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text:
On the morning of June 4th, 1993, Gail Grinnell, the mother of Jason Baldwin, spoke to Detective Ridge, demanding an explanation as to why her son was arrested. She stated Jason was at home at the time of the murders. Ridge said the police couldn't begin to investigate his alibi until Jason spoke to them (Jason had refused to make a statement without a lawyer). Grinnell was shown the confession of Jessie Misskelley.
Det. Ridge: Well it's like this. We've got a story that is very very believable. It is so close to perfect that we have to believe it. So until we can break that story apart and we can't even start to breaking it apart until Jason tells us something.
Gail Grinnell: There's so many different stories in that, in that story he [Misskelley] gave up I doubt anyone can believe it.
Det. Ridge: That's what I'm telling you. And it's believable.
Gail Grinnell: It's not believable to me because he's got too many different discrepancies in it.
Det. Ridge: You don't have the point of view we've got. We know what we looked at at the crime scene. It's very believable.
The entire conversation is transcribed here.
Exhibit B of the Search Warrant.
In order to obtain a search warrant, the police composed and attached a statement to Misskelley's confession detailing Misskelley's inside information regarding the crime. This was "Exhibit B." Exhibit B is illustrative of the biased tone of the investigation and the outright dishonesty of the West Memphis Police Department.
Exhibit B has three parts. The first describes the crime. The second describes the justification for the warrant. The third affirms that this information had been corroborated by the investigation. Exhibit B is transcribed and displayed at the bottom of this page.
The justification for the warrant is made explicit. "Misskelley gave the police information that only a person who had been involved in the homicides would have known." Thirteen examples are then provided (the numbering is mine). Then, at the end, the conclusion is made: "This information given has been corroborated through the investigation conducted at the scene of the homicides by the West Memphis Police Department Criminal Investigation Division and the examination of the victims and evidence by the Arkansas State Crime Lab."
These assertions establish three aspects by which the claims of the police can be assessed. First, that Misskelley gave the police the information. Second, Misskelley's statements can be corroborated by the evidence. And third, whether the details included in the warrant matched the facts of the case.
In some cases, the police told Misskelley the details. In others, the details provided in the warrant were sheer fabrications by the police; Misskelley made no such statement. And finally, in some instances there were details that were provided by Misskelley but for which there were no corroboration or else they simply contradicted the facts of the case. Sometimes a given statement had all of these problems.
The first third of Exhibit B is an odd rehashing of the crime. Some facts are correct and other facts are incorrect. Among the incorrect assertions, the document states Michael Moore was castrated and all the clothing was recovered near the victims.
The meat of the justification of the warrant begins with the subsequent section:
"On 06-03-93, Jessie Misskelley Jr. was asked to come to the West Memphis Police Department where he was advised of his rights according to the Miranda rule and gave a voluntary statement concerning his involvement in the above noted homicides. A copy of a transcribed statement will be attached hereto. Misskelley gave the police information that only a person who had been involved in the homicides would have known."
#1. "Misskelley stated that he witnessed the cutting of the penis of Chris Byers by Jason Baldwin."
Facts of the case. Chris Byers did have injuries to his penis and groin area, specifically, the removal of his testicles and the skinning of his penis.
Problems with this statement. Lots of them. First of all, Misskelley never connects this incident to Jason Baldwin. Second of all Misskelley never states who had his penis cut. He points at a picture, the police identify the picture, and Misskelley agrees. (Misskelley had already demonstrated that he could not correctly identify the victims from pictures.) Third, Misskelley only states that a child was cut "on the bottom." The police offer that Misskelley meant groin and then penis. Misskelley relates no specific knowledge in these exchanges until the police say it first. And, finally, Misskelley ends by saying he doesn't know if he saw them cut the penis. The excerpts below from Misskelley's confession are from a personal transcription after having found many errors with the police transcription. From Misskelley's confession:
DETECTIVE RIDGE: Cutting in the face. Alright, another boy was cut I understand, where was he cut at?
*A63 MISSKELLEY: At the bottom
DETECTIVE RIDGE: On his bottom? Was he face down when he was cutting on him, or
*A64 MISSKELLEY: Mm-hmm.
DETECTIVE GITCHELL: Now you're talking about bottom, do you mean right here?
DETECTIVE GITCHELL: In his groin area?
*A66 MISSKELLEY: (Note: Misskelley's mm-hmm overlaps with police question)
DETECTIVE GITCHELL: Okay
DETECTIVE RIDGE: Do you know what his penis is?
*A67 MISSKELLEY: Mm-hmm, that's where he was cut at.
DETECTIVE RIDGE: That's where he was cut.
DETECTIVE GITCHELL: Which boy was that?
*A68 MISSKELLEY: That right there.
DETECTIVE GITCHELL: You're talking about the Byers boy again?
DETECTIVE RIDGE: Are you sure that he was the one that was cut?
*A70 MISSKELLEY: That's the one that I seen them cutting on.
DETECTIVE RIDGE: Alright, you know what penis is?
DETECTIVE RIDGE: Alright, is that where he was cutting?
*A72 MISSKELLEY: That's where I seen them going down at, and he was on his back. I seen them going down right there real close to his penis and stuff and I saw some blood and that's when I took off.
(Note: the numbering of Misskelley's answers is mine and serves to reference both particular statements and to maintain an orientation as to the order in which statements were made.)
Removing the police statements which filled in the information for Jessie, we have:
In the only other mentioning of these injuries, Ridge says:
*A134 DETECTIVE RIDGE: Okay, and the one that they were cutting the penis off of, did any of them, or cutting the penis or whatever was being done, did they have sex with him at all?
In this instance, Ridge seems to catch himself as he is putting words into Misskelley's mouth. However, at the probable cause hearing, Ridge doesn't hesitate to state Jessie was even more specific.
Ridge: Okay, he give (sic) information, that the testicles, penis had been removed by a knife by Jason Baldwin of Christopher Byers. The medical examiner give us a report stating that, that the testicles had been removed my a knife.
Interestingly, Misskelley never of his own accord brings up the name of Chris (or Byers) in regards to any act of violence. Each time he is prompted by the police who tell him whose picture he pointed at. Misskelley never brings up Chris (or Byers) at all except in the statements regarding rape.
DETECTIVE GITCHELL: Which, which boys were raped?
*B44 MISSKELLEY: Uh, Byers and the Branch.
and, later:
DETECTIVE GITCHELL: Did anyone have oral sex with the boys?
*B50 MISSKELLEY: Yes, Damien and Jason.
DETECTIVE GITCHELL: How many of them did they do that to?
*B51 MISSKELLEY: Just two, Branch and Byers.
In between the above two, Misskelley mentions "Myers" in regards to rape:
DETECTIVE GITCHELL: Do you know which one raped which boy, or how did that happen?
*B48 MISSKELLEY: Damien raped the Myers by hisself and and Jason and Damien raped uh the Branch.
DETECTIVE GITCHELL: Alright, give that to me again now.
*B49 MISSKELLEY: Damien raped uh the Myers by hisself and Jason and Damien raped uh the Branch.
#2. ". . .the forcible rape of Chris by Damien Echols. . ."
Facts of the case. None of the children had anal injuries, bruises or trauma, associated with forcible penetration. Upon microscopic analysis, none of the victims had broken capillaries around the anus. Ergo, none of them were forcibly sodomized (pretty much stated by the medical examiner at trial). Byers had an "injected anus" with "marked hyperemia." The other two did not have their rectal areas so described.
Problems with this statement. Lots of them. First, it doesn't match the facts of the case. Second of all, Misskelley gave all sorts of contradictory statements related to this. He said, at various times that only Echols raped Chris (B48, above), that only Baldwin did (A135), and that neither of them did (A134).
DETECTIVE RIDGE: Okay, and the one that they were cutting the penis off of, did any of them, or cutting the penis or whatever was being done, did they have sex with him at all?
*A134 MISSKELLEY: No
DETECTIVE RIDGE: Did any one of them?
*A135 MISSKELLEY: Jason did
DETECTIVE RIDGE: Jason did?
*A136 MISSKELLEY: Jason was screwing him while Damien stuck his in his mouth and got a blow job.
DETECTIVE RIDGE: Okay, how did he have sex with that one?
*A137 MISSKELLEY: Damien, he was holding him down like, and Jason had his legs up in the air and that little boy was kicking, saying, 'don't, no' like that.
#3. ". . .the striking of the heads by Damien Echols and Jason Baldwin (sic). . ."
Facts of the case: all three children had injuries to their heads consistent with being struck in the head.
Problems with this statement: lots of them (remarkable for such a short statement). Misskelley does say that Damien hit a child (A30). Misskelley does go on to say that that child was Michael Moore but then points to the picture of Chris Byers (A31). The police correct his identification (A32) and then tell him "Okay, so you saw Damien strike Chris Byers in the head? (after A34)" It is the police not Misskelley who corrects the identity and tells Misskelley that he saw the child struck in the head. Blows to the head are never mentioned again by Misskelley. Misskelley never says Jason hit a child in the head.
*A30 MISSKELLEY: When I was there, I saw Damien hit this one, hit this one boy real bad, and then uh, and then he started screwing them and stuff and then uh,
DETECTIVE RIDGE: Alright, you got in front of you a picture, that was taken out of the newspaper I believe, it's got three boys and these are the three boys that were killed on that date in Robin Hood Woods, okay. Which one of those three boys is it you say Damien hit? The third picture (Jessie seems to be affirming this in the background), which will be
*A31 MISSKELLEY: Michael Moore
DETECTIVE GITCHELL: This boy right here,
*A32 MISSKELLEY: Yeah,
DETECTIVE GITCHELL: Alright, that's uh the Byers boy,
#4. ". . .including the severe beatings of all three boys. . ."
Facts of the case: all three boys had multiple bruises consistent with being beaten.
Problems with this statement: Misskelley gets this correct. He does say all three of the boys were severely beaten. A36 continues a discussion regarding Chris Byers and Damien Echols.
*A36 MISSKELLEY: He hit him with his fist and bruised him all up real bad.
*A56 MISSKELLEY: Right after I, they beat up all three of them, beat them up real bad
*A138 MISSKELLEY: They beat them up so bad so they can't hardly move.
#5. ". . . the act of the victims being placed in the water by Jason Baldwin and Damien Echols. . ."
Facts of the case: all three victims were found underwater, sunk in the mud at the bottom of a creek.
Problems with this statement: Again, this is not "insider knowledge" on the part of Misskelley. After telling the police twice that the children did not get into the water, the police tell Misskelley that they did. Only then does Misskelley agree with the premise and say they were pulled into the water. "Placed" is an odd choice of words, as it does not coincide with any of Misskelley's statements.
DETECTIVE RIDGE: Besides just playing, the little boys, had they been in the water? Did they get into the water with you all?
*A175 MISSKELLEY: No, they didn't get into the water with us
DETECTIVE GITCHELL: Did you ever see the boys in the water?
*B33 MISSKELLEY: Uh, yeah, down by the water.
DETECTIVE GITCHELL: Alright, how did the boys get into the water?
*B34 MISSKELLEY: They pulled them there into the water.
DETECTIVE GITCHELL: Alright, when you say they who is it that pulled them into the water?
*B35 MISSKELLEY: Jason and uh, Damien.
#6. "He stated that he did see one of the victims being drug into the water."
Facts of the case: There is no evidence of the manner in which the children were taken into the water.
Problems with this statement: A bizarre statement on the part of the police. Misskelley makes no comment regarding one of the children being "drug" into the water. The only statements regarding the children and water are mentioned above.
#7. "When the beatings of the three victims began that Michael Moore ran from the scene and that he, Jessie Misskelley, Jr., did chase Michael Moore, caught him and returned him to the other two suspects who began beating him. "
Facts of the case: no supporting evidence that this happened and some evidence to the contrary. Misskelley's comments, in their entirety, say that Moore headed off to the south. Moore's body was found to the north, separate from the other two.
Problems with this statement: There is the above problem of the contradicting evidence. Misskelley also says he held Moore until "they" got there, not that Misskelley brought Moore back. Of course, this makes no sense, because this was supposed to have happened at the beginning of the melee and Jason and Damien would have had to have abandoned Chris and Stevie. The police must have picked up on this inconsistency so they correct Misskelley in the following question, telling Misskelley that he brought the children back together (in agreement with what is in the warrant). The police also elaborate that when Michael Moore was returned "the other two suspects. . . began beating him." There is nothing in Misskelley's statement as to that, although Misskelley does state elsewhere that all three were beaten.
*A37 MISSKELLEY: And started doing the same thing, then the other one took off, Michael uh Moore took off running, so I chased him and grabbed him and held him, til they got there and then I left.
DETECTIVE RIDGE: Okay. Alright, when you get the boys back together, where you at from the creek?
#8. "Misskelley stated that he did witness one one the victims to be beaten until unconsciousness." (sic)
Facts of the case: All three were severely beaten. No specific evidence that supports that they were beaten until unconscious, but neither does this assertion contradict the facts.
Problems with the statement: Misskelley made no such statement especially regarding the odd particular that it is one of the children being beaten until unconscious. The police are the first to bring up the subject of consciousness, and then it is after the cutting. Again, the police provide the "inside knowledge." Nothing is mentioned as to how they became unconscious.
*A128 MISSKELLEY: I saw them cutting on them, and then they, they
DETECTIVE GITCHELL: So, what else, what else left is there, after that?
*A129 MISSKELLEY: Then they laid the knife down beside them and I saw them tying them up and then that's when I left.
DETECTIVE RIDGE: Were the boys conscience (sic) or were they
*A130 MISSKELLEY: They were unconscious then
DETECTIVE RIDGE: Unconscious
The only other discussion of a child losing consciousness is presented below in regards to the police suggesting Chris was choked to unconsciousness and not death.
#9. ". . .and that one of the victims was choked to what he thought was death with a piece of wood."
Facts of the case: no physical or bruising evidence that any child was choked. This lack of evidence basically says that no child was choked.
Problems with the statement: it contradicts the facts of the case. Furthermore, Misskelley told the police the child was choked to death with hands, then a stick. The police then correct him, telling him that he just thought the child was dead. This correction was necessary because the means of death did not match Jessie's statement.
DETECTIVE RIDGE: How was he actually killed?
*A208 MISSKELLEY: He did, he choked him real bad like.
DETECTIVE RIDGE: Choked him? Okay, what was he choking him with?
*A209 MISSKELLEY: His hands, like a, like a stick, he had a big old stick, and he's kind of holding it over his neck.
DETECTIVE RIDGE: Okay, so he was choking him to the point where he actually went unconscious, so at that point, you felt like he was dead?
*A210 MISSKELLEY: Yeah
#10. "Damien had grabbed one of the victims around the head with his hands on either side of the head forcing the boy to perform oral sex on him. "
#11. "The victims were being held by their ears while being forced to perform these acts. "
Facts of the case: All three children had bruises on their ears that can be argued with being consistent with a perpetrator using this as a means of forcing oral sex. They could also be caused by holding ears for other reasons. No semen was found in the oral cavities, and no bruising was found in the back of the mouth. Peretti indicated that the such bruising would be expected with forced oral sex. Although Jessie states forced oral sex happened to two of the children, all three children had bruising on the ears.
Problems with this statement. As in items #1, 2, 6 and 7 the warrant is particular, where Misskelley is not particular or else contradictory. Misskelley clearly says both Echols and Baldwin received oral sex (B50). Furthermore, when Misskelley goes into how the children were held during the oral sex, Misskelley refers to both Damien and Jason (the warrant statement only mentions Damien). There are other problems with this statement centering around the 12 exchanges before Jessie finally is led to say that they held the children by their ears. This was argued in court that the police extensively lead Jessie to get to the ultimate specific conclusion, but suffice it to say, Jessie did not spontaneously display insider knowledge in this matter. He was laboriously taken there by the police, saying held by the head (four times), by the arms (once), before finally saying by the ears (italicized below). This is only after four times in which Gitchell asks if they were held "up here" (B66, B68, B74, B75, emphasis mine). What Gitchell was demonstrating when he said "up here" is not mentioned.
DETECTIVE GITCHELL: How did, how did, they force these boys to have oral sex on them? How did they have a hold of them?
*B66 MISSKELLEY: One of them had holding them by the arms while the other one got behind them and stuff.
DETECTIVE GITCHELL: Did he ever hold him up here or
*B67 MISSKELLEY: Uh, the one that was holding him up there at the front grabbing him by his headlock.
DETECTIVE GITCHELL: Had him in a headlock? Did he have him any other way?
*B68 MISSKELLEY: He was holding him like this by his head like this and stuff (A note in the police transcription said: was indicating the victims being held by their ears)
DETECTIVE GITCHELL: Could he have been holding him up here like that?
*B69 MISSKELLEY: I was too far away he was holding him up here by his head like this (A note in the police transcription said: showed the same as above)
DETECTIVE GITCHELL: So, so
*B70 MISSKELLEY: And he was pulling him.
DETECTIVE GITCHELL: Ok, so who was one of them doing that or both of them was doing it? Was Jason?
*B71 MISSKELLEY: Jason was holding him while Damien did it and then they took turns.
DETECTIVE GITCHELL: So, they both did it to all three of these boys?
*B72 MISSKELLEY: Just them two as far as I know.
DETECTIVE GITCHELL: Just the two of them?
*B73 MISSKELLEY: Yeah.
DETECTIVE GITCHELL: But they, they both Jason and Damien did it to two of the boys and they took turns?
*B74 MISSKELLEY: Uh huh.
DETECTIVE GITCHELL: And they would hold, tell me again about their hands on, I mean I know you're, you're holding it up here.
*B75 MISSKELLEY: It was up here by their heads and stuff and was just pulling and stuff.
DETECTIVE GITCHELL: Alright, so they are up here, had their hands
*B76 MISSKELLEY: By their ears and pulling them and stuff.
DETECTIVE GITCHELL: Alright, Ok, say, say that again for me now.
*B77 MISSKELLEY: Hold them by their head, by ears and pulling.
#12. "He saw the bicycles that the victims had ridden to the scenes on to be parked on the south bank of the bayou by the victims as they approached the scene where the murders occurred. " (sic)
Facts of the case: the children were last seen on the bicycles about a quarter mile east from the above described place. The bicycles were found on the north half of the bayou, under water, about thirty feet from the south bank, suggesting that the bikes were first taken across the pipe.
Problems with this statement. Jessie makes no such comment. Jessie's comments regarding the bicycles are:
*A88 MISSKELLEY: They skipped school
DETECTIVE RIDGE: They skipped school?
*A89 MISSKELLEY: They's going to catch their bus and stuff, and they's on their bikes and so, (interrupted)
The children didn't skip school, they didn't take their bikes to school, and they didn't take a bus to school.
DETECTIVE RIDGE: Alright, they were on their bikes, where were the bikes at?
*A90 MISSKELLEY: They, they laid their bikes down when they come out to the, I mean, when they hollered for them to come, come out there
DETECTIVE RIDGE: Where did they lay their bikes down at, that's what I'm asking?
*A91 MISSKELLEY: I don't know where they laid their bikes down at, cause I was, I was behind Damien and nem, way, way behind them.
Here Jessie clearly says he doesn't know. Furthermore, this statement doesn't match the geography when taken with his other statements, particularly that Damien and Jason were in the creek when they saw the kids and hollered to them to come over. The south bank of the bayou was not visible from the creek, nor for that matter was the north bank where the banks were found. The police asked Jessie again:
DETECTIVE GITCHELL: Did they call them by name?
*A182 MISSKELLEY: Un-uh, they just hollered at them, and they, they slowed up.
DETECTIVE GITCHELL: Where did the boys put their bikes?
*A183 MISSKELLEY: Close to right where there before you come in and they laid them down right there, and I don't know, after I left I don't know what they done with the bikes.
DETECTIVE GITCHELL: You didn't do anything to the bikes at all?
*A184 MISSKELLEY: No.
DETECTIVE GITCHELL: Are you sure?
*A185 MISSKELLEY: Positive.
DETECTIVE GITCHELL: You didn't touch the bikes?
*A186 MISSKELLEY: I didn't touch them.
"Close to right where there before you come in" is Jessie's definitive statement on where the bicycles were left and sufficient to put in the search warrant Jessie's inside knowledge regarding the bicycles that the bicycles were left on the south side of the bayou (for which there was no evidence, anyhow).
#13. "Misskelly also described the area where the murders occurred very specifically as to the high bank on the west side of the ditch where the bodies were placed and the flat area on the east side of the ditch where the murders actually took place."
Facts of the case: the flat area on the east side of the ditch was alongside where Michael Moore's body was found and about 10 yards from where the other two bodies were found. Too long an argument to go into here as to whether this was the murder scene. According to the police's own case summary, the lack of blood at the site where the bodies were found indicates that it was not where the murders took place and the initial ACIC bulletins stated in this crime "their bodys (sic) had been dropped in a remote place."
Problems with this statement: There is no evidence that Misskelley knew anything about the interior of the woods in which the bodies were found. The police supplied him with these details on tape with Misskelley either agreeing to what the police said or parroting back single words or choices, telling him he stood on a tall bank, etc.
DETECTIVE RIDGE: Alright, and you know where the little creek is that goes out to the expressway, and it doesn't have a lot of water in it, but it's got some water in it, and it's flowing through there, which side of that creek were you on, were you on the Memphis side of the creek or were you on the Blue Beacon side of that creek?
*A76 MISSKELLEY: Blue Beacon.
DETECTIVE RIDGE: On the Blue Beacon
*A77 MISSKELLEY: Yes
DETECTIVE RIDGE: So, there is like a tall bank, were you, where were you at on that bank?
DETECTIVE RIDGE: Alright, we're going to correct that even further, that's the east side, Memphis side is the east side and you were standing at the top of the bank on the west side, were you looking down at what was going on?
*A82 MISSKELLEY: I was looking down, and after I seen all of that, I took off
This is an incomplete list of the police's description of the inside of the woods. The only detail provided by Misskelley during the interview was that the path to the crime scene was "little."
Additional claims made in the probable cause hearing.
In the probable cause hearing, Ridge made one other claim as to the insider information.
Fogleman: What was, did he also give you information in regards to some stab or gouge wounds to the face of one of the victims?
Ridge: Yes sir
Fogleman: Which victim was that?
Ridge: Steve Branch
Fogleman: Alright, and did Jessie Misskelley uh, tell you which victim had these types of wounds?
Ridge: Yes sir, he did he told us that is was Steven Branch that received the cuts to the face.
Misskelley had said one of the children was cut on the face.
DETECTIVE RIDGE: Okay, now when it's going on, when it's taking place, you under. . . you saw somebody with a knife. Who had a knife?
*A60 MISSKELLEY: Jason
DETECTIVE RIDGE: Jason had a knife. What did he cut with the knife? What did you see him cut or who did you see him cut?
*A61 MISSKELLEY: I saw him cut one of the little boys
DETECTIVE RIDGE: Alright, where did he cut him at?
*A62 MISSKELLEY: He was cutting him in the face.
Misskelley never identified which victim had cuts in the face. He never associated any wounds with Steve Branch. Before the taped interrogation, the police showed Misskelley an autopsy photo of Michael Moore, who had several minor cuts on his face. Furthermore, Misskelley did not describe the degree of cutting that took place on the child mentioned above nor did he describe it as stabbing or gouging. However, when the police asked him if he did say the wounds were severe, he agreed (although there was no record he had previously said it).
DETECTIVE RIDGE: Okay, one of them was cut on the face real bad, is that what you said?
*A141 MISSKELLEY: Mm-hmm.
(In original police transcription the above reads: Okay, none [note: this is not clear - it may be 'one'] of them were cut on the face real bad, is that what you said? JESSIE: Yes)
A final false claim was made in the probable hearing cause, although it did not relate to insider knowledge. Ridge claimed Jessie had said they had homosexual sex in cult orgies. Jessie never described homosexual sex in the orgies.
Ridge: Alright, he has confused to (sic) and stated that he has participated in cult activities in which animals have been killed, uh, homosexual acts have been performed. . .
In summary, of the 13 statements made regarding Jessie's inside knowledge of events that were also corroborated by evidence, only number 4 was correct. Jessie correctly stated that all three were beaten up badly. The other statements were provided by the police during the interrogation, were unsubstantiated, contradicted the evidence or were simply invented when composing the search warrant.
A final note from Ridge's conversation with Gail Grinnell:
Ridge: "We don't put words into people's mouths. And it's all on tape, exactly what he said."
EXHIBIT "B" - transcribed
The following is a summary regarding the investigation of the murders of Steve Edward Branch - age 8, Christopher Byers - age 8, Michael Moore - Age 8.
Branch, Byers, and Moore, were last seen riding two bicycles towards a wooded area known as Robin Hood Hill. This wooded area is located at the dead end of McAuley Street and North of Ten Mile Bayou in West Memphis, Arkansas. The last time of sighting was about 6:00 p.m. 05-05-93.
The victims were reported missing by their parents at approximately 8:10 pm 05-05-93 at which time a search was initiated.
At about 1:30 p.m. 05-06-93, the body of Christopher Byers was located by Sgt. Mike Allen after he sighted a black tennis shoe located in a creek approximately 60 yards south of Interstate 55.
Byers body was submerged in approximately 2-3 feet of water. Byers hands and feet were bound by shoe strings from tennis shoes and he had an obvious trauma wound to his left forehead and other locations on his body.
Branch and Moore's bodies were located submerged in water approximately 5 feet from Byers. Both Branch and Moore were bound in the same manner as Byers. Branch had obvious injuries and gouge wounds to his left cheek. Moore had been obviously castrated and had susstained other injuries. All three victims' were nude when located.
All clothing belonging to the victims including shirts, shoes, pants, and underwear were located in the creek in close proximity to the victims.
On 06-03-93, Jessie Misskelley Jr. was asked to come to the West Memphis Police Department where he was advised of his rights according to the Miranda rule and gave a voluntary statement concerning his involvement in the above noted homicides. A copy of a transcribed statement will be attached hereto. Misskelley gave the police information that only a person who had been involved in the homicides would have known. Misskelley stated that he witnessed the cutting of the penis of Chris Byers by Jason Baldwin, the forcible rape of Chris by Damien Echols, the striking of the heads by Damien Echols and Jason Baldwin including the severe beatings of all three boys, and the act of the victims being placed in
(SECOND PAGE)
water by Jason Baldwin and Damien Echols. He stated that he did see one of the victims being drug into the water. Misskelley stated that when the beatings of the three victims began that Michael Moore ran from the scene and that he, Jessie Misskelley, Jr., did chase Michael Moore, caught him and returned him to the other two suspects who began beating him. Misskelley stated that he did witness one one the victims to be beaten until unconsciousness and that one of the victims was choked to what he thought was death with a piece of wood. He further stated that Damien had grabbed one of the victims around the head with his hands on either side of the head forcing the boy to perform oral sex on him. Misskelley stated that the victims were being held by their ears while being forced to perform these acts. Misskelley stated that he saw the bicycles that the victims had ridden to the scenes on to be parked on the south bank of the bayou by the victims as they approached the scene where the murders occurred. Misskelly also described the area where the murders occurred very specifically as to the high bank on the west side of the ditch where the bodies were placed and the flat area on the east side of the ditch where the murders actually took place.
This information given has been corroborated through the investigation conducted at the scene of the homicides by the West Memphis Police Department Criminal Investigation Division and the examination of the victims and evidence by the Arkansas State Crime Lab.
Exhibit "B"

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: I have the following problem when trying to merge two excel sheetsTypeError: Can only merge Series or DataFrame objects, a  was passed     import pandas as pd

df_left = pd.read_excel('AAA.xlsx',sheet_name='Sheet1')

df_right = pd.read_excel('BBB.xlsx',sheet_name='sheet1')
print(df_right)
df_right.rename(columns={'NO1': 'NUM'}, inplace=True)

df_result = pd.merge(left='df_left',
                     right='df_right',
                     how='left',
                     on='NUM')
df_result.to_excel('df_result.xlsx', index=None)

But I receive this error
TypeError: Can only merge Series or DataFrame objects, a <class 'str'> was passed

I do not understand what is causing this, so any help would be appreciated!

A: change it to:
df_result = pd.merge(left=df_left,
                     right=df_right,
                     how='left',
                     on='NUM')

redpajama_set_name: RedPajamaStackExchange


The MedLight 630PRO is a safe, effective, noninvasive, over-the-counter alternative to pain relief medications. The MedLight 630 PRO provides real pain relief.
The MedLight 630 PRO's 81 LEDs give it a large treatment area. The four minute cycle and alarm ensure optimal treatment times. The safe IR energy of the MedLight 630PRO can be used as frequently as needed to relieve pain. There is no danger of overdosing.
Pain is debilitating and can ruin your quality of life. Now, thanks to the MedLight you can get temporary relief of pain in as little as four minutes.
Get Control of your pain and Improve your quality of life with the MedLight 630 PRO pain therapy device.
Utilizing NASA developed technology; the MedLight delivers pain relieving energy directly to the source. Within minutes you will experience increased local blood circulation, resulting in reduced swelling/inflammation and pain.
Pain relief without utilizing potentially harmful drugs!
The MedLight provides fast, affordable pain relief without the use of potentially harmful drugs. The energy from the MedLight will not damage any tissue, has no side effects and is perfectly safe; this means that you can use it as often as you like. The more you use it the better it works (results are cumulative).
Severity of the pain and whether the pain is chronic or acute will determine how often you need to utilize the Medlight to achieve maximum relief. Results will range from taking the edge off to total elimination of the pain.
The MedLight utilizes Near Infrared technology developed by NASA to deliver pain relieving energy.
If you are suffering from stiff or sore muscles or joints, the Medlight 630 Pro may increase your range of motion and increase your mobility. This is a direct result of reducing inflammation, relaxing muscle tissue and relieving the pain of sore and stiff muscles and joints.
AC power No batteries. Just plug it in, turn it on.
Integrated spacer ring Provides the optimal distance for the most effective treatment.
Ergonomic design Makes treatment of any body part easy.
Lightweight Easy to hold. Even for extended uses.
Power 110v/220v AC Power Supply / 12v DC Car Adapter.


There are two ways to convert your huge pile of audio cassette tapes and old vinyl records into an Audio CD. The first method assumes that you are a geek while the second option is so simple that even your grandma can do it.
First the tough method - Thoroughly read the Home Studio Recording bible, learn about various computer ports, audio cables, sound software, make the right cable connections and then if you are lucky, your analog tapes will be saved as WAV or MP3 files in your hard drive which you can later burn to a CD.
The second method makes the vinyl to cd conversion process look like a child's play. Just place the vinyl tape or cassette inside the GF-350 Turntable CD Recorder and hit the record button. Press play and the recording would start. No computer or technical know-now is required.
David Pogue has done an excellent video review of the Teac GF-350 Mini System accompanied by review writeup on the NYTimes website.
Despite a few issue, Tech pundit David is pleased with the overall performance of TEAC GF 350 and demands an equivalent machine for converting old VHS tapes and reels of movie film into CDs.
David, did you try the HP DVD Movie Writer DC3000? Like GF 350, DC3000 also takes video straight from the VCR or the analog Hi8 Camcorders and burns them to a DVD without requiring a PC.


Sometimes the simplest things can inspire me.
These plants sit on a shelf just below a West facing window in my kitchen. The plant is one that I know from experience that can be kind of neglected and it still thrives, as long as I water it once a week.
When trying to capture an image that showed winter light the other day I was drawn to this plant, for it's colorful green leaves and how they reach to the sun, no matter the time of year. That day was sunny and there was snow on the ground, so the winter light was really intense. Have you noticed how leaves on houseplants bend toward their light source?
I love winter. I love the subtle colors of it all, and the way the earth rests during this season. But I also love the green of these plants in this winter light.
I need to be reminded to reach for that light myself, even on cloudy days.
Such a lovely philodendron! I have one that I was given at the birth of my second daughter and she is 38 years old. The must be very sturdy! Love your winter thoughts!
That is a wonderful capture of the light, Deb! I just love the composition and deep green color. Happy weekend!
What amazingly lovely light. No wonder your plant (and you) seek it out and turn toward it.
Love this! Beautiful, healthy plant and beautiful light! I love the you angle! I have two very large philodendrons that are in desperate need of repotting!! After seeing your beautiful plant it has inspired me to do that today!! Mine live in the bathroom where they get lots of light and humidity.
Lovely shot of your plant and the light. – Great words to live by as well.


text:
Audio Engineer, Miami (Part-time)
Sofar Sounds
AUDIO ENGINEER | MIAMI (PART-TIME)
We're Sofar Sounds, your global music community. We bring people together in unexpected spaces in over 400 cities around the world. We're artists, music lovers and organisers. We're a company of musicians for musicians. We create, perform, listen and work to make intimate live music experiences that connect us all. Every show is focused on the artist.
We create a space where music matters.There is no other feeling in the world like discovering and experiencing new music and artists. In any Sofar room, when the audience has hushed and that first note is played - it's magical.
We're looking for Audio Engineers to work with our regional production team and bring the magic on the sound desk at local shows.
Sofar has worked with over 30,000 artists, hosted over 1,000,000 fans at shows around the world and engages with millions more online each month. You will be part of a music-adoring team who are passionate about creating an industry-leading culture that supports artists and introduces their music to new fans.
Provide live sound reinforcement for artist performing in unique spaces
Work with the show team & performers to prep for the show
Organize gear pick up and return across a local community of other Audio Engineers
Work with the central Production team to identify the best ways of working locally
You'll work 3 x shows a week (max' 10 shows a month)
You'll also discover a lot of amazing new music along the way
Someone who has a passion for live sound & creative problem solving
Excited by a dynamic pool of artists, venues and unique audio scenarios
Comfortable working & communicating with creatives in high pressure situations
Genuine, demonstrated commitment to supporting artists and local music
We are proud to have a global workforce and strive towards having a diverse workplace. We have an Equity Council, Employee Resource Groups and ongoing learning and development in this area - DEI is important to us and our culture.
COMPENSATION, PAY EQUITY & BENEFITS
Our people and global communities are precious - we aim to treat them as such. At Sofar we feel strongly about the compensation and benefits that we provide across the board so that no matter your skill set or experience you're paid fairly according to market rate, plus your health and wellbeing is supported through our local benefits packages.
We invest in your learning and development and strive to create a learning culture through formal and informal workshops, training, and a personal L&D budget and learning path.
HIRING JOURNEY
We'll work with you closely to support you throughout the hiring process. If your CV/ resume shows that your skills and experience have synergy with the job description, then we'll hop on a call to say "Hello" and to start getting to know one another. If it's not the right opportunity this time, we'll always let you know.
Typically our hiring process for this type of role takes a maximum of 2 weeks end to end. You'll be guided through the process by our Talent team and an interview panel of lovely humans who will give you support and feedback throughout - we'll do our very best to create an interview environment that brings out the best in you and sets you up for success.
If this sounds like you, we can't wait to meet you - come on in
Job Type: Part-time


text:
New Wi-Fi Security Tool for Mac OS X
Periodik Labs today announced the release and immediate availability of Elektron 1.2, the latest version of its award-winning software for securing small business Wi-Fi networks. The software brings easy to use, enterprise-level Wi-Fi security to businesses without a full time IT staff. The new release adds support for Apple´s latest Intel-based servers by providing a Universal Binary.
Elektron provides RADIUS authentication services to WPA Enterprise capable wireless access points, including popular hardware from manufacturers like Apple, Linksys, D-Link, Cisco, and Netgear. WPA Enterprise is the standard specified by the Wi-Fi Alliance for the strongest available wireless network security. Elektron is the first non-proprietary server solution to bring WPA Enterprise security to small businesses.
This release is the first version of Elektron available as a Universal Binary, Apple´s technology for providing applications that run natively on both Intel and PowerPC Macs. The release precedes the first shipments of the recently announced Intel-based Xserves. Elektron has also been updated to provide enhanced compatibility with Windows XP clients.
Elektron contains support for the latest Wi-Fi security standards, including PEAP and TTLS. Elektron is compatible with the Wi-Fi client software built into Mac OS X 10.3 and later and Windows XP. No additional software is necessary for clients using either of these platforms.
Elektron 1.2 is available now at a price of $299.99 for Windows 2000/XP/2003 and Mac OS X 10.3.9 or higher. It may be purchased directly through the Corriente Networks web site or through one of Periodik Labs´s value added resellers. Elektron is licensed on a per-server basis, with each server licensed for an unlimited number of clients.
← How to set up WPA2 on your wireless network Wi-Fi Alliance Announced Wi-Fi Protected Setup →


text:
Iaixa (Iàkov Abràmovitx) Gorenstein, , conegut habitualment com a , fou un director d'orquestra alemany, estaunidenc i britànic d'origen jueu.

Biografia
Jascha Horenstein fou el tretzè dels setze fills d'una benestant família jueva. La seva família es va traslladar a Königsberg el 1906 i després a Viena el 1911  (on havien viscut els avantpassats de la seva mare) i va estudiar a l'Acadèmia de Música de Viena a partir del 1916,  amb Joseph Marx (teoria musical) i Franz Schreker (composició).

El 1920 es va traslladar a Berlín i va treballar com a ajudant de Wilhelm Furtwängler. Durant la dècada de 1920 va dirigir l'Orquestra Simfònica de Viena i la Filharmònica de Berlín. El 1928, per recomanació de Furtwängler, va esdevenir director en cap de l'orquestra de l'Òpera de Düsseldorfi un any més tard Generalmusikdirektor.

Horenstein es va fer un nom amb la representació d'òperes contemporànies; el seu programa operístic incloïa Schwergewicht d'Ernst Krenek, l'estrena de Die Soldaten de Manfred Gurlitt, Der Lindberghflug de Bertolt Brecht i Kurt Weill, Histoire du soldat d'Ígor Stravinski, Das Herz de Hans Pfitzner (1932), Der verlorene Sohn de Hermann Reutter, basada en l'obra d'André Gide Le retour de l'enfant prodigue (1933) i Der Rossknecht de Winfried Zillig, basada en el drama de Richard Billinger (tots dirigits per Horenstein).Walter Bruno Iltz va posar en escena Ariadne auf Naxos de Richard Strauss (1934, amb escenografia de Caspar Neher), Die Bürgschaft de Kurt Weill (text: Caspar Neher), Z mrtvého domu de Leoš Janáček (1931) i una espectacular producció de Wozzeck d'Alban Berg (1930).

La carrera de Horenstein, que també tenia cada cop més èxit internacional, va prendre un gir sobtat l'any 1933 quan els nacionalsocialistes van arribar al poder. Tot i que el ministre de Propaganda Joseph Goebbels va mantenir la seva mà protectora sobre Walter Bruno Iltz,va tenir problemes amb els nacionalsocialistes perquè s'oposava a les demandes de la direcció del NSDAP de Düsseldorfd'un "repertori alemany" i un "conjunt alemany", ja que el 1932 havia prohibit qualsevol influència.

Des de 1932, el teatre va començar a rebre missatges de caràcter antisemita, principalment sobre Horenstein. L'any 1933,  amb motiu d'un concert de celebració en el 50è aniversari de la mort de Richard Wagner, es va endegar una campanya de premsa amb missatges com el següent:

A principis de març de 1933, una unitat de les SA va assetjar l'última representació de Horenstein, el Fidelio de Ludwig van Beethoven, i va exigir l'acomiadament immediat del director.Horenstein va haver de fugir del teatre enmig de la funció, se li va donar permís i va haver de marxar de Düsseldorf.

Finalment, el 31 de març de 1933, Horestein es va veure obligat a fugir a París, en témer que fos arrestat. Va fer una gira per Polònia durant els mesos d'estiu de 1934-1937, per l'URSS amb les orquestres de Moscou i Leningrad, els anys següents abans de l'inici de la guerra, per Austràlia i Nova Zelanda, amb el ballet rus Montecarlo i a Palestina (1938), on va dirigir l'Orquestra Palestina, fundada dos anys abans.

El 18 de gener de 1939, Horenstein, després d'haver rebut passaports hondurenys falsos a través d'un amic diplomàtic, va navegar amb la seva família en un transatlàntic fins a Nova York, on va ensenyar al costat d'altres destacats companys exiliats (com Thomas Mann ) a la New School for Social Research i va dirigir orquestres de segon nivell. Al gener de 1944 , per recomanació d'Erich Kleiber, va ser convidat a Ciutat de Mèxic per a una sèrie de concerts que van tenir un gran èxit. En els següents tres anys i mig va treballar a països d'Amèrica del Sud, incloent Argentina, Brasil i Uruguai. Més tard actuaria també a Veneçuela

El 1947 va tornar a Europa per primera vegada després de la Segona Guerra Mundial. Es va fer un nom, sobretot a França, mentre dirigia de nou a Palestina, poc abans de la proclamació de l'estat d'Israel. Els seus èxits francesos també li van oferir oportunitats a Itàlia i als Països Baixos. El març de 1952 va dirigir quatre vegades l'Orquestra del Concertgebouw. Els concerts a Amsterdam i La Haia van incloure obres de  Mozart, Schönberg, Stravinski i Badings, entre d'altres.

El 1952 es va presentar un nou èxit gràcies a un contracte amb la discogràfica Vox. Aquesta companyia estatunidenca el va emparellar amb la Wiener Symphoniker per a una sèrie d'enregistraments de música de Bach, Beethoven, Dvořák, Mahler i Bruckner, entre d'altres .

Més tard en aquella dècada, una gira amb l'Orquestra Simfònica de Londres a Sud-àfrica el va obrir a les principals orquestres britàniques. Inicialment, Josef Krips havia de dirigir la gira de concerts. Quan aquest va emmalaltir sobtadament, Horenstein va omplir el buit l'últim moment. Va adoptar sense canvis els programes de Krips amb obres de compositors com Mozart, Haydn, Beethoven, Schubert i Mahler. L'única peça que no tenia en el seu repertori, la primera simfonia de William Walton, la va aprendre a bord de l'avió.

Després de l'èxit sud-africà, Horenstein va ser cada cop més sol·licitat al Regne Unit. Va fer molt per al reconeixement del nom de Mahler a les sales de concerts britàniques. La seva interpretació de la Vuitena Simfonia de Mahler el 20 de març de 1959 al Royal Albert Hall, que va ser retransmesa en directe per la BBC, es va convertir en llegendària .

A partir de 1958 també va tornar a dirigir a Alemanya. El 1961 va substituir Rafael Kubelík a la Filharmònica de Berlín. Va ser convidat al festival de Sion a Suïssa amb la Philharmonia Hungarica amb seu a Marl a Alemanya. Altres compromisos el van portar a Suècia, Itàlia i Txecoslovàquia, però fins a la seva mort Horenstein va ser principalment convidat amb orquestres britàniques.

El 1971 durant la representació de la Cinquena Simfonia de Nielsen a Minneapolis va patir un atac de cor. Tot i que se li va ordenar que reduís els seus concerts, va continuar dirigint.

L'última òpera que va dirigir fou Parsifal de Richard Wagner el març de 1973 a la Royal Opera House.En el moment de la seva mort, tenia previst dirigir la Cinquena, Sisena i Setena simfonies de Mahler .

Repertori
Horenstein és famós principalment com a intèrpret de les obres de Mahler, tot i que el seu repertori era molt ampli, des de Bach fins a obres de compositors contemporanis, moltes de les quals va dirigir a l'estrena.

Al llarg de la seva carrera musical, Horenstein va incloure invariablement obres de Bruckner and Mahler als seus programes, i també va mostrar un interès constant per Carl Nielsen, a qui va conèixer personalment, en un moment en què aquests compositors no estaven de moda.  Per exemple, la seva gravació de Vox de 1952 de la Simfonia núm. 9 de Mahler va ser la primera gravació d'estudi, i el segon disc comercial, d'aquest treball. Diversos anys més tard, va gravar la versió original de la Simfonia núm. 9 de Bruckner.

El 1927, al Festival de Frankfurt de la Societat Internacional per la Música Contemporània, Horenstein va assajar les estrenes d'obres de Béla Bartók i Carl Nielsen. En la seva primera temporada a Düsseldorf, va dirigir òperes com Les noces de Fígaro de W. A. Mozart, L'elisir d'amore de G. Donizetti, Salome i Ariadne auf Naxos de R. Strauss, The Mikado d'A. Sullivan, Švanda dudák de J. Weinberger, i l'abril de 1930 - l'òpera Wozzeck d'A. Berg, que va provocar una reacció molt variada.  El 1938, en el seu darrer concert europeu abans de marxar als Estats Units, Horenstein va dirigir el Rèquiem d'Hector Berlioz.

Horenstein també va enregistrar la Tercera Simfonia de Robert Simpson i música de Paul Hindemith i Richard Strauss durant els últims anys de la seva vida. Els seus enregistraments d'òpera inclouen Saul og David de Nielsen.

Referències

Enllaços externs
 Jascha Horenstein dirigeix l'Orquestra Nacional de Radio France que interpreta la Novena Simfonia de Beethoven

Directors d'orquestra estatunidencs
Directors d'orquestra britànics
Directors d'orquestra alemanys
Compositors estatunidencs del segle XX
Compositors britànics del segle XX
Compositors alemanys del segle XX
Músics de Kíiv
Jueus ucraïnesos
Alumnes de la Universitat de Música i Art Dramàtic de Viena
Morts a Londres
Exiliats del nazisme

redpajama_set_name: RedPajamaWikipedia


text:
Název Nučice má více obcí:
 Nučice (okres Praha-východ) – obec v okrese Praha-východ
 Nučice (okres Praha-západ) – obec v okrese Praha-západ

Externí odkazy


The Peterborough Town Squash Club team that contested the National Club Finals. (left to right) Paul Glenister, Dan Soar, Jon Hand, Dan McGinn.
Peterborough Town finished an outstanding sixth in the National Club Squash Championships.
For the first time in their history, the city club reached National Finals Day at Edgbaston Priory Squash Club in Birmingham when the top eight teams play off for the title.
Town were huge underdogs going into the event and lost their quarter-final to Pontefract 3-1 despite a sizzling display from number one Dan Soar who won 3-0 and a gutsy effort from number two Dan McGinn who lost 3-2.
Town were now left to play for 5-8th position and they became involved in a superb contest against Essex-based Ongar Love Lane.
Lower order men Glenister and Hand were again beaten, but McGinn romped to a 3-0 win leaving Soar to fight for the draw.
And the number one responded brilliantly by fighting back from 2-0 down to win 3-2 meaning the winners were determined on points countback, and after a lengthy wait Town were declared the narrowest of winners with Hand's pucky 3-2 defeat proving crucial.
Town were without Soar for the final game as he was involved in the Eastern Region Racquetball Championships - which he won - so a 4-0 defeat at the hands of a strong Leamington side wasn't unexpected leaving Town in sixth place.


The McIntosh family history was found in the allfamilycrests.com archives.
include Tosh, Mackintosh and McKintosh. There have been Chiefs of this name for nearly 500 years. In 1526 Lachlan, Laird of MacKintosh, was slain by James Malcolmson. The family captured Malcolmson an took there revenge. In 1550 William, fifteenth MacKintosh paid a friendly visit to Huntly Castle, but was beheaded by order of the Countess. In 1689 MacKintosh claimed Glenroy and Glenspean. Keppoch kept him out and defeated him at Mulroy, the last clan battle. MacKintosh died in 1704. His son, Lachlan, died in 1731 and for a century no son succeeded a father amongst the MacKintosh Chiefs. The Clan fought at Culloden but the Chief remained neutral. Aneneas MacKintosh of MacKintosh was created a Baronet by George the third. His kinsman, Angus MacKintosh, residing in Canada, succeeded him, and from him descended the subsequent Chiefs. Tosh is a variant of the name found in Ulster Province in Ireland .
The McIntosh coat of arms came into existence centuries ago. The process of creating coats of arms (also often called family crests) began in the eleventh century although a form of Proto-Heraldry may have existed in some countries prior to this. The new art of Heraldry made it possible for families and even individual family members to have their very own coat of arms, including all McIntosh descendants.


text:
Marion Today.org
Today news headlines in English
How to see a new "green" comet
Newly discovered comet ZTF is the closest to Earth visible to the naked eye in 50,000 years and is making big headlines. Some are calling it a "super rare" and "bright green" comet, but does it live up to the hype? We explain.
Comet ZTF facts
Comet ZTF was discovered on March 2, 2022 by a robotic camera attached to a telescope called the Zwicky Transient Facility (ZTF). Palomar Observatory In Southern California. ZTF scans the entire northern sky every two days and captures hundreds of thousands of stars and constellations in a single shot. Many comets have been discovered with this instrument. The most recent, abbreviated C/2022 E3 (ZTF), is listed as Comet ZTF.
Why is it rare?
Comet ZTF has traveled 2.8 trillion miles and will make its closest approach to Earth in 50,000 years on February 1, 2023. Orbital calculations suggest that comet ZTF cannot return.
What makes ZTF a green comet?
The green color may be due to a molecule consisting of two carbon atoms bonded together dicarbon. This unusual chemical process is mainly confined to the head, not the tail. If you look at Comet ZTF, that greenish tint is very faint (if it's visible). The appearance of green comets due to dicarbon is very unusual.
Recent images show that the head (coma) is distinctly green and trailed by an impressively long thin blush patch (tail). But that's what a long exposure camera sees. The hue is much less green to the naked eye.
When and where to watch Comet ZTF
In late January to early February, the ZTF becomes bright enough to be seen by the naked eye. Use a reliable star chart to track night-to-night changes in position relative to background stars and constellations. Here are the dates and approximate locations.
See also Russia Fires Missiles at Ukraine: Live Updates
See the constellation Corona Borealis before sunrise.
See the Boötes constellation before sunrise.
The comet is visible in the night sky (previously only visible in the early morning). Look north, up and to the left of the Big Dipper.
Comet ZTF locations, courtesy of the MISAO project.
Look closer to the constellation Draco (Dragon).
Look several degrees east of the Little Dipper's bowl. On the evening of the 27th, the two outer stars in the Little Dippers bowl will be about three degrees to the upper right of the bright orange gochap.
Look towards Polaris.
Look closer to the constellation Camelopardalis.
Look toward the brilliant yellow-white star Capella (of the constellation Gemini).
Look directly overhead at 8pm local time, within the triangle known as "The Kids" star system in Auriga.
Look two degrees to the upper left of Mars.
Note: If you live in a large city or in the outer suburbs, seeing this comet will be difficult—if not impossible. Even for those blessed with dark and starry skies, finding the ZTF can be a challenge.
Watch Comet ZTF live now:
There's nothing like seeing the space with your own eyes, but if you live in an area with high light pollution, here's a view for you. (Doesn't look like a green comet, does it?)
More information on viewing ZTF
As for tails, comets can shed two types of dust and gas. Dust tails are much brighter and more pleasing to the eye than gas tails because dust is a more effective reflector of sunlight. The most spectacular comets are dusty and can produce long, bright tails that create spectacular and impressive celestial spectacles.
Gas tails, on the other hand, appear much fainter and glow blue. The gas is activated by the sun's ultraviolet rays, making the tail glow in the same way that black light makes phosphorescent paint glow. Unfortunately, the gas tails produced by most comets appear long, thin, and very faint; Impressive in photos but visually lacking. That is what we are currently seeing at ZTF.
See also FAA: Contractors mistakenly deleted files, causing safety system failure
Finally, when the ZTF is at its brightest in late January and early February, it must compete with another celestial object: the Moon. At the same time, the Moon will be near full phase (Th Full snow moon 5th February). A full moon burning the night sky like a giant spotlight will make it even more difficult to try to see a relatively faint and diffuse object like Comet ZTF.
Other visible comets
There are nearly a dozen comets to see in the sky tonight. However, most of these are only visible with moderately large telescopes. You'll need a good star atlas and accurate coordinate positions to know where to point your instrument to see any of these. Most amateurs call such comets "dim fuzzies" because they look so beautiful through the eyelids: a faint, fuzzy blob of light. These are called "common comets".
Every once in a while, maybe two or three times every 15 or 20 years, a bright or "big comet" comes along. These are the types that excite us, binoculars or no binoculars – all you have to do is step outside, look up and exclaim: "Oh look! That!" Such comets tend to be larger than average. Most of these have a core or core of less than two or three miles. But there are others that are many times larger.
As a general rule, the closer a comet gets to the Sun, the brighter it gets. Larger ones that pass closer than Earth's distance from the Sun (92.9 million miles) are much brighter. Comet Hale-Pop in the spring of 1997 and Comet NEOWISE (discovered by a robotic space telescope) in the summer of 2020 are good examples.
See also Allies Bolster Ukraine With More Arms Pledges; But there is no sign of a US-German tank deal
So what category does ZTF belong to? In many ways it is a very common comet, but compared to other faint obscurations, ZTF is very bright.
Comets, Asteroids and Meteors – Difference Between Them
January Night Sky Guide
Will you be watching the skies for the "green" comet ZTF?
Let us know in the comments below!
Microsoft faces EU antitrust warning over Activision deal – sources
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The Dow fell nearly 200 points after the Fed raised rates and promised more hikes
India increased spending in the last budget ahead of the elections
Broncos hire Sean Payton as head coach as Texans hire DiMeco Ryans | NFL


text:
Archaeology & Fossils
Genomics study in Africa—demographic history and deleterious mutations
by Pasteur Institute
Scientists from the Institut Pasteur set out to understand how the demographic changes associated with the Neolithic transition also influenced the efficacy of natural selection. By comparing the genome diversity of more than 300 individuals from groups of forest hunter-gatherers (pygmies) and farmers (Bantu-speaking peoples), from western and eastern Central Africa, they discovered that the reason pygmies did not suffer from excessive deleterious mutations was because of their genetic diversity and their admixture with the Bantu peoples.
Research into the diversity of the human genome and any rare or frequent mutations is vital in identifying mutations that increase susceptibility to complex diseases such as infectious or autoimmune disorders. "The elimination of these mutations that are harmful for human health is largely conditioned by the evolutionary history of populations, especially their demographic fluctuations," explains Lluis Quintana, Head of the Human Evolutionary Genetics Unit and author of the study. Throughout their history, human populations have undergone significant and extremely varied changes in terms of numbers of individuals, giving rise to differences in the number and severity of mutations carried by these populations. The accumulation of disease-causing genetic variants, known as the "burden of deleterious mutations", varies from one population to another depending on its past. "The aim of our project is to understand how demographic events such as the rise and fall in numbers of individuals, as well as genetic admixtures, have had an impact on the efficacy of some evolutionary mechanisms such as purifying selection."
Comparing the genome diversity of two populations
The scientists focused their research on a comparison of populations that lived through one of the most significant socio-cultural transitions in human history: the transition to agriculture. By comparing the genome diversity of more than 300 individuals from groups of forest hunter-gatherers (pygmies) and farmers (Bantu-speaking peoples) in western and eastern Central Africa, the study aimed to shed light on the way in which demographic changes associated with the Neolithic transition also influenced the efficacy of natural selection. "We therefore characterized the genetic structure of these populations using exome sequencing data [editor's note: the exome is a fraction of the genome that contains protein-coding regions] and used computer modeling techniques to reconstruct changes in population size over the past 200,000 years," continues Lluis Quintana.
Against all expectations, his team observed that the current groups of forest hunter-gatherers are descendants of prosperous ancestral populations with a genetic size comparable to that of the farmers' ancestors. Simulations also indicate the existence of genetic admixture between the groups more than 20,000 years ago.
"It was more recently, over the past 20,000 years, that the demographic development of these two populations became diametrically opposed, with the hunter-gatherer population size falling dramatically [approximately 80%] while the number of early farmers tripled."
Measuring the impact of extreme demographic changes
In a bid to understand and quantify the impact of these extreme demographic changes on the burden of deleterious mutations, the scientists measured the efficacy of purifying selection in the two groups and examined its dynamics over time. "This enabled us to measure the rise and fall in the burden of deleterious mutations as the population size contracted and expanded," explains the scientist. "Based on the study, we were also able to predict that, in the specific case of African hunter-gatherers and farmers, the current burden of mutations is similar in the two groups, despite their different demographic histories and lifestyles."
What prevented the hunter-gatherers suffering from an excess of deleterious mutations was both their high ancestral genetic diversity and a strong and constant admixture with farmers. The scientists' predictions were then verified using DNA sequencing data to empirically quantify the number of deleterious mutations carried by each individual. No differences were detected in the number and severity of mutations carried by forest hunter-gatherers and farmers.
Our epigenome is influenced by our habitat and lifestyle
More information: Marie Lopez et al, The demographic history and mutational load of African hunter-gatherers and farmers, Nature Ecology & Evolution (2018). DOI: 10.1038/s41559-018-0496-4
Journal information: Nature Ecology & Evolution
Provided by Pasteur Institute
Citation: Genomics study in Africa—demographic history and deleterious mutations (2018, April 23) retrieved 23 January 2020 from https://phys.org/news/2018-04-genomics-africademographic-history-deleterious-mutations.html
Genes shed light on pygmy history
Ancestors of African Pygmies and neighboring farmers separated around 60,000 years ago
New algorithm can pinpoint mutations favored by natural selection in large sections of the human genome
Genetic prehistory of Iberia differs from central and northern Europe
Northern European population history revealed by ancient human genomes
First ancient DNA from West/Central Africa illuminates deep human past
Warm-blooded crocs thrived in Jurassic cold snap
A chronicle of giant straight-tusked elephants
Using machine learning to fine-tune views of the ancient past


Your wedding day is quickly approaching, and all of the details are starting to fall into place. You might be feeling overwhelmed, but we're here to help!
One of the most important decisions you can make is deciding on a photographer for the big day. With so many options out there, we are honored that you have considered us to document your wedding.


text:
require File.expand_path(File.dirname(__FILE__) + '/../../spec_helper')

describe XapianDb::IndexWriters::DirectWriter do

  before :each do
    XapianDb.setup do |config|
      config.adapter  :generic
      config.database :memory
      config.writer   :direct
    end
    XapianDb::DocumentBlueprint.setup(:IndexedObject) do |blueprint|
      blueprint.attribute :id
      blueprint.attribute :text
    end
    @obj = IndexedObject.new(1)
    allow(@obj).to receive(:text).and_return("Some text")
  end

  describe ".index(obj)" do
    it "adds an object to the index" do
      expect(XapianDb.database.size).to eq(0)
      XapianDb::IndexWriters::DirectWriter.index @obj
      expect(XapianDb.database.size).to eq(1)
    end
  end

  describe ".delete_doc_with(xapian_id)" do
    it "removes a document from the index" do
      expect(XapianDb.database.size).to eq(0)
      XapianDb::IndexWriters::DirectWriter.index @obj
      expect(XapianDb.database.size).to eq(1)
      XapianDb::IndexWriters::DirectWriter.delete_doc_with @obj.xapian_id
      expect(XapianDb.database.size).to eq(0)
    end
  end

  describe ".reindex(klass)" do

    before :each do
      XapianDb.setup do |config|
        config.adapter  :datamapper
        config.database :memory
        config.writer   :direct
      end
      XapianDb::DocumentBlueprint.setup(:DatamapperObject) do |blueprint|
        blueprint.attribute :id
        blueprint.attribute :name
      end
      @obj = DatamapperObject.new(1, "Kogler")
      @obj.save
    end

    it "adds all instances of a class to the index" do
      XapianDb::IndexWriters::DirectWriter.reindex_class DatamapperObject
      expect(XapianDb.database.size).to eq(1)
    end

    it "accepts a verbose option" do
      # For full coverage the progressbar gem should be installed
      begin
        require 'ruby-progressbar'
      rescue
      end
      XapianDb::IndexWriters::DirectWriter.reindex_class DatamapperObject, :verbose => true
      expect(XapianDb.database.size).to eq(1)
    end

    it "adds all instances of a class to the index" do
      XapianDb::IndexWriters::DirectWriter.reindex_class DatamapperObject
      expect(XapianDb.database.size).to eq(1)
    end

    it "uses the blueprint base query if specified" do
      XapianDb::DocumentBlueprint.setup(:DatamapperObject) do |blueprint|
        blueprint.attribute :id
        blueprint.attribute :name
        blueprint.base_query { DatamapperObject }
      end
      expect(XapianDb::DocumentBlueprint.blueprint_for(:DatamapperObject).lazy_base_query).to receive(:call).and_return DatamapperObject
      XapianDb::IndexWriters::DirectWriter.reindex_class DatamapperObject
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Markéta is a feminine Czech given name, equivalent to English Margaret. Notable people with the name include:

Markéta Hajdu (born 1974), Czech hammer thrower
Markéta Irglová (born 1988), Czech musician and actress
Markéta Jánská (born 1981), Czech model
Markéta Vondroušová (born 1999), Czech tennis player
Markéta Štroblová (born 1988), Czech pornographic actress

Czech feminine given names


text:
Solo Work
Accordion Revolution
Accordions 4 Kids USA
Repairs & Supplies
Click to see a video of Jim playing at Sal's
On Friday nights, from 6.30 p.m, you can hear Jim Rice playing Italian songs throughout the restaurant.
Jim Rice, or Giacomo Riso, as he is sometimes called, has been serenading guests at Sal's by Victor for ten years. Jim first met Chef Victor ten years ago at the Williamsburg Winery where they both supported the first Colonial Italian American Organization, CIAO, Festival. Following the successful festival, Victor asked Jim to audition at the restaurant.
Jim enjoys playing and singing songs from Italy because they express all types of human emotions. Jim especially likes to help customers celebrate their special occasions with his music such as birthdays, anniversaries and wedding rehearsal dinners. Children are often hypnotized by his magic box when they sing nursery rhymes to his tunes.
Jim performs at private and public events and also teaches accordion lessons.
Jim Rice © 2019. All Rights Reserved.
website designed and maintained by richmond media


We are waiting for that Niantic decides to include a hundred additional Pokemon in its augmented reality, and that in theory we see imminently, but meanwhile we can comply with the version 0.49.1 that already is Google poised to Play.
This update adds some more information screens partner Pokemon, gyms and pokemon, but without doubt the most important change and that it will make more than one exclaim "it was already time!" is the possibility of transfer at the same time more than one Pokemon Professor Wilow. About time!
Until now, if you've captured 100 pidgeys which you wanted to undo to collect the same amount of candy, should suffer, and long. The game does not makes it very easy and its layers upon layers design makes the task incredibly boring. You must play in the pokemon, touch menu, touch in transferring and finally confirm. Now multiply that by 100%.
With this update you can Select multiple pokemon in one fell swoop and then transfer them all at once, It will save a lot of time after a session of intensive hunting.
In a pokemon information It shows how many miles has toured with en companion mode.
In the companion Pokemon window It shows how many sweets have to walk with your friend base.
These changes will come to your game as soon as the update reaches Google Play. Niantic warns that it is in process, so it should not take more than a few hours or long days. About 100 additional pokemon of time without news….
Jolla sailfish & MeeGo: Believed dead live longer!


Item: 19-1677 - Type: Cross Stitch Patterns.
"All Guests must be approved by the dog(s)" Model stitched on 30 Ct. Parchment Linen using Weeks Dye Works, Gentle Art Sampler Threads, and DMC floss (or all DMC white, 610, 3371, 535, 930, 807, 989, 3328, 422, 310). Optional 2 Doggy Bones buttons #4538 from Just Another Button Company. Stitch count is 92W x 92H.


text:
Soul Almighty - Natural Mystic II
Исполнитель: Bob Marley
2005 регги
Soul Almighty
Do It Twice
Back Out
Put It On
Fussin' And Fightin'
Corner Stone
African Herbman
Rebels Hop
You Can't Do That To Me
ЛейблAvid Entertainment
And it's the same — The same (wo-o-o-o) philosophy I've said it's four hundred years; (400 years, 400 years. Wo-o-o-o, wo-o-o-o)
And it's the same — The same (wo-o-o-o) philosophy I've said it's four hundred years; (400 years, 400 years. Wo-o-o-o, wo-o-o-o) Look, how long (wo-o-o-o) And the people they (wo-o-o-o) still can't see. Why do they fight against the poor youth of today? And without these youths, they would be gone — All gone astray Come on, let's make a move: (make a move, make a move. Wo-o-o-o, wo-o-o-o) I can (wo-o-o-o) see time (wo-o-o-o) — time has come, And if-a fools don't see (fools don't see, fools don't see. Wo-o-o-o) I can't save the youth: The youth (wo-o-o-o) is gonna be strong. So, won't you come with me; I'll take you to a land of liberty Where we can live — live a good, good life And be free. Look how long: 400 years, (400 years, 400 years) — Way too long! (wo-o-o-o) That's the reason my people (wo-o-o-o) — my people can't see. Said, it's four hundred long years — (400 years, 400 years. Wo-o-o-o) Give me patience (wo-o-o-o) — same philosophy. It's been 400 years, (400 years, 400 years) Wait so long! Wo-o-o-o, wo-o-o-o. How long? 400 long, long years.
400 YearsRemastered
Billy Bryan
Never Say
Versatile Four
I Took My Baby Home
The Dreamlovers
La Gran Carrera
Carlos Puebla
I Missed The Boat
Chuck Baker
Voodoo In My Basement
The Lovin` Spoonful


text:
Il singolare del torneo di tennis Challenger DCNS de Cherbourg 1995, facente parte dell'ATP Challenger Series, ha avuto come vincitore Gianluca Pozzi che ha battuto in finale Kenneth Carlsen 1-6, 7-6, 6-4.

Teste di serie

 Jeremy Bates (quarti di finale)
 Gianluca Pozzi (Campione)
 Kenneth Carlsen (finale)
 Karim Alami (secondo turno)

 Jean-Philippe Fleurian (quarti di finale)
 Ronald Agénor (primo turno)
 Filip Dewulf (primo turno)
 Rodolphe Gilbert (semifinali)

Tabellone

Finale

Parte alta

Parte bassa

Collegamenti esterni

Challenger DCNS de Cherbourg 1995


text:
Q: Why my text is crushed in a larger device? do you the difference in the text with the bold font ("El reloj para ciegos...") ?

In my S3 Mini

In my Galaxy Tab 2 7'
 <TextView
                android:id="@+id/detalle_titulo_comercio"
                android:layout_width="wrap_content"
                android:layout_height="wrap_content"
                android:layout_marginBottom="5dp"
                android:layout_marginLeft="5sp"
                android:text="T"
                android:textAppearance="?android:attr/textAppearanceLarge"
                android:textColor="@color/gris_us" />

detalle_titulo_comercio.setTypeface(Configuracion.Tf_futura_bold);

Configuracion.Tf_futura_bold = Typeface.createFromAsset(ac.getAssets(), "fonts/futurabold.otf");

Thanks!

A: I see you are using a ".otf" font file. Convert it to ".ttf" and try again. Android is not good with .otf and this is probably why you get this bug. There are free converters online, try this one:

http://www.freefontconverter.com/


Introduction: Aflatoxin M1 (AFM1) in one of the most common mycotoxins that can often be found in dairy products and has some serious complications. The aim of this study is to assess AFM1 contamination of pasteurized cheese produced by two dairy factories in Tehran.
Methods: In this cross-sectional study, 100 samples of pasteurized cheese produced by two factories were gathered in both winter and summer seasons and examined by ELISA technique for AFM1 contamination. Data were analyzed by SPSS using T-test and Man-withiney statistical tests.
53.39 (±51.90) ng/kg. AFM1 contamination of six samples (9.3% of positive cases) exceeded Iran's standard level (200 ng/kg). Mean contamination of AFM1 in summer cheese samples was significantly lower than winter samples (p< 0.03).
Conclusion: The finding of this study showed that produced cheese in Iran have high contamination of AFM1 which can threaten public health. Better control of animal feeding and dairy factories can reduce AFM1 contamination in dairy products.
Hakim Research Journal 2011 13(4): 219- 225.


Gasmilla is calling for unity among the music industry players to help push the sector.
Speaking on Hitz FM, the artiste stated that lack of unity can bring the industry down.
"Every year Nigerians bring a new dance. With the new dance comes a new song. It does not matter who brings the dance; Davido, Wizkid, Burna Boy and all the others will join in the trend which helps sell the song and the dance to the world," he said.
Gasmilla bemoaned how Ghanaians do not support themselves as much.
He told host Andy Dosty that artistes and DJs fail to understand that when they help themselves, they help the industry to grow.
The artiste explained if a dance originates from James Town, people in the Volta Region may ignore it because they do not like the former.
The 'Telemo' hitmaker added he knows DJs who do not play songs belonging to other artistes. According to him, the DJs feel those artistes are either rude or ungrateful.
"I tell them, if you don't play their songs, you are killing your industry and building somebody else'. You as a DJ your songs won't be the biggest thing in the world. You will not be getting gigs, neither will the artiste, so we all dey suffer," he said.


Scientists and research institutes are challenging the idea that uncertainty in research is a reason for people to worry about the reliability of findings.
Researchers in climate science, disease modelling, epidemiology, weather forecasting and natural hazard prediction say that we should be relieved when scientists describe the uncertainties in their work. It doesn't necessarily mean that we cannot make decisions – we might well have 'operational knowledge' – but it does mean that there is greater confidence about what is known and unknown.
That uncertainty can be abused to undermine evidence or to suggest anything could be true: from alternative cancer treatments to anthropogenic CO2 not changing the atmosphere.
Why uncertainty is not a barrier to taking action – decision makers usually look for a higher level of certainty for an operational decision (such as introducing body scanners in airports) than for a decision based on broader ideology or politics (such as reducing crime rates).


text:
HEART & SOUL: Kindred The Family Soul Talks Family, Music and Sacrificing For Love
Fatin Dantzler and Aja Graydon seem to do the impossible: Live, work and play—together. To let them tell it, it's not an impossible feat, only a challenge that requires intense commitment and sacrifice. After eight years performing professionally, the duo—collectively known as Kindred The Family Soul—has maintained a spirit that is down-to-earth relatability, and a love that is rooted in mutual respect. "Through the challenges of balancing life, love, family and music; we continue to grow with one another", says Dantzler.
The parents of six children, the Philadelphia based couple have managed to keep their musical machine going since their 2003 debut, Surrender To Love, and are now gearing up for the release of their fourth album—appropriately titled—Love Has No Recession. "We have prevailed over hardship, stayed true to our mission, and truly enjoyed success in a musical landscape that doesn't exactly reflect what we're about," says Graydon.
So what's the secret behind this seemingly unbreakable bond? Can an "average" couple really have it all?
So how do you feel like you've been able to handle working and being together?
Aja: There [are] two separate marriages, really. There have been things over the years that have hurt my feelings that have been strictly business. When we're in the vocal booth, it's a vulnerable place to be. We–for the most part–produce our own vocals all the time. Having him produce my vocals all the time is like, "Sing that again!" [But] there are sensitive moments. It goes back and forth.
How do you handle those sensitive moments without letting it break you guys down?
Aja:Oh you learn to be a professional, period. That goes in your box of tricks no matter who you're working with. Just because it's your husband doesn't really change things–for me it doesn't. We don't ride back home and I go, "Mmhmm! You were too rough in the studio tonight, you're not going any!"
Fatin: Yes she does!
Aja: No I don't! Lies! (laughs)
People that have been together a long time usually keep dates as a way to keep it spicy and fun, what do you all do?
Fatin: Because we're out and about doing things and because we have as many children as we do, we have to find that time and balance when we're working. The kind of job we have has a lot of leisure involved. We're not always having a great time with nothing to do, but we're travelling to places and staying in a lot of hotels. So we get that quality time. We have romantic getaways pretty much every week.
Aja: Other couples call it vacation sex, ours just happens…
Fatin: To be our job! (laughs)
How do you feel you handle the little blunders along the way?
**read their response and the rest of the interview here**
rhapsodaniAuthor website
BET, Centic TV, centric, interviews, music
Soul's Best Kept Secret: UK Based Singer Rhian Benson Proves She's Not A Carbon-Copy Of Sade
Bag Lady: Housing Works' Buy the Bag Sale


The Bombay High Court has acquitted Mahendra Prave, sentenced to death by the trial court for killing his two minor daughters by throwing them in a well. The court held that insufficient evidence and botched investigations have failed to prove his guilt beyond reasonable doubt and he was, thus, exonerated of the offence.
The 36-year-old resident of Buldhana district, Mahendra Parve, was alleged to have killed his two minor daughters by throwing them in a well in the early hours of 26th January, 2014. The prosecution alleged that the night before he had reached home in an 'inebriated' state and upon seeing his father-in-law, lashed out at his wife. He allegedly threatened to kill his two daughters as well. The next morning, the accused took the girls on pretext of buying chocolates and threw them in a well. As per the details, after the commission of offence, Parve confessed about his act to one of the villagers, Bhimrao, who informed his family, and a police complaint was later filed. The police recovered the bodies and arrested Parve.
In his defence, he pleaded innocence and denied the allegations and said his uncle Sahebrao Parve had taken custody of the girls and had killed them. The trial court, however, dismissed his contentions and convicted him for murder relying on circumstantial evidence.
The division bench of Justice BP Dharmadhkari and Justice AS Chandurkar afforded benefit of doubt to the accused, citing several missing links in the prosecution story which failed to present substantial evidentiary material.
The court also slammed the prosecution and witnesses for 'suppressing material facts' and 'not assisting the state in punishing the guilty' and issued notices to his wife Chhaya, assistant public prosecutor PT Lohudkar and three witnesses, asking why action should not be taken against them for serious lapses. They have been asked to reply by December 1st.
The court also pointed out that the prosecution could not examine Bhaskar Pavre, to whom Bhimrao allegedly communicated the admission of murder by Mahendra (extra judicial confession) first, which could have proved to be a crucial link.
It was held that 'merely because the girls were last seen with their father and their dead bodies were found in the well thereafter, an inference of guilt of father cannot be reached. The inability to explain the whereabouts of daughters by a father by itself is not a circumstance which can be construed as missing link in this situation'.
The court observed that there was no apparent evidence to connect the accused to the crime. It was also noted that there was no eyewitness who can corroborate commission of offence or his presence in the vicinity.
The accused was exonerated as the court found the evidences at hand as insufficient to prove his guilt and also stated that 'failure to explain or substantiate his defence, cannot, in present situation, in absence of any motive, be viewed as an adverse circumstance against Mahendra '.


Used by top intercounty players the Mycro Glove is a Lightweight compact design with grips on all inside surfaces. Gloves are for protection, with palm not covered. Right Hand.
The official Meath GAA home jersey includes 3 stripes on the sleeves, the Meath crest and Devenish s..


PostgreSQL Subquery as predicate in WHERE clause.
In Exploring subqueries in PostgreSQL – Column names and expressions, I discussed generating SELECT statement columns and expressions with subqueries. This blog post will visit another common pattern. Subqueries as predicate filters in the WHERE clause.
Exploring subqueries in PostgreSQL – Column names and expressions.
There is an old saying that there is more than one way to skin a cat. Fear not, I won't be skinning any, but that saying applies for many queries within PostgreSQL (and SQL in general). While the structure of some queries are ideal for execution, speed, and performance others are useful for analysis, exploration, and reporting. In this blog post, I'll explore using subqueries to generate SELECT statement columns.