text:
Looks like you're from the United States. Right now, you are on our site for Central Asia English. Switch to the United States
Change Location: Central Asia English
R&S®THU9 UHF Transmitter Famil...
Efficiency redefined
Superior efficiency on the market thanks to innovative transmitter design and the use of Doherty technology
Scalable and flexible system configuration
The R&S®THU9 UHF high-power transmitter family makes terrestrial broadcasting of TV signals extremely efficient.
Digital TV standards DVB-T, DVB-T2, DVB-H, ISDB-T, ISDB-TB, ATSC, ATSC Mobile DTV, DTMB
DVB-T, DVB-H channel bandwidth 5/6/7/8 MHz
Unique MultiTX system with multiple transmitters in a single rack
Highest power density per transmitter rack
User-friendly operating terminal and GUI
Optimized total cost of ownership (TCO)
The R&S®THU9 contains open source software packages. Copies of the respective licenses are included in the Open Source Acknowledgement, see Downloads/Software area of this web page.
The R&S®THU9 UHF high-power transmitter family makes terrestrial broadcasting of TV signals extremely efficient. It features high energy efficiency of up to 42 %, outstanding configuration flexibility and exceptional operating convenience in a very small footprint. For network operators, this means cost reductions over the entire system lifetime.
The liquid-cooled transmitters deliver output power of up to 75 kW for digital standards in Doherty operation, and up to 58 kW for analog standards. Rohde & Schwarz also offers the highest power density on the market with as much as 15 kW per rack for COFDM standards.
In Doherty mode, the R&S®THU9 transmitter family attains efficiency values of up to 42 %, including the cooling system – for maximum energy and CO2 savings. In Doherty operation, users can save up to 50 % of energy costs compared with conventional transmitters.
The transmitters offer unparalleled flexibility and scalability in an extremely compact design. The family portfolios range from single transmitters with built-in pump unit and bandpass filter to multitransmitter systems and even N+1 configurations in a single rack. The new operating concept is based on an ergonomic operating unit, straightforward, easy-to-use menus and a convenient configuration guide.
Standards DVB-T, DVB-T2, DVB-H, ISDB-T, ISDB-TB, ATSC, ATSC Mobile DTV, DTMB
Channel bandwidth DVB-T, DVB-H 5/6/7/8 MHz
DVB-T2 1.7/5/6/7/8 MHz
ISDB-T, ISDB-TB 6 MHz
ATSC 6 MHz
DTMB 6/8 MHz
Inputs DVB-T, DVB-H 2 × ASI (HP/LP), 75 Ω BNC,
2 × RJ-45
DVB-T2 2 × ASI (HP/LP), 75 Ω BNC,
ISDB-T, ISDB-TB 2 × BTS, 75 Ω BNC,
ATSC 2 × SMPTE310M or 2 × ASI, 75 Ω BNC, 2 × RJ-45
DTMB 2 × ASI (HP/LP), 75 Ω BNC,
Digital audio broadcasting/Mobile TV in the VHF range
Standards DAB, DAB+, T-DMB
Channel bandwidth 1.5 MHz
Inputs 2 × ETI, 75 Ω BNC/high impedance, 2 × EDI, RJ-45
Standards B/G, D/K, M 1), N 1), I, I1
Color transmission PAL, NTSC, SECAM
Sound transmission IRT dual-sound coding, FM single sound and NICAM728
(−13 dB/−20 dB), FM single sound
(−10 dB)
Inputs 1 × video (75 Ω BNC), 2 × audio (XLR)
Frequency range UHF band IV/V 470 MHz to 862 MHz
VHF band III 170 MHz to 254 MHz
Supply voltage 400 V/230 V; 4 wires + PE (L1/L2/L3/N/PE) ± 15 %,
208 V; 3 wires + PE (L1/L2/L3/PE) ± 15 %,
240 V; 3 wires + PE (L1/L2/L3/PE) –15 %/+10 %
Max. installation height 2000 m above sea level
(> 2000 m on request)
Operating temperature range +1 °C to +45 °C
Relative humidity (max.) 95 %, noncondensing
Immunity2) to fast transients and burst in line with IEC 61000-4-4 < 4 kV (AC supply),
< 1 kV (signal inputs)
to surges in line with IEC 61000-4-5 symmetrical < 2 kV (e.g. L1-L2),
asymmetrical < 4 kV (e.g. L1-N)
Reference frequency 10 MHz, 0.1 V to 5 V (Vpp) or TTL, BNC
Reference pulse 1 Hz, TTL, BNC
Display unit with touchscreen and LEDs local operation and display
Ethernet interface, RJ-45 local, remote, standard web browser
optional network management interface via SNMP
Parallel remote interface optional floating contacts for messages and commands
1) Only single sound.
2) With built-in AC supply overvoltage protection; more stringent requirements must be satisfied by implementing appropriate measures in the station.
To comply with the applicable standards and limit values for the suppression of out-of-band emissions (and in the case of digital standards, also for maintaining the required shoulder distance), the transmitter may only be operated with suitable filters at the RF output.
Efficiency to the Power of Five More Information
Get information Get a Quote
R&S®THV9 VHF Transmitter Family for TV and Digital audio broadcasting
TV Transmitters


Does anyone know any good editors for editing in Legacy?
All the editors will work pretty well for Doom Legacy just as they would for other ports. For legacy it's really only a matter of using the special line types (I assume most editors can let you enter a line type number, although I'm only familiar with WadAuthor).
DB also makes editing fragglescript easier in a Legacy map though... you don't have to use the add_fs utility to insert the script into the map header.
sbsoftware.com]Deepsea is what I use.


text:
Q: very wonderous loop behavior: lists changes identity. What is happening? Somehow after doing this
list2 = [x for x in range(10)]

list1 = [ x for x in range(10,20)]

 for k, list1 in enumerate([list1,list2]):
    for number, entry in enumerate(list1):
        print number, entry

suddenly id(list2)==id(list1) evaluated to True? What on earth is happening? while the loop is running this does not seem to bee the case the first output is as expected :
0 10, 1 11, 2 12,...0 0, 1 2, 2 3,...
the second though gives:
0 0, 1 1, 2 2...
How is this possible?
Simply changing the code to:
list2 = [x for x in range(10)]

list1 = [ x for x in range(10,20)]

Gets rid of this behaviour.
 for k, NEWVAR in enumerate([list1,list2]):
    for number, entry in enumerate(list1):
        print number, entry

A: You write:
list1 = [ x for x in range(10,20)]

And then:
for k, list1 in ...

You are using the same name list1 for two different, but intermixed objects! Nothing good will come out of this.
Just use a different name for the loop:
for k, l in enumerate([list1,list2]):
    for number, entry in enumerate(l):

Remember that in Python there are only two scopes, roughly speaking:

*

*module scope and

*function scope.

A: You are re-assigning list1 in your for loop:
for k, list1 in enumerate([list1,list2]):

which means that at the last iteration you're implicitly doing list1 = list2
From the docs

enumerate() returns a tuple containing a count (from start which defaults to 0) and the values obtained from iterating over sequence

A: In the for loop the last value assigned to list1 ist list2 and that's why the equality holds true
You are expecting the variables in the for loop to be restricted to the loop but it's not the case. As in:
for i in range(0, 2):
    pass

print(i)

Which outputs:
1

redpajama_set_name: RedPajamaStackExchange


Lemvig. The partment is spacious and has mixed furnishings, free internet and a sofa bed in the living room besides the 4 beds. Flatscreen TV. The apartment has a roof terrace with garden furniture and views of the area. In the adjacent shed you will find a fish cleaning table and freezer for storing the freshly-caught fish. Also room for your bicycles in the shed. Public transport within 2 minutes walk. Approx. 100 metres from the apartment there is a communal area with fishing lake, fireplace with grill etc.
Lemvig Municipality - 4 pers.


text:
Understanding How Free Online Casino Slot Bonuses Work
May 12, 2021 April 22, 2022 By Coleman
Gaming machines are the most well known game in both online and land-based club. In any case, club is continually searching for approaches to keep individuals playing them all the more frequently and playing them longer. Rather than one payline going evenly like in customary slots with multi-line slots you can get a payout going on a level plane, vertically or corner to corner. Multi-line slots have a more noteworthy assortment of images since there are more lines and each has an alternate worth. In land-based club, most multi-line extra games are video slots. Multi-line extra slots have images called dissipate images. These are images that open some unique reward cycle, a scaled down game where the player gets an opportunity to win extra prizes at no hazard. In contrast to different images, they do not need to be in the dynamic payline to be checked.
Rewards are a shrewd method to keep individuals playing the โหลดเกม vip game as certain individuals will keep playing in any event while losing cash on the expectations of hitting a reward. Space rewards arrive in a wide assortment. Once in a while they come as free twists, additional coins to bet, free focuses in the event that you are playing in a point-based competition and that is only the tip of the iceberg. Rewards are the most obvious opportunity players have of recovering their misfortunes; however with regards to slots nearly everybody will lose at long last, at any rate. The extra adjusts opened by the dissipate images come in a wide range of structures. Now and then three to five articles show up on the screen and the player needs to pick one, accepting whatever reward is related with that object.
Different occasions, a dissipate image for a free turn will turn up and you are naturally given a free turn without playing any reward game. Another basic reward game is a coordinating game where there is a network with shrouded images and in the event that you coordinate two images you are given a particular reward. Some rewards are offered through banking. Here, สล็อต การ์ตูน players gather rewards over the span of the game and instead of utilizing them immediately, they are banked where they are included and when the bank arrives at a specific objective, it is paid out to the player. In this framework, players are remunerated for playing the game for a more extended timeframe. With online slots, the extra games are more perplexing. They as a rule share a topic with the space and have a greater amount of an intuitive kind of ongoing interaction. A few models remember batting practice for a baseball-themed game and attempting to take out an adversary in a boxing-themed game.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Simple Mailx configuration I find a lot of Unix mail programs' documentations unwieldy because they provide a lot of advanced commands but it is difficult to find basic set-up information.
I would like to check and send email from the command line and am reading about how to set up mailx.
The documentation says:

IMAP or POP3 client setup
As you probably want messages to be deleted from this account after saving them, prefix it with '%:'. The shortcut command can be used to avoid typing that many characters every time you want to connect:
shortcut myisp %:imaps://mylogin@server.myisp.example
You might want to put this string into a startup file. As the shortcut command is specific to this implementation of mailx and will
confuse other implementations, it should not be used in ~/.mailrc, instead, put
set NAIL_EXTRA_RC=~/.nailrc in ~/.mailrc and create a file ~/.nailrc containing the shortcut command above. You can then access your remote mailbox by invoking
'mailx -f myisp' on the command line, or by executing 'fi myisp'
within mailx.

I followed these instructions. I notice that so far the configuration file does not contain a password or any other information.
I have mailx installed. I tried to invoke the mailx -f myisp command, which returned No such file or directory.
Why does this not work?
How do I configure mailx to send and read email from Gmail?
I have looked through the documentation and I do not see any configuration instructions apart from "Mailx reads mail from the post office", without explanation of how to create that post office. I have definitely found useful third-party guides which explain to write configuration information in a .mailrc file, but I'm at least curious why this information is not in the mailx man pages and if there are some other man pages I should be reading as preparation for using mailx.


Fennel seeds are rich in antioxidants, they contain fibers that help digest and deflate the stomach, they are also excellent anti-inflammatories and more. Here are all the beneficial properties of fennel seeds!
Fennel seeds (Foeniculum vulgare) are excellent anti-inflammatories, antioxidants and they are also rich in fiber, they reduce bad cholesterol in the blood and help to regulate blood pressure, they are also often used as natural supplements of copper and calcium. In addition to flavoring our dishes in the kitchen, with their fresh and sweetish taste reminiscent of anise, fennel seeds are therefore rich in beneficial properties and are mainly used in the form of infusion to deflate the stomach, promote digestion and stimulate diuresis.
When we talk about fennel, however, it is important not to make confusion between the fennel plant, that is the sweet vegetable, and the wild fennel that arises spontaneously in the maritime areas and low hills; this aromatic plant was already known by the ancients Greeks and Romans to treat some disorders, including those related to virility. Today, we use flowers, leaves and seeds of this plant, especially for the preparation of herbal teas and decoctions and for flavoring bread, breadsticks, crackers, etc.
Fennel seeds are very good for those suffering from intestinal problems as they help to reduce swelling and promote digestion by eliminating intestinal cramps. Fennel seeds are also anti-inflammatory and antioxidants, they contain many fibers and are a natural source of copper, calcium, there is also a good content of vitamins and essential oils contained in its seeds, more precisely they are called achenes, formed by a hard shell that contains a single seed. Here are all his precious properties.
Fennel seeds are rich in fiber, and they improve digestion and deflate the belly: the fibers contained in fennel seeds are important to promote the passage of food along the intestinal tract and help us to eliminate toxins, purifying our body thanks to its diuretic properties. In addition, fennel seeds stimulate digestion by eliminating the problems of aerophagia: they must be taken in the form of herbal tea, even after heavy meals. Fennel seeds are a panacea even for those suffering from abdominal swelling, in fact, they promote the elimination of excess gas, to gain a flat stomach and free from cramps.
Fennel seeds provide an antioxidant action and help prevent cancer: the flavonoids contained in fennel seeds make them excellent antioxidants, so they prevent premature aging by counteracting the damaging action of free radicals, and they also reduce the oxidative stress of the cardiovascular system and prevent neurological damage. The antioxidants present in these precious seeds are also allies for the fight against colon cancer because, together with the fibers, they remove toxins from the intestine.
Fennel seeds are powerful anti-inflammatory: the anti-inflammatory action of fennel seeds is useful for treating disorders like Crohn's disease and arthritis, two important autoimmune diseases.
Fennel seeds reduce blood pressure: fennel seeds contain potassium, useful for regulating blood pressure, contributing to keep it stable by adjusting the heartbeat. Therefore, fennel seeds are very good for those suffering from hypertension.
Fennel seeds are good against cholesterol: cholesterol is one of the main causes of heart attack, stroke and hypertension, and it can also be controlled by consuming vegetable foods, including fennel seeds, thus helping to prevent cardiovascular disease.
Fennel seeds are rich in calcium and they increase the production of red blood cells: fennel seeds are rich in calcium and they are an excellent source even if consumed in small quantities: 100 grams of fennel seeds contain 120% of the recommended daily dose of calcium. These seeds also contain a good amount of copper, an important mineral salt for the production of red blood cells.
Fennel Parmesan: It is too good not to try!


What are the health benefits of male and female circumcision?
What're the psychological and health benefits of masturbation?
What are the measured health benefits of masturbation for a young female ?
What are some of the implications of masturbating almost daily on male reproductive health and overall health?
Is there any benefits of masturbation on a man's health ?
What are the implications of masturbating almost daily on reproductive health and overall health?
What are health benefits of circumcision?
What are the benefits of masturbation on prostate health and overall health? Thanks in advance.
What health risks increase after nightfall?
Effects of having masterbation in our bidy?
Is masturbation bad for our health? Is 3x a day of masturbating unhealthy for men and women?
Is masturbation good for health?Or what are the effects of excess masturbation?
Awareness for fgm/c female genital cutting===what are the health risks?
Does masturbation effect upon health in negative way?
What's the health benefits of pastrami?
Hi please, what are the benefits of health promotion and maintenance?
Will masturbating affect my health and my testis? Is there any pros and cons of masturbating ?
What's the health benefits of garlic?
I'm a 30 year old man. What are the health benefits of drinking apple cider vinegar daily?
Could masturbation has side effects on health or fertility of male?


So here's a question to all those who have gone before me and have a book(s) published. I don't care if it's indie publishing or traditional, my question remains the same.
How the bleep did you do it?
I posted off a query email to my local ISBN Agency just asking about purchasing ISBNs for my upcoming WIP Guns of Perdition. What they sent me back managed to confuse and overwhelm the bleep out of me (see below for email).
Add this to the other list of things stressing confusing me and I am nearly ready to chuck it all in as too bleeping hard.
How am I going to afford that?
Pasta or salad for lunch?
Where does cover art fit in with all this?
eBook or hardcopy or both?
Should I just try traditional publishing?
I just want to write bleep it!
Thank you for your enquiry and congratulations upon your self-publishing venture!
ISBNs (International Standard Book Numbers) are internationally accepted identifiers for book publications used throughout library catalogue systems and the book trade. There is no expiry date on ISBNs.
Thorpe-Bowker Identifier Services is the registered ISBN Agency in Australia. If you purchase your ISBNs from elsewhere they may not lead to an international bibliographic database and may not represent you as an Australian self-publisher. Bowkers' Books in Print is an established book database used widely throughout the book trade. When you create a Sign In at MyIdentifiers you create a publisher record for yourself on Books in Print. You then control how you want your title information (metadata) to appear on Books in Print.
Your publication can however, be printed in any country you choose.
Self-publishers with an Australian address can purchase ISBNs, barcodes, EBook conversions and other products and services to help them in their publishing quest at our website -http://www.myidentifiers.com.au. It is a simple three step process: Register – Purchase – Report.
REGISTER TO CREATE A PUBLISHER ACCOUNT.
Firstly, you will need to create a MyIdentifiers Publisher account by clicking on the 'Register' button in the top right corner of our homepage, giving us the contact information of the publisher/self-publisher. If you are an author who is self-publishing ie organising the printing and distribution of your publication; you can use your own name, a name you create (pen-name) or a business name. If you are a printer, designer or editor you must use all of your clients contact details in this setup of Publisher account. (Note: Printers, designers and editors are not usually publishers) This Publisher name can also be changed later, but you will need to notify us to make the change.
During this registration process you will create a "Sign In". Your email address will become your Username and you will make up a Password (so make a note) for access to your account at any time.
Please note a one-off New Publisher Registration Fee of $55 will apply and will be added to your shopping cart at check out. This fee enables your titles' ISBN and details to appear on "Books in Print" – a bibliographic database that is used widely throughout the book-trade and libraries, also seen online at Bookworld and google books.
Once that is sorted you can make an ISBN selection (Single ISBN = 44.00, 10 ISBNs = 88.00) or purchase one of the self-publisher packages we offer. Each format of a publication requires its own identifier. (eg for Paperback and ePUB and MOBI 3 separate ISBNs are required) so one title can have numerous ISBNs. For this reason we recommend to start-off with a 10 list of ISBNs. Barcodes are required for print publications that need scanning at point of sale. They cost 45.00 per ISBN and usually are purchased one at a time as required. Once purchased they are credited to your ISBN Dashboard for you to generate when needed.
When you have finalised your selections you can include your Credit Card details in the shopping cart and then you click 'Checkout' to finalise your payment.
Please note: Other methods of payment such as Cheque or Bank Transfer may take up to a fortnight to process.
Once your Credit Card payment is processed (which happens instantaneously) you will receive three emails. The Order Confirmation email will contain your requested ISBNs and valuable information and instructions eg. How to download your barcode graphic etc. One of the emails will be a Tax Invoice receipt.
This step is crucial for any title you assign to an ISBN. Without it, your ISBN/title will not be listed in 'Books in Print' or other important industry and retail databases.
At any time before your book goes to print you can Sign In to your MyIdentifiers account and add title information (metadata) against your ISBNs. Initially you need only fill in the mandatory fields (those marked with *) to create a 'complete record' which is uploaded to the 'Books in Print' database. The title information you include can be changed or updated at any time. Make sure your click Submit to save changes. Then you can return later to add more information such as cover image, main description, and author biography. You have done all the hard work in getting your publication to this stage, you want to give it every chance to succeed and reach as many readers as possible, so this step is vital.
Please see http://www.nla.gov.au/content/services-for-publishers regarding Cataloguing in Publication and Legal Deposit requirements.
If you are interested in publishing an E-book check out our conversion services under the Publish Your Book tab > Ebook Solutions. There are also Cover Design and Printing services available.
Many apologies for all the bleeping cussing in this post.
Words of wisdom or advice would be greatly appreciated.
Posted on June 16, 2017 June 16, 2017 by Jessica BakkersPosted in About Writing, NewsTagged blogging, books, confused, Copyright, frustrated, Guns of Perdition, Humour, ISBN, self-publishing, traditional publishing, WordPress, Writing, writing advice, writing books, Writing career.
Man I guess this book is gonna give u some hard time.
I think having a baby would've been easier Ash.
Well that's something I am not mature enough to understand. Cause I think I am still a baby.
Me too, which is why I haven't had one yet!!
so good for you Jess.
When I published a while ago I used Createspace and then Lulu (because they pay to paypal) but both allocated an ISBN number automatically. I've heard many authors prefer to buy blocks of ISBN's to use which allow them to register the books for sale anywhere but it's an expensive game and Createspace advertise the book everywhere anyway. I would imagine you could use a Createspace one for now and change to your own at a later date when you have available cash.
Hope that's of some help.
I skipped the pro editor, because I'm poor and hoped my own eye would catch any problems, it mostly worked.
I don't think my book has an official ISBN but it has a number allocated to it by Amazon that people can search.
Literally just write 'Copyright [your name] 2017' or something to that effect in your book and that's that problem solved, that was the conclusion of my research on that anyway.
For cover art I was intending to get an original piece done but then I found an image I really liked, I messaged the artist to ask if I could use it and he was super chill about it.
Amazon has a book creator type thing to set up the format of your book with the cover and what not. I don't know about else where.
For the actual formatting/page set up, that's partially your preference. Choosing a font is important and laying out your page so it looks good on the size of page you want is all about tweaking it until you're happy. Though obviously make sure you have your page breaks at the end of chapters.
I went for both e-book and printed, mostly because Amazon only charges me for it when someone orders a copy and has to print it, so the charge comes out any profits.
Also Amazon has marketing stuff but it's nothing that's going to really work like having a proper publishing company at your back.
I make it sound easy because I've already done my best impression of Edvard Munch's 'The Scream' while worrying about all this stuff myself.
I was definitely the latter by the way. I literally spent a day working up courage to press the publish button.
He knows I'm onto him….
Jess, it's super simple. Just keep handing them money and eventually it will be enough and they'll give you some numbers that you can use till you run out. Repeat as needed. The trick is to give enough money to each entity. Arrrgggh!
Bahahaha! That's what it feels like at the moment. I want a cover. Pay up. I need an editor. Money. ISBN? Moola. Barcode? Dinero.
Don't these people know I'm a poor struggling artist?
Artists are doubly poor after paying all of those fees! Yikes!
I'm hoping I'm just overreacting (me?) or making things harder than they actually are.
I publish traditionally, so the specifics won't be much help, but the basic answer is that you do it slowly. It takes as much work to publish as to write, and it's just as much a part of the process only it's a lot less interesting. You just keep hacking away at it.
Thanks Ellen. Deep breath time.
Okay, first of all. Above all else, avoid the clown.
All right. Publishing. In the US, things may be slightly different, but the basic premise is the same.
• Start making a chronological to-do list. When you can tackle the production one step at a time, it will seem less daunting.
• If you want a small press, they will handle the copyright, ISBN, distribution, editing, cover art, etc. You will probably have very little say, but other than marketing, you'll also have very little to do.
• If you choose to go the indie route, you will make the most money per sale, but you'll also have to assume responsibility for all of it, cradle to grave.
– The easiest way is Amazon eBook only. You will be assigned an ASIN (that's an Amazon ID number) and you won't have to pay for an ISBN. But you won't be the publisher of record; Amazon will be.
– The second indie option is to buy the ISBNs yourself. The more you buy, the cheaper they are per number. But you're right; they are pricey. Add in editing and cover design, and the dollars do add up quickly. The nice thing about the ISBNs is you are the publisher of record. You can use your name and truly look indie, or you can create a label name and look like a small house is behind you (which can add to your credibility, because, let's face it, indies have come a long way, but there is still a stigma attached to self-publishing). You only need the barcode if you're doing print books.
If you have specific questions, email me. I've had an agent, I've been published through small presses, and I've self-published. I'm happy to try and help you navigate the process, whichever option you choose.
It's definitely doable, and I'm happy to help. You know where to find me.
Now there's a generous response.
First and foremost – decide if you want to try and go the indie way, or uif you want to do the rounds with traditional publishers.
While there are authors that started self-publishing their first novel, and were picked up by publishers (your fellow Aussie Matthew Reilly, for instance), this is not a given. Many publishers might decide they won't touch your manuscript if the book was already self-published.
So, evaluate the two options and, if in doubt, first check traditional publishers.
The drawback – you might have to wait for over one year to get a reply.
If you want to go solo, you will have to take care of everything: editing, cover art, formatting, marketing.
By publishing through Amazon you take care of a lot of details – they'll give you a ISBN, for instance – but still you have to find affordable partners or do the rest of the work yourself.
My suggestion – invest a few quids in Guy Kawasaki's "A.P.E. – Author, Publisher, Entrepreneur", for my money the best book about self-publishing ever.
Also, if you don't have it already, Kristine Kathryn Rusch's "The Freelancer's Survival Guide" might help when panic strikes.
Thanks Dave! You always bring the good stuff 😊 I really appreciate the help. I knew submitting queries took ages but up to or over a year… I don't think I've got that ability to wait. I'll look into those titles. Many thanks!
There are moments when it looks there's too many things, and they are running in ten different directions. Hold on, you'll make it through it.
My only experience is with Amazon, and Staci is spot on. She is a great resource, and is offering to help. Oh, and how about a nice pasta salad.
I love your writing Jess. It's always got a touch of unexpected humor. It's awesome!
David is correct that you need to decide if you want to go indie or the traditional route. You have a good chance of getting picked up by a small press if you go traditional, and they'll take care of everything for you. You'll be able to give input on your cover design and so forth, but they'll make final decisions. They'll also stand the expense of multiple rounds of editing, cover art, ISBNs, copyright, even some marketing expenses. I happen to know a line with Kensington (my publisher) where your book might fit if you want to submit it for consideration. Email me if you're interested and I'll point you in the right direction.
I am with Kensington's ebook arm (Lyrical Press) although they also put my titles in print through POD (no expense to me). Lyrical has a couple of sub-lines (I publish under Lyrical Underground which is basically mystery, suspense and dark fiction). There are other lines as well and I think Guns of Perdition could fit a few.
If you decide to go indie, get a copyright. I don't know how it works in Australia but in the U.S. it's a simple matter of applying online and paying a $35.00 fee. I have three indie titles to my name and I paid for a copyright on each of them. I know a lot of authors don't bother, but to me I won't take the chance on something I've worked hard to create.
Finally, when I published my first book (book #9 is releasing in July and I'm under contract for 3 more) I thought I would go INSANE! The learning curve was steep. I remember thinking many times I would never be able to grasp it all. Rather than looking at the whole thing, take one step at a time. There are plenty of authors online who have been through this and are available to help. I had many authors help and guide me when I started out. Trust me, you WILL get through it!!
🙂 I look forward to it!
Mae's answer is of interest to me. This is something I'm struggling with at the moment. I'm leaning toward traditional (even if it's a small press) because of the expense of doing it myself. I know I've heard you can cut corners but I've also heard that it's not for the best. I didn't give myself a shot when I wrote years ago. I submitted to agents but the rejections piled up. Life got in my way. Now, here I am, starting over again. I don't know if there's an "easier" way but your choices will be doable. Trust in your story and good luck, Jessica!
Thanks Traci. I've always been a creative person but not into 'small picture details'. I can landscape a whole garden, but maintaining it? Nope. In many ways I think publishing will be the same. I'm happy to write the damn thing but publishing it? Phew.
I'm the same way! There's just SO much to learn! And being responsible for it all? Shakes head. Don't know where to start.
Please check out my friend Jess's Blog. She manages to keep her sense of humor while struggling with getting her first book published. She shares her knowledge and experience willingly and has been a tremendous source of support for me. Her writing is sure to bring a smile to your face!


text:
The Pātea Dam is a high compacted earth fill–type hydroelectric dam in Taranaki, New Zealand, constructed between 1980 and 1984.

The dam is  high, and is the fourth highest in New Zealand. It was the first dam constructed using tertiary sandstone and siltstone as fill materials. The dam impounds Lake Rotorangi, which is the longest man-made lake in New Zealand ().

Pātea Hydro Electric Scheme
The Pātea Hydro Electric Scheme was commissioned in May 1984 and was built for the South Taranaki District Council.  After construction difficulties, wetter than normal conditions had caused a six-month delay. Since 1999 it is owned and operated by TrustPower. With three  vertical Francis turbine generator sets and a  auxiliary generator, the scheme has a total capacity of  (33 MW) and an average annual output of .

References

External links

 Trust Power - Patea power station

Dams completed in 1984
Dams in New Zealand
Buildings and structures in Taranaki
Earth-filled dams
South Taranaki District
1980s architecture in New Zealand

redpajama_set_name: RedPajamaWikipedia


text:
2. The Infant, 3. The Toddler, The Editor's Desk
Working without Weaning: An Interview with author Kirsten Berggren
October 27, 2009 The Attached Family	Leave a comment
Attachment Parenting International's seventh of the Eight Principles of Parenting, Providing Consistent and Loving Care, explains how babies and young children have an intense need for the physical presence of a consistent, loving, responsive caregiver who is interested and involved in building strong bonds through daily care and playful, loving interactions. Ideally, yes, this caregiver would be a parent. But, especially in the tough economic climate our world has experienced the past couple years, many families are finding themselves in a situation where both parents must work outside the home.
While a dual-income family may require more creativity in making the time and finding the energy to fulfill API's Principles, it is certainly very possible to foster a secure attachment.
How does this relate to the second of API's Eight Principles, Feeding with Love and Respect? According to Kirsten Berggren, PhD, CLC, author of Working without Weaning: A Working Mother's Guide to Breastfeeding, going back to work is the hardest obstacle an exclusively breastfeeding mother will encounter. A neurobiologist, Berggren shares her own experiences and those of others to create this handbook for mothers who want to continue breastfeeding once they return to work after maternity leave. It's a tough balancing act — maintaining the breastfeeding relationship despite day-after-day separations — but, as Berggren reiterates in her book, one that is completely worth the effort.
Working without Weaning covers all the basics of breastfeeding — the health benefits, the need for a gentle childbirth, and the crucial importance of spending maternity leave not focused on returning to work as soon as possible but by focusing on establishing a strong attachment relationship centered on breastfeeding — and then delves in the complexity of continuing to strengthen the beginnings of this attachment relationship while sharing your attention and focus and energies on a job.
Now, let's turn to Berggren to learn more about her efforts in helping new mothers continue to breastfeed, and therefore to practice AP, when they go back to work.
RITA: Hi Kirsten. It is apparent how knowledgeable you are regarding the combination of working and breastfeeding. How did you first become interested in this subject?
KIRSTEN: I was working in science. After I had my first child, I had to go back to work quickly because I had no health insurance. It always seemed natural to breastfeed, but after going back to work, I found it hard to continue nursing exclusively. There was very little information available. But I loved breastfeeding — sometimes, the only thing that made the workday tolerable was being able to breastfeed my baby when we were together. I finally found a Message Board on iVillage.com called "Working and Pumping," where mothers could help each other troubleshoot challenges.
RITA: And it was through this Message Board that you became interested in a new career path.
KIRSTEN: I was noticing that with each new group of moms that came on, the same questions were being asked over and over — all these questions that the moms that I had been with worked so hard to find the answers to. So, I started writing down the answers.
I eventually became a lactation consultant. One thing led to another.
RITA: Like your book…
KIRSTEN: I started to collect the information being posted on the iVillage.com Message Board and would throw these into a file. Then, about seven years ago in 2002 or 2003, I started really saving and researching things while I was pumping for my daughter. In 2004, I spent a weekend at my mom's house on the lake when I put up my website, www.workandpump.com, which includes a variety of articles offered free of charge. And in the summer of 2005, my book proposal was accepted by a publisher and the offer was for a full manuscript, so I ended up putting the book together in only about three months. And, in 2006, the book was out.
So, the book had a long gestation and a short, intense labor.
RITA: Your book fills such a void in breastfeeding education. What kind of reaction have you received from readers?
KIRSTEN: Everyone who has read it tells me how much they loved it and what great information it has! They say, "Oh, it feels like you're talking to me." The problem is figuring out how to get it into the hands of moms. I don't think a lot of moms know how difficult it is to breastfeed when they go back to work, or are able to meet the challenges that arise with that situation.
One of the nice things that are happening is that the word is spreading. I've written about the subject in La Leche League International's leader newsletter and spoken about it at a couple conferences, including one for the International Lactation Consultant Association.
What's interesting is that a lot of the people who are doing the work of educating working mothers about breastfeeding didn't have to work when they themselves were breastfeeding.
RITA: A lot of people are like that – they want to talk to someone who's "been there."
KIRSTEN: My book is a girlfriend's guide, a "Hey, I was there and this happened, and it can be hard, but let's figure it out together" book. If you're trying to breastfeed while at home, you will have a lot of people who can help, but if you are breastfeeding and are going back to work, that's not considered the norm, so those who are trying it often don't know anyone else who's doing it or has done it. And that makes it really hard.
RITA: What are your top three tips for working mothers who are trying to breastfeed?
KIRSTEN: There is a lot of misinformation, so it's hard for me to pick just a couple tips:
If you want more milk, you need to take more milk. Breasts only produce as much milk as you use. The biggest myth is, women think that if they wait longer to pump, they will get more milk. Yes and no – yes because your breasts will become engorged and the next time you pump, you will see more milk because you didn't pump earlier, but no because waiting also sends the body a strong message to cut down on milk production. Waiting really hurts supply.
Make sure Baby isn't getting overfed when you're gone. One of the most important reasons to breastfeed is to reduce the risk of childhood obesity, because you can't overfeed from the breast but you can from the bottle – even if you're feeding breastmilk instead of formula. My book includes tips for when you're talking with your daycare provider.
Moms should spend as much time as possible cuddled up with Baby, and breastfeeding, when not working. The first year of Baby's life is not the time to be superwoman. It's not the year to go for a big job promotion, or to get the house ready for the Best Home of the Year contest. It's a time to enjoy your baby. That first year, there should be two things you do: take care of your baby, and work.
RITA: Your book is certainly expanding breastfeeding education. How does your book further Attachment Parenting?
KIRSTEN: There are heated debates about whether moms should work outside the home. I try to stay above that and help mothers to see that they are able to practice AP even though they are working. I did it — I breastfed my son until he was two and a half years old and my daughter until she was four years old. I also coslept, responded with sensitivity, and practiced the other Eight Principles — all while working a tech job.
My kids had amazing caregivers. They were at a commercial daycare center, but the care providers became like extensions of our family and my kids were so bonded to them. It was hard to leave them at the daycare at first, but it helped knowing they were in such a caring environment.
RITA: So, you can choose to pratice AP, even if you must work outside the home. Just like you don't have to choose to stop breastfeeding if you must go back to work…
KIRSTEN: Even in areas where the breastfeeding initiation rate is very high, it plummets after eight weeks because that's when women go back to work.
There are exciting new initiatives going on around the country helping businesses help new mothers. In the [USA] state of Vermont, employers are required to provide breaks to pump milk. I am currently involved in a project with the University of Vermont to help this very large employer come into compliance with the law. This law helps promote breastfeeding among women in the workforce by making it seem like the normal thing to do.
What also helps is letting businesses know that they actually save money by promoting breastfeeding among their employees, because the health of the breastfed baby is improved over those who are formula-fed so parents don't have to take so much time off work and because moms are more likely to come back to work.
I think getting people involved in advocacy and policymaking is important. For example, earlier this year, Rep. Carolyn Maloney of New York introduced the [USA] federal legislation, Breastfeeding Promotion Act [HR 2819], that would protect breastfeeding moms from discrimination, require large employers to provide time and private space for moms to pump, and provide for tax incentives for employers that establish these private lactation areas.
RITA: Thank you, Kirsten, for your time and insights. Do you have any closing thoughts?
KIRSTEN: What I'm really trying to do is help moms do what they wanted to do in the first place. I'm not going to say they have to breastfeed, but I want to help breastfeeding moms continue to breastfeed if they want to.
baby-led weaningbreastfeedingfeeding with love and respectparent supportworking parent
Previous PostPumping for Stay-at-Home MomsNext PostAnother Look at Breastfeeding with HIV/AIDS: An Interview with Marian Tompson, co-founder of LLLI


text:
Based in Portland Oregon, A Strangely Isolated Place is both a music community and a label that produces excellent recordings centered around evocative themes and concepts. Their latest V/A compilation, Europe, is perhaps one of their most exquisite and noteworthy releases. It is "a meticulously curated compilation inspired by some of the most beautiful locations on the continent… a journey experienced through the eyes and ears of the artists, capturing their memories, travels, tributes, and exquisite musical depictions."
The excursion begins with a patient walk along the sands of Kalathas Beach in Greece, the home country of ambient/experimental musician Dalot (Maria Papadomanolaki). Then we join Halo (Pasquale Riviezzo) for a glimpse of Zurich, Switzerland shrouded in misty rain. Another city portrait follows, this time one of London painted by 36 (Dennis Huddleston) in a rare performance on solo piano.
Reflection turns to exhilaration on the next leg of the journey, beginning with the vivid atmospherics of Horizontal Excursions (Roger Martinez) who conveys the wonder of a walk down from the Alto de Garajonay into the valley of El Cedro on the island of La Gomera, Spain. From there the gorgeous guitar lines of Bjorn Rohde carry us along his through his memory of a tour through the Pyrénées mountains. Then we are whisked back to the Iberian peninsula, this time to the Andalusian plain in Spring courtesy of Marsen Jules. Finally the simmering bass lines and propulsive drumming of Dextro (Ewan Mackenzie) lifts us to the high point of the Isle of Barra in the Outer Hebrides of Scotland.
A reflective mood is reprised in the final leg of the journey, first as we stand beside Parks (Igor Bystrov) as he takes in a vast landscape after missing the last ferry out of Helsingborg, Denmark en route back to Russia. We join Carbon Based Lifeforms for a melodious walk through the forests of East Gothenburg in their home of country of Sweden. And, finally, we stand on the north shore at the edge of Reykjavik, Iceland and look out on the endless horizon to the gentle atmospheric beats of Yagya (Aðalsteinn Guðmundsson).
Each of these tracks is accompanied by expressions from the artist about these places and the fact that they are both meaningful and inspiring to them comes across powerfully in the music. The listener breathes in the atmospheres and feels the wonder. Thanks to the unifying concept, thoughtful curation, and careful sequencing, Europe is much more than the sum of its individual parts. Granted each track shines and stands fine on its own, but the album is a coherent and enlightening journey that works best as a complete experience. Some credit also goes to the fine mastering by Rafael Anton Irisarri, our travel guide if you will.
astrangelyisolatedplace.bandcamp.com/album/europe
⟪ REW | FF ⟫
Sustain, Invisible, More Light
Escape Art
Air Texture I Mix
Library Tapes
Sound Bytes
Compilations : Serein, 1631, Audiobulb and Dragon's Eye
Sound Bytes : Enig'matik, Med School, and Thoughtless
Gap In Time
missaw
Dubsteppers For Haiti


Hi, We have a two node active-active Windows 2008 R2 cluster with two instances of SQL 2008 R2 installed on it. ServerA and ServerB are the physical nodes, ServerF and ServerG\Inst2 are the default and named instances respectively. From last few days we have been receiving following error quite frequently in our SQL error logs.Please advise. Error: 4014, Severity: 20, State: 2." A fatal error occurred while reading the input stream from the network.
I had also gone through the same link but setting up the trace is a challenge in our environment as client is not ready to make any changes on the production server. Is there any other alternative way of troubleshooting this error.


Any words of wisdom for a new LC4e owner??
KTM Adv - Stable on Motorway?
Superduke-That's a bit lighter !!
Moto wheels for the SE have arrived.
Woohoo Brand spanker just in!
Best place to buy your spares?
It Must Be Spring Time !!!
KTM owner, and Tyres advice please.
KTM make GS's look cheap!!!!!
Dam, blast and bugger !
2 Stroke or 4 Stroke ?
Warrenty !It's only 16months old.
990 Adv Am I missing something?
Stolen KTM 950 Adventure, 13th October.
Is the grass 'orangier' on the other side?
Why do KTM Pistons Wear Out in less than 150 Hours?
brill KTM add wins award..
Aqualine PAINTABLE tank, who wants one?
looking for a ktm 640 adv any in a dealers near you?
690 enduro - what are they like?
New KTMs - Tango or Acid trip??
Should I let my girlfriend buy a KTM?
690 Enduro R or 950 SE?
Time for a change !!
Now the 690 has arrived the exc 400 has to go !!!
Recommend me a good parts supplier please..
450 Rallye .... mmmmmm yes please!
Engine Bars/Screen/Tail Bag for sale.
Is the Husaberg site broken?
Update on recent purchase of SMT 2012.
New bike can't get registered??


text:
Christina Kay
March 19, 2019 Joyce Yin
Soprano Christina Kay is a versatile singer with a particular enthusiasm for early and contemporary music. She was recently seen as Daphne in David Chesky's new satirical opera, La Farranucci, and as Lead Singer in Petr Kotik's chamber opera, Master-Pieces, for which she was praised for portraying a "vital, intelligent, generous and deeply rewarding" Gertrude Stein. Christina has enjoyed collaborations with Wisconsin's Fresco Opera Theatre, where she premiered the role of Young Clara in a new dramatic production about Clara Schumann, featuring the music of the Schumanns and Brahms. She also appeared with Fresco as Gretel in a garage opera outreach of Hansel and Gretel, and as a Mermaid-Alien in a Star Wars-themed Rinaldo. Other roles include Dalinda in Ariodante, Second Woman and First Witch in Dido and Aeneas, and First Spirit in Die Zauberflöte. An active soloist and chorister, Christina has sung with many professional groups and enjoys her weekly position at Fifth Avenue Presbyterian Church.
In Project 10 Tags Soprano
Rachel Duval
New York based soprano Rachel Duval has made a name for herself as an unconventional classical performer. A former trapeze artist and internationally acclaimed performance poet, Ms. Duval performed on Spanish National Television singing Puccini, German local television as the featured poet at the German National Slam, and was honored to be part of the world premier of the hip-hopera Stomping Grounds at The Glimmerglass Festival in 2017. Rachel sings both lyric soprano and baroque mezzo soprano roles, including: Damon in Acis and Galatea (Westchester Baroque Festival), Rosalba in Florencia en el Amazonas (Opera Steamboat), Angelica in Händel's Orlando (Cantanti Project), and Sarah in Kamala Snkaram's virtual reality opera The Parksville Murders (Opera On Tap). Last spring, Rachel made her off-Broadway debut singing Queen Vashti in The Queen's Dilemma at the prestigious Center for Jewish History. Ms. Duval also works as an Executive Speaker Coach and voice teacher, and is a full time mother of two.
In Project 11, Project 21 Tags Soprano
Shelley Marie Mihm
Praised for, "wide-ranging expressiveness" and "effortless control," Minnesota native Shelley Marie Mihm recently appeared as the Soldier in The Falling and the Rising, Zelda in The Ghosts of Gatsby, Lucy in The Billy Goats Gruff, and Cleopatra in Giulio Cesare. Mihm was named a winner of the North Carolina District Metropolitan Opera National Council Auditions in 2018. Past roles include Magda Sorel inThe Consul, Micaëla in Carmen, Rosabella in The Most Happy Fella, Blanche in Dialogues des Carmélites, Sāvitri in Sāvitri, Margaret in The Clever Artifice of Harriet and Margaret, the Vixen in The Cunning Little Vixen, and Helena in A Midsummer Night's Dream.
Tags Soprano
Mithuna Sivaraman
Soprano Mithuna Sivaraman is thrilled to make her role debut as Clizia with Cantanti Project. Since relocating from San Francisco in 2018, she performed the role of Drusilla (L'incoronazione di Poppea) with New York Lyric Opera Theater, and appeared in the ensemble of New Camerata Opera's double bill of Venus and Adonis/Savitri (she also covered the role of Savitri). Other roles include Belinda (Dido and Aeneas), Gretel (Hansel and Gretel), and First Spirit (Die Zauberflöte). Mithuna is also an experienced choral artist, and is singing her first season with Downtown Voices at Trinity Wall Street. Furthermore, Mithuna is extensively trained in Hindustani and Carnatic voice, with teachers including Ustad Vilayat Khan and D.K. Pattammal. In her non-singing life, Mithuna is a seasoned transfer pricing specialist with the international tax practice at Ernst & Young LLP. She graduated from the School of Foreign Service at Georgetown University in 2008, earned her JD from Emory Law in 2013, and is a California-licensed attorney.
María Brea
October 5, 2018 Joyce Yin
María Brea, soprano, is a native of Caracas, Venezuela. This September 2018, Ms. Brea starts the season singing two recitals, the first one with Voces Unidas in New York City and the second one with the St. Hugh- Steinway concert series in Miami. María makes her debut at Opera Tampa in February 2019 singing the title role in the world premiere of Maestro Coppola's Lady Swanwhite. She most recently sang the role of Nanetta in Falstaff with the Martina Arroyo's Prelude to Performance. She performed Micaëla in Carmen with West Bay Opera 2018. She performed the role of the Bird in Glass-Moran's Juniper Tree at Wolf Trap Opera. She won the first prize in the Giulio Gari Competition 2017 and New York Lyric Opera 2016. Ms. Brea also won second prize in the Gerda Lissner International Vocal competition 2017 and she received an Encouragement award from The Metropolitan Opera National Council, Connecticut District 2017 and The Gerda Lissner Lieder/ Song.
Maria Brea, soprano, es originaria de Caracas, Venezuela. Este septiembre de 2018, la Srta. Brea comienza la temporada cantando dos recitales, el primero con Voces Unidas en la ciudad de Nueva York y el segundo con la serie de conciertos St. Hugh-Steinway en Miami. María hace su debut en Opera Tampa en febrero de 2019 cantando el papel principal en el estreno mundial de Lady Swanwhite del Maestro Coppola. Recientemente, ella cantó el papel de Nanetta en Falstaff con Prelude to Performance de Martina Arroyo. Ella interpretó a Micaëla en Carmen con West Bay Opera 2018. Actuó como Bird in Glass-Moran 's Juniper Tree en Wolf Trap Opera. Ganó el primer premio en el Giulio Gari Competition 2017 y en New York Lyric Opera 2016. La Srta. Brea también ganó el segundo premio en el Gerda Lissner International Vocal Competition 2017 y recibió un premio de estímulo del Consejo Nacional de la Metropolitan Opera, Distrito de Connecticut 2017 y La Gerda Lissner Lieder / Cancion.
Marisa Karchin
A recent graduate of Mannes School of Music and Yale University, New York-based soprano Marisa Karchin is establishing herself as a compelling and versatile performer of art song, opera and concert works. To begin the 2018-19 Season, she joins Dayton Opera as an Artist in Residence, and makes her Weill Recital Hall debut in recital as winner of the 2018 Joy in Singing International Art Song Competition. Last season, Marisa was featured in a new production of Moto Osada's Four Nights of Dream in NYC and Tokyo, and also performed with the Light Opera of NY, the Canadian Vocal Arts Institute, and the Chelsea Music Festival's "Bach 333" series. Other recent roles include Angelica in Orlando (Cantanti Project), Shirley Temple in Robert Ashley's DUST (Mannes), and Nanetta (cover) in Falstaff (Opera Saratoga). An avid interpreter of new music, Marisa has recently been featured with the Washington Square Contemporary Music Society, Lehigh University's Very Modern Ensemble, and Venice's Plurimo Ensemble.
Marisa Karchin, soprano de Nueva York y recién graduada de la Mannes School of Music y la Universidad de Yale, se está convirtiendo en una intérprete versátil y convincente de obras de arte, ópera y conciertos. Para comenzar la temporada 2018-19, se une a Dayton Opera como artista residente, y hace su debut en el Weill Recital Hall en un recital como ganadora de la competencia de 2018 Joy in Singing International Art Song. La temporada pasada, Marisa apareció en una nueva producción de Four Nights of Dream en Nueva York y Tokio compuesta por Moto Osada, y también actuó con la Light Opera de NY, el Instituto de Artes Vocales de Canadá y la serie "Bach 333" del Chelsea Music Festival. Otros papeles recientes incluyen Angélica en Orlando (Proyecto Cantanti), Shirley Temple en DUST (Mannes) de Robert Ashley y Nanetta (suplente) en Falstaff (Opera Saratoga). Una ávida intérprete de la nueva música, Marisa ha sido presentada recientemente con la Washington Square Contemporary Music Society, Very Modern Ensemble de Lehigh University y Plurimo Ensemble de Venice.
Angela Dixon
May 17, 2018 Joyce Yin
Soprano Angela Dixon is faculty of music at Ethical Culture School in Manhattan and holds a certificate in the Kodály method of music education. She currently studies voice with Hilda Harris, professor of music at the Manhattan School of Music. Angela holds a Bachelor of Musical Arts in voice performance from the University of Michigan, where she studied with Emeritus Dean Willis Patterson. Patterson compiled the Anthology of Art Songs by Black American Composers with Angela organizing and distributing this landmark song collection. Angela holds an M.A. in dance history and cultural studies from New York University. She combined her love of music and dance in her Masters thesis performance, exploring the intersection between flamenco and African-American music as she delved into the poetry of Langston Hughes and Federico Garcia Lorca. She is the proud mother of two daughters Luna (4) and Rose (1) and enjoys making music with them and her husband David.
Jane Hoffman
Coloratura soprano Jane Hoffman is a true singing actor who brings an engaging stage presence and expressive voice to a variety of repertoire. She has performed with the Victor Herbert Renaissance Project, New Camerata Opera, Pasadena Opera, Utopia Opera, and the Emerald City Opera Artist Institute. She has sung roles such as Elizabeth 'Baby Doe' Tabor, Adele, Olympia, and Le Feu (Ravel). Jane is particularly in demand as a performer of new works; she has premiered multiple works as a Core Company Resident with the Fresh Squeezed Opera Company, and she recently premiered scenes from The Contract Player with OperaRox Productions. She is also a member of the chamber music duo Reed & Word. Jane is an alumna of Sarah Lawrence College and the Manhattan School of Music, and is currently a student of David Jones. She is thrilled to be a part of this concert, which will be her second appearance with Cantanti Project.
In Project 2, Project 18 Tags Soprano
Lydia Dahling
November 26, 2017 Joyce Yin
Soprano Lydia Dahling is an emerging singer known for her dynamic and intimate performances and her wide range of vocal colors. This season she sings Melinda in selections from Bánk bán and Proserpina in Caccini's L'Euridice with The Cantanti Project, for which she also served as dramaturg. Last season, she sang Dorinda (Orlando) and the title role of Dido and Aeneas, and joined the Academy of Sacred Drama as Obbedienza in Bassani's 1689 oratorio Giona. Her interpretation of Zerlina (Don Giovanni) with Mannes Opera was called "sweet voiced" by Opera News. Other credits include Kate Pinkerton (Madama Butterfly) with Sugar Creek Opera, Pamina (The Magic Flute) and the title role of Alcina. Also a performer of chamber music, she has performed works by Shostakovich, Berg, and Respighi. Dahling holds degrees from the Indiana University Jacobs School of Music and Mannes College. She is also the co-host of the podcast "Straight From the Wolf's Mouth". A native of Indiana, she currently resides in New York City.
In Project 5, Project 7, Project 9, Project 11, Staff Artist Series, Project 14, Project 15 Tags Soprano
Eugenia Forteza
October 12, 2017 Joyce Yin
French-Argentinean Soprano Eugenia Forteza has been praised for her "soulful mood" (Opera Wire) and "fine tone and spirited acting" (Voce di Meche). Eugenia was a Finalist and Opera Role Prize Winner at the 2017 Concorso Internazionale di Canto Katia Ricciarelli in Cerisano, Italy. Recent career highlights include the role of Christmas Past in A Christmas Carol by Jarrar-Goodwin with Gramercy Opera, La Suora Infirmiera in Suor Angelica with IVAI NYC and De Falla's Siete Canciones Populares Españolas in Philadelphia. The summer season will take Eugenia to Italy, Colombia, and Canada for various projects. Eugenia is thrilled to be working with Jarrar-Goodwin again and to be a part of the original cast of Tabula Rasa. Eugenia is based in NYC, where she is a roster singer with Opera on Tap, the founder of 360° of Opera, and part of the Shoperatic and Lenny's Studio PR teams. Please visit www.eugeniaforteza.com for more information and follow along on social media at @fortezaeugenia and @360ofOpera.
Fiona Gillespie Jackson
August 26, 2017 Joyce Yin
Praised for her "brilliant sound" (San Francisco Classical Voice), and "silver tone" (The Reading Eagle), soprano Fiona Gillespie Jackson has appeared as a soloist and chorister with such ensembles as Apollo's Fire, Skylark Ensemble, Mountainside Baroque, Kinnara Ensemble, The Bach Choir of Bethlehem, The Crossing, Ensemble VIII, The Reading Symphony Orchestra, the Bach Vespers at Holy Trinity Lutheran, AMPERSAND, Inwood Consort, The Denton Bach Society, the Williamsport Symphony Orchestra, and Bricolage Project (founder). Recent on- and off-stage credits include Miles in Benjamin Britten's The Turn of the Screw and AD/Sound Technician/Props for Menotti's The Old Maid and the Thief with Opera Modo in Detroit, MI; the title role in Lully's Armide with EnsembleOrquesta in the UK; Director of Humperdinck's Hansel und Gretel at Lycoming College. Fiona teaches voice at Muhlenberg College in Allentown, PA, and has presented workshops on Early Music and small ensemble singing at The Conservatory of Puerto Rico in San Juan, and at the University of Hawa'ii in Honolulu.
Elyse Anne Kakacek
July 26, 2017 Joyce Yin
Elyse Anne Kakacek is an award-winning soprano said to be "a stand out performer"(OperaNews) with a "sparkling soprano voice" (ChicagoHerald). She has performed over 30 operatic roles, some favorites including Norina in Don Pasquale, Gretel in Hansel und Gretel, Susanna in Le nozze di Figaro and Pamina in Die Zauberflote. An advocate of new works, Ms. Kakacek premiered 6 Flash Operas with Experiments in Opera last year, working closely with composers and librettists (from THE NEW YORKER and Saturday Night Live). She has sung in venues such as Carnegie Hall, Symphony Space, Preston Bradley Hall, La Mama Experimental Theatre, and Cornelia Street Café. In May, she will rejoin Experiments in Opera to premiere Matthew Welch's new opera And Here we Are at National Sawdust. She is a proud recipient of The Lynne Harvey Foundation Scholarship from the Musician's Club of Women. Please "like" her on Facebook for schedules and updates!
Sangying Li
Soprano Sangying Li is originally from Hunan, China. Li completed a Bachelor's Degree in Music Education from Central China Normal University and a Master's Degree in vocal performance from Temple University in Philadelphia. After seeing her perform in Philadelphia's Academy of Vocal Arts Russian Opera Workshop, classical music critic Marakay Rogers remarked that Li "demonstrated magnificent voice and a controlled vibrato along with a clear understanding of what she was singing." Since moving to New York City, she has performed operatic roles such as Olympia (Tales of Hoffman), the Sandman and the Dew Fairy (Hansel and Gretel), and Barbarina (The Marriage of Figaro). Through her participation in New York Lyric Opera Theatre's Summer Program, she performed on three of New York's most distinguished stages, including the Lincoln Center, Carnegie Hall, and National Opera Center. When not working her technique and repertoire, she enjoys cooking, fashion and heavy metal.
June 18, 2017 Joyce Yin
Operations Director Laura Mitchell holds a B.A. in Music and minor in Mathematics from UC San Diego and an Artist Diploma from the prestigious University of Cincinnati's College Conservatory of Music. Her administrative background includes IT Project Management, Business Analysis and Systems Analysis & Integration. Her personal mission as an administrator of an arts organization is to create a space that celebrates the singer as much as the company; to create a space where singer's opinions matter and where they can learn to make their own decisions as musicians. Laura is passionate about leveraging the booming market of free technologies to enhance the experience for both singers and productions in a cost-effective way.
At CCM, she performed the roles of Fiordiligi, Musetta, Susanna, and the title roles in Alcina and Manon. Laura has worked with Lyric Opera Virginia, Sarasota Opera, San Diego Opera, New York Lyric Opera Theater, along with programs in several other countries. Her performances are often praised for "captivating" performances (Classical Singer Magazine), and "nuanced delivery" (Oberon's Grove).
Core Artist and Operations Director
In Project 2, Project 7, Project 11, Staff Artist Series, Project 13, Project 14, Project 15, Project 19, Project 21 Tags Soprano
Rebecca Richardson
April 18, 2017 Joyce Yin
Soprano Rebecca Richardson has performed throughout the United States as well as in Germany, Austria, the Czech Republic, and Australia and has made appearances in such musical landmarks as Carnegie Hall, the Sydney Opera House, and Smetana Hall. Rebecca recently made her Cantanti Project debut as the Jazz Singer/ Lee Miller in the world premiere of Tabula Rasa, a jazz opera written by Felix Jarrar and Bea Goodwin. Past roles and scenes include L'Éternita/ Furia in La Calisto, Helena in A Midsummer Night's Dream, Manon in Manon, Magda in La Rondine, Pamina and First Lady in Die Zauberflöte, Marguerite in Faust, Donna Elvira in Don Giovanni, Beth in Little Women, and Jay in Cunning Little Vixen. Accomplished in early music and oratorio, Rebecca has performed such masterpieces as selections from Monteverdi's Eight Book of Madrigals, Bach's Cantata BWV 120, Haydn's Lord Nelson Mass, Mozart's Requiem, Fauré's Requiem, and Rutter's Requiem.
In Project 16, Project 17, Project 18 Tags Soprano
Laura Snyderman
Soprano Laura Snyderman prides herself in performing a variety of styles, from Aperghis to J.S. Bach. Laura sang Gilda in an excerpt of Rigoletto with the Ashdod Symphony Orchestra in Jerusalem. She debuted Julia in the world premiere of Moshe Zorman's opera Albert, and Chloe in an "outstanding performance" of Thomas Whitman's revised chamber opera, Sukey in the Dark. Other credits include Suor Dolcina in Suor Angelica with Bel Cantati Opera, Barbarina in Le nozze di Figaro under the baton of Keith Chambers, and Papagena in Die Zauberflöte under the direction of Benoit Renard with Manhattan Opera Studio. She was a featured artist with the Smithsonian Institute Fabergé Egg and Russian Romance Seminar, the Union Square Chamber Art Series, the Sowebo Arts and Music Festival, and Blank Space Baltimore. Recently, Laura's performance of Alban Berg's "Die Nachtigall," was presented twice on Maryland PBS. Laura recently completed her education at the Peabody Conservatory in the studio of Elizabeth Futral.
Joyce Yin
January 18, 2017 Joyce Yin
Soprano Joyce Yin, praised by New York Concert Review for singing with an "otherworldly quality," brings a committed physicality and depth of emotional connection to the stage. This season, Joyce sings the Pergolesi Stabat Mater, Libby Larsen's Try Me Good King, and Clara Schumann's Sechs Lieder. A performer whose "deft characterization" is "matched by her fearless singing" (Entertainment Hour), Joyce particularly enjoys exploring the nuances of determined women such as Susanna (Le nozze di Figaro), Morgana (Alcina), and Gilda (Rigoletto). Recent highlights include Ines in Donizetti's La Zingara with Amore Opera, Linfea in La Calisto with dell'Arte Opera Ensemble, the title role in Caccini's Euridice with Cantanti Project, and her debut with the Buffalo Philharmonic as the soprano soloist in the Messiah. Joyce is a winner of the Met Auditions Audience Choice Award and the Musical Merit Foundation of San Diego. She graduated with her M.M. in Opera Performance from Arizona State University. Please visit www.joyceyin.com and @joycesings for updates.
Core Artist and Artistic Director
In Project 1, Project 2, Project 7, Project 8, Project 11, Project 14, Project 15, Project 18, Project 19, Project 20, Project 21 Tags Soprano
Sara Lin Yoder
Soprano Sara Lin Yoder's midwestern work ethic coupled with 37 years of combined performance experience across 4 different instruments makes her an impeccable musician and a dynamic storyteller. Sara Lin's "arresting dignity and presence that grips both the eye and the ear" entranced audiences in her performances in the title role of L'incoronazione di Poppea. Her knack for comedy in the roles of Despina (Cosi fan tutte), Clorinda (La Cenerentola), and Ida (Die Fledermaus) left audiences roaring with laughter, while heart-warming renditions of Nanetta (Falstaff), Constance (Dialogues of the Carmelites), and Laurie (The Tender Land) brought them to tears. Sara Lin's interest in new music was discovered in 2012 while workshopping the role of Jessica in Aldridge/Garfein's production of Sister Carrie. Since then, she has workshopped Aschera in Kerer/Mazzola's Apocalypse: Now and Then, Susan in Redler/Campbell's A Song for Susan Smith, and Mary in Heggie/Scheer's It's a Wonderful Life. Sara Lin lives in New York City.
In Project 11, Project 13, Project 15, Project 17 Tags Soprano


text:
Case Title CENTER FOR BIOLOGICAL DIVERSITY v. UNITED STATES ENVIRONMENTAL PROTECTION AGENCY
Judge Judge Amy Berman Jackson
Plaintiff CENTER FOR BIOLOGICAL DIVERSITY
Case Description The Center for Biological Diversity submitted a FOIA request to the EPA for records concerning revised water quality criteria for cadium from a specific docket. The agency granted the Center's request for a fee waiver. The agency located 654 responsive records and disclosed 287 records in full. The agency withheld 280 records in full and partially disclosed a further 87 records. The agency cited Exemption 5 (privileges) and Exemption 6 (invasion of privacy) as the basis for its decision to withhold records. The Center filed an administrative appeal. The agency granted the Center's appeal to the extent that the response had failed to adequately explain the basis for exemption claims. However, it upheld other portions of the exemption claims. In response to the agency's remand of the appeal, the agency disclosed an additional 11 documents with fewer redactions and provided 34 records that had previously been withheld. The Center for Biological Diversity then filed suit.
Complaint issues: Segregability, Litigation - Attorney's fees
Defendant UNITED STATES ENVIRONMENTAL PROTECTION AGENCY
Opinion/Order [29]
FOIA Project Annotation: Judge Amy Berman Jackson has ruled that the EPA properly withheld 67 records under Exemption 5 (privileges) after finding that they qualified under the consultant corollary, that the agency had determined that factual material was inextricably intertwined with deliberative material, and that the agency had also concluded that information could not be segregated and released. The Center for Biological Diversity filed a FOIA request for records concerning the agency's decision to revise its aquatic life water quality criteria for cadmium. The agency contracted with Great Lakes Environmental Center to help with its review. After identifying 654 responsive records, the agency disclosed 287 records in full, 87 in part, and withheld 280 records entirely CBD eventually narrowed its challenge to 67 records that had been withheld under the deliberative process privilege, arguing primarily that based on GLEN's website it is "clear that the organization represents the interests of the regulated community" and were adverse to those of the agency, meaning that records shared with the contractor did not qualify for the privilege. Jackson disagreed, noting that GLEN had signed a conflict of interest certification requiring it to report to the agency if it had any conflict of interest regarding the water quality criteria for cadmium. She pointed out that "because there is no indication in the records that GLEN represented its own interests, or outside interests, during its consulting work for EPA, and there is no evidence of bad faith, the Court finds that the agency's detailed declarations justify withholding its deliberative communications with GLEN under Exemption 5." CBD argued that much of the information included scientific data, research and statistical figures that were purely factual and not deliberative. Again, Jackson disagreed with CBD's claim that factual data could not be deliberative. She observed that "these documents also contain draft responses to public comments and work planning discussions. The limited factual information that appears in these documents is selected, organized, and presented in such a way that requires 'the exercise of discretion and judgment calls,' and does not amount to an 'essentially technical' recitation of scientific data or other facts." Jackson added that "while the ultimate decision must be grounded in science, that does not mean that there is no place in the decision-making process for discretion and judgment calls. . .The facts that appeared in the documents were inextricably intertwined with the deliberative discussions and process itself." CBD also faulted the agency for its failure to segregate and disclose non-exempt information. Finding the agency had conducted an adequate segregability analysis, Jackson indicated that "the Vaughn Index supplied by EPA provides a document-by-document justification for each of the 67 records in dispute, describing the deliberative processes involved and justifying the agency's position that no reasonably segregable material could be released."
Issues: Exemption 5 - Privileges - Deliberative process privilege - Deliberative, Exemption 5 - Privileges - Waiver of privilege
2017-06-28 1 COMPLAINT against UNITED STATES ENVIRONMENTAL PROTECTION AGENCY ( Filing fee $ 400 receipt number 0090-5010232) filed by CENTER FOR BIOLOGICAL DIVERSITY. (Attachments: # 1 Civil Cover Sheet, # 2 Summons, # 3 Summons, # 4 Summons)(Connor, Hannah) (Entered: 06/28/2017)
2017-06-28 2 Corporate Disclosure Statement by CENTER FOR BIOLOGICAL DIVERSITY. (Connor, Hannah) (Entered: 06/28/2017)
2017-06-28 3 MOTION for Leave to Appear Pro Hac Vice :Attorney Name- Emily Jeffers, :Firm- Center for Biological Diversity, :Address- 1212 Broadway, Suite 800, Oakland, CA 94612. Phone No. - (510) 844-7109. Fax No. - n/a Filing fee $ 100, receipt number 0090-5010291. Fee Status: Fee Paid. by CENTER FOR BIOLOGICAL DIVERSITY (Attachments: # 1 Declaration, # 2 Text of Proposed Order)(Connor, Hannah) (Entered: 06/28/2017)
2017-06-30 Case Assigned to Judge Amy Berman Jackson. (zsb) (Entered: 06/30/2017)
2017-06-30 4 SUMMONS (3) Issued Electronically as to UNITED STATES ENVIRONMENTAL PROTECTION AGENCY, U.S. Attorney and U.S. Attorney General (Attachment: # 1 Consent Form)(zsb) (Entered: 06/30/2017)
2017-06-30 MINUTE ORDER granting 3 Motion for Leave of Emily Jeffers to Appear Pro Hac Vice only upon condition that the lawyer admitted, or at least one member of the lawyer's firm, undergo CM/ECF training, obtain a CM/ECF username and password, and agree to file papers electronically. No court papers will be mailed to any lawyer. Signed by Judge Amy Berman Jackson on 6/30/17. (DMK) (Entered: 06/30/2017)
2017-07-26 5 RETURN OF SERVICE/AFFIDAVIT of Summons and Complaint Executed as to the United States Attorney. Date of Service Upon United States Attorney on 7/13/2017. Answer due for ALL FEDERAL DEFENDANTS by 8/12/2017. (Attachments: # 1 Exhibit Certified Mail Return Receipts)(Connor, Hannah) (Entered: 07/26/2017)
2017-07-26 6 RETURN OF SERVICE/AFFIDAVIT of Summons and Complaint Executed on United States Attorney General. Date of Service Upon United States Attorney General 07/13/2017. (Attachments: # 1 Exhibit Certified Mail Return Receipts)(Connor, Hannah) (Entered: 07/26/2017)
2017-07-26 7 RETURN OF SERVICE/AFFIDAVIT of Summons and Complaint Executed. UNITED STATES ENVIRONMENTAL PROTECTION AGENCY served on 7/11/2017 (Attachments: # 1 Exhibit Certified Mail Return Receipts)(Connor, Hannah) (Entered: 07/26/2017)
2017-08-11 8 ANSWER to Complaint by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY.(Peterson, Benton) (Entered: 08/11/2017)
2017-08-11 MINUTE ORDER. Before the Court in this FOIA case are a complaint and an answer. The requirements of Local Civil Rule 16.3 and Rule 26(f) of the Federal Rules of Civil Procedure appear to be inapplicable. Defendant shall file a dispositive motion or, in the alternative, a report setting forth the schedule for the completion of its production of documents to plaintiff on or before September 11, 2017. SO ORDERED. Signed by Judge Amy Berman Jackson on 8/11/2017. (lcabj3) (Entered: 08/11/2017)
2017-09-11 9 STATUS REPORT Setting Forth Proposed Production Scedule by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY. (Peterson, Benton) (Entered: 09/11/2017)
2017-09-12 MINUTE ORDER. The parties shall file a joint status report by November 1, 2017, to inform the Court whether further proceedings are necessary in this matter, and to propose a briefing schedule, if necessary. SO ORDERED. Signed by Judge Amy Berman Jackson on 9/12/2017. (lcabj3) (Entered: 09/12/2017)
2017-10-17 10 Joint MOTION for Extension of Time to File by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY (Attachments: # 1 Text of Proposed Order)(Peterson, Benton) (Entered: 10/17/2017)
2017-10-17 MINUTE ORDER granting 10 parties' motion for an extension of time to file a joint status report by November 8, 2017. SO ORDERED. Signed by Judge Amy Berman Jackson on 10/17/2017. (lcabj3) (Entered: 10/17/2017)
2017-11-08 11 NOTICE of Appearance by Catherine Cain Ware Kilduff on behalf of CENTER FOR BIOLOGICAL DIVERSITY (Kilduff, Catherine) (Entered: 11/08/2017)
2017-11-08 12 STATUS REPORT AND PROPOSED BRIEFING SCHEDULE by CENTER FOR BIOLOGICAL DIVERSITY. (Connor, Hannah) (Entered: 11/08/2017)
2017-11-09 MINUTE ORDER. Since transmitting a Vaughn index to plaintiff prior to filing a motion for summary judgment may narrow the issues, the Court will include it in the schedule. Based on the proposals in the status report and defense counsel's representations concerning scheduling demands, the schedule will be as follows: defendant must provide plaintiff with its Vaughn index on December 18, 2017; plaintiff must identify those withholdings to which it objects by January 3, 2018; the parties will submit a proposed schedule for further proceedings, if any, by January 5, 2018. Signed by Judge Amy Berman Jackson on 11/09/2017. (lcabj3) (Entered: 11/09/2017)
2018-01-05 13 STATUS REPORT AND PROPOSED BRIEFING SCHEDULE by CENTER FOR BIOLOGICAL DIVERSITY. (Kilduff, Catherine) (Entered: 01/05/2018)
2018-01-08 MINUTE ORDER. The parties are ordered to meet and confer and to submit a joint status report by February 14, 2018, which should include a proposed schedule for further proceedings if necessary. Signed by Judge Amy Berman Jackson on 01/08/2018. (lcabj3) (Entered: 01/08/2018)
2018-02-14 14 Joint STATUS REPORT and Proposed Briefing Schedule by CENTER FOR BIOLOGICAL DIVERSITY. (Jeffers, Emily) (Entered: 02/14/2018)
2018-02-15 MINUTE ORDER. It is hereby ordered that defendant shall file its motion for summary judgment by March 16, 2018. Plaintiff's opposition (and cross motion, if any, supported by the same memorandum of points and authorities) will be due April 16, 2018. Defendant's reply (combined with its cross opposition, if necessary) will be due May 22, 2018. Plaintiff's cross reply, if any, will be due June 22, 2018. Signed by Judge Amy Berman Jackson on 02/15/2018. (lcabj3) (Entered: 02/15/2018)
2018-03-16 15 MOTION for Summary Judgment by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY (Attachments: # 1 Statement of Facts, # 2 Exhibit, # 3 Text of Proposed Order)(Peterson, Benton) (Entered: 03/16/2018)
2018-04-16 16 Cross MOTION for Summary Judgment by CENTER FOR BIOLOGICAL DIVERSITY (Attachments: # 1 Text of Proposed Order Text of Proposed Order, # 2 Statement of Facts Statement of Facts, # 3 Declaration Declaration of Catherine Kilduff, # 4 Declaration Declaration of Brett Hartl, # 5 Exhibit Ex. A to Decl. of Brett Hartl, # 6 Exhibit Ex. B to Decl. of Brett Hartl, # 7 Exhibit Ex. C to Decl. of Brett Hartl, # 8 Exhibit Ex. D to Decl. of Brett Hartl, # 9 Exhibit Ex. E to Decl. of Brett Hartl, # 10 Exhibit Ex. F to Decl. of Brett Hartl, # 11 Exhibit Ex. G to Decl. of Brett Hartl)(Connor, Hannah) (Entered: 04/16/2018)
2018-04-16 17 Memorandum in opposition to re 15 MOTION for Summary Judgment , Local Rule 7(h) Statement and Accompanying Memorandum filed by CENTER FOR BIOLOGICAL DIVERSITY. (Attachments: # 1 Text of Proposed Order, # 2 Statement of Facts Plaintiff's Response to Defendant's Statement of Facts)(Connor, Hannah) (Entered: 04/16/2018)
2018-05-16 18 Unopposed MOTION for Extension of Time to File Oppositions and Replies by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY (Attachments: # 1 Text of Proposed Order)(Peterson, Benton) (Entered: 05/16/2018)
2018-05-18 MINUTE ORDER granting 18 Motion for Extension of Time. Defendant's reply, combined with its cross opposition, will be due June 1, 2018. Plaintiff's cross reply will be due July 9, 2018. Signed by Judge Amy Berman Jackson on 05/18/2018. (lcabj3) (Entered: 05/18/2018)
2018-05-31 19 Unopposed MOTION for Extension of Time to File Response/Reply as to 16 Cross MOTION for Summary Judgment by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY (Attachments: # 1 Text of Proposed Order)(Peterson, Benton) (Entered: 05/31/2018)
2018-06-01 MINUTE ORDER granting 19 Motion for Extension of Time. Defendant's reply, combined with its cross opposition, will be due June 7, 2018. SO ORDERED. Signed by Judge Amy Berman Jackson on 06/01/2018. (lcabj3) (Entered: 06/01/2018)
2018-06-04 Set/Reset Deadlines: Defendant's Cross-Motion and Reply due by 6/7/2018. (tg) (Entered: 06/04/2018)
2018-06-07 20 Memorandum in opposition to re 16 Cross MOTION for Summary Judgment and Reply in Support of Defendant's Motion for Summary Judgment filed by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY. (Attachments: # 1 Declaration, # 2 Exhibit)(Peterson, Benton) (Entered: 06/07/2018)
2018-06-07 21 REPLY in support re 15 MOTION for Summary Judgment filed by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY. (See Docket Entry 20 to view document) (jf) (Entered: 06/11/2018)
2018-06-22 22 Unopposed MOTION for Extension of Time to File Response/Reply by CENTER FOR BIOLOGICAL DIVERSITY (Attachments: # 1 Text of Proposed Order)(Jeffers, Emily) (Entered: 06/22/2018)
2018-06-25 MINUTE ORDER granting 22 Motion for Extension of Time. Plaintiff's cross-reply must be filed by July 20, 2018. Signed by Judge Amy Berman Jackson on 06/25/2018. (lcabj3) (Entered: 06/25/2018)
2018-07-20 23 REPLY to opposition to motion re 16 Cross MOTION for Summary Judgment filed by CENTER FOR BIOLOGICAL DIVERSITY. (Jeffers, Emily) (Entered: 07/20/2018)
2018-07-24 24 ENTERED IN ERROR.....Memorandum in opposition to re 15 MOTION for Summary Judgment and Reply in Support of Plaintiff's Motion for Summary Judgment filed by CENTER FOR BIOLOGICAL DIVERSITY. (Connor, Hannah) Modified on 7/24/2018 (zjf). (Entered: 07/24/2018)
2018-07-24 NOTICE OF CORRECTED DOCKET ENTRY: Document No. re 24 Memorandum in Opposition, was entered in error as a duplicate filing. ( See Docket Entry 23 to view document). (jf) (Entered: 07/24/2018)
2018-08-14 25 ERRATA by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY 15 MOTION for Summary Judgment filed by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY. (Attachments: # 1 Exhibit)(Peterson, Benton) (Entered: 08/14/2018)
2019-02-12 MINUTE ORDER. Defendant is directed to deliver to chambers unredacted versions of 17 of the records in dispute for in camera inspection, as this will assist the Court in making a responsible de novo determination. See Ray v. Turner, 587 F.2d 1187, 1195 (D.C. Cir. 1978). Specifically, by February 15, 2019, defendant must deliver the records that correspond to Vaughn index pages 8, 9, 10, 11, 13, 15, 23, 27, 31, 32, 36, 37, 38, 45, 47, 55, and 66, and it must docket a notice indicating that it has done so. SO ORDERED. Signed by Judge Amy Berman Jackson on 02/12/2019. (lcabj3) (Entered: 02/12/2019)
2019-02-15 26 NOTICE OF SUBSTITUTION OF COUNSEL by Derek S. Hammond on behalf of All Defendants Substituting for attorney Benton G. Peterson (Hammond, Derek) (Entered: 02/15/2019)
2019-02-15 27 NOTICE of Delivery of Documents for In Camera Inspection by UNITED STATES ENVIRONMENTAL PROTECTION AGENCY (Hammond, Derek) (Entered: 02/15/2019)
2019-03-27 28 ORDER. Pursuant to Federal Rules of Civil Procedure 56 and 58, and for the reasons stated in the accompanying Memorandum Opinion, it is hereby ORDERED that defendant's motion for summary judgment 15 is GRANTED. It is FURTHER ORDERED that plaintiff's cross-motion for summary judgment 16 is DENIED. This is final appealable order. SO ORDERED. Signed by Judge Amy Berman Jackson on 03/27/2019. (lcabj3) (Entered: 03/27/2019)
2019-03-27 29 MEMORANDUM OPINION. Signed by Judge Amy Berman Jackson on 03/27/2019. (lcabj3) (Entered: 03/27/2019)


Another favorite of the 13 Coins Hotels & Resorts, 13 Coins Bang Yai brings you to the outskirts of Bangkok but still close enough to anything you might need during a stay in Thailand. Located just Northwest of the city center, experience peace and quiet away from the hustle & bustle of downtown Bangkok.
Private meeting rooms, karaoke, banquet rooms, and even a massive wedding ballroom help make up the resort. Laundry service, money exchange, and airport shuttle service (upon request) are also available.
Over 50 rooms in a quiet and safe setting away from the hustle of downtown Bangkok, make up 13 Coins Hotel Bang Yai. Each room is decorated in a classic grand European style. Rooms are complete with air conditioning, refrigerator, bathtub & shower, hot water, cable TV, and 24 hour room service.
The restaurant is where it all started! With over 25 locations, you know you've made the right choice at 13 Coins Restaurant. Steak, pizza, pasta, Thai food, seafood cooked to order, and more give you a selection where you can't go wrong. Over 400 items on the menu and over 30 years in service. The 2 story restaurant is decorated in a classic grand European style with marble floors, detailed woodwork, and sofas. Dine inside and enjoy the live music 7 nights a week from Thai and International musicians or enjoy your meals outside in the quiet and peaceful resort, surrounded by fish ponds and water fountains.
Located just Northwest of the city center, experience peace and quiet away from the hustle & bustle of downtown Bangkok.