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Article Library / 2016
JPPI Launches Its Pluralism Index in Israel
By: Shmuel Rosner, Prof. Steven W. Popper, Noah Slepkov, Dr. Shlomo Fischer
The results of a survey published today as part of the Jewish People Policy Institute's Jewish Pluralism in Israel Index, supported by the William Davidson Foundation, finds that almost 90% of Jewish Israelis feel "comfortable" or "very comfortable" to be themselves in Israel. Comfort is greatest among those who define themselves further to the right on the political or religious spectrum (22% of the sample); over 90% feel "very comfortable" or "quite comfortable" "being themselves" in Israel. Among those who define themselves as belonging to the left (4.9% of the sample), nearly half do not feel comfortable being themselves in Israel. A significant majority of the Israeli Jewish public (over 80%) feels that "secular, traditional, and religious Jews are all equally good Jews."
Public perceptions about which specific sectors of Israel society "contribute" more or less to the success of the country are that soldiers are viewed most positively, significantly more than any other group. Two groups whose children tend not to serve in the military, Muslim-Arabs and the ultra-Orthodox, are perceived as contributing least to the success of the country. Interestingly, the Druze community is held in a relatively positive light. Other notable findings include: Diaspora Jews are viewed more positively than Israelis who choose to live abroad; and the majority of Israelis appreciate the contribution of Ethiopian immigrants. "This is because Israelis care most about those who share the burden of living in the state," according to JPPI President Avinoam Bar-Yosef.
The Index finds that there are different, sometimes opposing understandings of the meaning of "pluralism" and how it should be implemented in Jewish-Israeli society. Despite this, the Israeli Jewish public tends to accept pluralistic values even with the sharp religious and political differences among its society's various groups. JPPI defines Jewish pluralism as: "The condition in which Jews of different social classes, ideologies, religious streams, levels of beliefs and practices, genders, and ethnic backgrounds have equal opportunity to legitimately exercise their differences in the public sphere."
Bar-Yosef said that the survey was conducted as one component of its Jewish Pluralism in Israel Index, which itself is part of a comprehensive JPPI project on pluralism in Israel and among the Jewish people. The project is being led by JPPI Senior Fellow Shmuel Rosner. "At this point, the research will focus on the Jewish population in Israel. Next year, JPPI will undertake a special effort to examine how sustaining a Jewish framework affects Israel's minorities."
Bar-Yosef added that "The index is intended to provide a yearly and objective measurement that goes to the ability of each Jew to feel at home in the Jewish state. Seemingly, there is a significant gap between the problematic image of Israeli society held by some of world Jewry, that it is not liberal, open, or welcoming enough, and the picture that arises from the research that led to building the Index. My assessment, based on the research conducted so far, is that there is a tension created between the desire of the vast majority of Israeli Jews to maintain a unifying structure and a Jewish character to the state, and between the goal shared by many Diaspora communities, especially their more liberal elements, to welcome and embrace all those who identify as Jews and who feel some sort of connection to their roots."
Sixty percent of Israeli Jews believe civil marriage should exist in Israel according to the JPPI survey. More than 56% of Israeli Jews think the Israeli government should be more considerate of minority opinions, while almost 48% feel there is too much freedom of expression in Israel. Additionally, the survey finds that 44% of Israeli Jews would like non-Jews to also attend their children's schools.
Other issues relating to pluralism examined in the survey show that most Jews feel that "There is no need to allow women to wear tefillin (phylacteries) at the Western Wall." A significant majority is opposed to the statement: "It is preferable that homosexuals not serve as Knesset members."
The survey, conducted by Panels Politics, sampled 1031 individuals. The breakdown of those respondents who self-identified by religious affiliation is as follows: 30.4% secular; 20.8% secular traditional; 22.5% traditional; 4% as liberal religious; 10.3% as religious; and 10.1% as ultra-Orthodox (Haredi).
Statistical analysis for the Pluralism Index and the methodological development was led by Professor Steven Popper, a Senior Fellow of the Institute, together with JPPI Senior Fellows:Professor Uzi Rebhun, a demographer; Dr. Shlomo Fischer, a sociologist; Shmuel Rosner; and Noah Slepkov, a Fellow of the Institute.
Click here to download a PDF of the presentation


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Agent Quotes
Flood History
Flood Facts
A mortgage from federally regulated insurance lenders require you to have flood insurance in high-risk areas.
More than 5 million people in the United States currently have flood insurance policies that span more than 20,200 cities and communities.
In terms of damage and economic loss, floods continue to rank as the most destructive natural disasters in the nation.
In the last 30 plus years, the NFIP has paid out more than $35 billion for flood insurance claims and related costs.
Over $16 billion in flood claims were awarded by the NFIP in the year 2005 alone.
One interesting flood insurance fact is that 1/3 of all claims that were paid by the NFIP in the United States in 2009 were actually for policies that were insured in low-risk areas.
You may be eligible to qualify for an insurance premium discount of up to 45%, if your community participates in the 'Community Rating System' (CRS).
In the decade from 1994 to 2004, the annual flood loss averages in the United States were in excess of $2.4 billion.
In many cases, it takes 30 days after the purchase for a policy to fully in force, so it's important to buy insurance before floodwaters start to rise.
During the course of a 30-year mortgage, your home has a 26% chance of being damaged in a flood. The chance of your home being damaged by a fire is only 9%.
Your area can experience an increase in flood risk due to new land development, this is done by construction changing natural runoff pathways.
If you receive federal disaster assistance, a loan that must be paid back with interest). Your monthly payments would likely be around $240.00 a month ($2,880.00 a year for 30 years) as long as your interest rate is around 4%. You can compare that to a flood insurance premium of $100,000, which is $400.00 a year or $33.00 a month.
Flash flooding has the potential to raise the walls of water to heights in excess of 10 feet, potentially up to 20 feet high.
There are some causes of flooding that are often overlooked, these include hurricanes and the snow melting from winter storms and blizzards.
Two feet of flood water is actually enough water to easily carry away an automobile.
With sustained winds that reached 125mph, and gusts even higher, Hurricane Katrina caused some of the worst devastation the United States has ever seen. To this day, states including Louisiana are still in the process of rebuilding and recovering.
Although you wouldn't think this fact is true, just one inch of water has the potential to cause significant damage to a business or home.
Your mortgage lender will require you to have flood insurance if you live in a Special Flood Hazard Area (SFHA) or a high-risk area and have a federally backed mortgage.
Great Mississippi Flood of 1927 was one of the costliest and destructive river floods in United States history.
Everyone lives in a potential flood zone.
For more policy and claim statistics, visit the National Flood Insurance Program.
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John Scofield's guitar work has influenced jazz since the late 70's and is going strong today. Possessor of a very distinctive sound and stylistic diversity, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, funk edged jazz, and R & B.
Born in Ohio and raised in suburban Connecticut, Scofield took up the guitar at age 11, inspired by both rock and blues players. He attended Berklee College of Music in Boston. After a debut recording with Gerry Mulligan and Chet Baker, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus, and joined the Gary Burton quartet. He began his international career as a bandleader and recording artist in 1978. From 1982–1985, Scofield toured and recorded with Miles Davis. His Davis stint placed him firmly in the foreground of jazz consciousness as a player and composer.
Since that time he has prominently led his own groups in the international Jazz scene, recorded over 30 albums as a leader (many already classics) including collaborations with contemporary favorites like Pat Metheny, Charlie Haden, Eddie Harris, Medeski, Martin & Wood, Bill Frisell, Brad Mehldau, Mavis Staples, Government Mule, Jack DeJohnette, Joe Lovano and Phil Lesh. He's played and recorded with Tony Williams, Jim Hall, Ron Carter, Herbie Hancock, Joe Henderson, Dave Holland, Terumasa Hino among many jazz legends. Throughout his career Scofield has punctuated his traditional jazz offerings with funk-oriented electric music. All along, the guitarist has kept an open musical mind.
Touring the world approximately 200 days per year with his own groups, he is an Adjunct Professor of Music at New York University, a husband, and father of two.
26 Minneapolis, MN
27 Evanston, IL
28 Cleveland, OH
29 Indianapolis, IN
13 Brooklyn, NY
22 Nashville, TN
28 Scranton, PA
04 Rockport, MA
17 Brookfield, WI
03 Tulsa, OK
04 Houston, TX
05 Austin, TX
08 Portland, ME
28 Amsterdam, Netherlands
29 Wien, Austria
30 Dresden, Germany
01 Plovdid, Bulgaria
03 Bern, Switzerland
04 Prague, Czech Republic
05 Gliwice, Poland
06 Paris, France
08 Ingolstadt, Germany
09 Groningen, Netherlands
13 Ghent, Belgium
14 Leuven, Belgium
16 Düren, Germany
17 London, England
19 Oldenburg, Germany
20 Worpswede, Germany
21 Barcelona, Spain
22 Madrid, Spain
23 Zaragoza, Spain
See tour page for more dates and band + venue info.
taping policy
© 2015 Longsolo Inc.
Follow John on FACEBOOK
Throughout the world excluding Europe:
International Music Network
Contact: Alycia Mack
Email: alycia @ imnworld.com
Saudades Tourneen
A-6200 Rotholz 369a
Tel: (+43) 5244-61151
Fax: (+43) 5244-61155
Contacts: Jakob Flarer
Email: jakob @ saudades.at


text:
Manifest: S.N.A.F.U.
by Baby M
"I had to know that the callings were right, that it is all connected."
"Connected to what?"
"To us, to each other. That's what all of this is for. It has to be."
"Great. You got a sign. Where's mine?"
In this episode, Ben goes undercover as an accountant and card shark, while Michaela and Jared put one of her callings to good use in solving a murder.
After Cal is released from the hospital, Ben hires on at a meganormous accounting firm with a lot of "Tier 1" clients including General Electric Unified Dynamic Systems, where his supervisor is a boisterous Flight 828 fanboy. While Ben doesn't have access to the GE UDS account because he's in an entry-level position, he does manage (thanks to some effective amateur spycraft) to find out that celebrity fellow 828 passenger Fiona Clarke is on the UDS payroll via something called "SP."
Fiona Clarke, it turns out, is something of a wild card. Once a well-respected neuroscientist and CIA advisor-analyst, she became fixated on the idea of developing "collective consciousness"--networking everyone's brains to everyone else's by stimulating "mirror neurons"--and wandered out of the scientific mainstream and deep into Deepak Chopra territory. Her newfound notoriety as an "828-er" has her back on the lecture circuit espousing her deep(ak) theories. Ben and Saanvi learn from her that "SP" is a private nonprofit called the Singularity Project.
Using the office poker game to facilitate a bit of social engineering, Ben eventually wrangles enough access to the UDS account to download all of the raw data on SP onto a flash drive. On his way out of the office, he's intercepted by none other than Director Vance, who has been reading Ben's text messages to Saanvi and demands that he either turn over the drive or face arrest for corporate espionage. Ben hands the flash drive over, and Vance takes it...
...home with him, not to the NSA office. Convinced that Ben is really on to something, he's decided, for now, to look into things personally and keep his own agency out of the loop.
Meanwhile, Michaela gets another calling in the form of a heartbeat only she can hear and feel. It leads her to help Carlos, a young man who witnessed the murder of his uncle. Jared is remarkably cool with the idea of following Michaela's calling, and it eventually leads them to catch the killer. and convince Carlos not to take matters into his own hands In their last scene together, Michaela finds out that Carlos received a heart transplant, and that Evie was his donor.
At the very end of the episode, Michaela is talking to Ben about how the day's calling was a sign to her that it's all connected. (See quote at the top.) Ben quips that he hasn't gotten a sign, but there's one hanging right there on the refrigerator door. A drawing Cal did, a few days before the events of the episode, of Carlos with Evie's heart.
"828" Watch
No visual sightings this week, unless I missed something. Plenty of dialogue, though.
Also on the manifest...
The word snafu--originally an acronym for "Situation Normal, All [expletive]d Up"--was coined in the U.S. military around 1940. It first appeared in print in the September 1941 issue of the scholarly journal American Notes and Queries, and by the summer of 1942 was so commonly understood that a Life magazine article used it to describe the chaotic state of gasoline rationing. Beginning in 1943, the Army even produced a series of comical animated training films called Private Snafu.
(Fun facts: Private Snafu was created by Frank Capra, director of It's a Wonderful Life, written by a team including Theodore S. Geisel (Dr. Seuss!), had episodes directed by Warner Brothers animators Chuck Jones, Fritz Freling, and Bob Clampett, and featured voice actor Mel Blanc playing the title character.)
So what's the "snafu" that the title refers to? Vance intercepting Ben and getting the flash drive? The Ben-Olive-Danny dynamic? Or something else entirely?
Those "mirror neurons" Fiona Clarke talks about are a real thing--"a neuron that fires both when an animal acts and when the animal observes the same action performed by another"--and you've got oodles of them in your brain. They're not well understood, but some researchers consider them the neurological foundation of empathy.
I find it interesting that the three main passenger characters are sort of points on a continuum. Ben is an almost pure materialist, and is certain he can figure everything out; Michaela has been more or less running on faith ever since the plane landed. Saanvi is right in the middle: she's a scientist and looks at things analytically, but she also accepts that there are things happening to her and the other passengers that science can't explain. I get the impression from a couple of passing remarks in previous episodes that her parents are observantly religious, and this has rubbed off on her to at least some degree.
The third main subplot involves Olive going rock-climbing with Danny, something he did with her that helped her deal with her depression. This leads to some major Ben-to-Danny awkwardness.
The Michaela-Carlos conversation on revenge and the consequences of taking a life reminded me a little of the conversation between John Reese and Dr. Tillman in one of my favorite Person of Interest episodes, "Cura Te Ipsim."
Fiona's lecture takes place on Friday, November 16--four days after the first broadcast of the episode.
There's a short, beautiful scene where Michaela, after discovering that Evie was Carlos' organ donor, goes to visit Beverly. In the throes of dementia, Beverly is worried that Evie hasn't come home. Michaela tells her, "I saw Evie today. She's okay."
In a single evening, Ben goes from the office to the 7:00 pm Fiona Clarke lecture to the after-hours poker game and back home, and somehow manages to sneak dinner in there somewhere, in New York City traffic. Bet you couldn't do that.
When Ben first mentioned "SP," I was secretly hoping it would turn out to be the Southern Pacific railroad.
Ben's supervisor Ronnie is the "copy machine guy" from early-'90s Saturday Night Live, garnished with a sprig of Jar-Jar Binks.
Fiona Clarke, to Kelly Taylor, in a flashback: "This flight isn't happening to you, it's happening for you... Now we're all in this together." What the devil did she mean by that?
Ronnie: "You can tell me what it was like when you met the aliens."
Ben: "They were nice. Smelled great."
Cal, to Ben, in reference to Vance: "You don't have to worry. He's not a bad guy, Dad. Not anymore."
Ben: "I want to believe there's a--a reason, but it requires this leap of faith and I can't... I can't trust what I don't understand."
Michaela: "I don't understand it any more than you do. But I take that leap, and I follow the calling. And I feel better. For the first time since Evie, I feel like I might just be okay."
Collective consciousness, everyone's brain networking to everyone else's. Does that seem like a good idea to you? I suspect Fiona Clarke's never seen any of the Star Trek TNG episodes with the Borg; otherwise, she might not be such an enthusiast.
Fiona touts collective consciousness as a defense against "the threat of A.I." There's a cheerful scenario for you: a forced choice between erasing your individuality and joining the hive mind or becoming an NPC in an all-powerful computer's sandbox game.
But Manifest seems to be giving us a third option: Romans 8:28. Answering a call, and working together for good under the benevolent guidance of a power greater than any one of us. If that's where Manifest is heading, if the ultimate answer to the mystery of Flight 828 is God, well, that would be rather radical for modern American television. Can't wait to see it.
Three and a half out of out of four flash drives.
Baby M has never attended an after-work poker game, but would if his workplace actually had them.
Manifest season 1
Manifest home
Tags: Baby M, Manifest
Billie Doux said...
I enjoyed this one. Although I kept thinking about how you never really have time alone on your first day at work because of orientation and getting IT stuff set up and realizing you can't access stuff you need and talking with your supervisor about your workload, not to mention training and getting supplies for your new desk, and people stopping by your desk all day to introduce themselves... I think I'm too practical about this sort of thing. Completely unsuspended my belief.
Thursday, November 15, 2018 at 11:25:00 PM EST
Juan said...
Interesting review Baby M, congrats. To be honest I didnt have such high hopes for this series. I thought that it trys to much to copy Lost. But I must confess that now Im starting to like it. I think Im hook.
The whole idea of a collective consciousness is an interesting one. I have never understood why the Borg were evil, or at least there actions seem evil to an outsider. Im not convinced that a unified collective of minds would be inherently evil, perhaps they coud have indifference or unfeelingness towards the suffering of lesser beings, but Im not sure. A superior mind should in theory have also a superior undertanding of the universe and and a superior compassion. Since the writers of Star Trek have never revealed the origin of the Borg, we can never understand why are so fixated on hurt and assimilate others.
Surelly there would be various advantages of a unified mind, as Janeway herself describe it, "...a vast consciousness, billions of minds working together, a harmony of purpose and thought, no indecision, no doubts. The security and strength of a unified will...". Thats an interesting concept. It remind me of one of the central plots of the anime Neon Genesis Evangelion, the Human Instrumentality Proyect and the definition of Self.
Acording to the holistic theory of the series, there two self identities, the one in our heads, the concept that we have of ourself, our ideas, our experience, and the concept of ourself in the head of others. Those are also part of our identity but we cant have complete access to them, so our concept of self identity is fracture. We live a separate existence. We could never truly understand each others because of that, nor archive truth happiness. So what the Instrumentality Proyect seeks is to complete our existence, in a scenery where all the minds and souls of all human will unified in a single being, thus archiving unification of self....an eternal life somehow (?)
Anyway I didnt expect Manifest to pose such an intriguing ideas. I will keep watching, and reading Douxreviews about it :)
Friday, November 16, 2018 at 1:54:00 AM EST
Baby M said...
There's a case to be made that there is nothing automatically evil about the desire for society-wide unity. One of my favorite commentators, Jonah Goldberg, argues that it's an impulse hard-wired into human nature, and I think he's right. On the other hand, free will is also hard-wired into human nature, and appeals to enforced social unity are found in the sales pitch for every totalitarian dystopia and every charismatic tyrant and every cult from 1984 to Mussolini ("Everything within the state, nothing outside the state") to Jonestown to the Kim dynasty.
Baby M, very cool that you're a Jonah Goldberg fan, I am as well. Even met him on a plane a couple of Thanksgivings ago. :)
I'm still really enjoying this show, especially how well it balances what X-Files fans would call mythology arcs with the more real-world character moments. The only part that continues to frustrate me is that the two "love triangles"(-ish, they're both a bit unconventional) completely bore me. Michaela/Jared/Lourdes just feels like a bad soap opera, and the only part of Ben/Grace/Danny that I've found interesting is how Olive impacts it, having formed her own bond with Danny while Ben was gone.
Much as I really like the core trio of 828'ers(Ben, Michaela, Saanvi), I would love to see more of them become a significant part of the mythology arc. Right now they remind me of the guest scientists who would appear in episodes of Eureka, rarely to be heard from again. Granted, it's still pretty early in the show's run, but we know those three aren't the only ones who've been receiving "callings", it would be interesting to see how some of the others have responded.
Friday, November 16, 2018 at 4:56:00 PM EST
Re: collective consciousness
Nobody read Asimov's take on it, i.e., Gaia?. You can read it in the final (and arguably inferior) Foundation books... Going by memory, those were Borders of the Foundation and Foundation and Earth. Although that's my translation from Spanish, perhaps the titles in English were different (Spanish publishers tend to be really idiotic about that).
For me, it sounded really good: a global consciousness that you could pull strength or knowledge from, but that you could also keep out if you wanted (but according to the Gaian in the book, whose name I don't remember right now... why would you?. Guess that's what she had lived all her live and had no problem with it).
Thanks for the reviews, it's my first comment for Manifest, which I have to say (I've watched it up to 1x08) that has surprised me very favorably when I expected that it would be Lost Lite (and I hate Lost with a passion after that last season), but with mediocre leads.
Wednesday, November 28, 2018 at 7:35:00 AM EST
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Thanks to the power of modern technology, we are able to gather data and analyze it to bring to you the 2015 Top Wedding Requested Songs Houston. Based on client's previous inquiries throughout the 2015 year, from all the wedding DJ websites around the US, this list was created. Which may be the reason some songs are ranked higher than others and does not really reflect our Houston area, but nevertheless, this list proves to be helpful.
If you need help finding some songs to give to your dj for your upcoming wedding reception, feel free to use this list. If you are a client of ours, you will be able to download this from our members area in one PDF and have it at your disposal.
The list consists of a mix of some of the newer songs along with some of the old time classics, and new this year on the list is what we are now starting to call, classic hip hop, which is hip hop from the 80's and 90's.
The #1 song is uptown funk, and that is no surprise, since it has been a very popular songs for the 2015 year, and the #2 song is Don't Stop Believin' by Journey, a very popular 80's song that everybody loves to sing. All songs, are songs that you've heard before.
Below will be the list you can read, image files showing the list you can save to your computer, as well as the PDF we hand our clients to help them in their music choices.
59 Cyrus, Miley Party In The U.S.A.
110 Avicii Wake Me Up!
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Again, the book is free through Saturday, so hope that you can check it out!
Due to the constant evolution of search engine algorithms, it's important to keep your SEO practices up to date. If Google Panda and Penguin (and now, Penguin 2.0) have proven anything, it's that some techniques quickly become outdated. Many tactics that worked last year are completely ineffective now. That's why it's necessary to make the proper adjustments along the way. Let's take a look at some of the top SEO trends of 2013 and how to use them to benefit your campaign.
A few years ago, mobile devices like smartphones and tablets were just starting to catch on. According to Marketing Land, almost 40 percent of people are now accessing the Internet via mobile devices. When it comes to social media, that figure is even higher at 55 percent. If this growth pattern continues, half of all Internet browsing will be done on mobile devices within a few years.
This means it's never been more important to adapt to this trend and make your website content mobile-friendly. Otherwise, you're giving up traffic, conversions and sales. Even if you offer a fantastic product/service and have a great-looking site, mobile users are likely to go to competitors when they have a negative experience on your website due to its lack of mobile-optimization and become frustrated. Luckily, there are a few ways to meet the demand for mobile.
RWD is more expensive, but ensures a seamless experience for users regardless of screen size or mobile device. Additionally, RWD preserves SEO value for users performing searches from their mobile device. All things considered, I recommend RWD.
In the past, it was often possible to perform a little keyword research, mindlessly stuff keywords into a body of text while offering little value and climb the rankings. Things have changed quite a bit since then. With Panda, Google officially waged war on webmasters who use black-hat SEO techniques to manipulate search engines and frowned upon poor onsite user experience. Matt Cutts, the head of search quality at Google, has made it abundantly clear that web spam won't be tolerated and that quality content is crucial.
To climb the rankings, it usually requires content that's legitimately entertaining and/or provides value that people can feel. When content meets these criteria, it tends to get shared naturally on relevant websites, which increases the number of inbound links it receives. Using underhanded techniques like paying for links, spinning articles, creating links on irrelevant sites and general spam now have a negative effect, since the release of Google Penguin.
Even if you do somehow manage to get on the first page of Google's search results, visitors will quickly leave and never return if there's no real value. The best way to get ahead is to give your audience what they want. By focusing on quality and putting forth enough effort, your site should flourish, maintain solid rankings and be protected from future algorithm changes.
While it's still possible to rank well with shorter articles ranging from 300 to 500 words, it's advantageous to create longer articles that are more in depth. A study by Moz has shown that the higher the word count, the more links an article will get. Since the quantity and quality of backlinks are the strongest factor in the ranking algorithm, longer articles tend to result in higher rankings, more inbound links and more website traffic.
For this reason, it's more beneficial for webmasters to create a handful of 1,000+ word articles instead of dozens of 400-word or less articles. At the same time, it's important to stay away from fluff or filler content while giving readers enough details to properly drive a point home. When discussing complex information, use plenty of examples for clarification and try to provide images or data analysis when possible.
Social media is no longer simply a way for people to keep in touch with friends and family. It's become a way of life and the medium through which a massive amount of information is shared every day. According to Statistic Brain, Facebook alone had 1.2 billion users as of November, 2012. Also, a total of 2.9 billion hours are spent on YouTube each month. With mobile use on the rise, it's now possible for people to access their social media accounts on the go, which has further increased these numbers.
In order to boost your SEO power, get on board with social media. One of the easiest ways to do this is by making it convenient for people to share your content on the social media networks of their choice. By installing social share buttons, readers can quickly and easily share your content on their profiles, allowing their followers/friends to have instant access. Coaxing visitors to share information with a well-placed call-to-action is also helpful.
Besides this, establish a social media presence on at least Twitter, Facebook and Google+ if you haven't done so already. Creating a network and posting content where your audience spends time can quickly bring exposure for your brand and website, leading to increased website traffic, leads and sales. While the exact correlation between social shares and search engine rankings has been heavily debated, most experts agree that social shares offer at least some benefit to an SEO campaign.
Traditional text-based content is still a fundamental part of SEO. Since search engines crawl content and learn its meaning via text, it's important to optimize your text content accordingly. However, using multimedia such as pictures and videos has become more important. According to Search Engine Watch, images increase post interaction; videos have the same effect, but quite it's not as substantial. By including pictures and videos within textual content, you can reach your audience on a deeper level than by only providing text.
By using multimedia, you're increasing the likelihood that content gets shared. Following a few extra steps will make it easier for search engines to crawl pictures and videos so they will understand what the multimedia is about. This should result in a little extra SEO juice that can raise you above competitors and achieve a higher position.
In 2013, the adoption of Google Authorship has soared as industry professionals and business owners have come to realize its importance. Not only does successful implementation provide a boost to click-through rates in organic search results, Google has stated that it actually provides a ranking boost to content. It's rare for Google to confirm anything that affects rankings (due to their desire to protect their algorithm), so when Google makes such a clear statement about something like this, it's worth paying attention to.
Did I miss any trends? Let me know in the comments!
Here is a short clip of just a few of our recent events where we provided our beautiful LED Uplights and Monogram Design.


text:
November 15 - 21, 2020: Issue 474
Marine Rescue Broken Bay New BB30 - The Michael Seale
Marine Rescue NSW Commissioner Stacey Tannos, MP for Mackellar Jason Falinski, Michael Seale, NSW Minister for Police and Emergency Services David Elliott, MP for Pittwater Rob Stokes with the Michael Seale - photo by A J Guesdon.
The waterways of the northern beaches will be safer after the official commissioning of a new $613,000 rescue vessel for Marine Rescue NSW, ahead of the busy summer season.
NSW Minister for Police and Emergency Services David Elliott joined Member for Pittwater Rob Stokes and Marine Rescue NSW Commissioner Stacey Tannos to officially welcome the new vessel, Broken Bay 30, to the MRNSW fleet, on Saturday November 14th at the Compass Terrace of the Royal Motor Yacht Club Broken Bay. Unit Commander Jimmy Arteaga announced the vessel would be named after long-time member Michael Seale, who had committed 30,880 days or 38 years' service to MRNSW and the RVCP.
He said the naming was richly deserved, recognising Mr Seale's record of service and input in many roles, including as a vessel Master, a Director and Chair of the RVCP, his involvement in the purchase of the unit's vessels, a Director on the initial Board and Fleet Committee of MRNSW, Deputy Unit Commander and Administration Officer.
Pittwater MP Rob Stokes added further celebration to the Naming Ceremony when he announced 100 thousand dollars would be provided to upgrade the club rooms and base for the Marine Rescue Broken Bay unit through the state government's Community Building Partnerships.
Newport resident and Garigal man Neil Evers gave the Welcome to Country, specifically speaking of the place where all were meeting on the shores of Pittwater, provided insights into the theme for NAIDOC Week 2020 - Always Was, Always Will Be - of the oldest continuous culture in the world, from his perspective. His Welcome was rich with his own family history, connection to this Country, and stands as its own page this Issue.
Mr. Stokes spoke after Neil. Rob served as a 19 year old in the Royal Volunteer Coastal Patrol, and recalls a small room in the Royal Motor Yacht Club at Newport where training sessions were held and so continued Neil's theme by sharing some of the history that had been shared with him from then. He thanked Marine Rescue Broken Bay Unit Commander Jimmy Arteaga for his greeting of all present and Neil for his very thoughtful and appropriate Welcome to Country, continuing;
''Neil told us a lot about the Aboriginal history of this rich environment which we are the inheritors of. It brought to mind one of the earliest drawings of this place, made from either Taylor's Point or near the current Bayview Baths, 'View in Broken Bay New South Wales. March 1788', made by naval officer and diarist, William Bradley for his journal `A Voyage to New South Wales'. One of the features of that etching was some Aboriginal women in a dug out canoes, which bears testimony that this has always been a maritime port. The Pittwater of today is the largest recreational port in the nation. So ensuring that Marine Rescue has the capability to keep people safe on the water is obviously very very important.'' Rob said
''With that in mind I want to acknowledge all of the volunteers who are with us today and all of the Directors and everyone who serves in Marine Rescue NSW and makes it the successful unified organisation it is today.
Reflecting a little bit on the history of the Broken Bay unit – this unit has a history dating back more than 80 years, commencing in the 1930's. The antecedent of Marine Rescue Broken Bay was the Volunteer Coastal Patrol. I remember from many many years ago the flagship of the unit, or the division as it was called then, was The Krait, which was the vessel on which Z Force raided Singapore Harbour during the Second World War.
The Krait was later, from 1964, a rescue vessel with the then Volunteer Coastal Patrol and so BB30, Broken Bay 30, certainly follows in some very proud footsteps. It speaks further to the rich maritime history of this area when you find out that Z Force trained for that mission in the bays in and around Pittwater and Broken Bay. Rohan Walter, who is here today, reminds me that it was his work along with the West Head Awareness team that cleared away the bush at West Head to reveal the WWII Fortifications that stood at the entry of the Pittwater during the Second World War to prevent any risk of Japanese invasion. In fact, if you go up the Hawkesbury River, you will see embedded in the mud flats, the remnants of the HMAS Parramatta that saw service in the First World War. So there is all sorts of history around here of our proud maritime traditions and this is in many ways a historic day as it recognises where the Marine Rescue has come from and where it is going. It is also very good to be here today and see Mike Seale here with his family as it was Mike who put me through, many years ago, my Coxswain's, which speaks to the legacy of Marine Rescue in the legacy it provides but also the education that it provides to local seamen and seawomen.
I wanted to make one further announcement today in stating that the unit has been successful in securing a 100 thousand dollar grant towards the new base at Rowland Reserve which I know is something that has been long worked for – that will go some way towards ensuring that you haver the capability to provide the volunteer service that we all depend on.
My final point is to thank the Minister for Police and Emergency Services David Elliott for his being here today – he won't tell you but I will, that after a very busy week in parliament with sittings that went into the early a.m., David has come all the way this morning from the North Coast because that is the respect with which he regards all of you and I'd like to thank him on all of our behalf's.''
Member for Pittwater Rob Stokes said the 10 metre Naiad vessel is fully-equipped with a suite of search and rescue, communications and navigation technology and advanced first aid equipment, including a cardiac defibrillator and oxygen.
"The incredible Broken Bay volunteers are now better equipped than ever to respond to emergencies and save lives on Pittwater, Broken Bay, the Hawkesbury River, Brisbane Waters and up to 30 nautical miles offshore," Mr Stokes said.
"Being on our waterways is a great way to spend the Summer months and it's pleasing to know that our communities will be protected by this impressive new vessel and the volunteers of Marine Rescue NSW."
Mr Elliott said the vessel will be an asset ahead of what is expected to be a very busy Summer on the waterways.
"The NSW Government is committed to ensuring our volunteers have the safe, fit-for-purpose equipment they need for their life-saving work," Mr Elliott said. "This modern new vessel is a significant investment in boating safety on Sydney's northern waterways, which are a magnet for local and visiting boaters."
"The NSW Government is a proud supporter of Marine Rescue volunteers, which is why we have invested an additional $37.6 million to deliver 38 new rescue vessels, improve volunteer operating facilities and enhance the marine radio network."
''It has been a busy couple of days and a busy couple of days for Marine Rescue NSW as well – yesterday I attended the opening of the new 1.7 million dollar headquarters for Marine Rescue Lake Macquarie.
Rob and Neil are quite right in what they have said – the traditions of the maritime heritage predate the European history and the use of the bay and the sea and river system is entwined with the indigenous history as well.
I have a genuine respect for the work that Commissioner Tannos does and I thank both Rob Stokes and Jason Falinski for being such advocates for the Marine Rescue units in their electorates.'' Mr Elliott said.
''We have a record budget through our the Emergency Services into Marine Rescue, it's the largest investment into emergency services ever made. This has been a unique opportunity for Marine Rescue NSW to move into a new generation with its facilities, with its training, with it capabilities, as instanced today with BB30, but it also gives us, the public servants in uniform, an opportunity to say to you, the volunteers of Marine Rescue, and in fact the volunteers throughout the entire volunteer emergency services, that the government doesn't just consider you, because you're volunteers, as not being professional – the reality is, whether you're salaried or volunteers, our emergency services are all professionals.
The least we can do is ensure that this record investment goes into the capabilities, the structure and the technology that will see you, as volunteer professionals, be given professional kit. I'm delighted, as I join the Commissioner from one end of the state to the other, seeing that new kit get rolled out.
I think, after the 18 months that we've seen, with bushfire, with Covid, with storms and floods, we are seeing the modern emergency services volunteer acquire the sort of legendary status that we traditionally reserved for the ANZACs, and for that I'm very very grateful – we certainly would not have been able to do and get done what we've gone through as a nation without the nearly 200 thousand people that volunteer with our combat agencies – whether it be the RFS, the SES, St. John Ambulance, Marine Rescue, or Surf Life Saving.
To the team in the local Marine Rescue Broken Bay unit; I'm handing you over the keys to this new vessel – don't break it! – I have a great deal of faith that you will put it to good use, that you will treat it as your own. I know through speaking to the Police Commissioner and Marine Rescue Commissioner Tannos that this will be an extremely busy Summer as Australians try to enjoy their backyards with staycations and that this will become the new norm as we evolve over the next 12 months out from the effects of Covid-19. This will put more pressure on our waterways and will put more pressure on you and I'm very grateful. I think Australians are reassured that you're out there. Thank you once again.''
Marine Rescue NSW Commissioner Stacey Tannos said Broken Bay 30 was one of 103 vessels, worth more than $25 million, delivered to volunteers over the past decade. He said the service was expecting this summer to be one of its busiest yet, with more boaters heading to the coastline for local holidays and pushing the boat out more often.
"We take great pride in building all our boats in NSW, supporting regional jobs and the regional industry," he said.
"Our volunteers are well trained and rescue-ready for a busy few months. They'll be on duty at our 45 units throughout the summer to rescue boaters who find themselves in trouble on the water," Commissioner Tannos said.
MR Broken Bay Unit Commander Jimmy Arteaga thanked the State Government and the local community for its support in helping to fund the vessel, which is named after long-standing unit member Michael Seale.
"The State Government last year gave residents the opportunity to vote for the projects they wanted to see funded in their local area through the My Community Projects grants program," he said.
"The fantastic community in the Pittwater electorate really got behind our volunteers and voted for our new rescue vessel. As a result, we received a $200,000 grant towards the cost of the boat.
"It's powerful and highly-manoeuvrable and means we can be on the scene of an emergency faster than ever, which is vital when minutes can be the difference between life and death on the water."
'View in Broken Bay New South Wales. March 1788'. Image No.: a3461013h. Courtesy Mitchell Library, State Library of New South Wales.
1st Bayview Sea Scouts
L to R: Marine Rescue Broken Bay Unit Commander Jimmy Arteaga, Marine Rescue NSW Senior Chaplain Richard Wrightson, Marine Rescue NSW Deputy Commissioner Alex Barrell
L to R: Marine Rescue Broken Bay Unit members Brian Alexander and Bruce Hale
L to R: Marine Rescue NSW Directors - Bob Wilson, Jim Wright, John Lynch, Keven Marshall, Glenn Felkin
The Board of Marine Rescue NSW is democratically elected from the organisation's volunteer membership. The Board comprises three General Directors, elected by eligible members across the State, and six Regional Directors, elected by eligible members in their respective regions.
The 2019/2020 Board is: General Directors: James Glissan AM ESM QC (Chair), Patricia Fayers ESM and Robert Wilson. Regional Directors: Darcy Henriksen (Northern Rivers), John Lynch ESM (Mid North Coast), Jim Wright (Hunter/Central Coast), Kenneth Edwards (Greater Sydney), Keven Marshall ESM (Illawarra) and Glenn Felkin ESM (Monaro).
L to R: Marine Rescue Broken Bay Unit Commander Jimmy Arteaga and retired Marine Rescue Broken Bay member Michael Searle who served since 1980 with the RVCP and MRNSW
L to R: Marine Rescue Broken Bay Unit Commander Jimmy Arteaga, Marine Rescue NSW CEO Stacey Tannos ESM, NSW Minister for Police and Emergency Services The Honourable David Elliott MP
Marine Rescue NSW CEO Stacey Tannos ESM and MP for Mackellar Jason Falinski
L to R: Marine Rescue NSW Director Patricia Fayers ESM and Mike Seale
NSW Minister for Police and Emergency Services The Honourable David Elliott MP, Marine Rescue NSW Senior Chaplain Richard Wrightson, NSW Minister for Planning and Public Spaces and Pittwater MP Rob Stokes
Marine Rescue Broken Bay member Rochelle Ward - organised the function
The Seale Family
photos by A J Guesdon


text:
Explorations in Music
by Matthew Aquiline
Reissue Roundup: Music Matters Jazz
In terms of music, no genre is as unique to America as jazz. That said, few record labels are as synonymous with jazz as Blue Note Records. The famed label was the brainchild of two German immigrants, Alfred Lion and photographer Francis Wolff, whose efforts greatly influenced and forever fossilized the linear progression of jazz. Throughout its 75-plus year history, Blue Note managed to record some of the leading musicians in traditional jazz, bebop, hard bop, post-bop, the avant-garde, funk jazz, and beyond.
Like many, I am a self-professed Blue Note junkie. While there are endless jazz labels I love and collect — Impulse!, Riverside, Prestige, Savoy, Columbia, ECM, ESP-Disk', Contemporary, Verve, etc. — there is something about the aura of a Blue Note pressing that evokes a lucid time and place that is illuminated by the sound produced under the controls of Rudy Van Gelder.
As a record collector, nothing is as rewarding or exhilarating as stumbling across a forgotten mono "47 West 63rd" deep groove label pressing with a Plastylite "ear" and "Van Gelder" stamp in the dead wax (excuse the collector lingo). Unfortunately, the above situation is becoming a rare one, as original pressings seem to elude record stores and instead garner exorbitant prices on auction sites. Luckily, with the collector and audiophile in mind, the reissue label known as Music Matters Jazz is dedicated to painstakingly reproducing Blue Note's catalog, effectively conserving the past while re-introducing these recordings to the present.
The label's founders, Ron Rambach and Joe Harley, have spared no expense with these reissues. They use only original master tapes for mastering as well as original photographs for replicating the iconic covers designed (mostly) by Reid Miles. In addition, they do a terrific job of accurately reproducing Blue Note's classic center label and even dedicate an entire gatefold towards housing Wolff's session photography from each album. Music Matters' website (musicmattersjazz.com) contains a plethora of limited edition, 180-gram records to choose from that are cut at either 45rpm ($49.95) or 33rpm ($39.95).
These reissues are gorgeous to look at and sound absolutely sublime. The price may seem steep, but you're ultimately investing in collector pieces of jazz history that, many times, surpass the sonics of the originals. I happen to own seven (six 33s, one 45) that I absolutely cherish and have decided to highlight three of my favorites for this post.
John Coltrane – "Blue Train" (33rpm)
Music: If a single album out of Blue Note's vast landscape of jazz excellence were to be promoted as its quintessential effort, "Blue Train" would be it. After recording four albums that reached the apex of hard bop with Miles Davis' "First Great Quintet" in 1956, Coltrane set himself on a track to fame that was solidified with the release of "Blue Train" — sadly, his only album recorded as a leader for Blue Note. In between stints with Thelonious Monk's quartet in 1957, Coltrane gathered some previous bandmates (Philly Joe Jones and Paul Chambers) as well as talented newcomers (Lee Morgan, Kenny Drew, and Curtis Fuller) for a session in Hackensack, NJ that would soon be forever immortalized within music.
The album was nothing short of a watershed moment for Coltrane as a performer and composer; while previously he was often overshadowed by Miles' jurisdiction, he now was able to wallow in the spotlight and transform into a leading innovator for younger generations to look up to. Sure, he had recorded other albums for Prestige before this, but on "Blue Train" he seemed truly self-reliant in pursuing his musical vision. Like any musical pioneer at the time, Coltrane harbored a musical dexterity that was second to none. Whether blazing through his own compositions ("Moment's Notice," "Lazy Bird") or applying a personal touch to standards ("I'm Old Fashioned"), every note on this album is played with the utmost commitment. Simply put, "Blue Train" is a masterful product of Coltrane's fertile early years before becoming a full-fledged giant.
Sound: The seconds after my stylus drops into the first grooves of this record, I find I always have to pick my jaw up from the floor. The opening to "Blue Train" — one of my all-time favorite moments in music — fills the entire room, leaving me in a state of pure bliss every time I spin it. The horns lead the charge; Fuller's trombone sounds massive, creating a sweeping backdrop for Coltrane's rounded, driving tenor sax and Morgan's punchy trumpet. The rhythm section sounds equally as impressive, with Paul Chambers and Philly Joe Jones paving the way for Kenny Drew's meticulous approach to piano that pleasantly sounds more "open" on this version than on the album's original mastering.
Like any good audiophile remastering, you'll pick up a great deal of hidden subtleties on this version that seemingly got lost in the mix of the original. I particularly found Philly Joe Jones' kit, specifically the hi-hat and ride, to be driving the tunes along like I've never previously heard before. While my budget setup (Rega RP1 driven by a refurbished '50s Magnavox tube amp) is pathetic by audiophile standards, it still manages to sing while spinning these reissues. If you don't own Music Matters' version of this classic, get it now before it sells out for good!
Larry Young – "Unity" (33rpm)
Music: Larry Young was often referred to as the "John Coltrane of the organ" for a good reason. While his predecessors relied on gospel and soul influences, Young took a more innovative approach to the B-3, uncovering a unique styling that was steeped in the modal explorations of the mid-'60s. On "Unity," Young's 1966 masterpiece, his newfangled approach to the organ sounds as fresh as the graphic design that adorns the cover. Leading a cutting-edge lineup of musicians (Woody Shaw, Joe Henderson, and Elvin Jones), Young escorts the listener through a multitude of feelings, textures, and colors that walk a fine line separating post-bop from the avant-garde.
Elvin Jones kickstarts the opening "Zoltan" with a driving military beat, supporting Young's pulsing bassline before the unbridled horns bust the song open to a new dimension of musical improvisation. In a duet interpretation of "Monk's Dream," Young and Jones revel in Monk's compositional idiosyncrasies while also taking turns soloing for show. Throughout the album, an overarching sense of unity (pun intended) is present even when the improvisation flirts with the atonal (Softly, As is a Morning Sunrise). Although the music crosses new terrain, tradition seems to maintain a grasp over the players, which sustains a balance of new and old flavor. In retrospect, this music never ages; there are simply no dull moments on the entire album. "Unity" is a vital stage within the evolution of the jazz organ.
Sound: "Unity" is without a doubt one of my favorite Blue Note releases, so when I saw Music Matters produced a 33rpm reissue of it, I got it knowing that it would likely be the definitive version — I was right. The first snare hits seem to come alive; it's as if you're sitting in the middle of Van Gelder's studio witnessing the actual gathering of musicians playing their hearts out for a record. I found you could clearly sense each player's style and attack through this newly mastered version. Young is sensitive and plans each note thoroughly; Henderson flourishes in creativity, playing loose and unrestrained; Shaw is full of energy and plays with a forceful clarity; and Jones…he's simply a beast on the drums. Absolutely essential.
Eric Dolphy – "Out to Lunch!" (45rpm)
Music: 1964 found a new wave of radical players greatly altering the public's perception of jazz with the emergence of "The New Thing." Multi-instrumentalist and overall musical madman Eric Dolphy, one of the architects of the so-called "avant-garde" movement, inspired a whole new generation of players with his '64 magnum opus (and sadly, last album), "Out to Lunch." Backed by an equally experimental group (Freddie Hubbard, Bobby Hutcherson, Richard Davis, and Tony Williams), Dolphy widened his already-comprehensive vocabulary of angular technique and discordant melodies with an album dedicated towards breaking boundaries.
The group here is in total awareness of each other and it shows through the music. Dolphy and Hubbard commit all towards sound exploration while Hutcherson, Davis, and Williams weave intricate rhythmic meanderings that are as engrossing as they are mysterious. Williams and Hutcherson shine on the complex nod to Monk, "Hat and Beard"; Dolphy showcases his ability to pen abstract ballads on "Something Sweet, Something Tender"; "Gazzelloni," the album's most conventional track, features strident flute work from Dolphy; the alto sax steers "Out to Lunch"; and the band carries Dolphy's inebriated strut on "Straight Up and Down." It's hackneyed, but true — this album sounds as fresh today as it did over 50 years ago.
Sound: Out of all my Music Matters reissues, this is hands-down the best sounding I own. In fact, I have no hesitation in saying this is the best sounding LP in my entire collection. You need to experience this first-hand to truly hear the magic found on these grooves; words can't do it justice, although I'll try. First thing you'll notice is the transparency and clarity of each instrument. Van Gelder's close-miking technique is improved upon greatly with this new mix (you can clearly hear Dolphy's bass clarinet pads on "Hat and Beard") that presents each player as a balanced part of the whole, making sure no one instrument muddles another. Williams and Hutcherson sound particularly impressive, often shaking my room during their solos on "Hat and Beard." Although the 45rpm version is now sold out, the 33rpm version is still available. If you have a turntable and any ounce of appreciation towards this album, I highly recommend you pick up a copy and bask in the audio excellence.
Posted on July 4, 2016 July 6, 2016 by Matthew AquilinePosted in Reissues
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Matthew Aquiline
I'm an aspiring writer, music obsessive, analog enthusiast, and record collector. Along with contributing the occasional article to All About Jazz, I've previously freelanced for The Buffalo News. Currently, I'm studying English at the University at Buffalo.
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text:
#include "webrtc/modules/audio_device/fine_audio_buffer.h"

#include <limits.h>
#include <memory>

#include "testing/gmock/include/gmock/gmock.h"
#include "testing/gtest/include/gtest/gtest.h"
#include "webrtc/base/scoped_ptr.h"
#include "webrtc/modules/audio_device/mock_audio_device_buffer.h"

using ::testing::_;
using ::testing::AtLeast;
using ::testing::InSequence;
using ::testing::Return;

namespace webrtc {

// The fake audio data is 0,1,..SCHAR_MAX-1,0,1,... This is to make it easy
// to detect errors. This function verifies that the buffers contain such data.
// E.g. if there are two buffers of size 3, buffer 1 would contain 0,1,2 and
// buffer 2 would contain 3,4,5. Note that SCHAR_MAX is 127 so wrap-around
// will happen.
// |buffer| is the audio buffer to verify.
bool VerifyBuffer(const int8_t* buffer, int buffer_number, int size) {
  int start_value = (buffer_number * size) % SCHAR_MAX;
  for (int i = 0; i < size; ++i) {
    if (buffer[i] != (i + start_value) % SCHAR_MAX) {
      return false;
    }
  }
  return true;
}

// This function replaces the real AudioDeviceBuffer::GetPlayoutData when it's
// called (which is done implicitly when calling GetBufferData). It writes the
// sequence 0,1,..SCHAR_MAX-1,0,1,... to the buffer. Note that this is likely a
// buffer of different size than the one VerifyBuffer verifies.
// |iteration| is the number of calls made to UpdateBuffer prior to this call.
// |samples_per_10_ms| is the number of samples that should be written to the
// buffer (|arg0|).
ACTION_P2(UpdateBuffer, iteration, samples_per_10_ms) {
  int8_t* buffer = static_cast<int8_t*>(arg0);
  int bytes_per_10_ms = samples_per_10_ms * static_cast<int>(sizeof(int16_t));
  int start_value = (iteration * bytes_per_10_ms) % SCHAR_MAX;
  for (int i = 0; i < bytes_per_10_ms; ++i) {
    buffer[i] = (i + start_value) % SCHAR_MAX;
  }
  return samples_per_10_ms;
}

// Writes a periodic ramp pattern to the supplied |buffer|. See UpdateBuffer()
// for details.
void UpdateInputBuffer(int8_t* buffer, int iteration, int size) {
  int start_value = (iteration * size) % SCHAR_MAX;
  for (int i = 0; i < size; ++i) {
    buffer[i] = (i + start_value) % SCHAR_MAX;
  }
}

// Action macro which verifies that the recorded 10ms chunk of audio data
// (in |arg0|) contains the correct reference values even if they have been
// supplied using a buffer size that is smaller or larger than 10ms.
// See VerifyBuffer() for details.
ACTION_P2(VerifyInputBuffer, iteration, samples_per_10_ms) {
  const int8_t* buffer = static_cast<const int8_t*>(arg0);
  int bytes_per_10_ms = samples_per_10_ms * static_cast<int>(sizeof(int16_t));
  int start_value = (iteration * bytes_per_10_ms) % SCHAR_MAX;
  for (int i = 0; i < bytes_per_10_ms; ++i) {
    EXPECT_EQ(buffer[i], (i + start_value) % SCHAR_MAX);
  }
  return 0;
}

void RunFineBufferTest(int sample_rate, int frame_size_in_samples) {
  const int kSamplesPer10Ms = sample_rate * 10 / 1000;
  const int kFrameSizeBytes =
      frame_size_in_samples * static_cast<int>(sizeof(int16_t));
  const int kNumberOfFrames = 5;
  // Ceiling of integer division: 1 + ((x - 1) / y)
  const int kNumberOfUpdateBufferCalls =
      1 + ((kNumberOfFrames * frame_size_in_samples - 1) / kSamplesPer10Ms);

  MockAudioDeviceBuffer audio_device_buffer;
  EXPECT_CALL(audio_device_buffer, RequestPlayoutData(_))
      .WillRepeatedly(Return(kSamplesPer10Ms));
  {
    InSequence s;
    for (int i = 0; i < kNumberOfUpdateBufferCalls; ++i) {
      EXPECT_CALL(audio_device_buffer, GetPlayoutData(_))
          .WillOnce(UpdateBuffer(i, kSamplesPer10Ms))
          .RetiresOnSaturation();
    }
  }
  {
    InSequence s;
    for (int j = 0; j < kNumberOfUpdateBufferCalls - 1; ++j) {
      EXPECT_CALL(audio_device_buffer, SetRecordedBuffer(_, kSamplesPer10Ms))
          .WillOnce(VerifyInputBuffer(j, kSamplesPer10Ms))
          .RetiresOnSaturation();
    }
  }
  EXPECT_CALL(audio_device_buffer, SetVQEData(_, _, _))
      .Times(kNumberOfUpdateBufferCalls - 1);
  EXPECT_CALL(audio_device_buffer, DeliverRecordedData())
      .Times(kNumberOfUpdateBufferCalls - 1)
      .WillRepeatedly(Return(kSamplesPer10Ms));

  FineAudioBuffer fine_buffer(&audio_device_buffer, kFrameSizeBytes,
                              sample_rate);

  rtc::scoped_ptr<int8_t[]> out_buffer;
  out_buffer.reset(new int8_t[fine_buffer.RequiredPlayoutBufferSizeBytes()]);
  rtc::scoped_ptr<int8_t[]> in_buffer;
  in_buffer.reset(new int8_t[kFrameSizeBytes]);
  for (int i = 0; i < kNumberOfFrames; ++i) {
    fine_buffer.GetPlayoutData(out_buffer.get());
    EXPECT_TRUE(VerifyBuffer(out_buffer.get(), i, kFrameSizeBytes));
    UpdateInputBuffer(in_buffer.get(), i, kFrameSizeBytes);
    fine_buffer.DeliverRecordedData(in_buffer.get(), kFrameSizeBytes, 0, 0);
  }
}

TEST(FineBufferTest, BufferLessThan10ms) {
  const int kSampleRate = 44100;
  const int kSamplesPer10Ms = kSampleRate * 10 / 1000;
  const int kFrameSizeSamples = kSamplesPer10Ms - 50;
  RunFineBufferTest(kSampleRate, kFrameSizeSamples);
}

TEST(FineBufferTest, GreaterThan10ms) {
  const int kSampleRate = 44100;
  const int kSamplesPer10Ms = kSampleRate * 10 / 1000;
  const int kFrameSizeSamples = kSamplesPer10Ms + 50;
  RunFineBufferTest(kSampleRate, kFrameSizeSamples);
}

}  // namespace webrtc

redpajama_set_name: RedPajamaGithub


text:
State Watch - 3m 13s ago
Opinion>Congress Blog>Technology
The views expressed by contributors are their own and not the view of The Hill
Facebook case demonstrates gaps in data ownership laws
by Rep. Jim Langevin (D-R.I.), Opinion Contributor - 03/30/18 9:40 AM ET
A recent survey indicated that users have little trust in Facebook to follow privacy laws. Trust is the operative word. Privacy policies, account settings, and terms of use play a larger role than any federal law in limiting the use of personal data beyond health or financial information. We extend a great deal of trust to a company when we give them our personal information – trust that they will take care of our data and abide by the contracts that govern our relationship. But after three decades of explosive growth in data harvesting, recent events make it clear that trust may be misplaced.
Facebook's conduct with the underhanded campaign consultancy firm, Cambridge Analytica, has laid bare the limits of data protection law. Facebook users are the victims in this case – yet the company may only be liable under federal law if it also violated one of its written contracts with users. The innovations of the Information Age have outstripped the U.S. legal system's protections for individual control over how our personal information is shared and used. It is time for that to change.
{mosads}As the complexity of data sharing increases, so does the possibility that our information will be used in ways we never intended or authorized. Take the Facebook case. I challenge anyone to find a single one of the millions of affected users who provided information to Facebook with the expectation that Cambridge Analytica would use it to develop "psychographic" voting profiles for targeted political ads.
I fully expect the players in the Cambridge Analytica case to come before Congress to testify, which CEO Mark Zurckerberg is scheduled to do next week, and which I called for following news reports in The New York Times and The Sunday Observer. More transparency is essential for policymakers to fully grasp the implications of this incident, and Facebook owes its users and shareholders – both of which I am – a full accounting of its actions. However, the available reporting is enough to provide a framework to explore policy options for strengthening controls on data usage.
Facebook reportedly learned that Cambridge Analytica had acquired millions of users' profiles two years ago. At the time, Facebook sent letters to Cambridge Analytica and an associated researcher insisting that they delete the information. However, two important things did not happen: Facebook did not positively verify disposal of the data through an audit, and no individuals were notified that their private information had been used in a way they had not authorized. There were no federal requirements that either happen, just trust in the parties involved. Having seen that trust doubly betrayed, we may need new law to impose rigorous notification and disposal requirements when users' data is shared improperly.
Facebook has stated that it was a violation of their agreements with Aleksandr Kogan, the Cambridge University researcher who initially collected the data, for him to sell or license it to Cambridge Analytica. This defense misses the point that granting unfettered access to raw data makes it technically and legally difficult to enforce limitations on data usage and sharing. Facebook extended trust to the researcher, on behalf of its users and without their knowledge, that the data would be used and protected in accordance with its terms. Those terms also allowed apps like the researcher used to collect data not only about users who explicitly authorized the app to do so, but also about their friends. While Facebook revoked that policy in 2014, there remains no legal requirement that users directly consent to sharing.
Finally, central to this case is the data that the affected users gave to Facebook in the first place. As a condition of joining the social network, users were required to agree to a privacy policy – whether or not they read and understood it – and could only modify the privacy settings Facebook chose to make available. As remarkable as it may sound, this is standard practice. The companies we do business with decide what they can do with our data and what control over those uses they offer to us; we don't get to choose. Our only alternative is not to use a service at all, and that is less and less of an option in our Internet-enabled economy. Congress could change the law to require that companies give users granular control of their data and codify the right to know how, when and with whom that data is shared.
As long as data sharing adheres to published terms of use, the law does not prohibit most companies from selling or licensing access to your data, for virtually any purpose or duration, without notice to you. They have no obligation to verify that recipients of your data are not abusing it. Without laws to the contrary, we are left to trust service providers that our data will not be misused, misplaced, or misappropriated. Facebook violated that trust, and Congress must take action to update the law to put control of digital identities in more trusted hands – our own.
Langevin represents Rhode Island's 2nd District. He is co-chair of the Congressional Cybersecurity Caucus.
The time is now for Biden and Congress to follow through on CHIPS, science, and clean energy
by Rep. Sean Casten (D-Ill.) and Thomas Costabile, opinion contributors 1 week ago
Congress Blog / 1 week ago
2022 was the year of CHIPS. What will 2023 bring?
by Bruce Andrews, opinion contributor 4 weeks ago
Congress Blog / 4 weeks ago
Strategy, not economics, should govern high-tech trade with China
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Don't let FTX's fall discredit blockchain
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Clickfunnels is the favorited tool, because it simplifies the ENTIRE sales and marketing funnel process for businesses.There are a variety of forms of sales funnels and every one needs to be designed and organized in a way that attracts its intended customer. There are funnels for webinars, revenue, membership sites, and contributor list and every one are quite different from the other. The good news is that ClickFunnels has you covered.
With ClickFunnels, users are treated to a a variety of pre-built sales funnels and all they have to do is select the one which matches their business requirements. Selling a subscription and peddling an e-book could be similar in terms of them trying to make a sale, but they ought to be handled differently. Clickfunnels really speeds up the process of getting your sales funnel up and running; saving you a lot of time, and in some cases money.


text:
PhilipMantione in Tips and Tricks
There is no clear formula for what effects you should include on a master fader track. It seems there are as many answers as there are engineers. Some factors that may influence your choice include the musical genre being mixed, whether the project will be mastered by you or an independent mastering engineer, your particular software arsenal, the intended file format for dissemination or the intended purpose of a bounce (e.g. final mix or a draft for client feedback). This article will examine a few different approaches and some common practices.
What do Mastering Engineers Expect?
The only clear agreement among the mastering engineers I spoke to seems to be that they will work with whatever they are given. Some expressed a preference in bounced tracks from sessions without any inserts on the master track. The logic being that mastering suites that use outboard gear or high end mastering software for EQ, compression, sample rate conversion, etc. are much better equipped for those processes and having to deal with improperly compressed or squashed bounced tracks will result in less than optimal results. Others preferred to have two versions delivered, a quasi-mastered bounced track and an unprocessed bounced track or even stems. This way the intention of the engineer or artist can be conveyed, while still giving the mastering engineer a clean slate with which to work. In any case, all agreed that a reference mastered track in the same genre is useful and desired for comparison purposes.
Down and Dirty Bounces for the Client
As an engineer, you may be asked for a quick bounce of a mix in process so that the artist can hear some ideas and make choices as to structure and arrangement, instrumentation and orchestration, synthesizer patch, guitar effects, etc. Artists often have no idea what the mastering process does to sweeten a mix and may be disheartened when hearing an unfinished or unmastered mix. So applying temporary or quasi-mastering processes can prevent undo anxiety in this situation.
Difference Between a Master Fader Track and Other Tracks
A Master Fader is a track that sums all other tracks in a session, including AUX tracks that may have reverbs and delays, MIDI Instrument tracks and regular audio tracks. It is the final stage before output and normally the source of a bounced track. There is some disagreement about whether or not bouncing (or printing) to an existing track in session offers better results than bouncing to a newly created file saved to disk. This may be DAW dependent and worth investigating and comparing for yourself. Master Fader tracks also have no external input and or available sends, which makes them unique compared to other types of tracks.
Common Types of Effects Used
So what are the typically effects you might use on a Master Fader? This to a large extent depends on genre and your particular software arsenal. Below are some inserts you might try in the order of a typical signal chain:
NOTE: Most effects in a mastering chain will avoid extreme parameter settings and instead introduce small tweaks to the dynamics or spectrum. Nonetheless, even small changes in dynamics will have a pronounced sonic result.
Compression – a small amount of compression on the master fader will act as a sort of "glue," lending cohesion to the mix as a whole.
Linear Phase Parametric EQ – these types of EQs operate like standard parametric EQs while maintaining phase coherence. Some EQs can be set for linear phase such as FabFilter's Pro Q 2. Because of increased latency, it is not recommended to use this type of EQ for recording or playing software instruments live. Settings here should be subtle, since each track has been EQ'd individually. This is intended to correct imbalances in the summed spectrum. Some engineers like to EQ before and after the compressor, or use a High Pass filter before compression to eliminate muddiness below 30Hz and to avoid overworking the compressor, which could over react to low end energy. Another method to tighten up the low end is to monoize frequencies below 150Hz or so.
Multi-band Compression – these compressors allow you to isolate and treat the dynamics of different ranges of the spectrum that may be problematic in the mix.
Exciters – these processors add touches of distortion and related upper harmonics that can make a mix sparkle in just the right way. Subtlety is the key. Conservative use of Multi-band Saturators and Distortion effects in the low end can also be effective for thickening up a mix.
Imagers – multi-band imaging plugins can add stereo width to certain parts of the spectrum, usually applied to middle or higher frequencies. They can also be used to narrow a mix which may be exhibiting phasing issues as measured by a correlation meter.
Adaptive Limiter – typically the last processing effect in the chain, limiters have a direct effect on increasing perceived loudness and can control the maximum level of the mix. Lookahead settings allow the processor to act more transparently, but will add latency, so should never be used while recording.
Meters – There are many metering plugins on the market which can provide information about loudness levels in terms of the many measurement standards that exist, peak and true peak levels, phase and correlation, spectrum, etc. Rather than changing the signal, these plugins give you a window into the specifications of the mix, which can help pinpoint problems in amplitude, spectrum or phase that may be hard to determine otherwise. They can also help you to achieve the deliverable specs required by the client or dissemination method.
Reference 4 – this plugin by Sonarworks is crucial for hearing a true flat response, either from the speakers in your particular room or your headphones. By activating custom corrective EQing, Reference 4 will modify the signal such that the acoustics of your room or the particular brand and model of your headphones, do not color the sound, so that your mixing and mastering decisions are untainted by your listening circumstances. This allows for mixes that translate well to other listening environments. Just be sure to HARD BYPASS Reference 4 (as opposed to using the Bypass button in the plugin) or remove it from the signal chain before creating the final bounce.
Note About Dithering – Dithering is used only when it is necessary to decrease the bit resolution (typically from 24 bit to 16 bit for creating CD-ready files). Since dither actually adds noise to a file, it should only be used once and it is best to apply dither when converting a mastered file as opposed to from the mix session. It is sometimes offered as an option in the bounce dialog box of a particular DAW or as a plugin to be added as the very last insert or only insert in the chain.
Mid-Side Processing
Many of the effects discussed here have Mid-Side processing capabilities which allow you to processor the middle and sides of a stereo mix independently. This approach is the preferred method of many engineers, particularly for spectral and dynamic processing, since it is possible to achieve greater definition, stereo width and depth of field.
Mastering Suites and Preset Effects Chains
Some DAW's such as Logic Pro, include preset mastering effect chains that are genre specific and can be good starting points. Likewise, mastering suites and bundles such as iZotope's Ozone 8 have presets that offer a wide range of applications from subtle spectral balancing or emphasis, to drastic genre-based processing and more. These suites offer a choice of effects chains all within the confines of one plugin enabling easy access to all parameters.
Ozone 8 uses artificial intelligence to analyze a user defined reference track and offer suggested settings and plugins for mastering your track in a similar way. An on-line service called LANDR uses proprietary algorithms to master your uploaded track in seconds. iZotope's Neutron EQ uses computer learning technology to mediate frequency masking issues between user defined tracks. The Neutron 2 Track Assistant will also generate what it thinks is an appropriate effects chain for a given track based on "listening" to it and some user defined parameters. Whether these artificial intelligent and learning algorithms will someday replace mastering engineers has been the subject of debate and concern for some. What is certain, is that there are now more tools available for making your tracks sound better than ever before. Personally, I believe the human element will never be completely removed. There remains a craft and level of artistry in audio engineering that will never be replaced by the sterility of an algorithm. But there is no doubt that these tools can you get close to where we want to be faster, providing more time for experimentation and tweaking, which can only be a good thing.
There is no single solution for master fader effect chains or even agreement as to whether they should be used or not, if a bounce is destined for a mastering facility. And there are many effects not mentioned here such as dynamic EQs, vintage compression simulators, or Pultec-style EQs, which, among other things, are great for magically and transparently adding warmth and air to a mix. But hopefully this article has provided some insight and a starting place, so you can refine your final mixes and take things to the next level.
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The Global WealthTech Summit will take place at Kings Place in King's Cross, London. It's close to central London, has modern facilities, uses the latest technology and provides the right environment for this major event.
King's Cross is only 8 minutes away by undergound train from Moorgate in the City, the heart of London's financial district.
Kings Place is an award-winning venue. The layout and ambiance provide for maximum networking opportunities. So you'll be able to meet the people you want to meet. (No nasty, grotty, drafty, hard-to-get-to, exhibition halls in the middle of nowhere!).


text:
Talk:imaginary
99.142.19.40 (Talk)
(→Hyphen-have?)
Revision as of 15:29, 13 July 2009 (edit) (undo)
The Chort (Talk | contribs)
(→Hyphen-have?: more examples needed)
This e-mail features the word "friend-have". It somewhat reminds me of "[[Coach Z's 110%|VCR-have]]". Is that notable yet? [[Special:Contributions/99.142.19.40|99.142.19.40]] 15:27, 13 July 2009 (UTC)
:If you're suggesting that this could be a new running gag in the form of [[X-have]], we'll need to find a few more examples before we can create the article. {{User:The Chort/sig}} 15:29, 13 July 2009 (UTC)
1 Sbenav
2 Strong Mad
3 Strong Bad annoys himself?
4 Cosistency?
5 Owies!
6 Hyphen-have?
Sbenav
I can't get the navboxes in hremail3184 and some kinda robot to link to here. Help? free 12:03, 13 July 2009 (UTC) Never mind. I figured it out.
Strong Mad
What should we call him? Young Strong Mad, as the transcript calls him, or Teen Strong Mad, as his article calls him? free 12:32, 13 July 2009 (UTC)
He seems to be very similar to his teenage variation, called Teenage Strong Mad, from highschool. Perhaps he's the same variation. – The Chort 13:49, 13 July 2009 (UTC)
Strong Bad annoys himself?
I listened to it a dozen times and while Strong Bad is drilling into the brick after talking about other imaginary friends it sounds like he says "Strong Bad and Scotty titi..." instead of "Strong Sad and Scotty titi...". Am I just crazy? —NFITC1 talk 13:31, 13 July 2009 (UTC)
Yes, yes you are. And I mean this is the maybe-nicest way I can put it.--Jellote wuz here 13:37, 13 July 2009 (UTC)
Cosistency?
Am I the only one who knows for a fact that Trogdor didn't exist in the time of Lil' Stro Bro? Seems retconned to me. Inconsistency, anyone? --Jellote wuz here 13:37, 13 July 2009 (UTC)
Perhaps Trogdor used to exist in Lil' Strong Bad's mind until dragon, during which he drew him onto paper (albiet requiring a second attempt). Many cartoonists think up ideas for new characters years before they actually drawn the initial concept sketches. – The Chort 13:49, 13 July 2009 (UTC)
Owies!
Gron Sad has a patch over his "Belly Button". Is this because he had a hole drilled there in origins? That's the only reason I see, and that was my first reaction. --Jellote wuz here 13:37, 13 July 2009 (UTC)
You are correct, Sir. It seems TBC were fortunate enough to remember this important fact. – The Chort 13:49, 13 July 2009 (UTC)
Hyphen-have?
This e-mail features the word "friend-have". It somewhat reminds me of "VCR-have". Is that notable yet? 99.142.19.40 15:27, 13 July 2009 (UTC)
If you're suggesting that this could be a new running gag in the form of X-have, we'll need to find a few more examples before we can create the article. – The Chort 15:29, 13 July 2009 (UTC)
Retrieved from "http://www.hrwiki.org/wiki/Talk:imaginary"


ATDB • View topic - The Red Decker Co.
Two Leyland Atlantean double deckers [MCW #301 and Alexander #302] originated from the Gregory & Co fleet and 'wore' a similar red all over livery, also with MTT's monogram and fleet numbers either side. Bus #303 is ex UTA Sydney PMC body and bus #305 was ex London Transport M450, a Mk1 Metrobus. Also included are two recent deliveries, Anhui Ankai #401 & #402 photographed on the 'circuit'.
Re: The Red Decker Co.
this one looks good IMO.
Par 3 the Anhui Ankai units, 401 & 402.
For those who cannot get enough of the red liveried Hobart based Red Deckers, attached are the remaining photographs from my collection. MCW Atlantean #305 is well represented in this post.
Last edited by LocoLes on Mon Sep 18, 2017 9:52 pm, edited 2 times in total.
Part 2.......a few more of the two Anhui Ankai vehicles.
onewhoknows and apollo discovered a new BCI double decker for the Red Decker Co at the QLD bus show last week.One for our Tasi friends to check out with a rego number !!
In my opinion, I prefer the silver left on the front with the big A N K A I on. Looks better than plain red.
Bus Suggestions wrote: In my opinion, I prefer the silver left on the front with the big A N K A I on. Looks better than plain red.
It's how they were delivered, however, I agree with you. Needs the silver to break up the red.


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APD arrests 19-year-old for shooting death of 13-year-old cousin
KOB Web Staff
Updated: March 20, 2020 06:16 AM
Created: March 19, 2020 07:22 PM
ALBUQUERQUE, N.M. — Police have arrested the 19-year-old accused of shooting and killing his 13-year-old cousin in northeast Albuquerque.
Police were called to the 300 block of Rhode Island Street NE, near Copper and Wyoming, Thursday afternoon. That's where they found the 13-year-old boy suffering from a gunshot wound.
He was taken to a local hospital, where he was pronounced dead.
According to police, the boy was sitting on a couch when his cousin, Anthony Padilla, walked out of a bedroom with a shotgun he had just bought. Witnesses said Padilla was "joking around" when he pointed the gun at his cousin and pulled the trigger — thinking it wasn't loaded — and shot his cousin in the chest.
Padilla is facing murder charges.
This is the third homicide in Albuquerque this week.
The two others took place in southeast Albuquerque.
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Singer-Songwriter, Activist
(Dec 19, 1940 - Apr 9, 1976)
"I Ain't Marching Anymore," "Changes," "Crucifixion," "Draft Dodger Rag"
AMERICAN MASTERS FILM
Phil Ochs: There But for Fortune
(Jan 2012)
Directed by Kenneth Bowser
Explore more from this episode
Interview: Christopher Hitchens
About the Documentary
Explore more from this episode More
Preview | Phil Ochs: There But for Fortune - About the Documentary
Premiere date: Jan 22, 2012 | 00:02:11
American Masters opens its 26th season with the revealing biography of a conflicted, truth-seeking troubadour who, with guitar in hand, stood up for what he believed in and challenged us all to do the same. Three-time Emmy®-nominated filmmaker Kenneth Bowser examines one of American history's most iconic folk music heroes and political agitators in Phil Ochs: There But for Fortune, premiering nationally Monday, January 23 at 10 pm (ET) on PBS (check local listings).
Watch a preview:
As the United States continues to engage in foreign wars, Phil Ochs: There But for Fortune is a timely tribute to an unlikely American hero whose music is as relevant today as it was in the 1960s. Phil Ochs was moved by the conviction that he and his music would change the world. Unyielding in his political principals and unbending in his artistic vision, Ochs tirelessly fought the good fight for peace and justice, in both song and action, throughout his short life (12/19/1940 – 4/9/1976). The tragedies of 1968, including the deaths of Martin Luther King, Jr. and Robert F. Kennedy and the violent events at the 1968 Democratic National Convention in Chicago, changed the country and changed Ochs, who sank deep into depression and alcoholism. This, and a familial tendency to bipolar disorder, led to his suicide at the age of 35.
"His music was always so insightful and clever, so timely and slightly haunting. Humming 'There But for Fortune' after Phil Ochs's death was a bittersweet experience back in the 60s," says Susan Lacy, series creator and executive producer of American Masters, an eight-time winner of the Emmy® Award for Outstanding Primetime Non-Fiction Series. The series is a production of THIRTEEN for WNET, the parent company of THIRTEEN and WLIW21, New York's public television stations, and operator of NJTV. For nearly 50 years, WNET has been producing and broadcasting national and local documentaries and other programs to the New York community.
Inspired by Woody Guthrie, Pete Seeger, Elvis Presley and John Wayne, Ochs rose to fame in the early 60s during the height of the folk-and-protest song movement, wielding only a battered guitar, a clear voice and the quiver of his razor-sharp songs. As prolific as he was passionate, he released seven albums and wrote hundreds of songs, the best known of which include "I Ain't Marching Anymore," "Changes," "Crucifixion," "Draft Dodger Rag," "Love Me, I'm a Liberal," "Outside of a Small Circle of Friends," "Power and the Glory," "The War is Over," and "There But for Fortune," famously covered by Joan Baez. American Masters Phil Ochs: There But for Fortune is buoyed by these anti-war movement anthems and melodies, which play the role of film narrator, giving contextual depth to the unfolding saga of Ochs's politics and personal life.
In the film, Joan Baez, Tom Hayden, Pete Seeger, Sean Penn, Peter Yarrow, Christopher Hitchens, Ed Sanders, and others who knew or were inspired by Ochs tell stories of political passions that were equal parts idealism, conviction and fantasy – mixed together with a big ego and often wild disorganization. These interviews together with photos, film clips and historic live performances reveal that Ochs's lasting legacy in both music and politics ultimately mirrored the complexities and contradictions of the country he loved – and his life, sadly, reflects the arc of the turbulent times in which he lived.
Phil Ochs: There but for Fortune is a production of S2BN Entertainment in association with Barking Dog Productions, Inc. and THIRTEEN's American Masters for WNET. Kenneth Bowser is writer and director. Michael Cohl, Kenneth Bowser and Michael Ochs are producers. Pamela Scott Arnold is editor, with additional editing by Ian B. Wile. Lizzy McGlynn and Brian MacDonald are co-producers. Katie Ehrman, Zev Greenfield and Riva Marker are associate producers. Music is by Phil Ochs. Susan Lacy is the series creator and executive producer of American Masters.
American Masters is made possible by the support of the National Endowment for the Arts and by the Corporation for Public Broadcasting. Additional funding for American Masters is provided by Rosalind P. Walter, The Blanche & Irving Laurie Foundation, Rolf and Elizabeth Rosenthal, Cheryl and Philip Milstein Family, Jack Rudin, Vital Projects Fund, The André and Elizabeth Kertész Foundation, Michael & Helen Schaffer Foundation, and public television viewers.
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text:
This camera trap image shows a lion in Alatash National Park in Ethiopia, the first proof of their existence there.
Photograph by Born Free
Once Thought Extinct, 'Lost' Group of Lions Discovered in Africa
Scientists on an expedition found lions living in a remote corner of Ethiopia and Sudan, raising hopes for the embattled species.
ByBrian Clark Howard
Lions have disappeared from much of Africa, but for the past few years scientists have wondered if the big cats were hanging on in remote parts of Sudan and Ethiopia. The region's inaccessibility and political instability have made surveys difficult.
But scientists released a report Monday documenting, with hard evidence, the discovery of "lost lions."
A team with Oxford University's Wildlife Conservation Research Unit (WildCRU), supported by the charity Born Free, spent two nights in November camping in Alatash National Park in northwest Ethiopia, on the Ethiopia-Sudan border. The researchers set out six camera traps that capturing images of lions, and they identified lion tracks.
The scientists concluded that lions likely also live in the larger, adjacent Dinder National Park across the border in Sudan. The International Union for Conservation of Nature had previously considered the area a "possible range" for the species, and local people had reported seeing lions in the area, but no one had presented definitive evidence.
"It's great to have confirmation of this suspected population, especially since we don't have a lot of information on this area," says Luke Dollar, a big cat biologist and National Geographic explorer with the Big Cats Initiative, who was not involved in the study.
Dollar adds that the lion population may be isolated from other groups in Africa, putting it at risk of inbreeding. It's also likely the lions face danger from poaching and snares set out by local people to catch other types of bushmeat, such as their prey species. "Lions are often a bycatch," he notes.
The Oxford team—which is the same group that had studied the doomed Cecil the lion in Zimbabwe before he was killed by a trophy hunter—estimates in its report that the border region could be home to as many as 100 to 200 lions, with 27 to 54 of those being in Alatash. The population is probably limited by the lack of surface water and low prey densities.
But Dollar cautions that the study is not peer reviewed and is based on a small sample size and short expedition, making it difficult to accurately estimate the population.
The lions likely hung on there because the remote area has relatively low human density and a fairly strong presence from the Ethiopian parks service, says Luke Hunter, the president of big cat conservation group Panthera, who was also not involved in the study. "Lions are pretty good at maintaining a foothold as long as the human pressure on them isn't too great," says Hunter.
15 intimate portraits of lions

A lion roams in Chobe National Park, a wildlife conservation area near Kasane, Botswana.

A lion roams in Chobe National Park, a wildlife conservation area near Kasane, Botswana.
Photograph by Frans Lanting, Nat Geo Image Collection
Hunter calls the study "good news for lions" and says "there are still huge chunks of Africa where we think lions may occur but we don't have good information." Besides Sudan, he lists Angola and parts of the Democratic Republic of the Congo as particularly promising.
Dollar hopes scientists will continue to study these lions, "and what we do with this information, to promote the longterm health of the lion, is the next step."
Lions' current range has shrunk to eight percent of their historic homeland, and their population is thought to have declined by 50 to 75 percent since 1980, to less than 20,000, due to problems such as habitat loss, poaching, and other conflicts with people.
This story was updated at 4:25 pm ET on February 2 with comments from Luke Hunter.
Follow Brian Clark Howard on Twitter and Google+.
Brazil has the world's leading breast milk donation program—and experts say there's a lot we can learn to help women and infants everywhere.
Seasonal affective disorder can occur in both winter and summer. Here's why it happens, and how you might treat it.
Bug-eyed sculptures. Huge masks of hammered gold. These artifacts in China have long puzzled archaeologists—but may show us how to adapt to a changing world.
Six million Jews were murdered between 1933 and 1945. How Adolf Hitler and the Nazi party turned anti-Semitism into genocide.


WASEND visits elemtary and junior high schools in Japan and Indonesia. And WASEND does lectures about disaster risk reduction.
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Distance: There are 4.4 miles of trails in the park.
Elevation Gain: Around 300 feet on the Main Loop Trail.
Map: You can print one out from here before your hike.
Description: This peaceful, mature forest tract makes a wonderful escape only minutes from Bellingham. You'll feel like you are deep in the wild woods. Giant cedars and Douglas-firs tower over fertile wetlands and two small lakes. Children will enjoy the gentle paths, croaking frogs, and multiple boardwalks over gurgling streams. The trail has two options; the 1.2 mile Geneva Pond Loop is easier and flatter, and makes an excellent destination for younger children (including the access trail, the total distance will be 2.0 miles). Kids and adults with more energy can tackle the 3.2 mile Main Loop Trail, which has almost 300 feet of elevation gain. On the day I visited, I saw wood ducks, buffleheads, pileated woodpeckers and other shy forest birds. I heard barred owls and frogs, and found snakes sunning in a warm patch of brush. Native forest plants form a thick understory, and block traffic noise for much of the trails.
Dogs, bicycles, and hunting are prohibited on this trail.
Directions: From I-5, take Exit 253 for Lakeway Drive, and turn right at the exit. Turn left onto Lakeway Drive, and travel for 3.4 miles (this road turns into Cable St.). Turn right onto Austin Road. This road changes to Lake Louise Road. After 1.6 miles, look for the signed parking area on the left. There are vault toilets at the parking lot. You don't need any permits to park.
Links: Read about the park on the Whatcom Land Trust page. Read my post of my trip there.