/FEU headhaul rate.
Similar gains
The adjacent Port of Long Beach reported April 8 that it moved 840,387 TEUs in March, the busiest month in port history.
At the same time, the Port of Oakland saw its busiest month on record, with 241,470 TEU handled, the port said April 13.
"Ships are full, ocean freight rates are sky-high, and the need for empty containers to ship more cargo is never-ending," said Bryan Brandes, maritime director at the Port of Oakland. "We just don't see conditions easing in the next several months."
Source: Hellenic Shipping


OBJECTIVES: The goal of this study was to determine if Head Start participation is associated with healthy changes in BMI.
METHODS: The sample included children participating in Head Start between 2005 and 2013 and children from 2 comparison groups drawn from a Michigan primary care health system: 5405 receiving Medicaid and 19 320 not receiving Medicaid. Change in BMI z score from the beginning to the end of each of 2 academic years and the intervening summer was compared between groups by using piecewise linear mixed models adjusted for age, gender, and race/ethnicity.
RESULTS: The total sample included 43 748 children providing 83 239 anthropometric measures. The Head Start sample was 64.9% white, 10.8% black, and 14.4% Hispanic; 16.8% of the children were obese and 16.6% were overweight at the initial observation. Children who entered Head Start as obese exhibited a greater decline in the BMI z score during the first academic year versus the comparison groups (β = –0.70 [SE: 0.05] vs –0.07 [0.08] in the Medicaid group [P < .001] and –0.15 [SE: 0.05] in the Not Medicaid group [P < .001]); patterns were similar for overweight children. Head Start participants were less obese, less overweight, and less underweight at follow-up than children in the comparison groups.
CONCLUSIONS: Preschool-aged children with an unhealthy weight status who participated in Head Start had a significantly healthier BMI by kindergarten entry age than comparison children in a primary care health system (both those receiving and those not receiving Medicaid).


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Q: JavaScript - random multiple of 20 between 0 - 580 In Javascript, how do I create a random even number multiplied by 20 between 0 - 580?
E.g.: 220, 360, 180, 0 (min), 400, 200, 580 (max)

A: You want increments of 20, so what you really need is an integer in the range 0 to 29, and then multiply with 20. Example:
var max = (580/20) + 1;
var result = 20 * (Math.floor(Math.random())*max)

We are adding one to max, because Math.random() is a uniformly distributed number between (inclusive 0) and (exclusive 1), so since we use Math.floor, the maximum must be 1 larger.

A: This way creates a random number, then rounds it down to the nearest multiple:
When you need 0 <= randomMultiple <= max
var random = Math.random() * (580 + 20);
randomMultiple = random - (random % 20);

When you need 0 <= randomMultiple < max
var random = Math.random() * 580;
randomMultiple = random - (random % 20);

A: Use a principle like this:  Generate random number between two numbers in JavaScript
Keeping in mind that if you want your max result to be 580, then the maximum integer you want to multiply by 20 would be 29 (or 580/20).  Then just add some logic to make sure the integer is even.
Ta da!

A: Try use this:
var result = parseInt(Math.random()*30)*20;

29*20 = 580
Math.random() return [0..1)
result between 0..580, step by 20

A: Here is a generic javascript one-liner that can be used for any range, and any multiple.
Essentially, what we are trying to do here is figure out a range, 0 to N, which when multiplied by our given multiple stays within the range [0,max-min].
In this case N, is simply, (max - min)/multiple, or range/multiple.
Once we have N, we can use Math.random() to get a random number between 0-N, and multiply it with multiple. Next, we just add min.
We assume that min and max are already multiples of multiple.
Note the additional +1 to the input of Math.random() is because Math.random() returns a number between 0 (inclusive) and 1 (exclusive). So, Math.random() can never return 1. If we didn't account for that we would never be able to include the max number in our results.

/*
 * Returns a random number within range [min,max]
 *
 * min and max must be multiples of multiple
 * (note that 0 is a multiple of all integers)
 */
function randomMultiple (min, max, multiple) {
    return Math.floor(Math.random() * (((max - min)/multiple)+1)) * multiple + min;
}

console.log(randomMultiple(0, 580, 20));

redpajama_set_name: RedPajamaStackExchange


text:
State Rehabilitation Councils create opportunities for people with disabilities to shape the services that support them in going to work.
The Washington State Rehabilitation Council (WSRC) is a sixteen member board. We work with the Division of Vocational Rehabilitation (DVR) to increase the number of workers with disabilities in Washington State's workforce.
FAQs About Council Participation
Now Seeking Council Members from Washington State
Do you have a commitment to serving others? If you enjoy learning, building relationships, and advocating for change in systems, the WSRC provides a rewarding opportunity for volunteer public service. If you are interested in joining the WSRC council, we encourage you to attend a quarterly meeting, to contact our staff, or arrange a meeting with a Council member.
If you need any support with the application process please communicate directly with WSRC staff rather than the Governor's office. We are available to you toll free at 1-866-252-2939 and by email at wsrc@dshs.wa.gov.
Please send us an email at our office to let us know you applied.
Frequently Asked Questions About Council Participation
Who appoints council members?
The Governor appoints members to volunteer for three-year terms.
Who makes up the Council?
The Washington State Rehabilitation Council (WSRC) is a sixteen member board that works with the Division of Vocational Rehabilitation (DVR) to increase the number of workers with disabilities in Washington State's workforce.
The Washington State Rehabilitation Council is authorized in federal law under the Rehabilitation Act and in Washington State by Executive Order 04-04. All members are appointed by the Governor, with a mandate that individuals with disabilities comprise at least 51% of Council membership.
The WSRC is made up of a diverse membership to best represent the unique, collective and diverse voices of individuals with disabilities. Our ideal candidate is an individual with a disability or disability-related experience who is passionate about employment for all and wants to make the DVR program in Washington State the best in the nation.
Our members represent interest groups including:
Current or former customers of DVR
Division of Vocational Rehabilitation (DVR)
Tribal Vocational Rehabilitation Partners
Community Rehabilitation Programs
The Client Assistance Program
The Office of Superintendent of Public Instruction
A Parent Training and Education Program
Workforce Training & Education Coordinating Board
Disability Advocates
How often does the council meet?
The WSRC has four, two-day meetings per year (February, May, August, and November) in communities across the state. Council subcommittees also establish work plans and meet monthly by conference call to coordinate their work.
Prospective members should expect to commit an average 4-6 hours per month to WSRC activities, such as reading and responding to emails, participating in subcommittee activities (generally by phone), and keeping up with what's going on in vocational rehabilitation. Expenses incurred due to travel and lodging for WSRC related activities are reimbursable - the council staff help to make meeting arrangements and members are reimbursed for the cost of travel and meals according to state travel guidelines.
How long do members serve?
Council members may serve two terms and each term is three years. Second terms are not guaranteed. If a member is appointed to serve out the remainder of another person's term, they are still eligible to apply for two terms in their own right.
What do council members do?
The mission of the Council is to engage DSHS Division of Vocational Rehabilitation (DVR) customers to learn their needs, priorities, and satisfaction with services and outcomes, and to evaluate all aspects of DVR service delivery for quality and effectiveness. The purpose of these activities is to amplify the interests and concerns of customers in all aspects of DVR planning and service delivery.
Each member serves on a committee and participates in the work of the full Council, including contributing to:
Customer Satisfaction and Program Evaluation
Each committee meets once per month and these meetings are open to the public. If you have more questions or would like to attend a committee meeting, contact the WSRC staff. We are available to you toll free at 1-866-252-2939 and by email at wsrc@dshs.wa.gov. Ready to apply? Follow the link below to access the application on the Governor's website.
November 3-4, 2022 - Central Seattle
August 11-12, 2022 - Moses Lake, WA
May 12-13, 2022 - Kelso/Longview, WA
February 10-11, 2022 - Olympia, WA
DVR State Plan Public Forum
Transition Collaborative Summative Report Released
VR 100 Celebration


text:
Jack Nitzsche at Spectropop presents
Prod. by Terry Melcher
Arr. & Cond. Jack Nitzsche
(Part 1) (Part 2) (Part 3) (Part 4) (Part 5) (Part 6) (Part 7) (Part 8)
Rip Chords and Eddie Hodges
Terry Melcher credits Jack Nitzsche as being the first to acknowledge and encourage his musical abilities and for introducing him to the famed West Coast session players. Guitar player extraordinaire Carol Kaye, who worked on many sessions with Terry, writes in (Part 5) of the high regard with which he held the musicians and the quiet confidence he had in his ability, he instinctively knew exactly what to do. Jack Nitzsche was still only 25, but already a veteran of countless sessions. Having him as arranger on these early dates must have made the young producer feel comfortable working with the seasoned musicians. Terry's first production for Columbia hadn't resulted in a hit, but he had cause to be pleased with the result. The future was looking bright.
Eddie Hodges arrived at Columbia on the back of a pair of novelty rock'n'roll hits for Cadence, "I'm Gonna Knock On Your Door" and "Girls Girls Girls (Were Made To Love)". Fitting Columbia's clean cut image, Eddie, an 'all American boy' and successful child actor, was, I'd assume, assigned to, rather than signed by, Terry. Nevertheless, his first 45, "Secret" / "Seein' Is Believin'" (Columbia 43324), was a very assured debut. "Seein' Is Believin'", a cracking "Zip-A-Dee Doo-Dah" cop, in particular, showcased Terry's, perhaps Jack-inspired, love for Phil Spector's sound. Sundazed's Bruce & Terry CD notes detail the way Terry mixed the multiple tracks of hand-claps, extra vocals, drums etc to create, as Al Quaglieri dubbed it, a "dynamic squashing" to create a "dense midrange-y wash of music". Not quite a "Wall Of Sound", but I'm sure you get the idea. Terry also noted to McParland that he cared more how the record sounded from a car speaker than in the studio. Terry was not the only producer who understood the Americans love of the automobile. Working close-up with Terry on many sessions was Eddie Hodges; "I cut my teeth for rock recording working with Archie Bleyer at Cadence, who never finished the final master without first listening to it over a small car radio speaker. Terry seemed to have a similar belief about how the final master should sound, though I never saw a car radio speaker in the control room."
Columbia had proved not to be as fleet of foot as its new independent rivals, but the size of the company did present advantages, not the least its capacity to seemingly produce colour picture sleeves at will. "Seein' Is Believin'" came, partly due to Eddie's flaming red hair, in a very colourful cover. There may well be other US picture covers waiting discovery. "Too Soon To Know" gained a European release and if you were lucky a cool picture sleeve. Eddie had three 45s released: all highly recommended, but sadly none dented the national charts. Two of the sides bore no input from Jack, with Terry producing and arranging "Rainin' In My Heart" and "Would You Come Back". The latter song in particular, an obscure Sharon Sheely-Jackie DeShannon composition, highlighted just how far Terry's musical education had progressed. Despite Terry's sojourn in New York, of Eddie's six sides, only one, Howie Greenfield-Helen Miller's "Secret", was from East Coast writers.
Eddie recalls his time at Columbia warmly; "I met Terry Melcher after I signed with Columbia. He was introduced to me as my new producer. Being painfully shy, which I always struggled to hide, was no problem for him - he was a soft-spoken, quiet sort who quickly disarmed those around him and put them at ease. He seemed to really know what he was doing. You know, I look back on working with Jack and Terry as a magical time in my life, though I did not realize it at the time - I was just having a blast! What I liked most was being treated like a colleague by them both. Jack had a quiet, concentrated attitude when he was conducting and knew exactly what he wanted. Terry naturally agreed with him, but still had ideas of his own. They worked so well together. You can't help learning a lot from people like Jack and Terry when you are right there experiencing their creativity flowing. They just made me want to work as hard as they worked. I did not have great confidence in myself, being a teenager lost in the angst of adolescence, but they both seemed to understand that and accept me in spite of it. I trusted Terry implicitly. We talked about hot rod cars and dragsters, sometimes. We even talked about the girls I had a crush on - he would give me brotherly advice about that. Terry was very respectful and always seemed to be concerned that I was comfortable about the way the session was going. He listened to my ideas in a way that made me feel I was part of the team. I always wished Terry had introduced me to the Byrds, though. They were my favorite group until I discovered Buffalo Springfield - I used to watch them rehearsing at the Whiskey when I lived in an apartment just behind it. Jackie De Shannon was around sometimes - she wrote one of the songs I recorded, "Would You Come Back" - Terry and Jackie seemed to be very close and I figured they were probably dating. Terry never ceased in his kindness towards me and my family."
Many of Eddie Hodges' records on Columbia, and later Aurora, were arranged by Jack Nitzsche, and have been featured as 'Records Of The Week' on the main site. A link to the reviews of these records, including label scans and a potted history of Eddie's career, can be referenced by links on (Part 8), the discography page. Also check out Eddie's piece on The Jack Nitzsche I Knew page on the main site.
Terry Day was next to step up to the mike, only this time, instead of covering a Phil Spector composition, or trying to re-create the sound, he had 'the Master' twiddling the knobs. "Be A Soldier"/"I Love You, Betty" was almost a complete 'Wall Of Sound' production: Jack arranging, Blossoms on backing vocals, and the usual suspects playing the instruments. The flip (originally recorded by the Crystals as "I Love You, Eddie") was even co-written by Spector. All that was lacking was Gold Star Studio. I would have plumped for "I Love You, Betty" as the stronger of the two sides, but both are excellent, and, despite its rarity (not because of it!), it's a 45 well worth tracking down. A groovy but limited colour sleeve was printed proudly bearing the legend, "Produced by Phil Spector". 33rpm 7-inch pressings were also advertised, but I've never seen one. Unfortunately, the sales were no more impressive than Terry's debut, and it was to be his final solo effort until RCA's "Terry Melcher" LP in '73.
(Rip Chords Dutch picture sleeve)
Terry Melcher said that being the son of Doris Day did not make his A&R job at Columbia easy. Most artists he attempted to sign did not take his approach seriously. His first signing after Emil O'Connor was a pair of writers from his stepfather's Daywin Music publishing company who had been recommended to him as performers. A pair of 'white country boys' initially dubbed The Opposites, Ernie Bringas was a theology student and Phil Stewart a private detective. They might not have seemed ideal rock'n'roll material, but following a name change, most probably suggested by Terry, the newly christened Rip Chords were ready to cut their first slice of wax. The intended release, "Karen"/"Ding Dong" (both sides written by the group), was assigned as Columbia 42641, but the coupling, lacking any input from Jack Nitzsche, was pulled. Instead Terry went back into the studio, this time with Jack arranging, and produced a version of Wade Flemons' small hit for VeeJay, "Here I Stand". In the hands of Terry and Jack, Wade's very groovy doo-wop/soul track was beefed up with a Four Seasons-styled stomping beat. Boasting riveting guitar playing from Glen Campbell and an infectious feel, it was flipped with the earlier cut, "Karen". It sounded like a hit and it was: No. 51 in Billboard's chart on 25th June 1963. Terry and Jack were cooking.
Terry claimed to have broken the staid Columbia's 'Easy Listening' image and opened it up to the brave new world of rock and pop. Not strictly true. Prior to his arrival there had been a few releases that fit the rock 'n' pop groove, including The Four-Evers, Carl Perkins, Bob & Jerry and former Teddy Bear, Carol Connors, who had three 45s on Columbia. Later, Carol became a prolific Hot-Rod songwriter (including The Rip Chords' "Hey Little Cobra") and film music composer. They were a bit 'clean' sounding, but they were a departure from the soft sounding norm. On the East Coast, Aldon Music's influence was coming to bear with cool releases by Eydie Gorme and Steve Lawrence. Cookies' vocalist Dorothy Jones had a superb solo outing, written and produced by Goffin and King. Complete with a fab picture sleeve, "It's Unbearable"/"Takin' That Long Walk Home" was a dynamic, powerful pop 'n' soul two-sider. Despite these, a look through Columbia's release schedules does make fairly bleak reading. A modest chart hit "Here I Stand" may have been, but nothing influences a record biz executive as much as a hit, and Terry now had the kudos to brush the cobwebs from the fading record giant.
Future Rip Chords releases bore no input from Jack. Instead Terry collaborated with his latest, most important signing, beach buddy Bruce Johnston. The Rip Chords' tracks are collected on two Sundazed CDs, "Hey Little Cobra" and "Three Window Coupe", with sleeve notes written by McParland. An interesting side note: McParland identifies Jack's wife Gracia, another regular on Terry's sessions, as providing one of the classic, semi-spoken passages on disc. Over the sound of a car engine revving, she intones a sultry intro to "Gone", We've been going steady, and you've been making me cry, now it's your turn baby, so I'm saying bye-bye. Just one of many examples of Bruce and Terry's understated sense of humour - check out their "I Love You Model 'T'" for another.
The 'pop fluff' of the Rip Chords was going to have to wait though, because Terry and Jack's next artist was a vocal giant, Frankie Laine. Read how they got on with him in Part 4.
(Part 2) Al Hazan & Emil O'Connor email Frankie Laine (Part 4)


How do you like the 2019 Ram 1500's refreshing new look? If you look closer, you will realize it is remarkable for a pickup. Given the fact that Ram truck is important to Fiat Chrysler's lineup, the new model has a lot of changes, including improved aerodynamics, new 98% high-strength steel frame, and hybrid technology that replaces the alternator with a Motor Generator Unit.
The new Ram gets an insane 12-inch touchscreen. It is the biggest infotainment touchscreen of about 8.4-inch. The glove box, cup holders, and dashboard have also been redesigned. With some of these features coming to life, let's take a closer look at the coolest tech of the 2019 Ram 1500.
"eTorque," as FCA referred to the Motor Generator Unit (MGU), powers electronics that are all boxed together in the accessory drive. It is also unique because it uses air to cool the motor with its 5.7-liter V8. The biggest benefit of an air-cooled MGU is that the Motor Generator Unit makes the system less complex.
Another benefit of the new MGU is that the cooling system does not have to handle loads of heat, and the water pump does not have to handle an additional pressure drop. FCA used computational fluid dynamics modeling to see that the exhaust and the fan discharge temperature cause no overheating issues.
This small pack of 40-volt battery sends and receives current to and from the MGU. The battery is packed at the back of the rear seats. While drawing in the air through the cabin, the battery also sends out the air via rubber exhausters behind the cab.
Start-stop performance appears to be the biggest benefit of this new mild hybrid system. The MGU has the power to produce up to 130 lb-ft of torque. Even though you are not required to add it to engine torque before you get the total, the torque is only provided for the engine to fire back after the driver takes the foot off the brake. The start-stop performance also produces seamless and smooth impact.
The new frame is 100 pounds lighter because it's constructed with high-strength steel. The frame has a wild look from the front. Its big octagonal rails begin next to the hookups of the front suspension and reach towards the outside of the truck attached to the front bumper beam. This new design will allow the frame absorb different crash conditions. The transmission has a bit of aluminum as well as at the lower control arm. The upper has a stamped steel control with nylon reinforcement on the underside.
When it split off from Dodge in 2009, designers of Ram blended rugged and modern design features. Since the new Motor Generator Unit is designed to boost electric power, it will be interesting to see how much magic has been added to the new Ram driving experience.


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bq. The paucity of students from poor and working-class backgrounds at the nation's selective colleges should be a national scandal. Yet the problem resides not so much in discrimination in the admissions process (though affirmative action for the privileged persists in preferences for the children of alumni and big donors) as in the definition of merit used by the elite colleges.
bq. One of my favorite [ideas] is a lottery. This could take the form of reserving a modest number of places in the freshman class — say 5 percent to 10 percent — for applicants who, having met a high academic threshold, would be selected at random. While the admissions office would know the identities of the students admitted by lottery, no one else — not faculty, not employers and not the students themselves — would.
The Clog's two cents? It's no surprise that unequal education at the elementary and high school level produces inequalities at the college level. Until we fix that, anything else is just a Band-Aid. Also, there is a place for students who can't make it at the best schools.
packs more slop into the messy ongoing battle between advocates and opponents of affirmative action in post-secondary education.
The racial roulette for classroom seats is a hot-button issue for California's public university system in the post-Prop 209 era and, as Egan suggests, particularly so at UC Berkeley.
on Berkeley's consequent administrative and social dynamics issues.
Race-neutral admissions policies vs. gaping discrepancies between inner-city and suburban high schools vs.