text:
\section{introduction}

The Galactic interstellar radiation field (ISRF) is very important
in understanding the spectrum of the very high energy (VHE) $\gamma$ rays
originated from the galactic sources.
At the acceleration site, it is generally
believed that the VHE cosmic ray electrons interact with ISRF
photons via inverse Compton scattering and generates the VHE $\gamma$ rays.
From the propagation's point of view, on the way to the observer,
the VHE $\gamma$ ray could be absorbed due to its interaction with ISRF
and in turn changes its spectrum.

In previous studies the absorption of the VHE $\gamma$ rays is focused on
those from high redshift sources which interact with the extragalactic
photon background. The absorption of the VHE $\gamma$ rays within
the Galaxy is believed to be small since the $\gamma$ rays travel
a short distance. However, due to a most recent calculation by
Porter and Strong \cite{porter}, which has incorporated a large amount
of relevant new astronomical information of stellar populations,
Galactic structure and interstellar dust, the density of the infra-red
background within the Galaxy is enhanced considerably compared with
the previous models. Especially there is a very high infra-red
background near the galactic center due to this calculation. Therefore,
the attenuation of the VHE $\gamma$ rays within the Galaxy may become
important if the $\gamma$ rays come from the direction of the galactic center.
In another work \cite{allard}
the mean free path (MFP) of cosmic ray nuclei is calculated again
due to the new results of ISRF. It is found that the MFP is greatly
decreased if considering the infra-red background near the galactic center.
In this paper, we attempt to estimate the absorption
of VHE $\gamma$ rays within the galaxy by the ISRF.

\section{Opacity of the Galactic ISRF to the VHE $\gamma$ rays}

The ISRF is composed of the star light, the infra-red radiation
and the cosmic microwave background (CMB). The energy density of
star light is determined by the distribution
and spectrum of each stellar type.
The starlight is then absorbed by dust in the interstellar
medium and re-emit in infra-red, of which the density depends
on the distribution of the dust.
The starlight is also scattered by the dust and forms
the diffuse galactic light.
The starlight dominates the ISRF from
$0.1\mu m$ to $10\mu m$. The emission from the very small dust
grain dominates from $10\mu m$ to $30\mu m$ while the emission from
larger dust grain with temperature of about 20K dominates from
$20\mu m$ to $300\mu m$.
The CMB contributes mainly to above $1000\mu m$.

A detailed calculation of ISRF has been established and adopted
widely\cite{strong}.
Taking into account the new results of the Galactic stellar
distribution, the
dust distribution and other astronomical information of the Galaxy,
the calculation of the ISRF spectra is recently updated\cite{porter}.
Together with the very successful infrared surveys carried by the Infrared
Astronomical Satellite (IRAS) and the Diffuse Infrared Background
Experiment (DIRBE) on board the Cosmic Ray Background Explorer
(COBE) satellite,  our knowledge on the
energy (number) density of ISRF photons has been greatly improved.
The new calculation of the local radiation field shows quite well
agreement with these observations.

Due to the ISRF background
the VHE $\gamma$-rays is attenuated when penetrating the
radiation background for it undergoes the $e^+e^-$
pair production in colliding with the ISRF.
The $\gamma$-ray spectrum $F_0(E)$ at the source is attenuated to
\begin{equation}
F(E)=F_0(E) e^{-\tau(E,L)}\ ,
\end{equation}
where $F(E)$ represents the observed spectrum after the attenuation,
$\tau(E,L)$ represents the optical depth of the $\gamma$-rays, being
a function of the $\gamma$-ray energy and the distance
from the $\gamma$-ray source.
$\tau(E,L)$ is given as
\begin{equation}
\tau(E,L)=\int d\cos(\theta)
\int d E_{\text{ISRF}}
\int_{l.o.s.} dL
\frac{dn(r,E_{\text{ISRF}})}{dE_{\text{ISRF}}}
\sigma_{\gamma\gamma\to e^+e^-}(s)\ \ ,
\end{equation}
where the integration of $dL$ is along the line of sight of the
incoming $\gamma$-rays,
$\frac{dn(r,E_{\text{ISRF}})}{dE_{\text{ISRF}}}$ is the number
density of the ISRF photons at the radius $r$ from the GC at energy
$E_{\text{ISRF}}$, $\sigma_{\gamma\gamma\to e^+e^-}(s)$ is the cross
section of the pair production. The cross section is zero below
the threshold when the center-of-mass energy $\sqrt{s} < 2 m_e$.
Above the threshold the cross section is given by
\begin{equation}
\sigma_{\gamma\gamma\to e^+e^-}(s)= \sigma_T\cdot \frac{3m_e^2}{2s}
\left[ -\frac{p}{E}\left( 1+\frac{4m_e^2}{s} \right)
+\left( 1+\frac{4m_e^2}{s} \left( 1-\frac{2m_e^2}{s} \right) \right)
\log\frac{(E+p)^2}{m_e^2} \right]\ \ ,
\end{equation}
where $\sigma_T=8\pi^2\alpha^2/3m_e^2$ is the Thomson cross section
for photon elastic scattering on a rest electron,
$E=\sqrt{s}/2$ and $p=\sqrt{E^2-m_e^2}$ are the energy and
the magnitude of momentum of the electron at the center-of-mass system.
At the laboratory system, $s$ is given by $s=2 E_\gamma E_{\text{ISRF}}
(1-\cos\theta)$ with $\theta$ being the angle between the momentum
of the incoming $\gamma$ ray and the ISRF photon.
For the ISRF photon we have assumed an isotropic distribution
when doing the integration over the $\theta$.

The attenuation of extragalactic $\gamma$ rays due to
colliding with the CMB from
high redshift sources has been studied extensively.
The attenuation length can fall below 10 Kpc when the $\gamma$ ray
energy reaches about 500 TeV.
As the new calculation of ISRF shows that the number
density of far-infrared ISRF ($20\mu m$ to $300\mu m$)
at the Galactic Center
is almost comparable to that of CMB photons, we therefore
expect a significant attenuation at the distance of 10 Kpc within
the Galaxy for $\gamma$ rays at the energy of about 50 TeV.

\section{Attenuation of the VHE $\gamma$ rays from Sgr A* emission}

\begin{figure}
\includegraphics[scale=0.7]{atten}
\caption{\label{atten}
Attenuation of the VHE $\gamma$ rays due to interaction with the
ISRF as a function of the $\gamma$ ray energy. Contributions to the
attenuation due to CMB and the ISRF without CMB are plotted separately.}
\end{figure}

As the ISRF is most intense at the GC, the $\gamma$ rays passing through
the GC should experience the largest attenuation. Among the limited
number of TeV $\gamma$ ray sources that have been observed
in the Milky Way, Sgr A* is the
most suitable one for studying this absorption effect. Sgr A* locates
right at the GC, about 8 Kpc away from the Earth. Though its
integrated flux above 165 GeV is only 5\% of that of Crab measured
by HESS \cite{hess}, its
energy spectrum is much harder, with a power law index at about
2.2 \cite{hess},
which makes its integrated flux above 50 TeV
almost comparable to that of the Crab and enables future high
statistic observation.

To calculate the attenuation of the $\gamma$ rays emitted from Sgr A*,
we need to know the radial distribution of the number densities
of the ISRF photons between the GC
and the Earth. As the number density of the ISRF photons falls from the GC
to the edge of the Galaxy in the form of an exponential function with
the radial scale length of about 4Kpc \cite{strong,porter},
$dn(r,E_{\text{ISRF}})/dE_{\text{ISRF}}$
is therefore interpolated using the densities
calculated by Porter and Strong\cite{porter} for
the in-plane at R=0 Kpc, 4 Kpc and 8 Kpc.
Considering that the dust emission might have a
different spatial dependence than the overall
ISRF spectrum, a linear interpolation has also been tried.
Actually there is no difference for the attenuation by
exponential or linear interpolation.

Fig. \ref{atten} shows the calculated attenuation
for the $\gamma$ rays from Sgr A*
as a function of $\gamma$ ray energy.
The cutoff begins at about 20 TeV and about 10\% is abosorbed
for $\gamma$ rays at 50 TeV and 20\% for $\gamma$ rays at 100 TeV,
which is  not far from our expectation.
The attenuation due to the CMB and the infra-red components
is also plotted to compare their contributions.
From Fig. \ref{atten} it seems that the effect of VHE
$\gamma$ ray attenuation should show itself if the observation
reaches the energy scale of about 50 TeV.

\section{Discussion}

Using the recently calculated ISRF distribution,
and taking Sgr A* as an example, this work shows that the ISRF may have
observable attenuation effect to the spectrum of VHE $\gamma$ rays from
the galactic sources. As
the model might underestimate the ISRF component between 20 to
40 $\mu m$ compared with the observation by FIRAS\cite{firas},
the real effect could be even larger and start to appear
at even lower energies. In turn, observation on the cutoff energy
will provide independent information to test and constrain the
ISRF model.  Recent discovery on the new TeV $\gamma$
ray sources on galactic plane \cite{hess2} will provide us more candidates
to study the distance dependent cutoff effect.

It should be mentioned that even the cutoff of the energy spectrum
is observed the reason can be attributed either to an intrinsic cutoff,
such as the cutoff spectrum of the injecting electron at the $\gamma$
ray source,
or to the ISRF absorption discussed here.
Therefore a multi-band observation of the $\gamma$ ray source
and careful analysis are necessary to reveal the individual
contribution as the intrinsic cutoff  can be traced to lower energy
band while absorption takes place only for the high energy band.

\begin{acknowledgments}
This work is supported in part by the NSF of China
under the grant No. 10105004, 10120130794.
\end{acknowledgments}

redpajama_set_name: RedPajamaArXiv


Shayla meets the Dallas Cowboys Cheerleaders & Will be in Today's Halftime Show!
Happy Thanksgiving! I'll write more later, but you may remember that crazy woman - Hope Jackson - who had pirated Christi's website and scammed about 25 famous people / groups. There was an ABC Nightline about it in November of 2013. Well, one of the groups she scammed was the Dallas Cowboys Cheerleaders. As a result, we had the incredible opportunity of meeting them and watching their rehearsal on Tuesday evening. Their directors Kelli & Judi are shown with the amazing jersey's from the Cowboys which were presented to us. (Note the "12" for Christi's birthday) Kelli asked Shayla to be in the halftime performance as part of the "mosh-pit" so she had practice with them for about 5 hours yesterday.
If you watch the halftime show late this afternoon and want to try to see Shayla, she will be wearing her new "12" Cowboys Jersey with "Thomas" on the back. If you are looking at the stage, she is on the left-hand side, and right about where the stage and the start of the runway come together, kind of like in that corner. She's about 2-3 girls back from the stage and she'll be waving an orange scarf. She will be to Pillbull and Neo's right hand side and much of the time the artists are standing right above her. Her biggest excitement yesterday was getting to shake Pitbull's hand. She said his dancers are soooo nice! This has been an unbelievable opportunity and we have strongly felt Christi's presence here in Dallas, so cool!


text:
遠々洛外
遠々洛外のブログ - Far Beyond the Miyako Blog
Tanaka Keishu, or how not to make ministerial appointments
Shukan Shinko/blog.goo.ne.jp
If there was a prize distributed for political ineptness, one would be hard pressed to decide whether this should be given to former Minister of Law Tanaka Keishu for demonstrating unparalleled arrogance in refusing to attend a summons issued by the House of Councillors Oversight Committee last Thursday to answer questions on his previous ties to organised crime groups and accepting foreign donations (which Tanaka acknowledged after they were first revealed by weekly magazine Shukan Shinko) (J), or to the DPJ for blithely accepting Tanaka as Minister for Law without first examining whether he was a suitable candidate for the position (given Tanaka's murky political past, the fact that he was even considered raises a whole swathe of red flags concerning the DPJ executive's judgment). As such, the DPJ's own blinkered approach to cabinet appointments means that Tanaka's resignation as Minister on Tuesday (for "health reasons", according to PM Noda, after only a month in the position (J) has only further damaged PM Noda's sagging popularity and strengthened opposition LDP and Komeito calls for a snap election.
The situation wasn't helped at all by comments made by former Foreign Minister and current National Policy Office Secretary Maehara Seiji. On the 21st Maehara appeared on a Fuji Television network program "News 2001", and promptly managed to unleash a whole wave of speculation regarding debate within the DPJ about a snap election by declaring that…" In my understanding, dissolving parliament in the new year would not constitute (dissolving parliament) "soon". The Prime Minister is a man who keeps his promises." (J) This statement has been interpreted as either a slip of the tongue by Maehara (who is not noted for being unduly candid on camera – re: his time as Foreign Minister), or an indication that Maehara believes that only a snap election held within the year will save the DPJ from being hammered at the polls and ceasing to exist as a viable alternative to the LDP/Komeito coalition (as explored very astutely by Yamazaki Hajime here). In short, the longer the DPJ clings to power, the more it damages its chances of maintaining any influence in a future parliament. With the DPJ out of power, PM Noda could step down as leader and allow the party to rebuild its thoroughly tarnished public image. In the meantime Abe Shinzo would be PM before the Senate elections next year. This would result in votes moving back to the DPJ (given Abe's unpopularity with sections of the community, not to mention his standing with Japan's neighbours) and head off any attempt by the Reform Party (led by Hashimoto Toru) to seize seats in the Senate.
Whether this scenario has been considered by Maehara is a question that will have to be left to future biographers. At this stage, all one can say is that PM Noda's term in office may come to a dramatic conclusion if younger members of the DPJ begin to waver in their support and openly suggest that PM Noda call an election. This will be precisely what the opposition wants, but in the end it will restore the DPJ and increase the chances of a LDP/Komeito coalition having to deal with yet another hung parliament.
This is a blog maintained by Greg Pampling in order to complement his webpage, Pre-Modern Japanese Resources. All posts are attributable to Mr Pampling alone, and reflect his personal opinion on various aspects of Japanese history and politics (among other things).
弊ブログをご覧になって頂きまして誠に有難うございます。グレッグ・パンプリングと申しましす。このブログに記載されている記事は全て我の個人的な意見であり、日本の歴史、又は政治状態、色々な話題について触れています。
© 2019 www.farbeyondthemiyako.com. All Rights Reserved.

redpajama_set_name: RedPajamaCommonCrawl


text:
Mills Students
DEC 2, 2020–MAR 7, 2021
Featuring works from Mills College Art Museum's permanent collection, Shifting Perspectives is a digital exhibition examining contemporary artists' critiques of traditional visual representations of race, culture, and gender.
Shifting Perspectives is curated by Simone Gage, Sage Gaspar, Sydney Pearce, Melika Sebihi, and Taya Wyatt. The exhibition is accompanied by a digital catalogue featuring original scholarship by the students.
Shifting Perspectives Digital Catalogue
Siguiendo Los Pasos del Nino Perdido/Following the Steps of the Lost Child, Acrylic on beacon flags used by humanitarian aid group Water Stations.
Guillermo Galindo
Featuring works from Mills College Art Museum's permanent collection, Shifting Perspectives is a digital exhibition examining contemporary artists' critiques of traditional visual representations of race, culture, and gender. Using subversion, resistance, and satire, the artists in the exhibition confront systemic sexism and racism to bring attention to power dynamics and socio-political issues.
The works in the exhibition reflect the subjective experiences of the artists themselves and the identities they embody. A lynchpin of the exhibition is work by the Guerrilla Girls, an activist group of women artists who target tokenism and sexism within the artworld. Their interest in the underrepresentation and objectification of women—in particular, women of color—is echoed in the works of Faith Ringgold, Shahzia Sikander, and Mona Hatoum, which reclaim the female body while subverting cultural stereotypes.
While the exhibition includes biting political satire by The Bruce High Quality Foundation and early 20th-century Mexican printmaker Jose Guadalupe Posada, many of the works in Shifting Perspectives express empathy and agency. Yolanda Lopez's print celebrates the important role of Chicana women in labor unions, while the documentary photography of Pirkle Jones and Russell Lee reveals economic realities and disparities for Mexican immigrants in the United States. Many of the works have a timeless quality, such as Carrie Mae Weems' plate commemorating every black man who lives to see twenty-one, which is as relevant today as it was when it was made in 1992.
Women's Work Is Never Done from portfolio 10 x 10: Ten Women/Ten Prints, Silkscreen on paper.
Yolanda M. Lopez
Shifting Perspectives also features brand new acquisitions, including prints by local artists Adrianna Adams, Yétundé Olagbaju, and Daniel Valencia, and Guillermo Galindo's graphic score based on the movements of a lost child which are embroidered onto a flag used along the US/Mexico border to indicate the location of water tanks for migrants. The recent additions are the result of a newly launched student acquisition project to identify, research, and justify specific artworks that help diversify MCAM's permanent collection.
The exhibition showcases pieces from MCAM's holdings, including works by Adrianna Adams, Kim Anno, The Bruce High Quality Foundation, Guillermo Galindo, Rupert Garcia, the Guerrilla Girls, Mona Hatoum, Pirkle Jones, Betty Kano, Russell Lee, Hung Liu, Yolanda Lopez, Ruth Morgan, Yétundé Olagbaju, Jose Guadalupe Posada, Faith Ringgold, Shahzia Sikander, Daniel Valencia, and Carrie Mae Weems.
ARTIST TALK: SUN NIGHT EDITIONS
ARTIST TALK + PERFORMANCE: GUILLERMO GALINDO
For detailed information, visit our Events page.
Main Mills Site
museum@mills.edu
©2021 Mills College. All Rights Reserved.


Everything you need to know about Billie Joe Armstrong's confidence was NOT hanging behind the Mohegan Sun Arena stage when Green Day played to a full house Saturday.
In this era of post-space-age production, computer generated imaging and celestial lighting, with Green Day performing nightly in the biggest arenas in the country, Armstrong knows he's sufficiently charismatic to convey the physical and facial nuances of his volatile tunes with no help from the special effects wizards.
Part jack-in-the-box and part marathon runner, with the grace and timing of a circus acrobat and the exaggerated and grandiose gestures of a mime, Armstrong thusly delivers himself to his adoring fans along with a delectable portion of seasoned ham.
What it all means is that Armstrong is one of the greatest frontmen in rock. It doesn't hurt that he's got a full-on catalog of rocket fueled and hook-clustered punk tunes. In blueprint form, there's not much variety: machine gun-rhythms and power chords; punchy, harmonized choruses; and Armstrong delivering those bully's snarl vocals that convey pain and anger as often as they obfuscate an underlying vulnerability.
Admittedly, over time, Armstrong's lyrical vision has evolved from oft-hilarious snot-pop - punchlined study hall ruminations - to the societal and political observations of "American Idiot," "21st Century Breakdown" and last year's ambitious trilogy of "¡Uno!," "¡Dos!" and "¡Tré!"
What good is all this analysis? Not a lot, actually. Who cares?
Because, if you're in the Green Day moment, as it went down in the Sun Arena Saturday and goes down everywhere the band plays, it's not remotely about analysis. It's about screaming your head off for two-plus hours because Armstrong's anthems - as spewed forth with the help of longtime bandmates Mike Dirnt (bass), Tré Cool (drums) and Jason White (guitar/vocals) and two anonymous, all-around support dudes - have uncannily, for going on three generations, captured the pain and joy and anxiety of Growing Up In These American Times.
The set-list, then, was a generous, cross-cut representation of hits and album favorites, beautifully and energetically performed. There were the riff teases from other bands: AC/DC, the Stones, Black Sabbath, "Shout," and so on.
And Armstrong attacked the stage using every Frontman Trick known to rock: 16 "Connecticut" references, call-and-response, sing-alongs, and dragging fans onstage. He soaked the near-stage crowd with a firehose and fired toilet paper streamers and T-shirts with that cannon that killed Ned Flanders' wife.
Now sober and presumably free of the demons that inspired his work, Armstrong can approach the enduring majesty of rock from a new and energized perspective. No "hoping" about it; he's having the time of his life.


text:
La  armée () est une unité militaire de l'armée royale italienne (Regio Esercito Italiano) pendant la Première et la Seconde Guerre mondiale.

Première Guerre mondiale
Pendant la Première Guerre mondiale, la  armée porte la responsabilité d'un long front allant du col du Stelvio sur la frontière italo-suisse-autrichienne jusqu'au plateau d'Asiago et résiste avec succès l'offensive austro-hongroise. Son secteur est ensuite réduit, limitant son rôle à la défense des frontières du Trentin et de la région de Vérone.

Formation et opérations en 1915
La 1 armée est issue de l'Armée de Milan qui devint, en octobre 1914, la 1 armée. En plus de divers corps d'armée (jusqu'à cinq), elle avait à sa disposition de grandes unités non comprises dans les corps d'armée : des divisions d'infanterie et de cavalerie et des groupes de troupes alpines. Même le commandement des truppe altipiani a été placé par la suite au sein de cette armée. La 1 armée a participé pendant le conflit à des conquêtes, divers revers et reconquêtes (principalement la guerre dite blanche) jusqu'à la bataille finale de Vittorio Veneto.

La Première Guerre mondiale s'étendant à l'Italie, cette armée est placée sous le commandement du lieutenant général Roberto Brusati et se compose du III corps d'armée (Corpo d'Armata) de Milan sous le commandement du lieutenant général Vittorio Camerana et du V corps d'armée de Vérone sous le commandement du lieutenant général Florenzio Aliprindi.

Chaque corps d'armée était composé de trois divisions d'infanterie, y compris des unités d'artillerie de campagne et de sapeurs. En outre, il y avait une troupe de corps composée de bersaglieri, d'alpini, de cavalerie, d'artillerie et d'autres spécialistes et une troupe d'armée composée d'infanterie, de cavalerie, d'artillerie et de spécialistes.

La 1 armée, qui avait désormais son quartier général à Vérone, était déployée du col du Stelvio au col de Rolle/Cismon, soit environ 200 kilomètres le long du front de guerre, le III corps d'armée étant responsable de la frontière suisse jusqu'à la région du Lac de Garde et le V corps d'armée de Garda à Rolle/Cismon, où la 4e armée commençait son secteur. Selon les plans du commandant suprême de l'armée, la 1 armée devait maintenir une position stratégique défensive, non seulement pendant la période de préparation de la guerre, mais aussi pendant la période où la 4ème armée (adjacente), commandée par le général Luigi Nava, opérerait à partir de Cadore pour tenter d'ouvrir une route vers le Tyrol.

La 1 armée, cependant, devait mener des offensives limitées pour assurer la sécurité de la frontière italienne, et occuper tout territoire ennemi, partout où cela était possible et commode. Dans le plan de Cadorna, la 1 armée devait se défendre contre toute offensive autrichienne depuis le Trentin, protégeant ainsi (avec la 4 armée) l'arrière du gros de l'armée italienne qui était engagée sur le front d'Isonzo.

Dans l'obligation de rester sur la défensive, Brusati fut frustré par (selon lui) l'incapacité de Cadorna à comprendre que les Austro-Hongrois s'étaient retirés sur une ligne défensive bien au-delà de la frontière officielle. Ainsi, la 1 armée de Brusati mena des opérations offensives avec enthousiasme. Déjà le 25 mai 1915, le lendemain de l'entrée en guerre de l'Italie, ces troupes italiennes, profitant du fait que les troupes austro-hongroises étaient déployées loin de la frontière, conquirent des terrains d'une valeur stratégique considérable, comme le Monte Altissimo, Coni Zunga et certaines parties du Val d'Adige et Vallarsa, près du lac de Garde.

Cependant, à partir du mois d'août, après l'échec de nouvelles attaques contre les fortifications permanentes austro-hongroises (sur le plateau de Vézzena) qui gardaient la tête du Val d'Astico (à l'est des succès précédents), le général Cadorna dirige le commandement de la 1ère armée vers le mode défensif. Néanmoins, Brusati ne renonce pas à poursuivre les opérations visant à consolider le front, déployant parfois ses troupes dans une position offensive. Cet alignement conduit à négliger les préparatifs défensifs, le gros des forces disponibles restant concentré sur les positions avancées, plutôt que sur les positions arrière, plus adaptées aux opérations défensives.

Les opérations en 1916
En mars 1916, les services d'information de l'Armée ont la 1ère nouvelle d'une concentration de forces autrichiennes dans le secteur du Trentin. Il s'agissait des préparatifs de l'expédition dite Strafexpedition, planifiée par le chef d'état-major de l'armée royale impériale austro-hongroise, le maréchal Franz Conrad von Hötzendorf. Cette offensive avait pour but de vaincre l'armée italienne, en déclenchant une offensive à travers les lignes de la 1 armée pour prendre à revers tout le déploiement italien de l'Isonzo. En vue d'une probable offensive ennemie, à sa demande, Cadorna accorde à Brusati cinq divisions supplémentaires, mais Cadorna reste persuadé que rien ne se passera dans ce secteur.

De plus, les troupes de Brusati étaient épuisées après leurs avancées offensives et l'état des défenses était mal préparé. En désaccord avec Cadorna, Brusati déploie la défense à l'extrémité des positions avancées en comptant sur la solidité des travaux de renforcement effectués jusque-là. En outre, le 1 avril, l'armée passe à nouveau à l'offensive, lançant des assauts qui obtiennent quelques succès partiels, mais au détriment de la défense.

Dans la seconde moitié du mois d'avril, le général Cadorna visite les lignes de la 1 armée et à cette occasion, il refuse même de rencontrer Brusati car, selon certains, il avait déjà prévu de le licencier. Le 8 mai, Brusati est relevé de son commandement par Cadorna et remplacé par le général Guglielmo Pecori Giraldi, huit jours avant le début de la contre-offensive austro-hongroise.

En fin de compte, la 1 armée ainsi que des éléments de la 5 armée nouvellement créée l'emportent dans cette action austro-hongroise majeure, aidée par l'offensive russe Broussilov en Galicie qui oblige von Hötzendorf à déplacer des troupes de l'offensive italienne vers le front oriental.

En août 1916, la 1 armée est réorganisée et s'agrandit, ainsi que l'ensemble du Regio Esercito, car de plus en plus de conscrits atteignent la zone de guerre. La 1 armée compte désormais six corps d'armée, couvrant les mêmes lignes de front dans le Trentin. Le III corps (5, 6 et 37 division) reste sous les ordres du général Vittorio Camerana. Le V corps (44, 47 et 32 division) est ajouté sous le commandement du lieutenant général Bertotti ; ainsi que le X corps (9 et 20 division) sous le commandement du lieutenant général Domenico Grandi ; une nouvelle Truppe Altipiani commandée par le lieutenant Mambretti et composée du XII corps (30, 29 et 25 divisionss) sous les ordres du lieutenant-général Zoppi et du XX corps (13, 28 division et une unité Alpini) sous les ordres du lieutenant-général Luca Montuori ; et le XVIII corps (15 division et 2 Cavalerie) sous les ordres du lieutenant-général Donato Etna. Il y avait une troupe de corps d'armée à Vérone, composée de bataillons d'infanterie, d'artillerie, d'unités de bombardement, de cavalerie et d'unités du génie.

Pour le reste de l'année 1916, cette armée s'est engagée dans des combats et d'autres actions dans ce qui est devenu connu comme la guerre blanche. Il y a eu des attaques sur le Monte Pasubio (en septembre et octobre), le Monte Cimone (en septembre), dans le Val Sugana (en août et septembre) et de nombreuses petites actions dans le Val Sugana, le Val Posina et Altipiano d'Asiago. De nombreux soldats ont également perdu la vie dans des avalanches.

En novembre 1916, la 1 armée, avec l'accord de Cardorna, avait planifié l'"Action K" (nom de code), une petite contre-offensive visant le Monte Ortigara en utilisant la Truppe Altipiani du général Mambretti ainsi que le XVIII corps d'armée. Le commandement italien reprendra et augmentera plus tard le plan pour juin 1917. Le 1 décembre 1916, Mambretti était désormais placé à la tête d'une nouvelle 6 armée, prenant son XX corps d'armée ainsi que le XVIII corps d'armée. À ces troupes s'ajoutent deux corps nouvellement constitués, le XXII et le XXVI corps d'armée.

Les opérations en 1917
Dans le cadre d'une réorganisation (après Caporetto), plusieurs nouveaux corps d'armée sont créés et affectés (1916-1917) à la 1 armée, notamment les XXIX, V, XXVI et XXII corps d'armée. À cette époque, le front du Trentin était défendu par le IIIe corps d'armée (5 et 6 division et la Brigata Valtellina) de Stevio à Garda ; le XXIX corps (37 et 27 division), le V corps d'armée (55 et 69 division), le X corps d'armée (32 et 9 division), trois corps d'armée de la Truppe Altipiani (XXVI corps d'armée - 12 et 11 division, XXII corps - 57 et 2 division et XX corps d'armée - 29 et 52 division) de Garda à Sugana.

La 1 armée n'a pas pris part à de grandes batailles défensives ou contre-offensives en 1917. La 1 armée a cependant défendu le plateau d'Asiago pendant la bataille de Caporetto, ce qui a aidé les troupes italiennes en retraite à établir une forte ligne défensive au niveau de la rivière Piave en novembre.

Cependant, la guerre blanche se poursuit en 1917 pour la 1 armée par une série de petites actions (entre juin et octobre) dans les hautes vallées isolées des montagnes du Trentin. Les actions mineures suivantes ont été rapportées):
 Corno di Cavento (Adamello) avec la 5 division, Casina Garioni / Casina Pascon avec le X corps d'armée,
 Mascio avec le III corps d'armée, Vallagarina à Mori et Mont Giovo avec le XXIX corps d'armée,
 Val di Ledro (III corps d'armée), Val Posina (V corps d'armée),
 Massico dell'Ortler (Arditi),
 Val Concei et Dosso Prighen (III corps d'armée),
 Val Giudicare (III corps d'armée),
 Mont Altissimo (XXIX corps d'armée)
 Val Camonica (III corps d'armée).

Les opérations en 1918
Bien que la 1 armée ait fait partie de la réorganisation de l'Armée italienne après Caporetto, les modifications étaient à l'origine assez mineures. En janvier 1918, l'ordre de bataille était essentiellement le même que les changements d'octobre, à l'exception de l'ajout du XXV corps d'armée à la "Truppe Altipiani" sous les ordres du général Gaetano Zoppi. Cependant, en mars, le III corps d'armée et un nouveau corps, le XIV corps d'armée, ont été transférés à la 7 armée nouvellement créée, qui est devenue responsable du secteur Stelvio-Garda. De plus, la "Truppe Altipiani" a été dispersée dans d'autres armées italiennes, y compris la 6 armée nouvellement reconstituée (qui comprenait également les forces expéditionnaires britanniques et françaises arrivées en Italie après Caporetto) qui a pris en charge les défenses d'Asiago et la 4 armée réorganisée qui a également pris en charge les défenses montagneuses du Mont Grappa dans sa zone ouest.

La 1 armée a connu une action limitée dans les montagnes entre janvier et mai. Il y a eu des patrouilles continues qui ont occasionnellement conduit à de petits échanges de tirs et à des tirs d'artillerie (y compris des bombardements aériens). Cette armée a mené des actions mineures au Mont Cornone (Altopiano di Asiago), aux Tre Monti et dans le sous-secteur de la Val Lagarina (Conca dei Laghi et Castello Mori), et à la Vallarsa (Mont Corno).

Pendant l'offensive autrichienne de juin 1918 (seconde bataille du Piave), la 1 armée (et la 7 armée) était responsable de la défense du front du Trentin. Il n'y a pas eu d'offensives majeures ni de contre-offensives italiennes lancées dans cette zone, bien que les Austro-Hongrois aient exercé une certaine pression offensive pour soutenir leur opération Radetzky. Le 15 juin, la 6e division italienne, composée de la Légion tchécoslovaque en Italie, a été affectée à la 1 armée. Cependant, après cette bataille, les opérations ont commencé à reprendre à partir du mois d'août avec les petites batailles suivantes:
 Bataille de Dosso Alto di Zurez - (cote 703) - Le 3 août, au nord du Monte Altissimo, le XXIX corps d'armée (Arditi) reprend cette position que les Autrichiens tenaient depuis le 15 juin.
 Bataille du Monte Majo en Val Posina (à gauche du Mont Pasubio) - Le 30 août, le V corps d'armée (Bersaglieri et Arditi) s'empare de la cote 1500 en face de Il Dente di Cane.
 Nord Sano - Le 11 septembre, les Arditi, avec le soutien d'un régiment tchèque, prennent un poste autrichien près de Mori et font 12 prisonniers.
 Dosso Alto et Sasso Sega - Le 21 septembre, la Légion tchèque a repoussé une tentative des Autrichiens de reprendre cette position.
 Cima Tre Pezzi - Le 24 septembre, des bersaglieri et des Tchèques (du secteur du X corps d'armée) ont pris position ici, aidés par les tirs d'artillerie de la division britannique de la 6 armée adjacente.
 Vallone di Belassi - Les Alpini (X corps d'armée), lors d'une contre-attaque le 25 septembre, capturent des positions autrichiennes à Collegio, en face de Valle Scarabozza.
 Pasubio - Col Santo - Le 26 septembre, les Bersaglieri (V corps d'armée) repoussent une tentative autrichienne d'attaquer Monte Corno.

La bataille finale
Alors que la bataille finale (Vittorio Veneto) commence à la fin du mois d'octobre, la 1 armée (ainsi que la 7ème) doit maintenir une position strictement défensive. Cependant, alors que la bataille progresse et que la 1 armée austro-hongroise recule, puis s'effondre dans une retraite désorganisée, la 1 armée entame une poussée offensive vers Rovereto et la ville de Trente.

Le 2 novembre, alors que la situation de l'armée austro-hongroise devient de plus en plus pessimiste, le commandement suprême italien met également en mouvement les troupes de la 1 armée de Guglielmo Pecori Giraldi. Depuis la nuit précédente, le X corps d'armée avait attaqué dans le Val d'Astico en rencontrant peu de résistance ; Giraldi décida donc d'accélérer les opérations et ses troupes avancèrent immédiatement sur le plateau de Tonezza et sur le plateau de Luserna. La marche de la 32 division dans la Vallagarina commence en début d'après-midi ; une unité d'Arditi, sous le commandement du major Gastone Gambara, et trois bataillons alpins avancent dans la vallée et occupent Rovereto.

L'avance de l'armée italienne devient maintenant générale. Sur la rive gauche de l'Adige, les brigades du Piceno et de la Ligurie marchent à Vallarsa et sur le Pasubio, dans la Val Posina. Dans la vallée de l'Adige, la désintégration et l'effondrement des Austro-Hongrois deviennent catastrophiques ; les matériaux et les véhicules sont abandonnés, les trains en direction du nord sont pris d'assaut par les soldats, tandis que la panique et l'indiscipline se répandent.

Dans l'après-midi du 3 novembre, les troupes de la 1 armée atteignent Trente : les premières unités à entrer dans la ville sont le régiment de cavalerie "Alessandria", le XXIV corps d'armée d'Arditi, les Alpini du IV groupe ; l'infanterie de la brigade de Pistoia arrive ensuite. L'avance finale n'avait pas rencontré de réelle opposition : les soldats italiens reçurent un accueil enthousiaste de la part de la population. Le soir même, une unité du régiment de cavalerie "Padoue" de la 4 armée du général Gaetano Giardino arriva également à Trente ; et le lendemain après-midi, Giraldi lui-même, commandant de la 1 armée, entra à Trente, lorsque l'armistice prit effet.

Après l'armistice, la 1 armée devient responsable de l'occupation de tout le Trentin, du Tyrol du Sud (qui font partie de l'Italie) et du Tyrol autrichien. Le 20 septembre 1919, le commandement de la 1 armée devient le commandement de la région de Trente, l'un des nouveaux commandements d'armée désignés de la Regio Esercito.

Commandants successifs

Seconde Guerre mondiale
En juin 1938, le commandement est transféré à Rome, prenant le nom de Comando Designato 1ª Armata sous le commandement du général désigné dArmata Adriano Marinetti, puis devenant en août 1939 Comando 1ª Armata prenant sous son commandement les II, III et XV Corps.

Le 10 juin 1940, jour de l'entrée de l'Italie dans la Seconde Guerre mondiale, la 1ère Armée, au sein de laquelle est également encadré le VIII corps d'armée, est déployée, sous le commandement du général Pietro Pintor, le long de la frontière française, du Mont Granero (exclu) à la côte ligure avec la II, Les III et XV corps d'armée, sur la première ligne et le VIII corps d'armée, sur la deuxième ligne, appuyés par le 118 Escadron de reconnaissance de l'Aviation auxiliaire de l'armée de terre, participent à la campagne des Alpes occidentales contre la France sur deux lignes opérationnelles celui du Colle della Maddalena, visant Barcelonnette, Marseille et celui de la Riviera visant Menton, Nice, Marseille. L'action, qui débute le 23 juin, se heurte à une résistance française tenace, notamment dans le secteur des II et III corps d'armée, et les conditions environnementales, combinées au chaos logistique, à l'inexpérience tactique des commandements et au manque d'artillerie et d'entraînement à la guerre de montagne, entravent davantage la poussée offensive. L'infanterie italienne a fait des progrès limités, restant par endroits bloquée sur place jusqu'au jour de l'armistice avec la France. La seule conquête d'importance est la ville de Menton, située à moins de 10 kilomètres du front, conquise par une colonne de la division "Modena" qui avait réussi à descendre des montagnes sans rencontrer trop de résistance. A l'issue des opérations, la 1 armée est dissoute le 31 juillet 1940.

Le 1 octobre 1942, l'Armée blindée italo-allemande (Armata corazzata italo-tedesca - ACIT ou Deutsch-Italienische Panzerarmee) est constituée avec des éléments de la Panzer armee Afrika. Après sa formation, l'armée blindée italo-allemande, sous le commandement du général allemand Georg Stumme, jusqu'à sa mort le 24 octobre 1942, et du maréchal Erwin Rommel à partir du 25 octobre, participe à la bataille d'El Alamein en octobre-novembre 1942 et, en novembre 1942, à la retraite de la frontière égyptienne et de la Cyrénaïque. Plus tard, en novembre-décembre 1942, l'armée blindée italo-allemande (Deutsch-Italienische Panzerarmee), pressée par la 8 armée britannique du maréchal Bernard Montgomery, est engagée dans une bataille défensive sur la ligne de Marsa El Brega. Entre janvier et février 1943, l'ACIT. est engagée dans des combats d'arrière-garde à la frontière entre la Tunisie et la Tripolitaine et le 25 janvier 1943, après avoir quitté la Libye, l'ACIT. se rend en Libye, a traversé la frontière vers la Tunisie et a participé à toutes les phases de la campagne de Tunisie jusqu'à la capitulation.

En novembre 1942, quelques divisions de la division "Centauro" sont envoyées en Afrique du Nord, pour soutenir les forces italiennes sur place, qui, déjà décimées pendant le transfert de l'Italie vers le sol africain, puisque le convoi qui les transportait a été attaqué, ne sont pas arrivées en Afrique en tant que division organique, puisqu'une partie de ses unités n'a jamais été transférée et que les unités transférées, lorsqu'elles sont arrivées sur le sol africain, ont été immédiatement envoyées au front agrégées avec d'autres grandes unités, italiennes et allemandes. La plupart des chars des XIV et XVII bataillon du 31 régiment de chars avaient opéré sous le commandement du régiment Cantaluppi, qui avait déjà absorbé ce qui restait de l'Ariete et du Littorio. Après une série d'acquisitions et de pertes d'unités, mal expliquées en raison des difficultés de documentation en ces temps plutôt chaotiques, au début de 1943, le Raggruppamento Cantaluppi, avec des unités du 5 régiment de Bersaglieri et du 31 régiment de chars arrivés de Grèce, forme la division Centauro, qui, en ces premiers mois de l'année, est le protagoniste des premières et seules victoires du Regio Esercito sur l'armée américaine, dans les batailles du col de Kasserine et d'El Guettar.

En novembre 1942, après la défaite d'El Alamein et les débarquements alliés en Algérie et au Maroc, l'Oberkommando der Wehrmacht (OKW) envoie la 5 Panzerarmee sous le commandement du Generaloberst Hans-Jürgen von Arnim sur le sol africain, dans le but de créer une tête de pont en Tunisie pour faire face à la menace de l'Est et de l'Ouest.

Le 23 février 1943, la Deutsch-Italienische Panzerarmee est rebaptisée 1ère Armée italienne et placée sous le commandement du général italien Giovanni Messe, tandis que Rommel est placé à la tête d'un nouveau Heeresgruppe Afrika (Groupe d'armées Afrique) créé pour contrôler à la fois la 1ère Armée italienne et la 5ème Panzerarmee allemande. Rommel affronte les troupes américaines dans la bataille du col de Kasserine, remportant quelques succès initiaux notables et infligeant de lourdes pertes aux forces ennemies inexpérimentées, mais il doit néanmoins se replier sur ses positions d'origine en raison de l'infériorité marquée des hommes et des moyens et, face aux forces britanniques une fois encore, sur l'ancienne frontière défensive française de la ligne Mareth, Rommel ne peut que retarder l'inévitable. Après être tombé malade, Rommel quitte l'Afrique et passe le commandement le 9 mars 1943 au Generaloberst (Colonel Général) Hans-Jürgen von Arnim.

Le 20 mars 1943, la division Centauro, déployée à Gafsa, est attaquée par l'ensemble du IIe Corps américain pendant la bataille de la ligne Mareth (Opération Pugilist). La division Centauro résiste aux forces ennemies écrasantes pendant 12 jours, jusqu'à ce qu'elle soit remplacée en ligne par la 21 Panzerdivision le 31 mars. Bien qu'elle tienne le front, la division italienne est pratiquement anéantie, aussi ses divisions de bersaglieri sont-elles rattachées au Kampfgruppe Manteuffel (Groupe de combat Manteuffel) et les chars, également sous commandement italien, à la 10 Panzerdivision.

Messe réussit habilement à retarder la défaite des troupes italo-allemandes en forçant l'ennemi à se défendre lors de la bataille de Médenine. Avec la chute de la Cinquième Armée allemande, due à l'impossibilité de recevoir des approvisionnements et des renforts par le Canal de Sicile, désormais complètement contrôlé par les Alliés, une impasse imprévisible se crée, dans laquelle les troupes italiennes résistent sans trop de perspectives, encerclées par les troupes alliées de nombreux contingents, mais Messe, bien qu'encerclé, résiste en répondant, lorsqu'on lui demande de se rendre, qu'il ne se rendra que si l'on accorde à ses troupes l'honneur des armes, ce que les adversaires ne font pas. La situation est résolue par Mussolini qui, le 12 mai 1943, télégraphie à Messe l'ordre de se rendre et le nomme maréchal d'Italie. Le 13 mai, les troupes italiennes se rendent et Messe est fait prisonnier par le général de l'armée néo-zélandaise Bernard Freyberg.

Ordre de bataille au 10 juin 1940
Ordre de bataille au 10 juin 1940.

2 Corps
Commandé par le général Francesco Bettini

 4 division d'Infanterie Livorno (général Benvenuto Gioda)
 33 division d'infanterie Acqui (général Francesco Sartoris)
 36 division d'infanterie Forli (général Giulio Perugi)
 4 division alpine Cuneense (général Alberto Ferrero)

Corps de réserve :

 3 secteur de la Guardia alla Frontiera (gardes-frontières)
 Groupe d'artillerie du 2 corps
 2 groupe du génie
 7 groupe d'artillerie de la Guardia alla Frontiera
 14 groupe d'artillerie de la Guardia alla Frontiera
 22 groupe d'artillerie de la Guardia alla Frontiera
 Bataillon Alpini
 Bataillon Alpini
 6 bataillon de mitrailleuses
 102 bataillon de mitrailleuses
 109 bataillon de mitrailleuses de position
 114 bataillon de mitrailleuses de position
 5 bataillon Artieri (ingénieurs de la construction)
 2 compagnie de chars
 84 compagnie télégraphique
 152 compagnie ouvrière
  entreprise chimique
 72 section des projecteurs
 6 unité mobile de pigeons-messagers

3 Corps
Commandé par le général Mario Arisio

 3 division d'Infanterie Ravenna (général Edoardo Nebbia)
 6 division d'infanterie Cuneo (général Carlo Melotti)

Corps de réserve :

 2 secteur de la Guardia alla Frontiera
 Groupe d'artillerie du 3 corps
 3 groupe du génie
 16 groupe d'artillerie de la Guardia alla Frontiera
 Bataillon Alpini
 3 bataillon de mitrailleuses
 103 bataillon de mitrailleuses
 112 bataillon de mitrailleuses de position
 10 bataillon Artieri (ingénieurs de la construction)
 7 compagnie télégraphique
 72 compagnie télégraphique
 3 bataillon de chemises noires
 4 bataillon de chemises noires
 8 unité mobile de pigeons-messagers

15 Corps
Commandé par le général Gastone Gambara

 5 division d'infanterie Cosseria (général Alberto Vassari)
 37 division d'infanterie Modena (général Alessandro Gloria)
 44 division d'infanterie Cremona (général Umberto Mondino)
 Groupe Alpini (4 x bataillon d'Alpini  - 2 x bataillon d'Alpini - 1 x bataillon de chemises noires)

Corps de réserve :

  secteur Guardia alla Frontiera
 5 secteur de la Guardia alla Frontiera
 Groupe d'artillerie du 15 Corps
 11 groupe d'artillerie Guardia alla Frontiera
 24 groupe d'artillerie Guardia alla Frontiera
 15 bataillon de mitrailleuses.
 108 bataillon de mitrailleuses de position
 111 bataillon de mitrailleuses de position
 9 bataillon Artieri (ingénieurs de la construction)
 71 compagnie télégraphique
 76 compagnie télégraphique
 100 compagnie radio
 33 bataillon de chemises noires
 34 bataillon de chemises noires

Réserves de l'armée

 4 AA Art. Rgt
 Groupe d'artillerie de la 2 armée
 Groupe d'artillerie de la 4 armée
 Groupe d'artillerie de la 7 armée
 Groupe d'artillerie de la 8 armée
  Signal Btl.
 2 bataillon de communications
 2 bataillon de mineurs (construction de montagne)
 5 bataillon de mineurs
 69 escadron de l'armée de l'air (reconnaissance)
 7 division d'Infanterie Lupi di Toscana (général Ottavio Prieur)
 16 division d'infanterie Pistoia (général Mario Priore)
 22 division d'infanterie Cacciatori delle Alpi (général Dante Lorenzelli)
 5 division alpine Pusteria (général Amedeo De Cia)
 Groupement Celere (rapide - moteur)
  régiment de Bersaglier
 3 régiment de chars
 Régiment de cavalerie Cavalleggeri di Monferrato

Ordre de bataille en avril 1943
Ordre de bataille, en avril 1943.

 21 division blindée
 15 division blindée
 90 division légère
 164 division légère
 16 division motorisée Pistoia
 101 division motorisée Trieste
 131 division blindée Centauro
 136 division blindée Giovani Fascisti

Commandants successifs

Notes et références

Unité militaire italienne de la Seconde Guerre mondiale
Unité militaire italienne de la Première Guerre mondiale
Unité ou formation militaire créée en 1914
Unité ou formation militaire dissoute en 1918
Unité ou formation militaire créée en 1939
Unité ou formation militaire dissoute en 1943

redpajama_set_name: RedPajamaWikipedia


text:
Q: Convergence of $ \sum_{n=1}^\infty \frac{\log n}{n^q+1} $ Can anyone give a me a hint on how to check if this series is convergent or not?
 $$ \sum_{n=1}^\infty \frac{\log n}{n^{q}+1} $$
Thank you :)

A: Try the limit comparison test with $\displaystyle \sum_{n=1}^\infty \frac{1}{n^p}$ for various values of $p$.

A: Comparison test
We have that $\log n < n$. If $q > 2$ then
$\frac{\log n}{n^q + 1} < \frac{n}{n^q +1} = \frac{1}{n^{q-1} + \frac{1}{n}}< \frac{1}{n^{q-1}}$, then
since for $q> 2$ the series $\sum_{n\geq 1}\frac{1}{n^{q-1}}$ converges, then by comparison theorem so is $\sum_{n \geq 1} \frac{\log n }{n^q + 1}$.
Comparison test and Limit comparison test
Now let $q \in (0, 1]$
for $n \geq 3$
$\frac{1}{n^q+1}<\frac{\log{n}}{n^q+1}$
and the series $\sum\frac{1}{n^q+1}$ is divergent due to limit comparison test with the sum $\sum \frac{1}{n^q}$. Indeed $\frac{n^q+1}{n^q} \to 1$. Hence,
$\sum \frac{\log n }{n^q+1}$ is divergent when $q \in (0, 1]$.
The case which I'm leaving for you is when $q \in (1, 2]$.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Should I enabled 802.3x hardware flow control? What is the conventional wisdom regarding  802.3x flow control?
I'm setting up a network at a new colo and am wondering if I should be enabling it or not.  My oh-cool-a-bright-and-shiny-new-toy self wants to enable it, but this seems like one of those decisions that could blow up in my face later on.
My network:

*

*An HP ProCurve 2510G-24 switch

*A pair of Debian 5 HP DL380 G5's with built-in NC373i 2-port NIC LACP'd as one link.    9000 jumbo frames enabled.  (Application)

*A pair of hand-built Ubuntu server with 4-port Intel Pro/1000 LACP'd as one link. 9000 jumbo frames enabled.  (NAS)

*A few other servers with with single 1Gbps ports, but one with 100Mbps.

Most of this kit is 802.3x.  I've been enabling it as I go along, and am about to test the network.  But as my 'go live' day nears, I am worried about the 802.3x decision as I've never explicitly used it before.  Also, I've read some 10-year old articles out there on the Intertubes that warn against using flow control.
Should I be enabling 802.3x hardware flow control?

A: Experience here has been that 802.3x is very rarely what you want.  In most circumstances you would be better served by either upgrades to the link speeds if there is congestion, or the implementation of "real" QoS/CoS (DSCP and 802.1p).
The behavior of 802.3x has also been known to interact poorly with protocols with their own flow control such as TCP.


text:
Neoleptoneta georgia is een spinnensoort in de taxonomische indeling van de Leptonetidae.

Het dier behoort tot het geslacht Neoleptoneta. De wetenschappelijke naam van de soort werd voor het eerst geldig gepubliceerd in 1974 door Willis J. Gertsch.

Leptonetidae


Does anyone know how to deploy jsp and servlet in weblogic server? I cannot find it in the weblogic tour. What can I read to learn more about configuring and deploying jsp and servlet in weblogic?
which jar file for classpath ?


Regulation of Runx genes during mesenchymal chondrogenesis.
The Runx family of transcription factors are crucial for cell differentiation in a variety of systems. We investigated the involvement of Runx1 and 2 during the chondrogenesis of mesenchymal condensations. Using a model system of mouse embryonic fibroblasts in high-density cultures, we were able to recapitulate mesenchymal to chondrogenic differentiation in vitro. Our present study proposes that Runx1 may play a role in the induction of chondrogenesis, whereas Runx2 may play an anti-chondrogenic role in undifferentiated mesenchyme.


They say blondes have more fun, but we're taking a stand and challenging that notion. Some of our favorite and most pin-worthy looks and styles of the past year were sported by a brunette (or a temporary brunette—no judgment here). Not to mention that the different shades and tones brown hair can take on is mesmerizing—from amber to raven to sombre to espresso, we can't look away from a good brunette dye job. Whether you're looking for a major hair transformation or just a subtle transition that'll still warrant a double take, we're willing to bet you'll find a look in our gallery of favorites.
For all this and more, click on through!
When Joan Smalls worked long curly locks earlier this summer, we couldn't get over the gorgeous rich color. Subtle lightness added throughout the deep brunette helped to create dimension and show off her beautiful curls.
We can't say we were surprised when Zendaya was announced as CHI's first-ever celebrity brand ambassador. She's a strong advocate for natural hair and embracing your roots (literally), we're big fans of her grit (and her beautiful chocolate-brown locks). For shiny strands like Zendaya's, apply CHI Argan Oil Plus Moringa Oil Conditioner ($17).
Taking a look at our Pinterest boards, Olivia Palermo appears frequently on just about every one of them. Her clothes, her wedding dress, her hair—we want 'em all. Speaking of the latter, we haven't been able to forget this brunette-meets-bronde dye job that accents the socialite's features perfectly.
If we didn't know any better, we'd think Lily Aldridge's balayage was painted on by Michelangelo himself. This look is the perfect way to bring lightness to brown hair without going the full-blown highlight route. However, because lightening hair can cause unsightly damage, we recommend nourishing your mane with Biosilk Color Therapy Conditioner ($16).
We're cheating a bit here, but we had to include Alexa Chung's coppery strands to our roundup. Hey, no one ever said brunette had to be all brown, right? We like that she kept some brunette color at the roots to add more dimension to the overall color.
Okay, not only is Jessica Biel married to Justin Timberlake, she also won the genetic lottery. Sigh. Celebs are so #blessed. While we've seen her rock a ton of bronde and balayage looks throughout her career, we find ourselves swooning over this simple, natural-looking hue. For healthy locks like Jess's, try quenching dry strands with Carol's Daughter Hair Balm Nourishing Liquid Pomade ($10).
Hold on, let us grab our sunglasses to shield our eyes from the amazingly vibrant mocha color happening here. Nina Dobrev's modest mane is proof that you don't need to hit the dye or bleach heavily in order to achieve stunning color.
There's always that one celebrity who is so aesthetically perfect it's almost upsetting, and that person for us is undoubtedly Jenna Dewan-Tatum. No matter what chop, color, or style she chooses for her hair, it's always undeniably flawless. This sombre bob is another example of how wonderous her hair truly is, transitioning from a deep brown to a sassy (yet subtle) copper.
We can't get enough of Selena Gomez's medium-brown sleek main with subtle balayage. While simple in nature, this color elicits an air of mystique, adding to the appeal behind the flawless singer. To mimic this striking look, we suggest applying Oscar Blandi Vivid Clear Shine Glaze ($28) over pin-straight strands.
Olivia Wilde told us she attributes her youthfulness to wine, but we're thinking her colorist has a hand in that as well. We're totally digging this dark brown bob with subtle red tones.
Miranda Kerr has that total lit-from-within thing going on, but those face-framing highlights definitely help, too. It's such a subtle touch to brunette hair, but it makes a world of a difference.
Call it bronde, dirty blond, or whatever you like, but we think Sofía Vergara's honey-hued (pseudo-brunette) locks are a must-try, no matter the season.
We're all about finding sneaky tricks for covering our roots, but we think Jourdan Dunn's visible roots here are an exception to the rule. Couple those with a light-bronde bob and you've got a seriously red carpet–worthy head of hair. We suggest using SheaMoisture Professional Smooth Finish Blow Dry Cream ($20) to get a sleek end result like the model's.
Also rocking roots, Jessica Alba looks gorgeous in this chestnut color. Pairing the color with messy-on-purpose strands, she's making the case for imperfect hair.
This story was originally published on January 4, 2016, and has been updated.


I was stoked when The Venetian announced that Chica by Lorena Garcia was opening earlier this year. The Latin restaurant is bringing a type of cuisine that isn't found in most other Las Vegas casinos.
Restaurants on the Vegas Strip seem to be operating on two paths right now. Many of the lower cost dining options are being homogenized with chain restaurants. Meanwhile, moderate to fine dining is becoming more diverse with new options that you won't find in every casino. There's a place for both in life but I'm always up for something new (as long as it isn't fish).
Pricewise, Chica is somewhere in the middle. It isn't cheap but it's affordable. I'm sure many people will balk at paying $18 for a Cuban sandwich. However, this was one of the best Cuban Sandwiches I've had in Las Vegas. The quality of the food and service made the meal worthwhile. Even the dinner which was hit and miss still felt like a fair value.
The first thing that stands out is that Chica is a beautiful restaurant. Before checking in for our reservation a friend and I just wandered into the beautiful bar area. The rustic, yet modern finishes are gorgeous. Even the mural on the wall is stunning. There are pops of color throughout the bar that match with the aqua color of the dress.
The bar area has plenty of seating and was perfect for a quick lunch in between sessions at G2E. I didn't even open the menu. My friend quickly decided on a Cuban sandwich. That sounded like a good idea so I joined. I figured that a chef who became famous for restaurants in Miami would have the ingredients to make a good Cuban sandwich. HUZZAH! This is one of the best Cuban sandwiches I've ever had.
This is an "elevated" Cuban sandwich with higher quality ingredients than some other restaurants. The sandwich has mojo marinated pork and smoked ham and is topped with dijon mustard, Swiss cheese and house pickles on a pressed sweet roll. I barely touched the delicious seasoned fries. My focus was 100% on the fantastic sandwich. The sandwich was put together perfectly and there was an even distribution of ingredients and flavors. This is what a Cuban sandwich should be.
The Venetian is a luxury resort and everything in the casino is priced accordingly. The Cuban sandwich and fries are $18. I added a delicious green iced tea and the total was about $25-$28 per person after tax and tip. This wasn't a cheap meal but it was delicious and worth the price.
Dinner started with an order of chicharrones ($16) and grilled corn lollipops ($13). The chicharrones are crispy, spiced chicken bites and were fantastic. I think I tasted the spices all night long. Sometimes that's annoying but the flavor was so good. This was a great way to start a dinner.
The corn was grilled and topped with chile piquin, lime, butter and cotija cheese. This was also fantastic. Expectations for the main course were high. Unfortunately, I don't think some of the dishes matched the anticipation.
One of the recommended dishes was porchetta with crispy yuca hash ($36). This isn't something I would normally order but it seemed as though this was a specialty so I decided to try something different. The results were a surprising meh.
The actual meat from the roasted suckling pig was good. However, the skin wasn't crispy and was quite a turn off since that could have been the best part of the dish. The dish had crispy brussels sprouts, fried yuca, pearl onion escabeche but I didn't bother with that. I really just wanted the pork and was slightly disappointed.
Overall opinions at dinner were mixed. A friend at the table ordered the lamb and said it was some of the best he's ever had in Las Vegas. Another said the steak was fine but not amazing. The other person also had the porchetta and was very disappointed. Coincidentally, that person also loved the Cuban sandwich.
Since I only had the main portion of my dinner there was room for dessert. I had a scoop of ice cream. I've never heard of coffee cookies and cream ice cream before and thought I must have it. The coffee flavor was mellow but the ice cream was excellent and a nice way to end the evening.
The Venetian is continuously offering new dining experiences. I enjoyed Mercato della Pescheria, I really enjoyed Yardbird Southern, and I enjoyed both of my meals at Chica. The restaurant is beautiful and the service is great. I had a fantastic lunch and an okay dinner.
I will return but probably only for an afternoon visit. The lunch menu is more appealing to me than the dinner menu. Even though the prices are a bit high it's also more affordable to try the unique cuisine at Chica during the day.


ᴄᴏᴛᴛᴏɴ ᴄᴀɴᴅʏ Maybe it's just heart burn.
✨waifu✨ Yeah or something funny!
✨waifu✨ OH SHEET! !! I HOPE YOU WILL FEEL BETTER !!
JustBlu. Oml friggin ur parents are too lazy?!!
❄Liza A Liza❄ I know, my parents are too lazy to take me to doctor ._."
Bubble is gone. Aawwwww feel better!!
✨waifu✨ Oh dog Liz. ...DON'T DIE!!!!!!!! YOU ARE TO YOUNG! !!


Founded in 1979, Rogan Investment Management (Rogan) manages balanced portfolios of equity and fixed income securities on a discretionary and highly personalized basis for high net worth families and foundations. Rogan is an independent investment counsel, without ownership links to the brokerage and banking communities. The firm's sole business is the investment management of client assets. Over its long history, Rogan has achieved superior results for clients using a consistent value investment discipline. The three portfolio managers are William Rogan (P.Eng.; CFA; the firm's founder; in the investment industry since 1961), David Rogan (CFA since 1994; in the investment industry since 1991) and William Jephcott (CA; CFA since 1987; in the industry since 1985). William Rogan is a Past President of the Investment Counsel Association of Canada (now called Portfolio Management Association of Canada).
The firm's goal is to preserve and increase wealth for clients after the effects of tax and inflation. This has been achieved through long-term ownership of a select group of investments about which the portfolio managers have conviction. Investment holdings consist primarily of established, financially strong North American corporations across a broad range of industries and high quality bonds.
Rogan has differentiated itself through its independent research effort, the prime objective of which is to uncover the best opportunities, whether in equities or fixed income securities. The portfolio managers search for companies with good businesses, proven management and undervalued shares. Good businesses are generally those with structural advantages over competitors, high levels of profitability and surplus cash flow generation. Undervalued shares are those in which the quoted price is well below Rogan's appraisal of the business or intrinsic value. This conservative 'margin of safety' approach helps to minimize risk.
Additional information on the firm's investment process and results is available upon request.
An investment policy statement is developed for clients based on their investment goals and constraints, which include income requirements and risk tolerance. A separate investment strategy is developed in cases where a new client is sending an existing portfolio of investments. Clients receive monthly portfolio statements, quarterly performance updates, frequent investment commentaries, year-end tax packages, and periodically meet with portfolio managers for a comprehensive investment review. Other communication is tailored to satisfy individual client preferences.


Time-of-Use (TOU) rates more accurately reflect MGE's costs to generate and deliver electricity. It is more expensive to serve customers on-peak—when demand for electricity is high. We charge our customers less off-peak—when the cost of electricity to serve our customers is low.
Customer consumption is divided into four time periods.
During off-peak hours, electric energy charges are lower than standard electric service rates.
All electric consumption is charged a lower base energy, all kWh charge.
During off-peak times, it is the only energy charge.
On-peak electric consumption is charged the base energy, all kWh charge plus a peak charge that reflects the extra cost to generate electricity for the highest summer energy demand period.
On-peak period charges are higher in the four summer months.
On-peak period 2 increases more than periods 1 and 3 during the summer months.
The base energy, all kWh charge stays the same throughout the year.
Business customers with a demand greater than 20 KW.
Non-farm, single-family residential units with average daily use of 130 kWh or more during the four-month summer billing season (June 1–Sept. 30).
A customer choosing this option must stay on TOU rates for at least one year but may shift back to the standard rate after one year.


text:
International day of Indigenous People: Govt urged to preserve languages of indigenous community
Published at 11:28 pm August 9th, 2019
Bangaldesh Adibasi Forum general secretary Sanjib Drong speaks during a program, marking the International Day of Indigenous People, at Charukola Institute in Dhaka on Friday, August 9, 2019 Rajib Dhar/Dhaka Tribune
The indigenous community demanded stoppage of communal attacks, false cases, harassment, and propaganda against them, and to ensure their security as well
Indigenous people of Bangladesh have urged the government to take necessary measures to preserve their languages.
Besides, the indigenous community demanded stoppage of communal attacks, false cases, harassment, and propaganda against them, and to ensure their security as well.
They made the demands at a programme organized for marking the International Day of Indigenous People, at Charukola Institute in Dhaka on Friday.
Speakers at the programme said that their rights as a human being is in crisis. Bids to occupy indigenous people's lands in different parts of the country, attacks on them, raping of their women, seizure and eviction from their land have been increased significantly, they alleged, adding, "Specially, the level of violence on the indigenous women has increased a lot."
The fundamentals of the Chittagong Hill Tract (CHT) Accord, signed in 1997, have not been implemented even after the passage of 21 years from the signing. So, people of the hill track areas are living a miserable life due to insecurity, they said.
Sanjib Drong, general secretary of Bangaldesh Adibasi Forum said: "Although the country is developing, the indigenous people are facing discrimination."
Bangladesh, as a country could not become "a county of everyone" even after 48 years of independence, he said.
Mamunur Rashid, playwright and cultural personality, urged the government to take necessary steps so that the children of the indigenous community are taught books in their respective mother language at primary school level.
"Children become puzzled and distorted when they are forced to learn other languages at a young age. So it is important to teach them in their mother language first," he said.
Indigenous people, who participated in the program, wanted recognition for their mother language, so that everyone not only honour them, but also respect their language.
To sustain the nation's existence, indigenous languages should be given recognition, they said.
At the program, they demanded implementation of their 14-point charter.
Social Safety Net program fails to bring significant changes in indigenous communities
International Day of the World's Indigenous Peoples observed
Man arrested for raping indigenous woman
TIB calls for constitutional recognition of the indigenous and Dalits, defying current practices
Malnutrition, child deaths plague India's tribal people
International Day of the World's Indigenous People observed
International day of Indigenous People
languages of indigenous community


text:
Q-tec Completes First Installation of RealD's 3D System in Japan
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TOKYO—(BUSINESS WIRE)—October 27, 2008— Q-tec, Inc., one of Japan's leading video post production service providers, announced today that it has completed the first domestic installation of 3D cinema system developed by RealD, the global leader in digital 3D. Q-tec plans to begin the full-scale operation in November 2008.
The number of digital 3D cinema screens in Japan was around 30 at the end of 2007, but there are currently more than 50 screens available as the US film "Journey to the Center of the Earth 3D" was released on October 25. The number is projected to rise with the expectation of 3D films produced and released in Japan. Q-tec has assessed the needs of production facilities for 3D moviemaking and opened a 3D video editing studio with RealD's 3D systems. New services such as 2D to 3D conversion and 3D-CG creation will also be offered at the studio.
About Q-tec
Q-tec, one of the affiliates of Japan's largest disc replicator Memory-Tech Group, is a post production service provider with a specialty in image/audio editing. Q-tec also provides various services including planning and production of broadcasting programs and packaged disc media, encoding/authoring and custom press of DVDs and Blu-ray discs, digital remastering/intermediate for films, conversion/compression of data for Internet distribution that supports Video On Demand (VOD) applications, production of CG including 3D-CG, and filming of digital animation.
RealD is the global leader in 3D, bringing the most advanced and enjoyable digital 3D experience to cinemas worldwide. RealD's next-generation technology, deployed across the world's largest 3D platform in 27 countries with more than 1,400 installations worldwide, provides a stunningly realistic viewing experience. The impact of 3D upon today's moviemaking has been compared to the advent of color film when once there was only black and white. Beyond cinema, RealD is the worldwide inventor and provider of key stereoscopic technologies used in science, manufacturing, marketing, and other industries, with thirty years of scientific development behind its systems. RealD's mission-critical 3D visualization technologies are used by organizations such as NASA, Pfizer, BMW, Boeing and more. For more information, visit www.RealD.com.
BWR
Gina Lang


We count six seasons in India. Summer season is one of them. It is the hot season. It rules Over May and June.
The earth moves round the sun. The part of it, which comes nearer the sun, gets the summer season. Because here the sun's rays are straight and direct.
In summer, everything is neat and clean. The earth is dry. Hence, there is no mud or marsh. Ways and paths are open to every place. Mangoes ripe in Summer. We get plenty of mangoes. We get jack-fruits and pineapples. The shady groves of mango and palm trees are Cool and beautiful. The cuckoo has not yet ceased to sing her music.
In summer, the days are long. Hence we get more time to work. Evening in Summer comes last. So, the school-children got more time to play. The summer flowers bloom in the evening. All the night, they spread their Sweet Smell. The Summer sky is clear and blue. Hence, the moon beams bright.
Summer Causes the rainy season. Because it evaporated water and stores the vapors in the atmosphere. These vapors turn into clouds and fall as rain.
At mid-day in summer, people suffer from a terrible heat. The weak and the old men die of sun-strokes. People feel tired and thirsty. Their bodies perspire. Sweat comes out and flows down their bodies. They feel restless. Summer-boils trouble the children.
Tanks and wells go dry. So also rivers and canals. People do not get good water to drink. Dogs pant with their tongues flowing. Trees go bald and Creepers fade away. Grasses dry off. So, Cows do not get the pasture. All Suffer from Scarcity of water. Mid-day is very hot. The dumb cattle lie in groves. The silent birds hide in their nests. The Weary travelers are parched by the scorching rays of the Sun. They rest under the Wayside trees.
Summer is the first in the order of the seasons. It gives rise to four months of rain. Hence, we cannot blame it. Let us pay our due homage to summer.


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Formed in 1975 in the Glasgow suburb of Battlefield, this band is one of the great institutions in Scottish music. Battlefield Band has spent over three decades offering its contagious version of "the real Scotland," a blend of songs old and new, played on a combination of ancient and modern instruments—bagpipes, keyboards, fiddle, guitar, flutes, bodhran, and accordion.
Longing for a taste of the highway? Yearning for that soulful twang usually only found in smoky bar rooms long after midnight? Oakland-based americana band Loretta Lynch offers you a country pick-me-up in the form of sweet, sorrowful, saucy, and smart songs in this special concert celebrating the release of its new album, Home Fires.
Join longtime Freight artists Ginny Reilly and David Maloney for a performance celebrating the release of David's new CD of original songs, One Day More.
An incisive writer and riveting performer, Graham Parker brings his thought-provoking brand of British rock to the Freight stage for an unforgettable solo evening. Ranging across the vast territory of his 40-plus-year career Graham applies his familiar soulful, raspy voice to hits like "Don't Ask Me Questions," "Local Girls," and "Wake Up (Next to You)," as well as to numbers from his recent CD, Imaginary Television.
An evening with songwriter, acoustic guitar master, and superlative raconteur Willy Porter means a chance to enjoy great music in a rare communion between artist and audience. While he weaves a powerful spell on albums like his latest, How to Rob a Bank, Willy is even better in concert, where he is relentlessly entertaining, drawing listeners in with his nimble-witted stage patter and his mesmerizing musical balance between muscle and intimacy.
Folks, this show is going to be a blast! Join three masters of American home-grown music, Jim Kweskin, Geoff Muldaur, and Suzy Thompson, as they treat our ears and toes to a superlative selection of good-time tunes from their extensive combined repertoire of jug band, ragtime, and old-time country music.
Three of the world's premier Celtic harpists combine music with spoken word to take us deep into the myths, magic, and fabled history of this beautiful instrument.
Join us for an evening of aloha as a fabulous lineup of artists fills the Freight with music and hula from the islands of Hawai`i. A special fundraiser for Listen for Life, this show is guaranteed to transport one and all with melodious songs, swaying dancers, and all the warmth of an island breeze.
As its name suggests, this performance weaves together intriguing elements from far-flung corners of the globe to create an adventurous evening's listening. Didjeridu maestro Stephen Kent and touchstyle veena player Teed Rockwell are joined by jazz/world fusion drummer Ian Dogole and tabla virtuoso Vishal Nagar to knock our socks off!
Don't miss the November edition of our Saturday morning Patchwork Series of kids' concerts, a special treat featuring the astounding Fratello Marionettes and the Bay Area's beloved Trinidad-born musical storyteller, Asheba.
Tonight's concert showcases four outstanding student ensembles from the award-winning University of California Jazz at University of California Berkeley, under the leadership of director Ted Moore. The evening progresses through three stellar combos, coached by Ted Moore, Dann Zinn, and Frank Martin, and concludes with the award-winning UC Jazz Big Band, under the direction of Steve Campos.
The Salvador Dali of Folk Music, according to one wag, Baby Gramps is a high-energy, humorously entertaining, and occasionally mystifying performer with a voice of gravel and a staggering repertoire. Accompanying himself on an antique resonator National Steel guitar, Gramps sings unique arrangements of rags, jazz, blues, and novelty songs from the 1920s and '30s, plus plenty of originals in an unforgettable show brimming with crazy wordplay, wild humor, and throat singing!
Launch the holiday celebrations in swinging style as we Jazz Up The Holidays! Dynamic vocalist Lisa Ferraro brings her powerful East Coast jazz style to Berkeley, performing a collection of sizzling arrangements of favorite songs by Grammy award-winning jazz arranger/composer Mike Tomaro. Like adding a shot of bourbon to a mug of hot cider, Lisa serves up classic Christmas tunes with plenty of sass and spirit, supported by piano marvel Tammy Hall and a seven-piece band with a powerful horn section.
Combining the raw, driving energy of a classic bluegrass band with an innovative, contemporary sound, Frank Solivan & Dirty Kitchen play stunningly polished music that delivers quite a rush. As No Depression magazine's Devon Leger recently described it, "There's a red-hot core of barely tamed wildness in the heart of bluegrass music, something we tend to forget in this day-and-age.
No lover of American roots music should allow themselves to miss this show! Mistress of all tunes soulful and sassy, Maria Muldaur returns to our stage with New Orleans blues, gospel, and swamp funk tunes from her new high-energy CD, Steady Love, backed with grit and reckless abandon by her red hot Bluesiana Band, featuring Craig Caffall on guitar, Chris Burns on keyboards/bass, and Dave Tucker on drums.
The scintillating Cris Williamson sets the Freight aglow with holiday spirit in an evening of gorgeous music. There's plenty to celebrate as Cris brings her astounding voice to bear on original gems and plenty of seasonal cheer, including songs from her recent CD, Gift Horse.
Tonight's performance showcases the artistry of a new quartet of inventive musicians from the jazz world. Myra Melford (piano/harmonium), Ben Goldberg (clarinet), Scott Amendola (drums), and John Shifflett (bass) join forces for a memorable evening of original compositions. The musicians are donating a percentage of the proceeds to benefit to the The Jazz and Improvised Music Fund of the Department of Music, UC Berkeley (JIM Fund).
Dig out those dancing shoes and pull your snappiest suit out of the closet for this irresistible evening of Oakland blues.
A fleet-fingered mandolin player and a tender, wistful vocalist, the youthful Sierra Hull impresses with her fluid, inventive playing and her broad stylistic range. From boundary-hopping newgrass instrumentals to pop-flavored ballads to playful bluegrass numbers, Sierra's blend of originals and classics has won her a growing following and prestigious gigs at Carnegie Hall, the Kennedy Center, and the National Prayer Breakfast.
In the words of world-famous vocal innovator and 10-time Grammy Award winner Bobby McFerrin, "SoVoSó is tight, soulful, and a whole lotta fun."
The future of the string quartet might look like this: Bjork to bossa nova with some classical too! Join violinists Hrabba Atladottir and Jory Fankuchen, violist Darcy Rindt, and cellist Beth Vandervennet for this off-beat and up-beat concert.
Saxophonist and composer Michael Zilber directs the Advanced Jazz Workshop, a top student ensemble performing classics of the jazz repertoire and original works. Featuring Madison Bohrer on tenor sax, Christopher Sullivan on tenor sax, Henry Moser on guitar, Danny Mertens on piano and trumpet, Sturdy Adams on piano, Scott Thompson on bass, and Dillon Vado on drums.
The Christmas Jug Band, a tongue-in-cheek collaboration of some familiar rock and folk legends, continues to set the standard for holiday high spirits. For more than two decades, this self-styled "momentary lapse of sanity grown to ubiquitous proportions" has graced the Freight stage with their raucous revelry and funky, down-in-the-holler "jugbandizations" of seasonal favorites.
During the quarter-century since their formation in New York City, the Klezmatics have stood at the forefront of a popular revival of klezmer music—the traditional secular music of the Jewish communities of Eastern Europe that, in its earliest incarnations, flourished mainly at celebratory occasions.
With its surprising and highly combustible lineup of two sax men and one drummer, Bay Area-based Mo'Fone thrills audiences with some of the funkiest jazz—and the jazziest funk—being played today. Powering its way through high-energy original compositions and navigating unexpected tunes by the likes of Weather Report, John Scofield, and Led Zeppelin, the trio's huge, multitextured sound belies its compact size.
In a show that is sure to inspire both kids and adults to laugh, dance, and sing in English and Spanish, beloved educator, author, and musician José-Luis Orozco returns to the Freight stage for a fun-filled morning performance.
We wouldn't dream of knocking the Nutcracker, Santa Claus, and the rest—but maybe you need a little something else this holiday season? For example, a bisl rockin' klezmer or some soulful Sephardic music to tug at your heartstrings? A little juggling perhaps? Violinist and composer Kaila Flexer, the force behind the beloved Bay Area Jewish music event Klezmer Mania!
Make sure you don't miss what will very likely be the Freight's only "Christmas/Hanukah/Solstice/New Year's" concert this year, as singer-songwriter Christine Lavin and folk-pop trio Uncle Bonsai pull out all the stops!
The Freight's favorite musician for all seasons, Laurie Lewis, hosts our exuberant family holiday celebration, setting alight the longest night of the year with great music and food, an exchange of gifts, and a visit by Santa—not to mention some of the Bay Area's hottest performers donating their services in support of the Freight.
Join fictitious 1960s girl group The Coverlettes for a Christmas cabaret concert like no other! Bella, Ella, and Stella Duvet, three sisters from "the wrong side of Vermont," regale the Freight with versions of their favorite Christmas songs, mixed in with some juicy 1960s era girl group hits by the likes of The Shangri-Las, The Ronettes, and The Shirelles and spiced with some intriguing glimpses of Coverlettes family history.
Join singer/songwriter and hilarious tale-spinner Antsy McClain and his Trailer Park Troubadours for an unforgettable evening. Great music, pink flamingos, kazoo solos, and plaid-polka dot pairings are pretty well guaranteed to feature prominently in tonight's installment of what Antsy calls "our New Year's Week-long Party," and everyone is invited!
Join traditional favorites High Country and Dix Bruce & Jim Nunally as the Freight welcomes the New Year with our annual bluegrass gala, featuring hot pickin', a fabulous buffet, and silly hats, plus sparkling beverages at the stroke of midnight!
Singer-songwriter Livingston Taylor returns to the Freight stage to lift our spirits and engage our minds with his well- crafted, melodic, intelligent folk with pop sensibilities. An unrepentant romantic armed with razor-sharp wit and a quirky view of the world, the Boston-based artist spices up his impeccable musical performances with wry humor and a warm stage presence.
Seven superbly talented women, with hearts as big as their voices, band together to raise money for a sister musician impacted by cancer.
We guarantee a room full of tapping toes and plucked heartstrings when the Flatt and Scruggs Tribute Band pays tribute to one of the most popular and influential bluegrass bands of all time, Lester Flatt, Earl Scruggs, and the Foggy Mountain Boys. For tonight's special concert, the tribute band plus special guests Don Rigsby and Kathy Kallick celebrate Scruggs' 88th birthday. Don't miss what promises to be a truly memorable evening!
Join roots music revivalists Sourdough Slim and Robert Armstrong in celebrating the release of their new CD, Oh, Sweet Mama! Sourdough and Robert are passionate about the music they play and the culture from which it springs.
One of the world's truly extraordinary guitarists, Frank Vignola brings his jaw-dropping technique for a not-to-be-missed concert. Joined tonight by youthful guitar ace Vinny Raniolo, Frank demonstrates the stunning virtuosity that has made him the guitarist of choice for many of the world's top musicians, including Ringo Starr, Donald Fagen, Wynton Marsalis, and the late guitar legend Les Paul, who included Frank in his "Five Most Admired Guitar List."
The inimitable Joe Craven returns to our stage with a power trio of northern California musical veterans to celebrate the release of the group's new CD, All Four One. Featuring Kendrick Freeman on drumset, percussion, and vocals, John R. Burr on keyboards, and Joe himself on mandolin, fiddle, vocals, and anything else he can lay his hands on, the group performs original compositions by the members.
Three friends—top songwriters all—bring their impressive repertoires to the Freight for an "in-the-round" evening of hilarious stories and superlative music.
Sarita Pockell and Melita Doostan, of Octopretzel fame, host this morning's edition of the Patchwork Series of kids' shows, featuring the theatrical singing and tomfoolery of Rude Dog Duo and the captivating cadences of Crosspulse Rhythm Duo.
Thrill to the impressive chops and powerhouse vocals of the next generation in bluegrass when The Tuttles with AJ Lee take the stage! They may look young, but don't let it fool you; with several years of performing and a new, self-titled CD under their belts, this group is ready and willing to knock your socks off with an evening of high-powered, fresh-faced bluegrass.
Boston-based string band Joy Kills Sorrow brings a decidedly modern sensibility to an old-world sound, channeling the prodigious talents of its individual members into elegant arrangements and well-crafted songs. While the group pays due homage to its bluegrass roots—its name is taken from WJKS, a radio station that hosted the Monroe brothers' show in the 1930s—the band truly excels in its rich and textured treatment of more contemporary material.
Two captivating folksingers, Rick Shea and Mary McCaslin, bring to the stage their solo talents, then join forces for a set of music from Mary's famed duo with the late Jim Ringer, featuring songs from their landmark 1978 album, The Bramble & the Rose.
California Zephyr brings its eclectic blend of American roots music to the Freight. A fresh mixture of folk, rock, jazz, swing, country, bluegrass, and more, with a little extra dollop of twang thrown in for good measure, Zephyr's repertoire includes originals and unique takes on classic favorites, with the spotlight on tunes from their recent CD, Above the Timberline.
Come join us for our Winter Community Open House! Music fills the Freight from ceiling to roof as we throw open our doors from noon to 4:00 pm today for a free, family-friendly musical celebration featuring an array of performances and workshops which highlight the Freight's amazing teaching staff and their students! Join in the fun & bring your posse for workshops, performances, & you jamming with your musical community.
With Lou squeezing accordion and Peter on guitar, this Madison, Wisconsin-based duo brings down the house in a unique tour de farce blending midwestern culture with street-smart savvy, demonstrating why they are possibly the funniest songwriters extant.
Join us for the musical double-header of the year as singer-songwriter Chuck Brodsky and Giants' third base coach/songcrafter Tim Flannery join forces.
Two great bands, the George Cole Quintet and Fishtank Ensemble, kick off the Esprit de Django et Stephane Festival with a night of hot, hot jazz and high-energy originals, spiced with plenty of genre-bending cross-pollination.
Master swing fiddlers Paul Anastasio and Paul Shelasky, with the irrepressible Tony Marcus on guitar and vocals, round out the Esprit de Django et Stephane Festival with a tasty evening of hot swing, torchy ballads, and blues.
Join the San Francisco Chamber Orchestra All-Stars tonight for their annual Mozart Birthday Celebration! Robin Sharp and Debra Fong (violin), Sharon Wei and Ben Simon (viola), and Robert Howard (cello) perform a glorious program of two of Wolfie's most beautiful chamber works, Viola Quintet in B-flat Major, K. 174, and Viola Quintet in D Major, K. 593.
Welsh troubadour Martyn Joseph triggers powerful emotions when he takes the stage. This charismatic singer-songwriter's edgy, intense songs lead audiences across some of the darker terrains of life, documenting the sorrow and injustice in the world, yet all the while lighting the way with enduring hope and an irrepressibly droll sense of humor.
Rushad Eggleston stands in the vanguard of the younger generation of virtuosic cellists who are bringing this relatively unwieldy instrument into the spotlight. It's anyone's guess what may happen when Rushad takes the stage, but we do guarantee one thing: a night of fabulously inventive, supremely virtuosic, endlessly surprising music. Rushad never fails to knock his listeners' socks off as he ushers them in a joyful, eccentric alternate reality.


IGDA Finland members get 15% off the White Nights St. Petersburg conference registration fee. The WNConf attracts unique blend of industry professionals and developers from Russia and other CIS countries as well as delegations from Israel, Greece, India, and Finland. Attendees will include representatives from Game Insight, App Annie, Playrix, Unity, Pixonic, Epic Games, VK.com, Starbreeze Studios, Electronic Arts, Google, Goodgame Studios, Facebook, MoPub, Appodeal, and IBCC.
IGDA FInland members get 15% off White Nights. WNConf is headed to Prague for the first time and is expected attract a unique blend of industry professionals and developers from Russia, Ukraine, Belarus, Czech Republic, Slovenia, Slovakia, Poland, Germany and more. Attendees will include representatives from Big Fish Games, CD Projekt RED, GREE, gumi, Rovio, King, Kongregate, Game Insight, Appodeal, Unity, Amazon, VK.com, Microsoft, Google, Pixonic, G5 Games and Vungle.
The Developer Exhibition is a great place for studios to showcase their games in order to meet feedback from leading publishers, industry gurus and fellow colleagues. Best of the best will receive a trophy and receive prizes at the Indie Game Cup Awards Ceremony. We are accepting applications for the Developer Exhibition (https://goo.gl/forms/d7rLUPmEZoVQ2wIJ3) and for the Indie Game Cup until Friday, January 20, 2017. A list of nominations can be found on our website.
Use the promo code IGDA-Finland to get your 15% discount when registering here (http://wnconf.com/#registration).


Let's talk about Inspector Climate's wedding shoes. They're brown. He wears them to work. They have a hole on the bottom.
Oh, my shoes? Yeah, they're pretty adorable. Urban Outfitters 2003. They're a bit too big but who cares when shoes are that cute? Am I right?
Those are really cute shoes you've got there! How cool!
But I'm glad he's wearing something comfortable too. And nice.
Someone I know would have been in his good old beat up Nike's for such an occasion.
nothing about the fit matters when shoes are cute!
those shoes are adorable...too cute!
Utterly Adorable! Can't wait for the wedding post!
aw can't wait to hear about the wedding!
LOVE. lovelovelove. These are super adorable.
Wow those ARE adorable. Yours, not his! P.S. so happy you won our giveaway...jealous of that clutch.
Absolutely right! They are just so cute! Love them, perfect wedding day shoes!
Love your style. Those shoes are so adorable!
Angela - yes! They seemed quite perfect for the occasion.
Elle Sees - Thank you!
Amy - I know right.
Alice - Aw, thank you!
Mrs Pancakes - When I saw them in a catalog 8 years ago, I said the same thing!
The Zadge - Part 2 coming soon!
Sentimental Suitcase - Aw, Sam!
Alex - Seriously, ya'll are so sweet.
Bonnie - thank you! It was nice to have an excuse to show them off.
Teacher Girl - More coming, I promise.
Many Colours of Happiness - Hah! I love it, well IC insisted on making it at least a business casual affair!
Vanisha - They were quite ideal for the day!
Oneika - Hah! Style. Funny girl you!
congratulations on getting married! i hope y'all have a long and happy life together:) i LOVE your adorable shoes!!


I have a wordpress website with divi builder.
On 2 Pages the boxes are different in height.
I need it in one line with the other boxes.
or set a Box fixed when it scrolls down and set is unfixed when it touch footer.
"Wordpress" Hello sir I hope you are doing well. After reading your offer, this looks like a perfect fit for my skill sets so May I discuss with you for further details about this project?


WASHINGTON — Kevin Hassett evidently has not received the memo that economics is "the dismal science." The ebullient chairman of the US president's Council of Economic Advisers is relishing the intellectual feast of applying to policymaking the predictive tools of a science that was blindsided by the Great Recession.
Speaking recently to the Tax Policy Center and the Tax Foundation — left- and right-leaning, respectively — Hassett defended the administration's tax plan, although important provisions remain undecided. He criticized the TPC for a premature analysis that used "imagined numbers" to anticipate the consequences of a bill still being written. And he said that while the plan allows for a $1.5 trillion revenue loss in a decade "statically scored" (i.e., not allowing for the plan's stimulative effects), the TPC analysis "ignored any growth effects from tax reform and suggested there would be none," and "makes assumptions that would deliver" a $2.4 trillion revenue loss. He questioned the TPC scoring for this number "when there is agreement that the bill has to score" $1.5 trillion.
Summers ignores the "deadweight loss" from taxes on production — the economic activity that does not happen because of those taxes. Because Summers mistakenly assumes that the only economic factor affected by cutting corporate taxes is government revenue, he mistakenly considers it impossible to reduce government revenue by $1 and have workers gain more than $1. But corporate tax reductions are not transfers of money from government to workers, they are catalysts for increased economic output, making American investment more attractive and America more competitive. The size of the economic pie isn't fixed. Hence the bipartisan support for aspects of Barack Obama's 2012 proposal for cutting corporate taxes. And Senate Minority Leader Charles Schumer supports some cuts because workers gain from increased competitiveness. The debate is about not whether but how much heavy corporate taxation suppresses workers' compensation by blocking various channels to wage growth.
Hassett and the Council of Economic Advisers' platoon of PhDs might be mistaken about this or that. Dealing with a dynamic economy's multitudinous variables, they understand the fatal conceit of thinking that even the immediate future can be planned. From the 1862 Homestead and Morrill acts through the GI Bill and the Interstate Highway System, the federal government has planned the long-term knowledge, skills and infrastructure prerequisites for economic growth. These, however, are easier for government to plan than are short-term consequences of fiscal and monetary policies.
Hassett's job is to try. And the stakes are as high as America's political temperature: If growth does not surge, distribution conflicts will.


SmartCrawl don't generate sitemap. Movedo Theme issue?
SmartCrawl don't generate sitemap on my site. I made a plugin conflict test - but no results.
I have Movedo Theme on my site but a cannot switch themem on my live site to confirm that.
I was reading my last thread: https://premium.wpmudev.org/forums/topic/movedo-theme-and-smartcrawl-issue but right now I have above issue.
We flagged this thread to SLS team, so they will investigate it further for you. When we have more information or any update; me or any other staff will update this thread. Thank you for your patience!
The site also won't produce an error log. The 2 faults may be related.
Well, that does sound like a permissions problem... Maybe try manually creating the files, and then explicitly set the permissions so that the server can write to it/them.
The problem, at least in my case, was a conflict with the JetPack sitemaps. Please try the fix that I posted in that thread, and see if it helps!
Beta 2 version of the plugin was installed on your site. I've replaced it with beta 1 version and the links in the SiteMap appeared.
I see that you've downloaded beta version from this thread. I've reported this to our developers, that this beta version messed up the XML sitemap. They will follow back in this thread with an update.


Carl Morgan responds to the Jazz Australia Q&A, featuring finalists in the National Jazz Awards.
I started playing when I was about 9. I had always been fascinated by electric guitar so I was happy when my parents bought me my first electric guitar for Christmas to replace my ukelele. I kind of wanted to play the drums equally as much but im not sure my neighbours would have appreciated it.
The first jazz music I really listened to was 80?s Miles Davis. My dad had a video recording of Miles' band with Kenny Garrett etc. that I came across when I was home from school one year. I guess I was really attracted to the harmony and the groove, and I think it was then that I thought to myself "I want to be a Jazz Musician". From that music I discovered John Scofield who was and still is a huge influence. Some other musicians who have changed my life are Pat Metheny, Kurt Rosenwinkel, Wayne Shorter, Michael Brecker, Bill Stewart, Brian Blade, Herbie Hancock, Chick Corea, John Coltrane, Jaco Pastorius, Dave Holland just to name a few.
I guess everything in my day to day life has an impact on what I write. If I am going to sit down and write something I have to be feeling creative and open minded, or nothing good will happen. Sometimes I'm in that mode, other times I'm not. Sometimes I will take a visual idea and try and make something of it, but I also like to start with nothing. You also never know when a good idea might randomly pop into your head.
My favourite place to practice is at home in Tilba on the NSW South Coast, it's a relaxing environment where you can be creative all day long. As for favourite place to play, wherever there is an enthusiastic audience.
The festival gives me a chance to hear some of the best jazz from Australia and around the world. The competition will be fun, I get to meet some of the elite players in the country, play with a great band and hopefully make an impression. I feel privileged to be a part of it. Also, I get to see Kurt Rosenwinkel play.
Adam Rogers – Apparitions, Kurt Rosenwinkel – The Next Step, Janek Gwizdala – Mystery to Me, D'Angelo – Voodoo, Michael Brecker – Pilgrimage.