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How Nike is using DTC and data to expand its empire
Since 2011, the sportswear giant has grown direct-to-consumer sales from 16% of its namesake brand revenues to 35%, all while continuing to take share.
Cara Salpini Senior Editor
Permission granted by Nike
In 2011, nearly ten years before Nike would announce its Consumer Direct Acceleration strategy to speed up the prioritization of DTC, the company was already focused on growth in that channel. In its annual report that year, Nike wrote that while wholesale made up the largest share of Nike brand revenues, "we continue to see growth in revenue through our Direct to Consumer channels."
At the time, DTC sales made up 16% of Nike brand revenues, or $2.9 billion of the total $18.1 billion the sportswear giant's namesake brand brought in that year (total company revenues, including Converse and other businesses, hit $20.1 billion). By the end of Nike's fiscal 2020, which came May 31, that number had grown to 35%, or $12.4 billion. Of course, Nike's revenues have also grown over that 10-year period, to $35.6 billion (or $37.4 billion company-wide).
By comparison, Adidas made 19.8 billion euros ($23.8 billion) last year, and Under Armour made just $4.5 billion.
The dominance of Nike was not always a sure thing. The numbers used to look closer than they do now (and they still are in countries outside of the U.S.), but the brand's journey to $35.6 billion, and generating more in DTC sales alone than some of its competitors make annually, has been through a path of persistent growth.
"Back in the mid-'80s, Reebok actually took No. 1 market share in the U.S. for about 18 months," Matt Powell, senior industry adviser for sports with the NPD Group, said. He noted that Nike had neglected the women's business, allowing Reebok to break in. "And then this guy named Jordan came along and Nike took No. 1 position back again. It's really been a multi-year strategy of them continuing to take share: Most years in the United States, Nike has taken share."
Nike made almost $14 billion more than rival Adidas in 2020.
Cara Salpini/Retail Dive; Data source: Nike annual reports
It's been about having the right product, definitely. But it's also been about knowing how to make tough decisions. In the '90s, that meant opening outlet stores when trends shifted to khakis and away from sneakers, according to Powell, and in the past few years, it's meant doubling and tripling down on shifting spend to its DTC channels.
"There's few brands that I can think of that should be pursuing the amount of economic upside from this kind of transformation more than Nike should," Michael Binetti, managing director at CreditSuisse, said. "It's such a big brand, with so many advantages to doing this."
Chief among those is that DTC sales are more profitable. Hence, the number of startups that have cropped up as DTCs. Nike has a strong brand, so it's able to command a sizable business through its own channels, but the more sales Nike can get that way, the better. Another advantage to the method is that Nike has more control over how its brand is presented through DTC channels, something which analysts speculated was the reason it stepped away from Amazon.
A report from McKinsey and the World Federation Sporting Goods Industry estimated that the shift to DTC has been accelerated by two years because of the pandemic, and researchers recommend that in the medium- to long-term, brands that want to thrive will need to aim for a 20% DTC business, or higher. It's at that point that brands begin to see a virtuous cycle from DTC sales and higher margins, rather than the "vicious cycle" that comes with less scale of the channel.
Nike isn't the only one that's figured out the benefits of selling directly to consumers, though. Under Armour, too, is looking to exit thousands of wholesale doors, and Adidas is planning for DTC to make up 50% of its sales by 2025. Retailers in other sectors have also recognized the need to reemphasize DTC sales.
"They're all doing what Nike's doing," Joe Feldman, senior managing director and assistant director of research at Telsey Advisory Group, said. "They're all trying to segment more. They're all trying to clean up their vendor partners."
Of course, retailers' partners are the other half of this equation. Even though the Nike brand still does 65% of its business through wholesale, Nike's DTC rise has consequences for the wholesale opportunities it's leaving behind.
"I think, frankly, any retailer who loses Nike is going to be affected in a major way," Powell said. "Some of the mall-based retailers do as much as 70% to 75% of their business with Nike. And even the ones who don't have that kind of dominant space, it's in the 30s. So it would be a significant loss to any retailer, to lose that brand."
Nike's acceleration of selling directly to consumers doesn't mean overnight changes, necessarily. The retailer has been steadily shifting to more DTC sales over the past several years. But with the pandemic accelerating e-commerce growth by years, the next phase in Nike's strategy might turn out to be incredibly well-timed.
"I've covered these guys for 13 years and I've never seen them really embracing change and moving as fast as they are today," Binetti said. "And if you'd have asked me if I would have seen the biggest company in my coverage moving at this kind of pace… it's quite an impressive thing."
The Nike ecosystem
As Nike's been pushing toward a greater percentage of DTC sales, the retailer has also been carefully constructing an ecosystem to support that shift. In reality, it's just Nike delivering on what every retailer aims for when they talk about omnichannel, but where others have struggled, Nike seems to be succeeding.
As explained by CEO John Donahoe in June, the company's DTC strategy starts with digital and Nike's owned stores. Most retailers have an e-commerce presence in addition to a fleet of stores — that's not unique, per se. But how Nike is using its stores is. After years of experimenting with digitally connected store concepts like Nike Live and House of Innovation, Nike is planning 200 small-format stores in the same model as Nike Live.
Growing DTC share has been a priority for many years.
While most retailers understand the benefit of having physical stores, and how it increases online purchases in a given area as well, few retailers operate stores that are as digitally enabled as some of Nike's recent concepts. The retailer has managed to make its app so useful to the in-store experience that consumers without it are at a disadvantage. Customers can scan QR codes to pull up products on their phone, they can start dressing rooms through the app, and signs throughout the stores show customers what else they can do with their phones.
"It's this really smart acknowledgement that a purchase journey is sort of fragmented, and there are multiple touch points that go into a customer's consideration process," Sarah Marzano, a retail analyst at Gartner, said of the stores. "You might visit the Nike website while you're considering a shoe. You might then want to pop into your local Nike store to evaluate that product in person. They keep being really thoughtful about, 'How do we collect the first-party data that's necessary to knit that journey together and drive conversion?'"
In addition to creating an interconnected experience, Nike also has a strong sense of the purpose that each of its channels serve, Marzano said. For its stores, there are multiple objectives. Nike's new locations, notably off the mall and in more local communities, will not only help compensate for the closing of wholesale doors by providing a place for shoppers to see products, but they will also help build community with loyal customers, in the same way many DTC brands view their stores as marketing channels more than just revenue opportunities.
"They're in front of the curve, where they're saying, 'Look, we're making a bet that the consumer is going to either shop digitally or closer to home and the way that a lot of retail is built on high streets and in malls across the country, those are going to continue to diminish,'" Binetti said. "They're making the right bets. And we hear similar overtones of the neighborhood store strategy or the smaller store strategy all over the place."
Of course, e-commerce as a channel in and of itself has also accelerated over the years, and even more dramatically during the past few months. Nike has said before that it plans to become a 50% digital business (that includes both its own digital channels and those of retail partners like Foot Locker) and analysts believe that is a medium-term milestone rather than an end-goal.
NPD's Powell noted that the "targets are moving" on e-commerce as a whole thanks to the pandemic, with the firm originally projecting athletic footwear would be 50% e-commerce in five to 10 years, and instead it grew from 29% to 40% in the past year alone. What that means for the future share e-commerce could make up is less certain.
"Is 50 a ceiling or does this go beyond that?" Powell said. "My gut tells me it goes beyond that."
Erinn Murphy, senior research analyst at Piper Sandler, said Nike's direct digital channels are on track to make up 21.5% of the total business by the end of fiscal 2021, up from 15.5% in the last fiscal year. That would amount to $9 billion. Reaching 50% with its retail partners, then, seems "very achievable," Murphy said. In fact, in an August 2019 report on Nike, Piper Sandler noted that over time it expected digital DTC "to become [Nike's] largest selling channel."
Nike execs added on a conference call last week that its digital business has grown over 70% year to date, and total digital (both owned and partnered) has grown to 35% of the company's business.
Fueling that digital growth are Nike's apps. The SNKRS app alone is now a $1 billion business, according to Murphy, and made up 18% of Nike's total online sales in fiscal year 2020, Piper Sandler wrote in an October report. The percentage of both male and female sneakerheads that use the SNKRS app has increased year over year, according to Piper Sandler, while the Nike app saw almost 200% growth in Q1 last year.
Piper Sandler says Nike's direct digital channels are on track to make up 21.5% of the total business by the end of fiscal 2021.
"It becomes a sticky ecosystem because, say that you've downloaded the Nike app on your phone, and you have the Nike running app or the fitness app that they have or even just their shopping app — you'll get targeted emails and they start to know what you do athletically. Or they might know your style," Telsey's Feldman said. "They'll start to send you direct emails when there's either a new product that might be of interest to you or they'll give you a first crack sometimes at a new product that just came out."
The importance of digital to Nike — and all of retail, really — has also led to shifts in how companies think about manufacturing and shipping, something Nike will have to think through as well. According to a joint report between McKinsey and the World Federation Sporting Goods Industry, digital trends have forced athletics retailers to "become nimbler, and produce smaller, more frequent product runs. Perhaps because of this shift, lead times have shortened, with Asian suppliers of large sporting goods companies moving initially from 120 days to 90, then 60, and often eventually down to 30 days."
Nearshoring, the process of moving operations closer to where the products are sold, has also been explored by some, according to the report. With Nike, Binetti doesn't believe the majority of the retailer's manufacturing volume will move to North America, but the new small-format fleet will likely be built to hold a certain amount of high-conversion inventory, and could be used to ship local orders when it's more cost-effective to do so.
"In very simple terms, there's a boat ride across the ocean that can't be changed," Binetti said. "It's just far away. But this, however, has caused them to look at all the other parts of the business and say, 'Look, we need to get a lot better at the digital side of it.'"
And last year, they brought in a digital CEO to do just that. Donahoe came in as the former CEO of eBay and Nike praised him for his "expertise in digital commerce, technology, global strategy and leadership" when his appointment was announced.
"He's the right man for the job," Binetti said. "And you see him doing it very, very quickly."
Nike, but make it personalized
At its heart, Nike's strategy for its various channels emphasizes uniqueness. Its Nike Live stores are focused on housing a localized assortment to best suit those geographies, and its wholesale partners receive different product depending on what type of consumer they serve. Nordstrom, for example, is a different consumer than Dick's Sporting Goods or Foot Locker.
"Nike probably does the best job of any of the sporting goods manufacturers in terms of segmenting the market," Feldman said, explaining how the retailer is careful to avoid too much overlap at its wholesale partners, even with flagship products like its Nike Pegasus running shoe. "There might be different colorways, there may be slight differences within them, so that will help segment the market. And then they may even offer some that you can only get that certain color on their own website. So for direct to consumer, it helps to drive business that way."
With the Nike Live stores, the retailer personalizes in a different way, changing its assortment to reflect consumer trends in the region, as well as local teams and cultural touchpoints in that area. Matching assortment to what's popular in a given geography also means the retailer can benefit from using those stores as potential shipping or pickup points for online orders by customers that live nearby.
Being able to personalize effectively, of course, comes back to data. Nike's "robust data ecosystem," as Marzano refers to it, is what's behind the retailer's efforts to create a completely seamless online and offline experience. It informs the retailer's merchandising strategy, and also how the retailer markets to specific consumers. The company's made acquisitions along the way (four in the data and analytics space over the past few years, Donahoe said in a recent earnings call) to help it achieve those goals, including Celect, a predictive analytics and demand sensing firm Nike acquired in August 2019, and Datalogue, which Nike acquired in February.
In Nike's latest earnings report, which came out Thursday, Donahoe hit on both acquisitions, saying Celect has helped with "getting the right product in the right place at the right time" and Datalogue will help improve personalization on both search and product recommendations, including anticipating when customers might be due for new product. In terms of a personalized experience for consumers, Nike is "just scratching the surface," Donahoe said.
"If you're really trying to control how your brand is presented at retail, how it's priced, how it's merchandised and so forth, having thousands of wholesale partners is really antithetical to getting that done."
Matt Powell
Senior Industry Adviser for Sports with the NPD Group
But the retailer doesn't want to lose sight of product in all that data.
"The science of what we're doing: It's been done, it's doable," Donahoe said, according to a Motley Fool transcript. "But the thing that makes this company remarkable is the art. It's the creativity of our apparel designers, of our footwear designers, it's the creativity of our brand teams and the storytelling they do. And so, data doesn't displace art, it's both."
The result of Nike's data-heavy focus is that not only is merchandise personalized to certain stores, but the online experience of individual consumers is unique as well.
"When you open up the Nike app on your phone, it's not just, 'Here's a bunch of Nike stuff that we're excited to sell today.' It's literally a vending machine of the product that is most likely to sell to you," Binetti said.
With such an emphasis on differentiation, Nike's DTC strategy is understandably focused on pulling out of partnerships that aren't as unique or useful to the Nike brand. When it comes to wholesale, retail partners have to add something to Nike: a different customer base, a geography Nike isn't as saturated in, or representation that is advantageous from a branding perspective. Wholesale partners that just want "the hot Air Force One of the day" won't be attractive to the brand, according to Binetti.
Execs reaffirmed that strategy on Nike's recent earnings call, saying consolidation would continue, and that the retailer has been prioritizing inventory for its "strategic partners" and its direct channel over undifferentiated retail.
Analysts pointed to strong partnerships the brand has with certain wholesale partners like Dick's and Foot Locker as examples of areas where Nike is getting it right.
"Wholesale gets painted as kind of a bad thing these days ... but Nike's really, really good at it. They're really good at it," Binetti said. "There are still some places where they really should be doing it and can make a really good amount of money, leveraging other people's real estate, other people's customer bases, things like that. But there's always going to be that temptation to try to encourage those sales to happen in your own channels, in your own distribution, either your own stores or digital."
Off-price, on the other hand, is one of the channels that could suffer as Nike, and its peers, move away from certain wholesale partners. Multiple analysts referred to the channel as an area athletics retailers are trying to step back from as they look to avoid cheapening their brand. Rather than using discounting to drive incremental sales, Nike has relied on newness and exclusive product drops, according to Marzano, which keeps the focus on full-price products.
Analysts also highlighted that the U.S. is an incredibly retailer-diverse country, which means brands are selling through a large variety of different players. That complicates how companies can control their brand messaging, which is a key tenet of the DTC playbook.
"If you're really trying to control how your brand is presented at retail, how it's priced, how it's merchandised and so forth, having thousands of wholesale partners is really antithetical to getting that done," Powell said.
Innovating when you make $40B in revenue
As with any ambitious strategy, investments must be made, risks must be taken and occasionally, unpopular decisions must be made. Nike's particularly good at that last one, which has helped it weather crises in the past, according to analysts.
This time, it's Nike's undifferentiated wholesale partners that will pay the price.
"It's much more aggressive than, you know, 'I know some of my retail partners are going to go away, so I'm going to ramp up my DTC to offset it,'" Powell said. "This is actually forcing some of your retail partners to close in order to ramp up your DTC."
There have been other casualties as well. After the retailer announced the acceleration of its DTC strategy in June, layoffs were close behind, with execs noting that the new strategy would allow it to "significantly simplify" its organization. Layoff costs were estimated at between $200 million and $250 million, as the retailer shuffled its management to better align with the new plan. The company has made additional cuts since then.
"The leadership changes, combined with a strategic alignment of NIKE's operating model against the CDA, will create even greater focus and agility that will be enabled by a nimbler, flatter organization in service of consumers," a press release at the time read. "To drive this focus, NIKE will streamline its organization, including its Corporate Leadership Team (CLT)."
Nike's undaunted attitude is also matched by a willingness to make heavy investments, and a large amount of revenue to take the sting out of those investments. Since 2015, Nike has made upwards of $30 billion a year, peaking at $39.1 billion in fiscal 2019. Even during a pandemic, Nike made it out with $37.4 billion. That's $13.6 billion more than Adidas made last year.
Being a bigger company comes with both pros and cons, though.
"Nike has to transform $40 billion worth of revenues every year, so for them, they just have to invest bigger dollar amounts because they have a bigger business to transform," Binetti said, noting that during the pandemic they had problems just like everyone else, but with "10 times" the complexity because of their scale.
"Middle-sized companies, they're always having to make a decision between, 'OK, are we a big enough business to make an investment in this technology and have it really generate a return for us?'"
Michael Binetti
Managing Director at CreditSuisse
Researchers from McKinsey and the World Federation Sporting Goods Industry also highlighted that a shift to DTC could pose problems for larger companies because it may be difficult to move as quickly as a smaller company, but that mostly applies to brands that aren't pursuing change the way Nike is.
"We think there are two types of brands who are particularly at risk," Alexander Thiel, partner and leader of the Sporting Goods Practice EMEA for McKinsey, said in a briefing on the report at the beginning of the year. "They are smaller brands lacking the capital and liquidity to make the investments that are required to succeed in these plans. But the second group we think [that] will also have issues are bigger, lagging brands who lack a culture of agility and change, and who will therefore be slow to adapt."
For brands that are already aware of what shifts need to be made, scale is a benefit over smaller competitors.
"Middle-sized companies, they're always having to make a decision between, 'OK, are we a big enough business to make an investment in this technology and have it really generate a return for us?' And in a lot of those things, Nike's size — just being four or five, six times bigger than anybody — they don't have to think about that," Binetti said. "They know that if they make a bet, then it costs a couple dollars. Even if it's a little bit of an expensive acquisition, if they can use that across their $40 billion of revenues around the world, it's going to pay for itself."
Looking at Nike's small-format stores is a good example. The stores are practically built on effective uses of data, which has come through acquisitions. While the majority of retailers have known data is important for years, Nike is one of the few who's made big strides in using it well, according to Binetti, and part of that is that the company has the "biggest budget of anyone" to pursue it. The basis of the retailer's Nike Live stores, which rely on changing assortment frequently and using data to understand local preferences, wasn't possible a few years ago, Binetti said.
The retailer started small with the concept, testing Nike Live locations in a handful of places, but it rapidly accelerated to a fairly large-scale expansion of similar stores — around 150 to 200. Not only do analysts see no problem with Nike opening that number of stores, some think the rollout is actually conservative, and that even if they don't work, it won't be a real problem for Nike.
Nike's competitors aren't sitting still. Adidas is also investing boldly. The retailer rolled out a four-year strategy earlier this month that emphasizes the same things that Nike is focused on: having a DTC-led business model, sticking with only strategic wholesale partners and investing heavily in digital. It includes funneling 1 billion euros ($1.2 billion) into a digital transformation between now and 2025.
Executives also said during an investor presentation on the strategy that Adidas had a plan for the basketball segment, an area where Nike is the "dominant brand" in the U.S., according to Feldman. The difference between Nike and its competitors, at least for the moment, might just be that it's moving faster.
"It is interesting to see that most of these guys have realized that data was the future and they knew they had to talk about their data initiatives, but they're still on the cusp of really getting smart," Binetti said of other players in the space. "I think it's interesting to see the biggest one of them, Nike — with the biggest mountain of a business to move — really moving, in my opinion, fastest on a lot of these things."
Filed Under: Technology, DTC
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What to put in "reason" when asking for days off for job interview at another place?
I need to take a couple of days off for a job interview I need to fly to get there. What should I say at the "reason" part that won't make it too suspicious?
This is precisely the reason you should never give any more details than absolutely necessary when asking for time off. Just say "personal time" for every request you make, and then you don't need to lie in this scenario, because you just put "personal time" again.
Don't give away facts you don't want to give away.
Use "I" liberally, but never "you".
This leaves you with the reason "taking care of personal/private matters".
Do not say "family matters". Looking for a new job is a personal matter, and "personal matter" is open enough to include almost everything else you could possibly do. "Family matters" would be a lie.
If someone keeps nagging, stick with it but not so that it gets aggressive or defensive. "Which personal matters?" - "Well, personal ones!". If they do not get the point after that flippant answer, your next escalation would be "I really do wish to keep this private." Be friendly while delivering that line. Do not say something like "I do not want to tell you" (whenever you use the "you" word you open yourself up for attack, or sound overly defensive - invoking the impression that you have something to hide).
For me, it would be inconceivable that someone keeps nagging after that. You can repeat the last line ad nauseam if they do (well, obviously not..., but you get the gist). If they keep asking then there is something else going on and you are beyond the scope of a cookie cutter answer like this; you'll have to find out how to weasel out of it yourself. But what you said before does not put you in any attackable position.
It may depend on the laws in your country. In germany the boss can simply deny you days off for a specific time period for a good reason. On the other hand he must give you days off if you need them for a job interview (even if you have used all vacation days for this year). In this case things get tricky and the only way seems to be telling him the real reason.
Not the answer you're looking for? Browse other questions tagged interviewing resignation or ask your own question.
How can I manage an out of area job search when I am unable to take time off from my current job?
(How) Should I mention I might need days off during interview?
Phone interview with CTO of company for junior web developer position. What to expect?
Have Job Interview on Thursday how do I get time off for it without revealing its a job interview?


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Q: Can an observer in a double tidal locked system figure out it is orbiting? Tidal locking, when the spin rate of a body matches the orbital rate so that it always faces the other body with the same side, usually occurs for just one of the bodies in orbit. However, there are also systems in which both bodies are tidally locked to one another (e.g. Charon around Pluto), see animation.

Consider an universe where these two bodies are the only bodies, so that there are no external reference points. If an observer is on one of the bodies, the system will appear frozen in its reference frame (i.e. the other body is always in the same spot in the sky showing the same face).
Is there a way the observer can deduce that the bodies are in orbit without simply arguing "gravity exists, we are not falling towards each other, hence we must be in orbit" * I can imagine a civilization in such a scenario would have a harder time understanding gravity in the first place ;)

A: There would be Coriolis and centrifugal forces due to the rotation of the reference frame. These could be detected. For example, a Foucault pendulum with its vertical axis perpendicular to the plane of the orbit would precess once per "year".

redpajama_set_name: RedPajamaStackExchange


Faizan, Ahmad, Vijay K. Goel, Steven R. Garfin, Christopher M. Bono, Hassan Serhan, Ashok Biyani, Hossein Elgafy, Manoj Krishna, and Tai Friesem. 2009. Do design variations in the artificial disc influence cervical spine biomechanics? a finite element investigation. European Spine Journal 21(Suppl 5): 653-662.
Various ball and socket-type designs of cervical artificial discs are in use or under investigation. Many artificial disc designs claim to restore the normal kinematics of the cervical spine. What differentiates one type of design from another design is currently not well understood. In this study, authors examined various clinically relevant parameters using a finite element model of C3–C7 cervical spine to study the effects of variations of ball and socket disc designs. Four variations of ball and socket-type artificial disc were placed at the C5–C6 level in an experimentally validated finite element model. Biomechanical effects of the shape (oval vs. spherical ball) and location (inferior vs. superior ball) were studied in detail. Range of motion, facet loading, implant stresses and capsule ligament strains were computed to investigate the influence of disc designs on resulting biomechanics. Motions at the implant level tended to increase following disc replacement. No major kinematic differences were observed among the disc designs tested. However, implant stresses were substantially higher in the spherical designs when compared to the oval designs. For both spherical and oval designs, the facet loads were lower for the designs with an inferior ball component. The capsule ligament strains were lower for the oval design with an inferior ball component. Overall, the oval design with an inferior ball component, produced motion, facet loads, implant stresses and capsule ligament strains closest to the intact spine, which may be key to long-term implant survival.


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Writer's Agony and Ecstasy
I shared a version of this earlier on AvaSykes.com and wanted to bring it here too.
The good news is, I've finished another novel!
The other news is, finishing it dropped me into a well of grief.
It's happened so regularly, this emotional plummet after achievement, a kind of post-completion depression, I decided to do a little research.
Turns out, it's a thing.
The ecstasy
It started out on Cloud 9. The first draft of a new work, a YA Paranormal, was complete, working title: The Cloud Forest. Here's the guff.
Fifteen-year-old Bri Arias survives a car accident but isn't regaining consciousness. While her body lays comatose, her spirit roams the shaded world between waking and dreaming, life and death. In a parallel version, one where the accident never happened, Bri has the worst summer possible. Her archaeologist mother recruits Bri, and her year 10 Earth Science class, for a dig in the Andes Mountains. Touched by a shamanic spell, Bri becomes a 'carrier', a host to souls in transition, and most of them are not human. In one world, Bri is hospitalized and treated for schizophrenia; in another, she discovers a threat to the fabric of life-after-death. The only question is, can she wake up in time to save them both.
Christian Schloe
Then came the agony
They say the Hero's Journey is a metaphor for life. The stages, twelve or so depending on who you read, correspond to the psychological steps taken every time we step out the door, start a project, job, relationship, degree, oil change, you name it. The process looks awesome on paper. A guide.
Encouragement.
Full Circle.
But it's not always that neat, especially at the end if the circle breaks and you spiral into the depths the 13th lost underworld.
Here's how it's supposed to go:
Step 12 - Return With The Elixir
"This is the final stage of the Hero's journey in which [the hero] returns home to the Ordinary World .... [They] will have grown as a person, learned many things, faced many terrible dangers and even death but now look forward to the start of a new life. - Dan Bronzite
Yeah, sure. Good, on paper.
Before any looking forward to new wonders of life, there is the part where you hit the pavement, face first.
The agony after the ecstasy of creative accomplishment.
You write the book, paint the picture, score the film, edit the video, choreograph the dance ... It took you a week, or a month, or two years. You give it your last tweak, mission accomplished and on comes the fanfare! Triumphant Muses!
Ticker-tape parade!
So good on paper.
And maybe it happens like that, for some, but for me it's grief, utter and complete.
Back in the "real world," elixir in hand, and I want to curl up in some dark hollow and die.
Not so uncommon to feel that way
Sure enough, it happens to other writers.
The strangest thing about finishing a book is the incredible sense of loss -- and yes, a bit of depression - when it's over. - Jungle Red Writers on Post Book Depression
Evolutionary advantages
The Cloud Forest
Apparently there's an evolutionary advantage to depression, and a plethora of scientific studies on the relationship between it and creative expression.
... the creative person, who spends his or her time ruminating on thoughts is likely to suffer from major depression. From an evolutionary standpoint, depression, while seemingly a hindrance to a healthy and happy life, is really a balancing act that helps us focus on the areas where we need to improve most. - Creative Something
If you look deeper at the hero's journey, it is actually there, in the "refusal to return."
Step 12b Refusal to Return
The full round, the norm of the mono-myth, requires that the hero shall now begin the labor of bringing the runes of wisdom, the Golden Fleece, or his sleeping princess, back into the kingdom of humanity, where the boon may redound to the renewing of the community, the nation, the planet or the ten thousand worlds. But the responsibility has been frequently refused. Even Gautama Buddha, after his triumph, doubted whether the message of realization could be communicated, and saints are reported to have died while in the supernal ecstasy. Numerous indeed are the heroes fabled to have taken up residence forever in the blessed isle of the un-aging Goddess of Immortal Being. -The Hero with a Thousand Faces, Joseph Campbell
For me, it's not so much a fall into darkness but divine homesickness, leaving the table of the gods behind. Leaving the world behind. It lasts a day or two, then slowly wears off, like a bad dream fading away.
Only then can I begin to think of the next step, the next work, and the process begins all over again.
Has anyone else felt this way after a creative project is completed? A goal reached? I'd love to hear about it.
Kim Falconer's latest release is out now - The Blood in the Beginning - and Ava Sykes Novel. Find this novel in a store near you.
You can also learn more about Kim at AvaSykes.com, the 11th House Blog, and on FaceBook and Twitter and the new GoodVibeAstrology.com.
She posts here at the Supernatural Underground on the 16th of every month and runs Save the Day Writer's Community on Facebook. Check out her daily Astro-LOA Flash horoscopes on Facebook.
Labels: Ava Sykes, Christian Schloe, creativity and depression, Dan Bronzite, hero's journey, kim falconer, mono-myth, Muses, refusal to return, The Cloud Forest, Writing, Young Adult Novels
Thanks Kim ❤💥
Kim Falconer said...
My pleasure :)
Tis The Season -- 5 Highlights Of My 2016

redpajama_set_name: RedPajamaCommonCrawl


Yellapragada Subbarao was born on 12th January 1895 in a poor Telugu 6000 Niyogi Brahmin family in Bhimavaram district in Old Madras Presidency, now in West Godavari district, Andhra Pradesh. He was born as the fourth child amongst seven children to Y. Jagganatham and Y. Venkamma. Though his father worked as a revenue inspector, the family suffered from many hardships of poverty due to the loss of several of his close relatives at a young age. As such, his schooling at Rajahmundry went through a traumatic phase, leading to his completion of matriculation in the third attempt from Hindu High School in Madras. He attained his intermediate education from Presidency College and took admission in Madras Medical College, his education being financed by his friends and Kasturi Suryanarayana Murthy. He later went on to marry Murthy's daughter.
During the freedom movement, Subbarao was so influenced by Mahatma Gandhi that he gave up using British goods and started wearing khadi surgical dress. This displeased his Anglican partial racist professor, M.C. Bradfield who qualified him for a lesser LMS degree instead of a full MBBS degree, although he fared well in all written examinations. He tried to get through Madras Medical service but failed. Hence, he started working as an anatomy lecturer in Dr. Lakshmipathi's Ayurvedic College at Madras. After gaining much interest in Ayurveda, he diverted his interest towards conducting his research in this field. But he was soon on track after he met an American doctor who was touring India for Rockefeller Scholarship. With financial support from his father-in-law Murthy and promise of support from Satyalinga Naicker Charities and Malladi charities, he sailed to Boston in US on October 26, 1922.
Subbarao took admission in Harvard School of Tropical Medicine and on completing the diploma; he took up the job of a junior faculty member at Harvard. Living in poverty, he managed to work two or three jobs in shifts. This gained him appreciation from professors and won many scholarships. For the first time, Subbarao gained public attention with the discovery of the estimation of phosphorus in body fluids and tissues, along with Cyrus Fiske. This discovery came to be known as Fiske-Subbarao method, though it was technically named Rapid Calorimetric Method. Next came the accidental discovery of physiology in the body based on Adenosine Triphosphate and Phosphocreatine (ATP), which are the sources of energy in human body. With this, Subbarao's name was listed in the biochemistry textbooks in 1930s for the first time. In the same year, he obtained his PhD degree. He worked at Harvard till 1940 and later joined Lederle Laboratories, a division of American Cyanamid, as the Director of Research, after he was denied the post of a regular faculty at Harvard.
At Lederle, Subbarao discovered many more antibiotics for a wide range of cures, other than the already discovered penicillin and streptomycin. His research led him to the discovery of polymyxin which is still used in cattle-feed. This led to laying the foundation for the isolation of vitamin B9, the antipernicious anemia factor, based on the work conducted by Lucy Wills in 1945. He applied different inputs given by Dr. Sidney Farber to develop an anti-cancer drug Methotrexate, one of the first cancer chemotherapy agents, which is still used worldwide. He was also credited with the discovery of drug Hetrazen, a cure for filariasis at Lederle. Today, this drug is the most widely used medicine for treating filariasis, including World Health Organization. Under his directorship, Benjamin Duggar gave birth to his discovery of the world's first tetracycline antibiotic, Aureomycin in the same year. This resulted as one of the largest distributed scientific experiments till date with American soldiers being asked to collect soil samples during World War II and deposit them at Lederle Laboratories for anti-bacterial agents from natural soil fungi. Another medicine that he discovered was Isonicotinic acid Hydrazide, an effective cure for tuberculosis.
With so many discoveries and developments to his credit, Subbarao never marketed his work and hence, was always left behind in terms of work recognition and appreciation. He always sat in the audience and had to be pushed to the stage by a colleague or a collaborator to take a bow as each of his researches was revealed to the public. Further, he was seen giving interviews to the press or visiting nations on lecture tours. When his colleague George Hitchings won the Nobel Prize in Physiology or Medicine, along with Gertrude Elion, in 1988, he stated that some of the works initiated by Subbarao had to be rediscovered for the simple reason that his partner Fiske did not allow his contributions earn name and fame, probably out of jealousy. American Cyanamid honored Subbarao by naming a new fungus under his name "Subbaromyces splendens".
On being persuaded by his family, Subbarao was married to his distant cousin Seshagiri, daughter of Kasturi Suryanarayana Murthy, on May 10, 1919. She belonged to Anaparthi vllage in East Godavari district of Andhra Pradesh. After the couple went to America, his wife gave birth to a son in a couple months. However, the son died at nine months due to the dreadful disease "Sappi".
Yellapragada Subbarao spent most of his career life in America without a green card. Thus, he remained an alien in America, although he performed several important medical researches during World War II. But he had always hoped of shedding the stigma of being an alien amidst people with whom he spent over 25 years. With this, he filed the "Declaration of Intention" to get the ruling of the Immigration and Naturalization Service that he has been legally admitted to United States. Despite getting the American citizenship, Subbarao was an Indian at heart and died as an Indian. On his death on August 9, 1948 in USA due to a massive heart attack, numerous obituaries appeared in Science, New York Times, New York Herald-Tribune, and several other newspapers and journals across the world in honor of this distinguished scientist. He was bestowed upon with "one of the most eminent medical minds of the Century" by Herald-Tribune.


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1 Up Creations
The On-Going Progress of Corey Dean
Posted on: June 15, 2018 December 21, 2018 2D Personal
Never Stop Exploding
I was walking down the street one day and saw someone wearing a The North Face shirt that said Never Stop Exploring but I misread it as Never Stop Exploding and was really confused. However, it also inspired me to make the images above, drawing inspiration from two of the most explode prone Pokémon – Voltorb and Electrode!
Maybe this would look good on a T-shirt or print?
Below is a reference image I used as a base for the concept.
Reference Image
Posted on: June 15, 2018 2D Personal
This was a design I made after reading through an Illustrator tutorial by Evert Martin.
I took a tiger as my base (see below). After following the tutorial I came out with the above image. It kind of looks more like a bear to me but I like it anyway. It was a quick production to get the feel for Illustrator more so I didn't spend time on refining it.
You can create some pretty crazy looking things with Martin's methods – and quickly too!
Posted on: December 20, 2017 June 15, 2018 2D School
4 Page Spread
This was done during my 4th year at OCAD University. It was for the Graphic Novel course. This assignment was to make a 4 page spread in full colour.
El Silbon
This was done during my 4th year at OCAD University. It was for the Graphic Novel course. This assignment was to make a comic in black and white. I did a story about a Venezuelan folklore – El Silbon – that my wife told me about.
4 Panel Comic
This was done during my 4th year at OCAD University. It was for the Graphic Novel course. This assignment was to make a 4 panel comic.
Posted on: October 10, 2013 March 1, 2014 Games Weekly Challenge
Bring your emotions together and feel peace. Your emotions don't have to be in conflict; they can live in harmony.
Reflection is a game about becoming one with yourself. You control two conflicting emotions at once. You must navigate them through a split level, focusing one at a time, both at once, all while avoiding peril. You need to bring peace to your emotions by combining them within yourself.
This game is designed to help people to understand living with their emotions. Emotions can be powerful. Emotions can be overwhelming at times. Sometimes however it is good to be able to control your emotions or at least put them at peace. This game was created to help people realize this.
The theme we went for was simultaneous opposites. As stated before emotions can be opposed at times but this doesn't mean that we should ignore any emotion. We wanted the player to control both emotions at once to make them see that no emotion is bad but that all emotions should be brought together to make you more whole as a person.
We started by brainstorming ideas. At first, the cards that flipped up had us thinking about a stealth spy game where you have to break into a building, dodging enemies, and collecting information. As we collaborated more the idea began to change towards what we finally created. We mapped the game out as a reflective game where you control multiple things at once, while still dodging enemies and collecting things. Eventually we dropped some things and fleshed out a few others.
Obviously there were challenges but a lot of things we went too. What went well was that everything seemed to fall together once we got the ball rolling. Nothing was last minute. It all went along at a comfortable pace. However, some of the problems took the luster off an otherwise enjoyable development.
Brenner, who did the art, had issues with the colour palettes. This was because coordinating all the colours with the different opposing emotions didn't always harmonize together. At times the colours didn't match or didn't look good together so they had to be redone a few times. Every piece of art needed to work and harmonize with other pieces of art to make the whole thing coherent and this took a lot of trial and error.
I also had my own issues with the game though mine were more technical. Game Maker chugged and corrupted my file at one point near the end (Thankfully, I create back-ups occasionally so I was able to pick up not too far from where I was). This was because I brought a gif into the program that was both dimensionally large and had more frames than I think Game Maker is usually used to. When I stretched the animation, as soon as I saw it lagging, I knew something was probably going to go wrong. It did so I made some animations within the system itself. This caused other problems such as objects not following their commands or appearing and disappearing for no reason. Logically it made absolutely no sense why two objects with the exact same commands would act totally different. I tried to cut back on the complexity of these animations and that seemed to make them work better. Also, order in which you place objects matters from a layering perspective!
Both of us had a problem designing the levels. At first we tried to map them out analog but we quickly came to the understanding that it would be hard to visualize everything on paper so we changed to prototyping in Game Maker. Making levels for one player but two different parts was difficult to balance in the end without making it overly difficult or needing to be super precise in timing.
Future Directions:
In the future, it would be nice to polish the game more; polishing the art, designing more challenging levels and more emotions, expanding the story and elaborating on it. Adding new features, more enemies, other forms of obstacles would be pretty cool too.
Making this game to help people was fun but maybe incorporating a psychologist or psychiatrist would make the game more therapeutic. It would be interesting to create a game that people with mental illnesses could play to help them cope with their illness.
Game: https://www.dropbox.com/s/1gbhdcnuzsbksoc/Reflection.exe (55.05 MB) {May not work on Macs}
Final Assets: https://www.dropbox.com/s/1sjh0vfe84wcg8e/Reflection_Final_Assets.rar (117.81 MB)
Art: Brenner Pacelli De Castro
Programming: Corey Dean
Soundtrack: Apotheosis – Austin Wintory (Journey OST)
Sound Effects created using http://www.bfxr.net/
Game Created using GameMaker
Posted on: October 8, 2013 May 14, 2015 Games Weekly Challenge
Update: Door was shown at Vector Game + Art Convergence Festival 2014!
Update: Door was shown at Level Up! 2014! We even got a review! Read it here: http://www.gamezebo.com/news/2014/04/08/5-student-made-games-you-need-play
Experimental Game. Two Players must work together to get through dark levels to reach Door.
Basics: Door is a platforming game projected onto a blackboard. The twist? Platforms are invisible.
Download Link: https://www.dropbox.com/s/gb9j6cd3csb9mr9/Door.exe
Gameplay: Together two players must reach the door. Player uses arrow keys to move the square character, Partner uses chalk to sketch the invisible obstacles onto the chalkboard. Working together, the two can get the square character through all ten doors.
Best Setting: Door is a social game based on communication and teamwork. This is why best played at parties or public events by any demographic of people who are playful and experimental.
Theme: The theme of Door is blankness. The game provides no character, no plot and no game board. Players of Door discover and create the experience themselves leading to a surprisingly vibrant experience. From the blank slate of the black chalkboard, Players creatively design their own game, this is why no two games of Door look alike!
Personal View: The game of Door came from our team's personal view of the world. Everywhere I look the media is shoving a narrative down my throat. We are sick of the themes and characters and drama and story and bla bla bla!
Door is meant to provide a blank experience which players create themselves.
Challenge 1: It is surprisingly difficult to create a simple game. From character design to plot to music we were easily tempted to add details that would add our own personality to the game.
Solution: We had to be very watchful ourselves and each other. As we designed the character we had to strip it of personality. As we created the game music we had to strip it of emotion. Even the objective was cut from "rescuing the Princess" to just getting to the door. Door is just a basic game for complex times.
Challenge 2: Door is a two player game but one "player" is really just there to help identify the level obstacles.
Solution: We play tested our levels to find a balance where both players are needed and work together.
Development Photos:
Brainstorming game ideas.
Cards we chose.
Roughly designing some levels.
We enjoyed the level making process. See future plans below to learn more.
Testing out the projector.
Testing game play for whiteboards vs blackboards.
Creating the sprite for Square
Finished Game:
Future Direction:
As we made levels for Door we found the platform placing process very creative and fun. In a future iteration of the game we'd like players to be able to create levels for each other like so:
Player A designs a level. Player B tries to play to the end. Player C uses chalk or whiteboard marker to draw the level map.
With these three game mechanics we'd have a super simple game builder which integrates level design, play testing and aesthetic design into one fun package.
Another goal for the future of this game is to polish it and show it at an Digital Futures fundraising arcade. The social aspects of the game and the highly visible game play make it perfect for a game show!
Connor Campbell
Corey Dean
Jeremy Nir
Software used: GameMaker, GarageBand and iMotionHD.
Site with some sound effects: http://www.bfxr.net
Thanks to our game testers: Lewsy, Will, Michelle, Sarah and Ed from home. Various classmates from school.
Posted on: September 19, 2013 December 7, 2017 Games Weekly Challenge
Soul Run
This is a run for your life, escape your fate game. You made a deal with Death but you don't want to live up to your end. Jump, collect souls, and escape from Death's grip!
The game consists of you making a deal with Death for money and immortality. Your character then decides to steal the contract for without it Death has no valid claim on your soul. Your job is to escape from Hell with the contract and not let Death catch you. The mechanics are quite simple but the challenge is very real. You can move and jump with which you collect souls to unlock your pathway forward, however Death is following you at every moment creating a tense environment in which to maneuver.
This game is for anyone who loves a challenge but who can't spend a lot of time on a game. The only game I can think of that is similar in some fashion (though I'm sure there are many more I'm not aware of), would be certain levels of N+. The simplicity of the game is quite apparent but the challenge is not. You must execute precise timing to complete all the levels and win your soul.
This game was created using a brain-storming method that was created for our class. We had to choose any number of cards and link them, using each one in the game and going from there.
What I wanted to do first was create the concept for the game and then flesh out the mechanics before I really delved into it. So I sketched out some ideas, wrote some notes, and then made a basic run of the game with only the very basic mechanics.
I've had a little experience in Game Maker before so I knew a bit about the scripting language (not that I didn't look online for help, but that I could modify the code to suit my needs) but I also knew a little bit about the drag & drop system. This is probably the hardest thing for me when using Game Maker. I never know whether to use the coding or drag & drop and sometimes I can't figure out how to make some thing work either way. The logic in Game Maker sometimes makes absolutely no sense to me but I struggled on.
From there I created all the art assets and just plugged them into the game. I knew tile sets were the easiest way to go so I created one of those and used it with a solid object placeholder, but that's just basic. Once I added all the art you can see that things start to come together. One thing I was happy to figure out though was using Alarms. This allowed me to make basic sequences of events to portray the story in a symbolic fashion without having to create a video and import it (or however you incorporate video into Game Maker).
Another thing I had both trouble with and found myself to be able to overcome and relish in it was creating a believable object with minimal pixels. For the gateway for instance, when I first created it it was very bland. I knew I wanted something eldritch or mystical for it but I didn't know how to convey it. I tried to create a menacing looking door but that wasn't working. So I tried a new approach, I looked up symbols and used a 5×3 grid to create them. This turned out better than I anticipated! It's amazing how well things can be conveyed with such a small amount of pixels. Albeit some things need more pixels but you can still be convincing even without a lot of wiggle-room! I also found that when doing pixel art, shading is vital. You need to give something depth quickly and easily so even a one pixel inner border of a lighter hue or darker shade can make all the difference to a person's eye.
In the future I would love to add more levels and possible new mechanics such as sliding or being able to distract Death for a little bit. Making this game made me realize that there aren't that many chase games in this line, so perhaps, with some more tweaking and experience, I could create a game like this that could be played on someone's portable device (whether it be phone, handheld game platform or whatever the future holds).
Game: Download Here (4.19 MB) {Update: I've been informed this doesn't work on Macs. So, yeah.}
Note: All sounds were found on YouTube and used without permissions. The sounds belong solely to those who created them and have license to them. (i.e. Square-Enix, CyberConnect2, and/or anyone who owns the sounds).
Everything done by me except the making of sounds. Those belong to their respective creators and owners. I did however cut some sounds down to shorter versions.


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Grand jury clears Cpl. Stephen Bean
Dalton LaFerney | News Editor
@daltonlaferney
The UNT police officer who shot and killed 21-year-old Ryan McMillan will not face charges because a Denton County grand jury chose not to indict the officer, according to the Denton County District Attorney's Office.
UNT police Cpl. Stephen Bean shot and killed McMillan the morning of Dec. 13, 2015, after responding to a disturbance call. When he arrived, according to dash camera footage released by authorities, McMillan was carrying a small ax or hatchet.
When McMillan began walking toward Bean, the officer told him multiple times to stop. McMillan did not, and Bean fired three to four shots, leaving him dead at the corner of Oak and Fry streets.
The grand jury chose not to indict, but that does not necessarily mean this case is finished. McMillan's family hired an attorney, Renee Higginbotham-Brooks. She has criticized the Texas Rangers for its investigation of the shooting, saying the agency — along with the university — has not been open enough to the community about this investigation.
"This no-bill presents more questions than it does answers to what happened," Higginbotham-Brooks said in a statement. "With the secrecy surrounding the investigation of this incident, we are not surprised by the grand jury's action. There has not been any transparency from the beginning only secrecy."
The results from McMillan's autopsy have not been released because the Texas Rangers argued public access to the document would disrupt the investigation, according to the Tarrant County Medical Examiner's Office and dispatches from the Texas Attorney General's Office.
Since McMillan's death, university officials deferred all comment and information to the Texas Rangers, and they put Bean on desk duty. Because of UNT's silence, it was not immediately known whether Bean (or other officers) carried tasers, nor is the UNT Police Department's use of force policy known, but a report revealed the department does supply its patrol officers with tasers.
UNT responded to the news with a statement saying officials were appreciative of the grand jury's decision and of the impartial investigation.
"The university believes he acted appropriately under the circumstances and showed commendable restraint before taking this action," the statement said.
UNT spokesperson Margarita Venegas said Bean is still on administrative duty, but is expected to return to regular duty soon. She said she was not sure when exactly Bean will return patrol duties.
Staff writer Tiffany Ditto contributed to this report.
: Squirrels On Campus: Readership
: Conflicting social media posts announce Friday classes after noon cancelled
UNT professor to run for Denton County Democratic party chair
Denton energy debate continues on campus Friday
Challenges of financial security, safety: student employment during pandemic


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leftfieldlark May 18, 2022 hockey
Offering Nothing: Kyle Dubas and Brendan Shanahan (with special guest the Arkells)
by Darren Clarke, May 18, 2022
"When I heard, no I wasn't surprised
Could've said it was a long time coming
Now you beg for some, compromise
And you're offering nothing."
Kyle Dubas's (not mine) favourite band, The Arkells, Making Due
This was the Leafs post-playoff disappointment presser yesterday. Much like the Arkells bring to those seeking rock'n roll, Kyle Dubas and Brendan Shanahan came to the press conference yesterday- Offering nothing.
None of us were surprised when the Leafs were bounced for the sixth consecutive season in the first round. It's kind of what they do. And you know what? I shouldn't have been surprised Kyle Dubas and Brendan Shanahan chose self-adulation over accountability, but boy it pissed me off.
The main source of my frustration was the stubborn attachment to failure and the disingenuous suggestion that people were asking for change so the team would be worse. "We're not going to change for the sake of change."
Here's the thing guys- Nobody is asking for that.
We aren't asking for strawberry ice cream because we had chocolate yesterday, we're not asking for a pony for our birthday, we're not asking you to buy us a shiny new pair of dress shoes for the dance on Friday- We're asking you to change the fact you cannot win a damned round in the playoffs.
A few years back, in a fit of passive aggressive petulance directed at frustrated media and fans, Kyle Dubas posted this meme-
If you change the, "Complex But Right," sign to, "Accountability," and, the, "Simple But Wrong," to, "Excuses," it was easy to see which line Dubas and Shanahan were in yesterday- Excuses, offering nothing.
Immediately in the press conference Shanahan announced Sheldon Keefe, despite his team comprehensively (5 on 5, PK, PP) fading in three consecutive playoff rounds, despite being outcoached three times, despite psyching himself out and putting Wayne Simmonds and Kyle Clifford on the ice to start a playoff game, was returning as coach. Worse, it was clear they weren't even open to exploring other options at head coach with Dubas noting that in ten to fifteen years (which I believe is the same timeline for me to get a pony for my birthday) Keefe would be revered for his coaching accomplishments in the same way Stanley Cup winner Barry Trotz is.
Of more concern would be Dubas's reference to having a similar offseason to last year in terms of identifying talent to compliment the core in terms of getting over the playoff hump. First, they didn't get over the hump this year. Second, let's take a second and look at last offseason's additions in terms of how they performed at crunch time in the playoffs-
Petr Mrazek? Injured and ineffective in the regular season, didn't dress in the playoffs. Given his propensity for injury and ineffective play over his career- not a surprise.
Ondrej Kase? Recovering from his latest concussion Kase didn't play much in the series and when he did was a non-entity. Kase's history of concussions again makes this no surprise.
Michael Bunting? Fantastic compliment to Matthews and Marner in the regular season who was apparently injured and entirely ineffective in the playoffs. A smaller forward who plays a rambunctious style, missing games is nothing new to Bunting.
David Kampf? Great 3rd liner in the regular season and the start of the Tampa series faded badly when it mattered. Kampf's 27 and has never in his career been in as prominent a role as he had with Toronto. Maybe there was a reason for that.
Nick Ritchie? Putting aside he was traded for value, in terms of identifying talent, this was a massive miss by Dubas.
Largely Leaf fans seem attached to the idea of, "Rolling it back." The same core, the same coach, the same pretty much everything because, "Tampa, Washington kept the same core and…" But I'm here to tell you those ain't the comps. Those teams won playoff rounds and Conference titles prior to their Cup wins, the Leafs have won nothing. Zero. You know what team is the comp?
The Hartford stinking Whalers.
That's where we are right now. We're not in Washington's league, we're not in Tampa's, we're in Hartford's.
Look, there's a lot to like about the Toronto team given Dubas inherited the likes of Matthews-Marner-Nylander-Rielly. Yes, you got 115 points this year. Why wouldn't you? But as much as there is to like there's no denying the lack of playoff success isn't a small sample size issue. It's a, it's the only damned thing that happens, issue.
And you know what? Maybe change for the sake of change doesn't necessarily mean you make your team worse, just different. Perhaps the best comp for this team isn't the Kawhi-Nurse Raptors but rather the mid-to-late 80s Jays teams that, albeit in the radically different context of a league where only four teams made the playoffs, disappointed year in, year out, despite an uber talented core. They made change for the sake of change trading Tony Fernandez and Fred McGriff, two insanely productive players for Robbie Alomar and Joe Carter. There were other moves or course but that deal seemed to allow the team to shrug off some collective, weighty, baggage and two World Series came in short order.
I have to hope Dubas and co. have something up their sleeve other than the same old, same old. But there is very little to inform that. Very little. In a way, our GM's love of the Arkells, a band that is to being rock'n roll what tofu is to being steak, might have been the ultimate tip off of the meatless future that was in store for us. In fairness though, it does appear what Shanahan and Dubas were offering yesterday wasn't the Arkells or tofu, it was nothing.
Posted in hockey and tagged 2022, Auston Matthews, Blue Jays, Brendan Shanahan, Hartford Whalers, Kyle Dubas, Mitch Marner, playoffs, Press Conference, Raptors, Tampa Bay Lightning, The Arkells, toronto, Toronto Maple Leafs, William Nylander. Bookmark the permalink.
Is sadness enough?: The Leafs Lose in the First Round… again
Lowering Your Standard of Living: What Doug Ford "Got Done" the past Four Years


When it rains it pours and yesterday we saw the first instance of a Carnival ship, the Valor, unable to dock at Amber Cove due to weather conditions. Waves and debris washing into the ocean close to the ship lead to the captain deciding to abort docking attempts and sail away. We were very sorry for all the clients on board who had booked to do our 27 Waterfalls shore excursion. We received several calls and emails form passengers who were understandably very disappointed and frustrated not to be able to disembark to do the tour. An obvious worry for them was our policy on refunds if a ship is unable to dock, being such an unusual event I guess many people do not even consider the possibility so here is what we do.
Our regular terms and conditions state that tours cancelled by clients are non refundable, however for cruise ship passengers we understand that the ship not being able to dock is completely beyond their control so we refund in full less a US$10.00 per person fee to help cover costs. Everyone who contacted us from the Valor seemed more than happy with that arrangement and refunds were made the same day.
We obviously hope this does not happen again but wanted to reassure our clients that they would not be left too out of pocket if it did.


Amy Crews re-enters in Season 3, Episode 18.
Back in 2002, Big Brother introduced a new game twist that left Houseguests—and super fans—completely surprised when it was announced one formerly evicted HG would be given the chance to re-enter the house and continue competing for the $500k prize!
When the twist debuted in Season 3, the opportunity for re-entry came down to Amy Crews and Eric Ouellette. The remaining BB3 HGs voted on which competitor they wanted to welcome back and by a vote of 5-2, Amy was chosen and, immediately following her return, won the next HOH competition.
Watch the full episode where Amy Crews returns to the house in Season 3!
Watch all-new episodes of Big Brother on Sundays and Wednesdays at 8/7c, and Thursdays at 9/8c on CBS and CBS All Access.


Remix South is a conference for designers and developers, created by designers and developers just like you. We've got tracks and sessions in UX, Web, Mobile, Metro, and Future Tech lead by some of our industry's best and most experienced speakers.
Remix South, LLC is a conference run solely by local Atlanta designers and developers. We were inspired by the idea of MIX, to create a conference that brings designers and developers together to create the future of the web. While we dig Microsoft, our end goal is to bring designers and developers together, regardless of platform.


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Whale sharks observed regrowing damaged dorsal fins for the first time
By Nick Lavars
Whale shark with a damaged dorsal fin
Marine Conservation Society Seychelles
Whale shark with a laceration
Whale shark with an injured tail
Some animals sustain grave injuries and may struggle to return to full health, while others, such as newts and salamanders, possess a remarkable ability to regenerate damaged tissues. Whale sharks may have more in common with this latter group than previously believed, with new research finding they are able to recover from injuries at an extraordinary pace, even when it involves partially amputated dorsal fins.
Whale sharks are the world's largest fish, and with that title comes a whole lot of attention from tourists and marine life enthusiasts. The authors of the new study point to recent research highlighting how this increasing popularity invites an increasing risk of interactions with boats and humans vying for a close-up look at the animals in action, though little is known about the injuries that these encounters can cause.
To investigate, the research team from the University of Southampton analyzed photos taken by other researchers, tourism operators and citizen scientists of whale sharks populating two sites in the Indian Ocean. Because the animals feature unique spots and patterns on their skin, scientists are able to monitor individuals and track how different animals are recovering from wounds and scars, such as those caused by boat collisions.
"By using our new method, we were able to determine that these sharks can heal from very serious injuries in timeframes of weeks and months," says study lead author Freya Womersley. "This means that we now have a better understanding of injury and healing dynamics, which can be very important for conservation management."
By monitoring the animals in this way, the team also discovered something remarkable; a whale shark regrowing a partially amputated dorsal fin. The team believes this is the first time a shark has ever been scientifically documented exhibiting this behavior. Interestingly, the researchers also found evidence that that the whale sharks' unique patterns persist after being damaged, with new spots appearing to form over previously injured ones.
While the findings of the research suggest that whale sharks may be more resilient to impacts and injuries than we thought, the team notes that there may be other long-lasting negative effects of these incidents that can't be captured through photographs. These could include changes to foraging behaviors or reduced fitness levels.
"Whale sharks have been experiencing population declines globally from a variety of threats as a result of human activity," says Freya. "Therefore, it is imperative that we minimize human impacts on whale sharks and protect the species where it is most vulnerable, especially where human-shark interactions are high. There is still a long way to go in understanding healing in whale sharks, and in shark species in general, but our team hope that baseline studies such as this one can provide crucial evidence for management decision makers that can be used to safeguard the future of whale sharks."
The research was published in the journal Conservation Physiology.
Source: University of Southampton
BiologyUniversity of SouthamptonFishConservationMarineNew Atlas Audio
Nick Lavars
Nick has been writing and editing at New Atlas for over six years, where he has covered everything from distant space probes to self-driving cars to oddball animal science. He previously spent time at The Conversation, Mashable and The Santiago Times, earning a Masters degree in communications from Melbourne's RMIT University along the way.
Nobody February 24, 2021 02:44 PM
I have heard stories while photographing alligators in Florida about a giant alligator that has thrived for years without a tail. This would make an interesting project to see how it has survived.


text:
The bystander shooting in New York's Times Square was livetweeted
Late Saturday night, New York's Times Square turned into an open firing range.
Fernando Alfonso III— 2013-09-15 11:24 am | Last updated 2015-12-11 12:09 pm
Late Saturday night, New York's pedestrian-heavy Times Square turned into an open firing range after police officers shot wildly into crowds while in pursuit of an "agitated man."
The two New York Police Department officers ended up injuring two Manhattan women. One was shot right in front of Kerri Ann Nesbeth, a recent Florida Atlantic University grad who had just gotten her hair and nails done in Harlem.
Nesbeth livetweeted everything.
Omg just witnessed NYPD gun down a pedestrian in Times Square @CNN pic.twitter.com/AMCmFGrSZ4
— Kerri Ann Nesbeth (@knesbeth) September 15, 2013
This cannot be happening in front of me @CNN pic.twitter.com/aREMVNp8F4
Pure chaos pic.twitter.com/wsGRw673Gp
Man hit by taxi gets shot at 4 times by NYPD, they hit a pedestrian instead 🙁 pic.twitter.com/XOINkahT31
Police were in pursuit of a 35-year-old man who had "been darting in front of cars on 42nd Street and Eighth Avenue," the New York Times reported.
"He was just wandering, running away from the cop," a witness said. "He tried to run and ended up getting hit by three different cars."
One of the bystanders was a 54-year-old woman who ended injuring her knee, said Police Commissioner Ray Kelly. The other pedestrian was a 35-year-old woman, who "suffered a graze wound to the buttock." It is unclear which woman was captured in Nesbeth's photo.
Meanwhile, video of the incident began to surface on Reddit and other social media:
Photos by Kerri Ann Nesbeth/Twitter
Fernando Alfonso III
Fernando Alfonso III served as an early Reddit and 4chan reporter and the Daily Dot's first art director until 2016. He's gone on to report at Lexington's Herald-Leader and at the Houston Chronicle.
Livetweeting New York Nypd Police Shooting Times Square


text:
Jacob Bragg (born 15 May 2000) is an Australian long-distance runner who holds the world single age record for U13 half marathon.

Training

Bragg currently trains at UQ Athletics Centre and the Queensland Sport and Athletics Centre under the training of Brian Chapman.

Career

On 24 November 2013, Bragg represented the University of California, Los Angeles and finished 6th in the open 5,000 m event, finishing 4 seconds behind the bronze medalist at the "We run the city" event at the Campus of the University of Southern California campus.

References

Living people
2000 births
Australian male marathon runners
Australian male long-distance runners
21st-century Australian people

redpajama_set_name: RedPajamaWikipedia


emmazz 195 days ago all webflixnchill All http://www.webflixnchill.com Discuss Published New Discard Success!
New content created by independent artist are posted every week. Submit your video to be featured on Webflix n' Chill.


Unicorn food, decor, and outfits made this first birthday party a fantastic sparkly bash.
Unicorns are super-trendy right now. From Unicorn Poop cupcakes and Unicorn Snot body gel, to all the unicorn makeup looks that took over Coachella last weekend, the magical and sparkly one-horned guys seem to be everywhere. Even Starbucks has gotten in on the action with its new whimsical, color-changing Unicorn Frappuccino, available starting today.
Baby Elliott is the first child of Kat Sanchez and Chip Koskiniemi, and according to their party planner Emily Butler of Karson Butler Events (who also orchestrated the couple's 2014 wedding), the theme was chosen long before unicorns became a big thing.
"During Kat's wedding planning process, TLC's Say Yes To The Dress featured 'The Unicorn Dress' episode featuring Kat and the nickname just stuck," Emily explained to Parents.com. "Though no rainbows or unicorn decor was featured in their wedding design, we knew we would take the theme and run with it if Kat and Chip had a daughter one day! Fast-forward to January 2016 and our unicorn wishes and dreams came true!"
Yum! Our fave part of the party, however is definitely the "Unicorn Feed" bag favors, made up of a combination of sweet kettle corn, pastel mini marshmallows, and chocolate chips.
Too cute! What are the chances they've still got some leftovers and are willing to share?
This Baby Had an Epic Philly Food Smash for His First Birthday, Yo!


A3 Surfing poster of Cornwall printed on a textured Tintoretto Gesso 250g FSC approved paper.
This is an original artwork inspired by surf trips to Cornwall.
All posters are printed on a textured Tintoretto Gesso 250g FSC approved paper.
The standard print size is A3 – 29.7 x 42.7 cm 11.6 x 16.5 inches (including the white border). Other sizes can be printed by arrangement.
Prints will be securely shipped in a sturdy cardboard tube to ensure they arrive in perfect condition.
Artwork is copyrighted to Nick Plackett – Frontside, and is not to be copied or reproduced in any form without the permission of the artist. Sale of this item does not transfer its copyright.


text:
— STUDENT LIFE — STUDENT AFFAIRS — PROFESSIONAL AND CAREER DEVELOPMENT
New Student Frequently Asked Questions
Academic and Personal Support
Personal Advice and Counseling
Campus Life and Leadership Opportunities
Match Lists
The Office of Student Affairs on both campuses provides a comprehensive suite of career support services designed to assist students in reaching their personal and professional goals.
DO Student Career Services
Developing a career plan is a four year process. While first and second year students face the extraordinary challenges associated with adapting to a rigorous curriculum, career planning seminars are provided by our office for students to start the process of thinking about their future beyond medical school.
Career support becomes individualized during the third year. During the fourth year, the student affairs staff provides personalized residency application and interviewing support services.
Our DO graduates earn placements at top medical institutions around the nation.
Graduate Programs and Pharmacy Students Career Services
The Student Affairs departments on both campuses work closely with students and faculty to provide career planning support. Services include interview prep workshops, cv/resume support, as well as guidance in developing a personalized career development plan.
Specific information relevant to each academic program is available in myPCOM.


1. JENNIFER LOPEZ FEAT. RICK ROSS & THE-DREAM "RUN THE WORLD"
Jennifer Lopez just cant stay away. With helping hands from The-Dream and Ricky Rozay, J.Lo takes another shot at running the charts.
2. NIPSEY HUSSLE "HOLDING YOU DOWN (FREESTYLE)"
West Coast rookie Nipsey Hussle drops a new freestyle dedicated to his 55,000 twitter followers.
3. NE-YO FEAT. FABOLOUS & RICK ROSS "CHAMPAGNE LIFE (REMIX)"
Labelmates Fabolous & Rick Ross help Ne-Yo keep the bubbly flowing with a new remix.
4. TANK FEAT. DRAKE "CELEBRATION"
Tank looks to make his return with a collabo with Canada's MVP.


text:
<!DOCTYPE html>
<html>

  <head>
    <!-- Load D3 from site -->
    <script src="http://d3js.org/d3.v3.min.js" charset="utf-8"></script>

    <!-- CSS (Styling) -->
    <style type="text/css">

      body {
        margin: 0;
        font-family: sans-serif;
        font-size: 11px;
      }

      .axis path, .axis line {
        fill: none;
        stroke: black;
        shape-rendering: crispEdges;  /* Round any decimal pixels so it'll render nicely */
      }

      /*
      //Can use CSS3 Transitions, but not for everything (e.g. change radius size)
      circle:hover{
        fill: green;
      }
      */

    </style>
  </head>

  <body>
    <!-- Begin Javascript -->
    <script type="text/javascript">
      var w = window.innerWidth,
          h = window.innerHeight,
          margin = { top: 40, right: 20, bottom: 20, left: 40 },
          radius = 6;

      var svg = d3.select("body").append("svg").attr({
        width: w,
        height: h
      });

      var dataset = [
        { x: 100, y: 110 },
        { x: 83, y: 43 },
        { x: 92, y: 28 },
        { x: 49, y: 74 },
        { x: 51, y: 10 },
        { x: 25, y: 98 },
        { x: 77, y: 30 },
        { x: 20, y: 83 },
        { x: 11, y: 63 },
        { x:  4, y: 55 },
        { x:  0, y:  0 },
        { x: 85, y: 100 },
        { x: 60, y: 40 },
        { x: 70, y: 80 },
        { x: 10, y: 20 },
        { x: 40, y: 50 },
        { x: 25, y: 31 }
      ];

      // We're passing in a function in d3.max to tell it what we're maxing (x value)
      var xScale = d3.scale.linear()
          .domain([0, d3.max(dataset, function (d) { return d.x + 10; })])
          .range([margin.left, w - margin.right]);  // Set margins for x specific

      // We're passing in a function in d3.max to tell it what we're maxing (y value)
      var yScale = d3.scale.linear()
          .domain([0, d3.max(dataset, function (d) { return d.y + 10; })])
          .range([margin.top, h - margin.bottom]);  // Set margins for y specific

      // Add a X and Y Axis (Note: orient means the direction that ticks go, not position)
      var xAxis = d3.svg.axis().scale(xScale).orient("top");
      var yAxis = d3.svg.axis().scale(yScale).orient("left");

      // New circles will start at 0,0
      var circleInitialAttrs = {
          cx: xScale(0),
          cy: yScale(0),
          r: 1
      };

      // Sets circles attributes
      var circleAttrs = {
          cx: function(d) { return xScale(d.x); },
          cy: function(d) { return yScale(d.y); },
          r: radius
      };

      // Adds X-Axis as a 'g' element
      svg.append("g").attr({
        "class": "axis",  // Give class so we can style it
        transform: "translate(" + [0, margin.top] + ")"  // Translate just moves it down into position (or will be on top)
      }).call(xAxis);  // Call the xAxis function on the group

      // Adds Y-Axis as a 'g' element
      svg.append("g").attr({
        "class": "axis",
        transform: "translate(" + [margin.left, 0] + ")"
      }).call(yAxis);  // Call the yAxis function on the group

      var circles = svg.selectAll("circle")
          .data(dataset)
          .enter()
          .append("circle")
          .attr(circleInitialAttrs)  // Get attributes from circleInitialAttrs var
          .on("mouseover", handleMouseOver)
          .on("mouseout", handleMouseOut);

      circles.transition()  // Gives the fly out from the center effect
          .delay(function (d, i){
              return i * 100;  // Gives a slight delay with 100 ms spacing
          })
          .duration(1000)
          .ease("elastic")
          .attr(circleAttrs);

      // On Click, we want to add data to the array and chart
      svg.on("click", function() {
          var coords = d3.mouse(this);

          // Normally we go from data to pixels, but here we're doing pixels to data
          var newData= {
            x: Math.round( xScale.invert(coords[0])),  // Takes the pixel number to convert to number
            y: Math.round( yScale.invert(coords[1]))
          };

          dataset.push(newData);   // Push data to our array

          // When adding new items, goes from 0,0 and transition to place
          var c = svg.selectAll("circle")  // For new circle, go through the update process
            .data(dataset)
            .enter()
            .append("circle")
            .attr(circleInitialAttrs)
            .on("mouseover", handleMouseOver)
            .on("mouseout", handleMouseOut);

          c.transition()
              .duration(1000)  // Set how long it takes
              .ease("elastic")  // Bounces a bit
              .attr(circleAttrs);
      })

      // Create Event Handlers for mouse
      function handleMouseOver(d, i) {  // Add interactivity

            // Use D3 to select element, change color and size
            d3.select(this).attr({
              fill: "orange",
              r: radius * 2
            });

            // Specify where to put label of text
            svg.append("text").attr({
               id: "t" + d.x + "-" + d.y + "-" + i,  // Create an id for text so we can select it later for removing on mouseout
                x: function() { return xScale(d.x) - 30; },
                y: function() { return yScale(d.y) - 15; }
            })
            .text(function() {
              return [d.x, d.y];  // Value of the text
            });
          }

      function handleMouseOut(d, i) {
            // Use D3 to select element, change color back to normal
            d3.select(this).attr({
              fill: "black",
              r: radius
            });

            // Select text by id and then remove
            d3.select("#t" + d.x + "-" + d.y + "-" + i).remove();  // Remove text location
          }

    </script>
  </body>
</html>

redpajama_set_name: RedPajamaGithub


The Salomon Soulquest Jacket is a rugged and relatively lightweight piece of kit packed with impressive features.
Using motion fit technology, the Soulquest features a Gore-tex Pro 3L outer fabric with a relaxed fit, ideal to layer up underneath it.
The hood is adjustable and is compatible with ski helmets, there are plenty of pockets – which are all water repellent and an air vent system to help with body temperature.


Jackie Damrau is an ARIS Trainer for Global Education Services – The Americas at Software AG USA, Inc. She has more than 20 years of technical communication experience. She is a Fellow of the Society for Technical Communication (STC), member of the STC Lone Star Community and the Instructional Design & Learning SIG, general manager of the STC International Summit Awards, and the Book Review Editor for Technical Communication. Jackie enjoys reading literature and philosophy. Find her on LinkedIn (http://www.linkedin.com/in/jackiedamrau) or in Twitter (@damrauja).


text:
require 'bud/state'

class VizOnline #:nodoc: all
  attr_reader :logtab

  META_TABLES = %w[t_cycle t_depends t_provides t_rule_stratum t_rules t_stratum
                   t_table_info t_table_schema t_underspecified].to_set

  def initialize(bud_instance)
    @bud_instance = bud_instance
    @bud_instance.options[:dbm_dir] = "DBM_#{@bud_instance.class}_#{bud_instance.options[:tag]}_#{bud_instance.object_id}_#{bud_instance.port}"
    @table_info = bud_instance.tables[:t_table_info]
    @table_schema = bud_instance.tables[:t_table_schema]
    @logtab = new_tab(:the_big_log, [:table, :time, :contents], bud_instance)
    tmp_set = []
    @bud_instance.tables.each do |name, tbl|
      next if name == :the_big_log || name == :localtick
      # Temp collections don't have a schema until a fact has been inserted into
      # them; for now, we just include an empty schema for them in the viz
      if tbl.schema.nil?
        schema = [:a, :b, :c, :d]
      else
        schema = tbl.schema.clone
      end
      tmp_set << [name, schema, tbl.class.to_s]
    end

    tmp_set.each do |t|
      snd_alias = t[0].to_s + "_snd"
      @table_schema << [t[0], :c_bud_time, 0]
      t[1].each_with_index do |s, i|
        @table_schema << [t[0], s, i+1]
        if t[2] == "Bud::BudChannel"
          @table_schema << [snd_alias, s, i+1]
        end
      end
      if t[2] == "Bud::BudChannel"
        lts = "#{snd_alias}_vizlog".to_sym
        @table_info << [snd_alias, t[2]]
      end
      @table_info << [t[0], t[2]]
    end
  end

  def new_tab(name, schema, instance)
    ret = Bud::BudDbmTable.new(name, instance, schema)
    instance.tables[name] = ret
    return ret
  end

  def add_rows(collection, tab)
    collection.each do |row|
      if collection.class == Hash
        row = row[1]
      elsif collection.class == Bud::BudPeriodic
        row = row[0]
      end

      # t_depends, t_rule_stratum, and t_rules have Bud object as their first
      # field. Replace with a string, since Bud instances cannot be serialized.
      if row[0].class <= Bud
        row = row.to_a
        row = [row[0].class.to_s] + row[1..-1]
      end
      newrow = [tab, @bud_instance.budtime, row]
      begin
        @logtab << newrow
      rescue
        raise "ERROR!  #{@logtab} << #{newrow.inspect} (etxt #{$!})"
      end
    end
  end

  def do_cards
    @bud_instance.tables.each do |t|
      tab = t[0]
      next if tab == :the_big_log
      next if @bud_instance.budtime > 0 and META_TABLES.include? tab.to_s
      add_rows(t[1], tab)
      if t[1].class == Bud::BudChannel
        add_rows(t[1].pending, "#{tab}_snd")
      end
      @logtab.tick
    end
  end
end


Ancient clay cuneiforms will be on view as well as Nuala Creed's ceramic portraits of the Internet archivists that remind us of the crucial human involvement in this digital archive. Hands-on displays will offer visitors the opportunity to dive into the vast "storerooms" of the Internet Archive. We also will be digitally archiving items from the William H. Hannon Library and the Laband every afternoon using the Table Top Scribe, a state-of-the-art scanner.
Nuala Creed, was born in Dublin Ireland, moved to the U.S. as a young adult, and now lives in Petaluma, California. In 1999 she earned a BFA with high distinction from California College of the Arts. Since then her work has been exhibited both nationally and internationally, in Korea, Finland, France, Hungary, and Ireland. Nuala has also completed four public ceramic murals. She has received many awards for her work, which is represented in both private and public collections, such as Pro Artibus Foundation Collection, Finland. For the past few years she has been working on a collection of ceramic figures for the Internet Archive in San Francisco. To date there are 113 of them exhibited in the Great Room of the archive. Her work has been featured in books such as Ceramics and The Human Figure, by Edith Garcia, Confrontational Ceramics by Judith Schwartz, 500 Figures in Clay, by Lark Books. Articles about her work appear in several art magazines, which include Ceramics Art and Perception, Ceramics Monthly and Ceramics Ireland. View Nuala's website.
The Internet Archive is a San Francisco-based nonprofit digital library with the stated mission of "universal access to all knowledge." It provides free public access to collections of digitized materials, including web sites, software applications/games, music, movies/videos, moving images, and nearly three million public-domain books. To date, its collection topped 20 petabytes. In addition to its archiving function, the Archive is an activist organization, advocating for a free and open Internet.
Founded by Brewster Kahle in 1996, the Internet Archive allows the public to upload and download digital material to its data cluster, but the bulk of its data is collected automatically by its web crawlers, which work to preserve as much of the public web as possible. Its web archive, The Wayback Machine, contains over 150 billion web captures. The Archive also oversees one of the world's largest book digitization projects. Visit the Internet Archive's site.


text:
|-
| 75301 - || || 6 de desembre, 1999 || Socorro || LINEAR
|-
| 75302 - || || 6 de desembre, 1999 || Socorro || LINEAR
|-
| 75303 - || || 6 de desembre, 1999 || Catalina || CSS
|-
| 75304 - || || 7 de desembre, 1999 || Fountain Hills || C. W. Juels
|-
| 75305 - || || 7 de desembre, 1999 || Fountain Hills || C. W. Juels
|-
| 75306 - || || 7 de desembre, 1999 || Oaxaca || J. M. Roe
|-
| 75307 - || || 7 de desembre, 1999 || Fountain Hills || C. W. Juels
|-
| 75308 - || || 7 de desembre, 1999 || Kuma Kogen || A. Nakamura
|-
| 75309 - || || 3 de desembre, 1999 || Nachi-Katsuura || Y. Shimizu, T. Urata
|-
| 75310 - || || 5 de desembre, 1999 || Socorro || LINEAR
|-
| 75311 - || || 6 de desembre, 1999 || Socorro || LINEAR
|-
| 75312 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75313 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75314 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75315 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75316 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75317 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75318 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75319 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75320 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75321 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75322 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75323 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75324 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75325 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75326 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75327 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75328 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75329 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75330 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75331 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75332 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75333 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75334 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75335 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75336 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75337 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75338 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75339 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75340 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75341 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75342 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75343 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75344 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75345 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75346 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75347 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75348 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75349 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75350 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75351 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75352 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75353 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75354 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75355 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75356 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75357 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75358 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75359 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75360 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75361 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75362 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75363 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75364 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75365 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75366 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75367 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75368 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75369 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75370 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75371 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75372 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75373 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75374 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75375 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75376 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75377 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75378 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75379 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75380 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75381 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75382 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75383 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75384 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75385 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75386 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75387 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75388 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75389 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75390 - || || 7 de desembre, 1999 || Oizumi || T. Kobayashi
|-
| 75391 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75392 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75393 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75394 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75395 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75396 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75397 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75398 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75399 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
| 75400 - || || 7 de desembre, 1999 || Socorro || LINEAR
|-
5