text:
Chartbreaker: Inside CKay's Global Success With a Years-Old Hit
Thanks to the viral resurgence and remix releases of CKay's 2019 song "Love Nwantiti (ah ah ah)," the Nigerian artist is using his major label deal to bring "emo afrobeats" to the masses.
By Darlene Aderoju
Darlene Aderoju
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CKay, center, photographed by Manny Jefferson on October 24, 2021 in Lagos, Nigeria.
In 2019, a then-rising Nigerian artist CKay sent the sultry, slow-tempo "Love Nwantiti (ah ah ah)" to his label Chocolate City Music. "To be honest… it was overlooked," he says. "No one took it seriously because it wasn't a fast song."
Two years later — and thanks to a viral TikTok challenge, plus five more versions, including an acoustic rendition and sped-up offerings — the song became CKay's first Billboard Hot 100 hit, climbing into the top 40 on that chart and also making it all the way to No. 2 on Billboard's Global Excl. U.S. and Global 200 tallies. The 26-year-old CKay, born Chukwuka Ekweani, describes it as "my own spin on Afrobeats," saying he finds particular joy in creating what he calls emo Afrobeats.
"Emo Afrobeats is a way to express myself, my emotions and my sound and still have a groove to it," he explains. "Plus I'm a cancer, so my energy is basically emotions."
CKay photographed on October, 24 2021 in Lagos, Nigeria. Manny Jefferson
CKay says he was in love while making the record — the title translated from his native Igbo language means "small love" — which came about while he was making beats and freestyling in his living room. "[The humming] was supposed to be backing vocals for the chorus," he says, "but the record sounded perfect as it was." He then sent it to a young producer from Lagos named Tempoe, who he says added extra details on the drums, completing the song seven months before it was released.
At first, nothing happened. But with the help of his manager Ogbolu Favour, who first heard CKay's music in 2016, the artist was upstreamed in November 2020 to Warner Music South Africa, with Chocolate City Music licensing "Love Nwantiti" to the major (his U.S. contract is with Atlantic). "It's great to be in an environment working with people who understand your vision and are ready to make it happen," CKay says of his new label homes. "My dream was always to make music [where] I wouldn't have to change my sound and it would touch the whole world, so it's amazing to be doing that right now."
With the help of his manager Ogbolu Favour, who first heard CKay's music in 2016, the artist signed a new label deal with Warner Music South Africa in November 2020 — his U.S. contract is with Atlantic. Chocolate City Music then licensed "Love Nwantiti" to Warner.
He released his major label debut EP Boyfriend this February, but this summer, it was "Love Nwantiti" — off his 2019 debut EP CKay the First — that was putting CKay on the map. By this September, the song had hit No. 1 on Shazam's Global 200 chart. "Social media definitely played a role — and it wasn't only TikTok. It was also Instagram, Twitter and YouTube. The world discovered it one person at a time." ("Love Nwantiti" has now collected 97.4 million on-demand streams in the U.S. alone, according to MRC Data.)
Meanwhile, that discovery was happening at the same time another Nigerian artist was making a major splash on the Hot 100. This summer, Wizkid's "Essence" (featuring Tems) took off, followed by a remix that added Justin Bieber and helped the song peak at No. 9 on the chart last month, making it the first Hot 100 top 10 hit to include Nigeria's Yoruba language.
Ogbolu Favour, left, and CKay photographed on October, 24 2021 in Lagos, Nigeria. Manny Jefferson
Favour says Warner Music South Africa in particular was instrumental in enforcing a global rollout plan for the revived "Love Nwantiti": "When it was licensed from Chocolate City Music, the Warner team wanted to release different products of the song, so we had different remixes in different regions. We had the North African remix, East African remix, South African, Spanish and French [versions] featuring different people that speak different languages from different parts of the world. Afrobeats gave the song a wider reach and with that step, the song had wings."
CKay — who says he would love to collaborate with R&B artists like SZA, Summer Walker and Chris Brown, as well as pop stars like Chris Martin and Billie Eilish — hopes to release his debut album next year, teasing much more music on the way. "My album is going to be my best work yet," he asserts, "because I'm going to put my whole soul and essence into it."
Favour also believes the international success of "Love Nwantiti" is just the beginning for CKay: "I see [him] as an African global star."
CKay, center, photographed on October 24, 2021 in Lagos, Nigeria. Manny Jefferson
A version of this story appeared in the Nov. 20, 2021, issue of Billboard.
CHARTBREAKER


text:
Baliga asakurae är en insektsart som först beskrevs av Okamoto 1910.  Baliga asakurae ingår i släktet Baliga och familjen myrlejonsländor. Inga underarter finns listade i Catalogue of Life.

Källor

Myrlejonsländor
asakurae

redpajama_set_name: RedPajamaWikipedia


text:
Hickenlooper knocks down fundraising gap with Gardner in last stretch of Colorados U.S. Us senate race
By instydanpabon$ Last updated Apr 18, 2021
Democrat John Hickenlooper's three-month $22.6 million cash haul was nearly three times the $7.8 million raised by Republican Sen. Cory Gardner, who posted his best fundraising quarter ever.
Hickenlooper ended the July-through-September quarter with about $7.2 million in the bank, while Gardner had $6.8 million. It was the first time the former governor held a cash advantage over the incumbent. Hickenlooper spent nearly $20 million, and Gardner spent $11.7 million.
The Democrat has now outraised Gardner over the course of the U.S. Senate campaign with $36.8 million in total contributions, compared with the Republican's $25.3 million. Gardner started raising money in January 2015, shortly after taking office. Hickenlooper entered the Senate contest in August 2019 after abandoning a presidential bid.
Hickenlooper's third-quarter total exceeded the entire $20.5 million raised by former Democratic Sen. Mark Udall in the 2014 Senate race, the previous Colorado record. Gardner set a personal record exceeding the $4.4 million he raised in one period in 2014.
The massive haul comes as polls continue to show Hickenlooper leading Gardner in the race by roughly 10 percentage points. Coloradans have already been voting for a week, and early turnout numbers indicate major enthusiasm among Democrats, who normally wait until the last minute to cast their ballots.
MORE: How Cory Gardner and John Hickenlooper are polling in the 2020 U.S. Senate election
Hickenlooper's fundraising dominance is part of a trend of Democratic challengers across the country vastly outraising Republican Senate incumbents in the final quarter before the election. Much of the money for Hickenlooper and other candidates arrived after the death of U.S. Supreme Court Justice Ruth Bader Ginsburg on Sept. 18.
Republicans are rushing to fill Ginsburg's open seat with conservative Judge Amy Coney Barrett, nominated by President Donald Trump. Democrats are crying foul, recalling the GOP's refusal to consider Judge Merrick Garland, nominated by President Barack Obama after the death of Justice Antonin Scalia seven months before the 2016 election.
Democratic donors appear to be voting with their credit cards, and small donors outside of Colorado fueled Hickenlooper's fundraising. More than $8.6 million, or 38%, of the Democrat's fundraising was unitemized contributions of $200 or less, reports show.
And $10.5 million of the Democrat's $14 million in itemized donations came via the online fundraising platform ActBlue. That platform encourages donors to give to multiple Democratic candidates in amounts small or large, an action that can be taken on a smartphone.
Want exclusive political news and insights first? Subscribe to The Unaffiliated, the political newsletter from The Colorado Sun. Join now or upgrade your membership.
Nearly $4.6 million, or about one-third, came on the day of or the days after Ginsburg's death. But the partisan reaction to the Supreme Court vacancy also helped Gardner. He raised about $2 million — about 35% of his itemized contributions — after the justice's death.
Of Gardner's $6 million in itemized contributions, 41% came from Coloradans. Hickenlooper, on the other hand, received 22% of his itemized donations for the quarter from Californians and 21% from Coloradans.
Big cash infusions from outside groups lead to big TV ad buys
Both candidates are spending heavily on TV advertising. Hickenlooper spent $13.3 million from July through Wednesday and Gardner dropped $10.5 million, according to a Colorado Sun analysis of TV contracts filed with the Federal Communications Commission.
But super PACs and dark money nonprofits are outspending the candidates on TV, with $28.5 million in spending from nearly 20 groups between July and Wednesday. The biggest spenders are affiliated with Democratic or Republican Senate leadership.
Some of the groups are likely to spend even more in the lead up to Nov. 3.
ESA Fund, a super PAC previously known as Ending Spending Action, has booked nearly $478,000 in ads in recent days. The group is solely funded by Marlene Ricketts, of Omaha, the wife of TD Ameritrade founder Joe Ricketts. Six years ago, Ending Spending Action spent $1.4 million on TV ads opposing Democratic incumbent Mark Udall in the final weeks of the contest.
Unite for Colorado Action is spending $185,000 on digital ads opposing Hickenlooper. The federal super PAC is funded by a related nonprofit that spent heavily against Hickenlooper earlier this year.
Senate Majority PAC pulls spending
A major Democratic group on Friday pulled its last remaining ads from Colorado's U.S. Senate race, a sign that the party thinks its nominee has the crucial race in the bag.
Senate Majority PAC said it will cancel $1.2 million in television ads and spend the money elsewhere as Democrats press a newly expanded Senate map, which Republicans on the run in GOP strongholds such as Alaska and South Carolina.
"We believe Gov. Hickenlooper is in good shape heading into the final stretch," Senate Majority PAC spokeswoman Rachel Irwin said.
Republicans are still spending modestly to support Gardner. Last week the Republican counterpart to Senate Majority PAC, the Senate Leadership Fund, added another $1 million to its spending in Colorado as part of a $22 million blitz to defend seats around the country.
Democrats need a net gain of three seats in the Senate and a victory in the presidential race in order to wrest control of the chamber. They have long counted on flipping the Colorado seat.
Hickenlooper demolishes fundraising gap with Gardner in final stretch of Colorado's U.S. Senate race
Denver requires mask-wearing outdoors, limits gathering to five people as coronavirus cases rise
Jim Morrissey: Colorado costumes for Halloween
As virtual GABF arrives, craft beer industry faces difficult moment confronting racism and pandemic
From "Star Trek" to star gazer, Colorado man drops everything and hits the road with a camera and his passion
via Straight News https://coloradosun.com/2020/10/16/hickenlooper-gardner-fundraising-colroado-us-senate-race-2020/
Denver capturing transforms journalists on duty into witnesses for the cops Your weekly summary of Colorado regional news
Denver calls for mask-wearing outdoors limits gathering to 5 individuals as coronavirus cases rise

redpajama_set_name: RedPajamaCommonCrawl


Warner Bros. and Kadokawa Games are excited to reveal the key art for Lollipop Chainsaw! The new front of box shot features the game's main character, Juliet Starling!
This art will also be featured as the main image in Juliet's Yearbook Tab on the official Lollipop Chainsaw Facebook page. The tab includes the "Juliet's Head of the Class" yearbook contest where fans will be able create their own gruesome and customised zombie headshot and then join one of the San Romero High's cliques. Fans can then vote for their favourite submissions and the top rated portraits will be included in Juliet's Head of the Class Yearbook and on the front page of the gallery!
Yep, it does look pretty good!


Want to directly email someone at Q 63 but don't know their address?
We're still trying to figure out the format for email addresses at q-63.405.med13.bulkmule.de for sure. We've got the following addresses though for employees currently at the firm. Does this get you any further on your quest?


text:
ODU Digital Commons
Home > Education > Educational Foundations & Leadership > Faculty Publications > 56
Educational Foundations & Leadership Faculty Publications
Advising Student-Athletes for Success: Predicting the Academic Success and Persistence of Collegiate Student-Athletes
April A. Brecht
Dana D. Burnett, Old Dominion UniversityFollow
10.12930/NACADA-17-044
NACADA Journal
Stakeholders at institutions across the United States are continuously looking for ways to improve the academic success and retention of students. We used logistical regression in an examination of noncognitive, cognitive, and demographic factors as predictors of academic success and retention of Division I first-year student-athletes. The results indicated that high school GPA is the best predictor for academic success. The Transition to College Inventory index, self-confidence, institutional commitment, and independent activity focus can be used in the prediction of academic success. Retention was most accurately predicted by students' first-year cumulative GPA. University advisors can use the results of this study to enhance the resources designed to improve the academic performance and persistence of student-athletes.
© NACADA: The Global Community for Academic Advising
Included with the kind written permission of the publisher.
Original Publication Citation
Brecht, A. A., & Burnett, D. D. (2019). Advising student-athletes for success: Predicting the academic success and persistence of collegiate student-athletes. NACADA Journal, 39(1), 49-59. doi:10.12930/NACADA-17-044
Brecht, April A. and Burnett, Dana D., "Advising Student-Athletes for Success: Predicting the Academic Success and Persistence of Collegiate Student-Athletes" (2019). Educational Foundations & Leadership Faculty Publications. 56.
https://digitalcommons.odu.edu/efl_fac_pubs/56
Academic Advising Commons, Higher Education Commons, Sports Studies Commons
Educational Foundations & Leadership Website
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text:
\section{Introduction}
\label{sec:sample1}
The origin of high-energy astrophysical neutrinos is one of the most intriguing questions of modern astroparticle physics (see e.g.\ Ref.~\cite{ST-UFN} for a recent review). The existence of these energetic (TeV to PeV) particles born outside the terrestrial atmosphere was established by the IceCube experiment \cite{IceCubeFirstPeV,IceCubeFirst26} and starts to be confirmed by ANTARES \cite{ANTARES} and Baikal-GVD \cite{BaikalSymmetry}, but astrophysical sources and production mechanisms of the neutrinos are uncertain.

Present experimental data on high-energy neutrinos are dominated by observations with IceCube, a neutrino telescope  at the South Pole in Antarctica. Two principal groups of detected events are cascades and tracks, and they give complementary information about the astrophysical neutrino flux. Most of cascade events are caused by electron, $\nu_e$, or tau, $\nu_\tau$, neutrinos, while most of the track events are caused by muon neutrinos, $\nu_\mu$. They also have different distributions in energies and arrival directions, as well as in the accuracy of measurement of these observables.

Neutrinos of these energies can be produced in decays of secondary mesons born in hadronic interactions. Assuming decays of $\pi$ mesons in the source and taking into account neutrino oscillations on their way from the source to the observer, one expects roughly equal flavor ratio of fluxes at the detector, $\nu_e:\nu_\mu:\nu_\tau=1:1:1$, see e.g.\ Ref.~\cite{VissaniUniverse} for an updated calculation. Since this scenario is the most general, the flavor equality is assumed in the reconstruction of the observed neutrino spectra.

There exists a mild tension between parameters of the spectra reconstructed from IceCube cascade and track observations, discussed e.g.\ in Refs.~\cite{2compViss2016anomaly,IceCube:HESE2020,ST-UFN}. Deviations from the assumed power-law shape, caused for instance by the presence of two distinct populations of sources contributing to the total observed neutrino flux, may explain this discrepancy \cite{2compChen2014,2compViss2016,2compNerSem2016}.

In the present Letter, we discuss the possibility that the tension appears due to a deviation from the assumed flavor content. In Sec.~\ref{sec:spectra}, we use the most recent IceCube results on the spectra of $\nu_\mu$ and $\nu_e+\nu_\tau$ from independent analyses to calculate the observed flavor ratio as a function of energy and to see that a change in the flavor content at the energy $\sim 100$~TeV is plausible. Then, in Sec.~\ref{sec:mu-damp}, we consider a possible mechanism predicting the deviation from flavor equipartition, known as the muon damping, and estimate the magnetic field in the source required for the transition to this regime around $\sim 100$~TeV. The required values of $\sim 10^4$~G are not very common in astrophysical sources, but may be present in the immediate vicinity of supermassive black holes in active galactic nuclei (AGN), and we construct and study quantitatively a toy model of a population of these sources in Sec.~\ref{sec:BH}. Section~\ref{sec:concl} presents our brief conclusions.

\section{Comparison of IceCube $\nu_\mu$ and $\nu_e+\nu_\tau$ fluxes}
\label{sec:spectra}
More than 90\% of neutrino events in the track sample are caused by $\nu_\mu$ \cite{IceCube:90percentMu}, so we use the flux reconstructed from track events as a proxy for the $\nu_\mu$ flux. Note that the energy of an individual neutrino producing the track is determined with very low precision, so the spectrum is reconstructed only under assumptions of a particular model. The best-fit reconstructed spectrum is provided by a power law, and we use its parameters from the most recent published IceCube track analysis \cite{IceCube:mu2021}.

Energies of neutrinos causing cascade events are determined much more precisely, thus allowing one to reconstruct a binned differential spectrum. Moreover, particular techniques have been applied by IceCube to separate a clean subsample of cascades dominated by $\nu_e$ and $\nu_\tau$ \cite{IceCube:e-tau-flux,Halzen:2019lxc}. We use these data to determine the ratio of the mean flux of $\nu_e$ and $\nu_\tau$ to that of $\nu_\mu$ in the energy bins for which both analyses are valid, that is between $\sim 15$~TeV and $\sim 5$~PeV.

Figure~\ref{fig:ratio}
\begin{figure}
\centering
\includegraphics[width=\linewidth]{ratio-n1.pdf}
\caption{\label{fig:ratio}
The ratio of observed fluxes of neutrinos of different flavours as a function of energy. The dashed green line represents flavor equipartition, while the dashed red line corresponds to 2/3, predicted in the muon damping case. See the text for details on the data points.
}
\end{figure}
presents the energy-dependent estimates of the flavour ratio obtained in this way. For comparison, lines of constant ratios, 1 predicted in the standard mechanism with $\pi$-meson decays and $2/3$ predicted in its variation with ``damped muons'', discussed bellow in Sec.~\ref{sec:mu-damp}, are also shown.
One can see that the change of the flavor composition at the neutrino energies $\sim 200$~TeV describes the data better than a constant flavor ratio.
Below we present more detailed calculations in terms of separate $\nu_\mu$ and $\nu_e+\nu_\tau$ spectra in the frameworks of a particular quantitative model.

\section{Transition to the muon-damped regime}
\label{sec:mu-damp}
Assume that the standard process of hadronic interactions and subsequent decay of $\pi$ mesons, giving rise to high-energy neutrinos in the most common scenario, takes place in a region of strong magnetic field. If the synchrotron radiation loss time scale of the muons is shorter than the decay time scale, the muons lose much of their energy before the decay. Hence, only primary neutrinos from pion decays contribute to the high-energy flux, while neutrinos from decays of these secondary muons show up at considerably lower energies \cite{Rachen-muoncooling,Beacom-mudamp,Waxman-mudamp}. This regime of high-energy neutrino production has been called ``muon damp'' and was recognized in a number of works discussing the flavor content of IceCube neutrinos, see e.g.\ Refs.~\cite{Winter-Hillas2010,Tamborra-magnetometers}. The flavor content of high-energy neutrinos is different in this case from the one normally assumed: with the account of neutrino oscillations on their way to the observer it becomes $\nu_e:\nu_\mu:\nu_\tau\approx 1:2:2$, see e.g.\ Refs.~\cite{Beacom-mudamp,Weiler-ratios}.

\subsection{Required magnetic fields}
Though detailed calculations of the spectra of neutrinos of various flavors require modelling of actual conditions in the source, it is easy to obtain an estimate of the magnetic-field strength at which the muon damp starts to dominate: it is given by the condition $t_{\rm sync}<t_{\rm decay}$, where $t_{\rm sync}=9m_\mu^4/(4e^4 B^2 \mathcal{E}_\mu)$ is the muon synchrotron cooling time, $t_{\rm decay}= \mathcal{E}_\mu \tau_\mu/m_\mu$ is the muon lifetime; $m_\mu$, $\mathcal{E}_\mu$, $\tau_\mu$ and $e$ are the muon mass, energy, lifetime at rest and charge, respectively, and $B$ is the external magnetic field. We obtain the muon-damp condition
\begin{equation}
\label{Eq:BfromEmuon-damp}
    B\gtrsim \frac{3}{2 e^2} m_\mu^{5/2} \mathcal{E}_\mu^{-1} \tau_\mu^{-1/2} \approx
    2\times 10^4~\mbox{G}\,\left(\frac{\mathcal{E}_\nu}{\mbox{100~TeV}}\right)^{-1},
\end{equation}
where we used the pion-decay kinematics to approximately relate the muon and neutrino energies as $\mathcal{E}_\mu\approx 3\mathcal{E}_\nu$, see e.g.\ Ref.~\cite{Lipari:2007su}.

\subsection{Candidate sources}
The magnetic fields of order of tens kiloGauss, implied by Eq.~(\ref{Eq:BfromEmuon-damp}), are not common in potential astrophysical neutrino sources, see e.g.\ Ref.~\cite{PT-Hillas} for a review of physical conditions in various astrophysical accelerators. Among extragalactic sources, only gamma-ray bursts (GRBs) and magnetospheres of supermassive black holes (SMBH) are believed to host these high fields.

Being in principle plausible candidates for particle acceleration, GRBs as high-energy neutrino sources are disfavoured because of the lack of directional and temporal correlations between the neutrino arrivals and known GRBs \cite{NoGRB}. A possible way to overcome this constraint is to invoke the population of hidden GRBs, e.g.\ those with so-called choked jets \cite{Meszaros:chocked}. However, the magnetic fields in the neutrino production regions are poorly known for this scenario.

The magnetic fields near SMBHs are also poorly constrained observationally, so we use the benchmark Shakura-Sunyaev \cite{ShakuraSunyaev} estimate of
\begin{equation}
    B \sim 10^4~{\rm G} \left( \frac{M}{10^8 M_\odot}\right)^{-1/2},
    \label{eq:Shakura-Syunyaev}
\end{equation}
where $M_\odot$ denotes the Solar mass and $M$ os the SMBH mass. The immediate vicinity of a supermassive black hole with mass $M\sim 10^8 M_\odot$, typical for AGN, becomes a plausible place of the neutrino production. Indeed, protons may be accelerated in the vacuum gap of the black-hole magnetosphere up to the required energies \cite{gap1,PtitsynaNeronov-gap}, and then interact with ambient photons to produce $\pi$ mesons, cf.\ e.g.\ Refs.~\cite{Stecker:AGN,Dermer:AGN,Kalashev:AGN}. The neutrino flux enhancement due to relativistic jets pointing at the observer may then explain the observed correlations of detected neutrinos with radio blazars, putting the neutrino production region to the very central parts of AGN \cite{Plavin1,Plavin2,Hovatta:2020lor,Plavin-ICRC}, see also Refs.~\cite{Resconi,vanVelzen:2021zsm,Kun:2022khf}. In what follows, we discuss the neutrino production in the SMBH magnetospheres in more detail.

\section{Black-hole magnetospheres in AGN as neutrino sources: a toy model}
\label{sec:BH}
We now present a toy model demonstrating that the IceCube neutrino spectra, both for $\nu_\mu+\nu_\tau$ and for $\nu_e$, can indeed be explained with the transition to the muon-damp regime if the neutrinos originate from immediate vicinity of SMBHs.

We assume that relativistic protons are accelerated in the vacuum gap of the SMBH magnetosphere \cite{gap1,PtitsynaNeronov-gap}. This mechanism produces, to the first approximation, a monochromatic proton spectrum, with the energy limited either by the gap size or by losses. This energy is however different for different sources and, since the number of the sources is large, together they produce a particular continuous spectrum of protons, see Ref.~\cite{population}. We use updated estimates of the achievable proton energies from Ref.~\cite{PtitsynaNeronov-gap} and express the proton energy in the source frame, $\mathcal{E}'_p$, through the SMBH mass $M$ and the Eddington ratio $\lambda$, which determine the magnetic field, by Eq.~(\ref{eq:Shakura-Syunyaev}), and the luminosity. We further use the benchmark relation $\mathcal{E}'_\nu\approx\mathcal{E}'_p/20$, see e.g.\ Ref.~\cite{VissaniUniverse}, relevant both for $pp$ processes and for $p\gamma$ interactions in the $\Delta$ resonance approximation. This determines the contribution of a particular SMBH. Next, we sum these contributions to obtain the neutrino spectrum.

To this end, we integrate over the distributions of SMBHs in $M$,  $\lambda$ and over redshift $z$ and obtain the neutrino spectrum in terms of the observed neutrino energies $\mathcal{E}_\nu$. The normalization of the spectrum is kept arbitrary at this step. We benefit from a recent study \cite{shadows}, where a working up-to-date model of both the redshift-dependent SMBH mass function and the redshift-dependent Eddington ratio distribution is compiled, based on Refs.~\cite{BHMF} and \cite{ERF}, respectively. We take into account the contribution of active galaxies only, which we define as those with $\lambda>0.01$, as it is customary in the SMBH population studies. Whether the contribution of a particular SMBH is in the muon-damp regime depends on the fulfillment of the condition (\ref{Eq:BfromEmuon-damp}), which is determined in turn by its $M$ and $\lambda$. We calculate the resulting observed flux of neutrinos of various flavors and normalize the all-flavor sum to match the IceCube observations, see dashed lines in Figs.~\ref{fig:model-etau} and \ref{fig:model-mu}, respectively.
\begin{figure}
\centering
\includegraphics[width=\linewidth]{modelplot-etau.pdf}
\caption{\label{fig:model-etau}
Comparison of the $\nu_e+\nu_\tau$ spectrum determined by IceCube \cite{Halzen:2019lxc} and predictions of the toy model discussed in the text.
}
\end{figure}
\begin{figure}
\centering
\includegraphics[width=\linewidth]{modelplot-mu.pdf}
\caption{\label{fig:model-mu}
Comparison of the $\nu_\mu$ spectrum determined by IceCube \cite{IceCube:mu2021} and predictions of the toy model discussed in the text.
}
\end{figure}

As it is common in models of neutrino production close to SMBHs, the contribution from this mechanism explains the observed flux only at energies $\mathcal{E}_\nu \gtrsim 100$~TeV. To obtain the entire observed astrophysical spectrum, we add a second component at lower energies, which we parametrize as a power law with double exponential cutoff adjusted to fit, together with the SMBH contribution, the observed spectrum of $\nu_e+\nu_\tau$. This component is shown by dotted lines in Figs.\ \ref{fig:model-etau} and \ref{fig:model-mu}. Whatever particular astrophysical sources contribute to this component, they are not in the muon-damp regime because they do not have sufficiently strong magnetic fields. The resulting energy-dependent flavor ratio is shown in Fig.~\ref{fig:model-ratio}.
\begin{figure}
\centering
\includegraphics[width=\linewidth]{modelplot-ratio.pdf}
\caption{\label{fig:model-ratio}
Energy-dependent neutrino flavor ratio predicted by the toy model discussed in the text (solid curve). The dashed green line represents flavor equipartition, while the dashed red line corresponds to 2/3, predicted in the muon damping case.
}
\end{figure}
This function, derived in our toy model, improves the fit of the data in Fig.~\ref{fig:ratio} by $\Delta(\chi^2/\mbox{d.o.f.})\approx...$ compared to the flavor equipartition.

\section{Conclusions}
\label{sec:concl}
It is presently unclear, whether the long-standing tension between neutrino energy spectra reconstructed by IceCube from cascades and tracks is caused by systematic uncertainties or by physical reasons. In the latter case, it may serve as a clue to determination of mechanisms and sources responsible for production of high-energy astrophysical neutrinos.

We assumed that the reason for the discrepancy is related to the change of flavor composition of high-energy neutrinos with energy and demonstrated that this agrees with observational data, if the standard flavor equipartition switches to the flavor content predicted in the muon-damp regime at energies above $\sim 100$~TeV. Then we estimated the magnetic field at sources required for this switch and found that it is of order $\sim 10^4$~G. We noted that fields of this scale may exist in immediate environments of supermassive black holes and constructed a quantitative toy model of the population of these high-energy neutrino sources. We found that this model describes well the spectra of both $\nu_\mu$ and $\nu_e+\nu_\tau$ provided an additional component with standard flavor content is added at low energies.

The idea to infer the magnetic field, and hence to constrain the sources of high-energy neutrinos, from observation of the change in the flavor composition, was discussed in Ref.~\cite{Tamborra-magnetometers}. However, that work did not make use of IceCube track data and therefore did not address the cascade/track tension as a potential signal of the change of the flavor content with energy. Our estimates of the magnetic field in the neutrino sources agree with upper limits obtained in Ref.~\cite{Tamborra-magnetometers}.

Measurements of the flavor content of astrophysical neutrinos serve as a useful tool to constrain the neutrino origin \cite{flavor:tool}, but require much better statistics than currently available \cite{flavor:future}. While future data from IceCube and complementary liquid-water, Northern-hemisphere experiments, Baikal-GVD \cite{Baikal-GVD:2021zsq} and KM3NeT \cite{KM3NeT}, could test the observed cascade/track tension, detailed studies of energy-dependent flavor ratios will become possible only with the next-generation neutrino telescopes, which include IceCube-Gen2 \cite{IceCube-Gen2:2020qha} and future upgrades of Baikal-GVD and KM3NeT, presently under discussion.

We are indebted to T.~Dzhatdoev for interesting discussions. This work is supported by the RF Ministry of science and higher education under the contract 075-15-2020-778.

 \bibliographystyle{elsarticle-num}

redpajama_set_name: RedPajamaArXiv


text:
package com.paperfly.instantjio.contact;

import android.support.v7.widget.RecyclerView;
import android.view.View;
import android.widget.CheckBox;
import android.widget.QuickContactBadge;
import android.widget.TextView;
import android.widget.Toast;

import com.paperfly.instantjio.R;
import com.paperfly.instantjio.common.ChooserEventListener;
import com.squareup.picasso.Picasso;

/**
 * Contains a Contact list item
 */
public class ContactViewHolder extends RecyclerView.ViewHolder {
    final CheckBox checkbox;
    final private QuickContactBadge mImage;
    final private TextView mLabel;
    private Contact mBoundContact; // Can be null
    private ChooserEventListener.ItemInteraction mCallback;

    public ContactViewHolder(View v, ChooserEventListener.ItemInteraction callback) {
        super(v);
        mImage = (QuickContactBadge) v.findViewById(android.R.id.icon);
        mLabel = (TextView) v.findViewById(android.R.id.text1);
        checkbox = (CheckBox) v.findViewById(R.id.contact_checkbox);
        mCallback = callback;

        if (mCallback == null) {
            checkbox.setVisibility(View.GONE);
        } else {
            mImage.setClickable(false);
            checkbox.setClickable(false);
        }

        // Define click listener for the ViewHolder's View
        v.setOnClickListener(new View.OnClickListener() {
            @Override
            public void onClick(View v) {
//                if (checkbox.isChecked())
//                    checkbox.setChecked(false);
//                else
//                    checkbox.setChecked(true);

                checkbox.performClick();
                if (mBoundContact != null) {
//                    Toast.makeText(
//                            v.getContext(),
//                            "Hi, I'm " + mBoundContact.getDisplayName(),
//                            Toast.LENGTH_SHORT).show();
                    if (mCallback != null)
                        mCallback.onItemClick(mBoundContact.getLookupKey());
                }
            }
        });

        v.setOnLongClickListener(new View.OnLongClickListener() {
            @Override
            public boolean onLongClick(View v) {
                if (mBoundContact != null) {
                    Toast.makeText(
                            v.getContext(),
                            "Hi, I'm " + mBoundContact.getDisplayName() + " and I got long pressed",
                            Toast.LENGTH_SHORT).show();
                }
                return true;
            }
        });
    }

    public void set(Contact contact, Boolean checked) {
        mBoundContact = contact;
        mLabel.setText(contact.getDisplayName());
        Picasso.with(itemView.getContext())
                .load(contact.getPhotoUri())
                .placeholder(R.drawable.ic_action_person)
                .error(R.drawable.ic_action_person)
                .into(mImage);
        mImage.assignContactUri(contact.getContactUri());

        if (checked != null) {
            checkbox.setChecked(checked);
        }
    }

}

redpajama_set_name: RedPajamaGithub


text:
No. 6 Arizona tries to continue home dominance of Colorado
No. 6 Arizona will be facing a contrast of styles when it hosts surging Colorado on Thursday night in Tucson, Ariz.
The Wildcats (12-1, 2-0 Pac-12) lead the nation in scoring at 89.9 points per game and have the shortest possession length in the conference (14.3 seconds), according to KenPom.com.The Buffaloes (11-3, 3-1) have won five consecutive games, but they are a slow-it-down outfit, having won three games this season while scoring no more than 60 points.
Arizona scored at least 90 points in each of its conference victories (Oregon State, Washington). Athletic wing Bennedict Mathurin, who has 55 points in his past two games combined, leads the scoring parade. He is averaging 18.9 points and is getting hotter, putting up at least 24 points in five of his past seven games.
Tommy Lloyd's Arizona team is more than a one-man show, however. The Wildcats will attack Colorado in transition with depth, speed, balance and a share-the-ball mentality. They are first nationally with 21.8 assists per game.
"The transition defense is one of those things that'll be tested in Tucson," Colorado coach Tad Boyle said. "I can promise you that."
Arizona starter Dalen Terry exemplifies the depth and unselfishness, not needing to score much to make a big difference. Terry, averaging 6.8 points, put together a brilliant game in Arizona's most recent outing, racking up 13 points, 11 rebounds and eight assists against Washington on Jan. 3.
"Dalen's a do-all player and he's been working really hard on his shot," Lloyd said.
"We have been doing some tweaks here and there. I just told him, 'Listen, we don't need to stress out about it because you do so many other things well. Let's not forget about those and just focus on something that maybe isn't your strength.' To see him knock down a couple of threes I think was great for our team and great for his confidence."
Colorado has a solid starting five, led by Jabari Walker, who loves to stress the defense by attacking the basket. He is averaging 13.4 points and 8.4 rebounds, and he has attempted 75 free throws -- all team highs. Walker has seven double-doubles this season.
He'll be even more dangerous if -- or when -- he finds his outside shot. Walker has made 9 of 40 3-point attempts (22.5 percent) after hitting 23 of 44 (52.3 percent) last season.
Walker and veteran Evan Battey (12.6 points, 4.5 rebounds) are a formidable frontcourt. Colorado has a plus-7.9 rebounding margin.
"When we play with aggressiveness, we're pretty darn good," said Boyle, who earned his 300th career win Sunday as Colorado topped visiting Washington 78-64. "Now the biggest thing I'm trying to impress upon our team is the fact that we have to try to make plays for each other."
Arizona's frontcourt is dynamic. Azuolas Tubelis is averaging 14.8 points and 6.1 rebounds, while Christian Koloko contributes 13.5 points and 7.2 boards per game to go along with 44 total blocked shots.
Considering that the Wildcats sport a plus-10.6 rebounding margin, the battle on the glass will be strength on strength.
Arizona is 9-0 against Colorado in Tucson since the Buffaloes joined the Pac-12 for the 2011-12 season.


This qualification also forms the knowledge component (technical certificate) of the IMI Sector Skills Council's Auto Electrical and Mobile Electrical Installation Advanced Apprenticeship framework.
This learning programme is based upon IMI SSC's National Occupational Standards for Auto Electrical and Mobile Electrical Installation.
When an apprentice has achieved a L3 apprenticeship, they can then choose to broaden their education and training in other ways from this firm base. This qualification has two job routes; auto electrical technician or auto electrical aftermarket enhancement technician.


text:
Q: Rasa bot bad request and cors proxy issue Rasa core version 13.7
 nlu version 14.6
os windows 10
python version 3.5
i created rasa chatbot and trained nlu as well as dialogue model.i have manage to run this bot successfully in the console but when we try to run this as the http server we get a cors proxy error as follows
the command we used to run the server is

*

*python -m rasa_core.run -d models/dialogue -u models/nlu/default/stem_nlu --enable_api --credentials credentials.yml --cors "*"
i have also tried

*python -m rasa_core.run -d models/dialogue -u models/nlu/default/stem_nlu --enable_api --credentials credentials.yml --cors "*" -c rest
with no luck
i have also tried

*

*python -m rasa_core.run -d models/dialogue -u models/nlu/default/stem_nlu --enable_api --credentials credentials.yml --cors "*" -c rest
with no luck
i tried sending request through browser and postman to
localhost:5005/conversations/deafult/respond i got
   {
  "code": 400,
  "details": {
"in": "query",
"parameter": "query"
   },
 "help": null,
  "message": "Missing the message parameter.",
  "reason": "InvalidParameter",
  "status": "failure",
  "version": "0.13.7"
}
and also tried
       localhost:5005/webhooks/rest/webhook

i got
     Bad Request
     The browser (or proxy) sent a request that this server could not understand.

bot server shows
       options 127.0.0.1 - - [2019-04-15 17:34:30] "OPTIONS /webhooks/rest/webhook HTTP/1.1" 200 306 0.001031

then post request
     127.0.0.1 - - [2019-04-15 17:34:30] "POST /webhooks/rest/webhook
  HTTP/1.1" 400 352 0.000000

and we have used script as follows
        $(document).ready(function(){
$("#button").click(function(){
var message=document.getElementById("message").value;
 console.log(message);
$.ajaxSetup({
 headers: {"Content-Type": "application/json"}
 });

$.ajax({
 url: "http://localhost:5005/webhooks/rest/webhook",
 type: "POST",
 data: '{ "sender": message}'
 }).done(function(data) {

    console.log(data);
 })

A: Explicitly mention that CORS needs to accept all API calls. Go to the RASA project folder and run the following:
rasa run --enable-api --cors "*"

Now you will not see cors error.

redpajama_set_name: RedPajamaStackExchange


text:
Published: February 21, 2021, 4:14 PM
Updated: February 21, 2021, 7:42 PM
Tags: Alex Fernandez, Crystal Dunn, Alex Morgan, Sports, Carli Lloyd, Debinha, Megan Rapinoe, Marta, Christen Press, Ali Krieger, Alyssa Naeher, Lindsey Horan
Press, Rapinoe score, US beats Brazil 2-0 in SheBelieves Cup
Published: February 21, 2021, 4:14 PM Updated: February 21, 2021, 7:42 PM
United States forward Megan Rapinoe (15) acknowledges fans in the stands after scoring a goal during the second half of a SheBelieves Cup women's soccer match against Brazil, Sunday, Feb. 21, 2021, in Orlando, Fla. (AP Photo/Phelan M. Ebenhack)
ORLANDO, Fla. – Christen Press scored in the 11th minute, Megan Rapinoe added a late goal and the U.S. women beat Brazil 2-0 in the SheBelieves Cup on Sunday.
The United States sits atop the SheBelieves Cup standings with two wins. Canada beat Argentina 1-0 in the late match Sunday. The round-robin tournament concludes Wednesday when the U.S. plays Argentina (0-2) and Canada (1-1) faces Brazil (1-1).
The U.S., winner of the last two World Cups, is now unbeaten in 36 straight games overall and 52 straight at home.
"One thing that I've learned playing on the U.S. women's national team is that you have to prepare for every single game as if it's the most important game of your life," Press said. "So that's kind of the approach I take."
The Americans have won five straight over Brazil and are unbeaten in the last seven matches. The team is 20-0-2 against Brazil on American soil.
"I am disappointed in the start of the game, of course. We conceded a goal. But not only a goal, the way we played our attack in the first 20 minutes," Brazil coach Pia Sundhage said. "That's room for improvement, for sure. But then the second half, and the fact that we created fairly many chances, I'm happy with that."
Press took a pass from Lindsey Horan and rushed forward, fooling a defender before a powerful strike to the far corner of the net. It was Press' 10th goal in her last 13 national team games and 59th international goal.
"Lindsey played me a great ball in on a diagonal, so that I wasn't in a crossing situation, I was actually able to cut in and open up the angle of the goal," Press said. "And that's what I want to do, it's my signature shot and my signature style so it was great to see it go in the back of the net."
Moments later, Crystal Dunn's sliding tackle prevented Debinha on the breakaway. Brazil had a good chance in the 82nd minute when Marta found Debinha in the box, but the shot went just wide.
It was the 10th straight shutout for U.S. goalkeeper Alyssa Naeher.
Alex Morgan made her first start for the national team since giving birth to daughter Charlie last year. Morgan and Press were subbed out in the 71st minute and replaced with Rapinoe and Carli Lloyd.
Horan served the ball into the box for Rapinoe, who scored in the 88th minute. After she scored, Rapinoe made a baby-rocking gesture in honor of teammates Ali Krieger and Ashlynn Harris, who recently adopted daughter Sloane.
"I'm very happy that we're creating chances and the fact that we're doing it in a manner that is very creative with some good plays makes me very happy and tells me that we're moving in the right direction," U.S. coach Vlatko Andonovski said. "Now the fact that we're not finishing, it's not disappointing, but it's something we need to address."
Sundhage, who coached the U.S. from 2008-12, took Brazil over last summer and has an 8-2-3 record.
The U.S. beat Canada 1-0 in its SheBelieves Cup opener on Thursday, while Brazil beat rival Argentina 4-1. Brazil is making its second overall appearance in the tournament, now in its sixth year.
For the first time this year, all of the U.S. players stood for the national anthem before the game.
"I think those that were collectively kneeling felt like we were kneeling to bring about attention to police brutality and systemic racism," Dunn said. "Moving forward, we decided we no longer feel the need to kneel because we are doing the work behind the scenes. We are combating systemic racism. We never felt we were going to kneel forever."
More AP soccer: https://apnews.com/hub/soccer and https://twitter.com/AP_Sports


text:
Talkin Shop with ShopSabre
The official Talkin Shop with ShopSabre podcast hosted by Brandon Bombardo from ShopSabre covers all things CNC. Covered will be a variety of CNC topics, discussions, tips, tricks, humor, and collaborations with other industry professionals. If you have an interest in CNC Routers or CNC Plasma machines, this is a podcast for you! We are excited to help you learn more about CNC Machines and..
Episode 90: Handling Stress in Your Business
by ShopSabre
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we talk about the many stresses that one can endure when owning a small business, big purchases, and moving forward in a positive trajectory. Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 89: New Year New Opportunities
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we kick off the New Year to discuss new opportunities within ShopSabre and the local businesses we support. We discuss the many ways in which we can improve in the next year, Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 87: Product Design & Support
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we talk about product design and support. We cover the basics of CNC design and how that may vary across other manufacturers and importers. We also talk about the benefits that lifetime customer support can offer. Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 86: The Importance of Research & Education
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we talk about the changing landscape of customers in regards to researching a product before purchasing. We discuss several factors that go into a customer's decision in our evolving economy. Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 85: Pricing & Structure
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we discuss pricing and structure in a contemporary market, and how people handle sales in an evolving economy. Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 84: Warranty & Support
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we discuss warranties and the importance of making sure your machine is supported by quality service. Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 82: Financing and What the Real World Looks Like
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we talk about the process of financing, potential risk factors included, and the benefits of acting now from a business standpoint. We are joined today by special guests from Geneva Capital, David and Connor! Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 81: Moving Forward without a Set Plan
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we talk about the thought process of buying a CNC table from a customer's standpoint. We dive into the potential questions a customer may have when planning to purchase new equipment. Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 80: What is Cheap and What is Value
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we talk about the differences between cheap purchases and purchases that hold value in relation to CNC equipment. Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Episode 79: Explaining the Difference Between Professional & Pretender
The official Talkin Shop podcast hosted by Brandon from ShopSabre covers all things CNC and business. In this episode we talk about distinguishing a professional from a pretender in a market that has become saturated with new competitors. Learn More and Follow Us: https://www.instagram.com/shopsabre/ https://www.facebook.com/Shopsabre ..read more
Follow Talkin Shop with ShopSabre on Feedspot


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So many big cities in one tiny pocket game! Children will travel the world and discover: Barcelona, New York City, Paris and London.
Labyrinths, puzzles and riddles that you can take anywhere, from the restaurant to the train!
The rules are translated into 6 languages, and coloring pages can be torn along the dotted lines to make sharing and storing easier.
- Roll is approximately 39.4"L x 4.3"W.
- Roll can be torn on the dotted line for easier playing and storage.
- Games instructions are translated in 6 languages.
"To infinity and beyond!" Children will be rocketed to another planet with this space theme full of robots, aliens, rocket ships!
Labyrinths, puzzles and riddles that you can take with you anywhere, from the restaurant to the train!
The rules are translated into 6 languages. Coloring pages can be torn along the dotted lines to make sharing and storing easier!
Take a plunge into this imaginary world full of super-heros, monsters and surprises! A fantastic activity for all!
A coloring roll that you can bring with you anywhere, from the restaurant to the train!
Abracadabra! There is lots of magic in this tiny box! Children will enjoy hours of play and coloring with princesses, dragons, wizards and castles.


Durango Hemi. dodge durango srt is america 39 s fastest and most powerful three row suv torque. 2017 dodge durango redesign review release date and price. file dodge durango 5 7 hemi citadel awd 2012 16002658980 jpg wikimedia commons. the 2018 dodge durango srt has 475 hp because hemi is where the heart is slashgear howldb. dodge durango hemi hybrid 2014 car review. 392 dodge durango. 1c4sdjct4hc611491 new 2017 dodge durango r t hemi leather tv dvd 3rd row free ship. 2018 dodge durango srt revealed 475 hp hemi v8. 2004 dodge durango hemi 4x4. 2004 dodge durango hemi awd for sale in east brunswick nj 5miles buy and sell. [Apriliasxv.com].
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text:
70 Arrested in Massive Drug Raid On White Supremacist Crime Ring
Pizzeria Owner Who Said Nancy Pelosi Needed to 'Hang' Convicted of Jan. 6 Charges
Parents Charged with Torture and Murder of 7-Year-Old Who Allegedly Had 'Over 100 Cigarette Burns on His Body'
New Alex Murdaugh Mugshot Has Some Scratching Their Heads
Massachusetts Mom Allegedly Killed Two Young Kids, Strangled Infant, Then Leapt From Window
Feds Point Judge to Photo of Secret Documents on the Floor at Mar-a-Lago, Say Trump's Complaints About Search Warrant Are 'Meritless'
Aaron KellerAug 31st, 2022, 12:32 am
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Federal prosecutors say FBI agents seized these materials from Mar-a-Lago. The contents of the documents were redacted with white squares. (Image via an Aug. 31, 2022 federal court filing.)
Federal prosecutors on Tuesday night filed a much-anticipated 58 pages of arguments and exhibits as part of an attempt to rubbish Donald Trump's efforts to force a review of a materials seized via a search warrant on Aug. 8 at the former president's Mar-a-Lago club and residence.
In previous court filings, the FBI indicated that the warrant resulted in the seizure of myriad secret and classified documents. Prosecutors showed showed some of the fruits of the search in a high-resolution but redacted color attachment to Tuesday's late-night filing. The photo, reproduced at the top of this report, is described in the prosecutors' own words as a "redacted FBI photograph of certain documents and classified cover sheets recovered from a container in the '45 office'" at Mar-a-Lago.
The documents, the filing asserts, were kept in both a storage room and in Trump's office at the palatial resort. The critical question raised by the documents is why some of the material allegedly migrated from one location to the other.
"Certain of the documents had colored cover sheets indicating their classification status," prosecutors indicated. "The classification levels ranged from CONFIDENTIAL to TOP SECRET information, and certain documents included additional sensitive compartments that signify very limited distribution. In some instances, even the FBI counterintelligence personnel and DOJ attorneys conducting the review required additional clearances before they were permitted to review certain documents."
Prosecutors with the U.S. Department of Justice said "the search cast serious doubt on the claim" by Trump's associates that a thorough attempt to return documents to the government had been completed with any requisite degree of diligence.
"The government also developed evidence that government records were likely concealed and removed from the Storage Room and that efforts were likely taken to obstruct the government's investigation," prosecutors wrote ten pages into the filing.
The document does not accuse anyone of a crime.
The filing in question was submitted to U.S. District Judge Aileen M. Cannon, a Trump appointee, in the literal eleventh hour. The document was due by the end of the day on Tuesday.
Trump's attorneys did not challenge the warrant directly. It was originally signed and supervised by U.S. Magistrate Judge Bruce Reinhart.
Rather, Trump's attorneys asked Judge Cannon via a separate lawsuit stylized as Trump v. United States to appoint a disinterested "special master" to ferret out any privileged material from the materials seized.
Prosecutors rebutted those requests by writing that Trump's complaints were little more than "wide-ranging meritless accusations leveled against the government."
"Plaintiff's filings present three issues: whether Plaintiff is currently entitled to the return of any property, to injunctive relief, and to the appointment of a special master," prosecutors indicated. "Not only does Plaintiff lack standing to raise these claims at this juncture, but even if his claims were properly raised, Plaintiff would not be entitled to the relief he seeks."
Prosecutors continued (legal citations omitted):
Plaintiff's motion to appoint a special master, enjoin further review of seized materials, and require the return of seized items fails for multiple, independent reasons. As an initial matter, the former President lacks standing to seek judicial relief or oversight as to Presidential records because those records do not belong to him. The Presidential Records Act makes clear that "[t]he United States" has "complete ownership, possession, and control" of them. Furthermore, this Court lacks jurisdiction to adjudicate Plaintiff's Fourth Amendment challenges to the validity of the search warrant and his arguments for returning or suppressing the materials seized. For those reasons and others, Plaintiff has shown no basis for the Court to grant injunctive relief. Plaintiff is not likely to succeed on the merits; he will suffer no injury absent an injunction—let alone an irreparable injury; and the harms to the government and the public would far outweigh any benefit to Plaintiff.
The document notes that a "more detailed" list of the materials seized from Mar-a-Lago was filed under seal. However, prosecutors did not object to its unsealing: " the government is prepared, given the extraordinary circumstances, to unseal the more detailed receipt and provide it immediately to Plaintiff."
Prosecutors went on as follows:
Even if the Court had jurisdiction to entertain Plaintiff's claims, appointment of a special master is unnecessary and would significantly harm important governmental interests, including national security interests. Appointment of a special master is disfavored in a case such as this. In any event, the government's filter team has already completed its work of segregating any seized materials that are potentially subject to attorney-client privilege, and the government's investigative team has already reviewed all of the remaining materials, including any that are potentially subject to claims of executive privilege. Appointment of a special master to review materials potentially subject to claims of executive privilege would be particularly inappropriate because binding Supreme Court precedent forecloses Plaintiff's argument that review of these materials by personnel within the Executive Branch raises any such privilege concerns. Furthermore, appointment of a special master would impede the government's ongoing criminal investigation and—if the special master were tasked with reviewing classified documents—would impede the Intelligence Community from conducting its ongoing review of the national security risk that improper storage of these highly sensitive materials may have caused and from identifying measures to rectify or mitigate any damage that improper storage caused. Lastly, this case does not involve any of the types of circumstances that have warranted appointment of a special master to review materials potentially subject to attorney-client privilege.
Law&Crime will continue to review the filing in question. The full document and its exhibits are embedded below:
Have a tip we should know? [email protected]
Donald TrumpMar-a-LagoMar-a-Lago WarrantTrump v. U.S.
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Aaron Keller holds a juris doctor degree from the University of New Hampshire School of Law and a broadcast journalism degree from Syracuse University. He is a former anchor and executive producer for the Law&Crime Network and is now deputy editor-in-chief for the Law&Crime website. DISCLAIMER: This website is for general informational purposes only. You should not rely on it for legal advice. Reading this site or interacting with the author via this site does not create an attorney-client relationship. This website is not a substitute for the advice of an attorney. Speak to a competent lawyer in your jurisdiction for legal advice and representation relevant to your situation.
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I was recently asked to be on the KPOV radio show, Voices From the Margins, to discuss our emotional health during the holidays. If you're facing the holidays with less than overall joy and excitement, you're not at all alone! In fact the host, Shanti O'Connor, sited The National Alliance on Mental Illness' survey showing that during the holidays 68% participants felt financially strained, 66% have experienced loneliness, 63% too much pressure, 57% unrealistic expectations, 55% found themselves remembering happier times in the past contrasting with the present, while 50% were unable to be with loved ones.
In the interview I address a few ways that you can practice slowing down, be with, and address the discomfort that may have increased during this holiday season. I discussed the most simple of breathing exercises, breathing out more than you're breathing in, throughout the day. This act of giving your body slightly less oxygen triggers your nervous system to calm down. The effects of relaxation can usually be felt within 5-10 breaths. I suggest people practice remembering to do your "out breaths" when you first wake up, every time you get in your car, every time before you eat, and before you go to sleep. After only a few weeks of practicing these nervous system resets, you should begin to experience an overall reduction of daily stress, it will be easier to calm your system during the exercise, and you'll begin to be able to effectively relax your nervous system at times of stress.
The other technique I discussed was a very simple Focusing practice. Focusing is a mindfulness-like process of attending to and engaging with the feeling of an experience, what we call the felt sense of something, until it shifts. So if after we do our breathing exercise, we just take a moment to feel into what we're feeling right then, to that vague and unclear sense of unease or ickiness for example, and allow it to be there rather than trying to change it, we will notice the feeling we may normally call "depression," "sadness," "anger," or whatever else we more habitually label it as, is actually in fact much more intricate and perhaps even entirely different than when we first labeled it. To allow the sense to unfold, we have to be as inviting and curious about the discomfort as possible. This is very much contrary to the messages we get as a culture these days, which is that we don't actually have to feel discomfort, that we can instead cover it up or distract ourselves from it at any moment with our phones, or within minutes at a drive through. But this practice of being with, allowing, and being interested in the discomfort, can be a profound change in the way that we approach our own experiences. It can also lead to helpful information as to what the next right step might be. Gene Gendlin, who developed Focusing, was known to say that in the problem inherently lies the solution. What follows from that is that if we aren't comfortable being with the problem, then the solution will be forever lost on us. Being with discomfort may seem overwhelming. But if we approach it as something in us that is sensing this weight, or tightness for example, then it's implied that this something that is uncomfortable is not all of us but is instead a small part of us, something that is changing, that will not feel like this forever. As we're with it, allowing it, and engaging with it, it often relaxes and shifts toward a more balanced, calmer feeling. The vague ickiness becomes clearer, not as vague, and has a chance to interact with our witnessing self (adult, integrated, whole self). This integration is in itself healing, as much suffering is caused by us splitting off discomfort, by us resisting it and not allowing it's natural, forward movement toward health.
7) Find a place for It to go so you can return to It (Picture making a box for it, or a place in the world it can live).
7) Try to see from It's perspective, "what about this makes me so..." Sense how It's feeling from Its point of view. Sensing how It itself feels. If it were a puppy or child, what does It want or need right now, what's the worst of this, what should happen? What would It feel like if everything was all okay?
11) Find a place for It to go so you can return to It (Picture making a box for it, or a place in the world it can live).
May your holidays be filled with calm and ease and many moments of being present in peace.


This 996 GT3 RS is one of a series of limited edition vehicles, and only 682 has been built. Especially with this white – blue version, only 200 vehicles has been built in the Factory. In addition, this beautiful 996 GT3 RS is fitted with a ceramic brake system. All services are done at the Porsche Centre. This vehicle therefore fulfills ideal conditions for a longer-term investment.


The Peoples Democratic Party (PDP) has promised to return the pump price of petrol from N145 to N87 per litre if its presidential candidate, Atiku Abubakar, is elected next year.
In a statement by its national publicity secretary, Kola Ologbondiyan, PDP said Atiku had worked out a template that would immediately crash the price of petrol.
The main opposition party rejected the Federal Government's increase in the pump prices of diesel and kerosene, arguing that the development had further impoverished the citizens, businesses and the nation at large.


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Design Commmission to review new Pearl Marriott Hotel proposal
The City of Portland Bureau of Development Services is preparing for a public hearing on the proposal for the Pearl Marriott Hotel to be built at NW 9th and Marshall. The hearing before the Design Commission is tentatively scheduled for May 17 at 1:30pm.
The followng description is included in a Request for Response sent on April 2, 2012. http://www.portlandonline.com/bds/index.cfm?a=392042&c=42259
Proposal: A new six-story hotel, courtyard, and associated sidewalk improvements are proposed on a vacant, full-block site on the east side of NW 9th Avenue, between NW Marshall and Northrup Streets on the south and north, and NW Station Way to the east. The layout of the building is in a 'U" shape open to the south, with a ground level courtyard and passenger vehicle driveway and valet parking turnaround. The proposal may utilize some off-site parking in the Station Place Garage across NW Marshall Street to the southeast, although this will require approval through a (separate) Central City Parking Review. No on-site parking is proposed.
The main floor of the hotel will include a main entry facing NW 9th Avenue, with a secondary courtyard and valet drop-off entry on the opposite side of the lobby. The main floor will include a reception and lobby area, a lounge and breakfast room area, conference rooms, and an exercise area with indoor pool for hotel guests. The upper five floors will contain 224 hotel guest rooms, each with a small kitchenette. The Marriott Residence Inn hotel concept caters to travelers who typically stay at the hotel for an average of 5-6 days. Each floor of the hotel building is approximately 28,000 square feet, and the gross square footage of the building is 172,700 square feet.
Exterior materials on the building include a light colored brick, metal panel systems, fiberglass windows on the upper floors, and an aluminum storefront system at the ground floor. A perforated metal panel system is used on a vertical wrapping tower/screen element near the main entry on 9th Avenue, extending vertically up the façade and then horizontally across the roof. Rooftop mechanical equipment is mounted behind metal equipment screen walls, and approximately half of the roof, on the south portions of the building, will include an eco-roof.
In 2001, a Central City Master Plan (LUR 01-00281 MS SU) approved residential-only uses for this block, and required a publicly-accessible plaza area of approximately 2,450 square feet along the NW Marshall street frontage of the site. The applicant is proposing to construct the required plaza, but a Central City Master Plan Amendment is necessary to allow the hotel versus residential uses on the site.
For a building of this size, the Zoning Code requires two on-site loading bays. A single loading bay is proposed for the north face of the building, off of NW Northrup Street. In order to reduce the required number of loading spaces from two to one, the applicant has requested an Adjustment Review.
Public improvements with the project include new sidewalks and street trees in the rights-of-way immediately adjacent to the hotel, which are improved with curbing only today except along NW 9th Avenue. New street tree species include Red Maples, Hornbeams, and flowering pear trees. Connections to public water services, sanitary sewers, and storm sewers in adjacent streets are also proposed.


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Q: How prove this ineuality$\sqrt{x+1}+\sqrt{y+1}+\sqrt{z+1}\le\sqrt{xy+yz+zx+9}$ let $$x,y,z\in(-1,1), x+y+z=-xyz$$
show that
$$\sqrt{x+1}+\sqrt{y+1}+\sqrt{z+1}\le\sqrt{xy+yz+zx+9}$$
This problem is my frends ask me,I remenber this is old inequality,But Now I can't it
$$x+y+z+3+2\sum_{cyc}\sqrt{xy+x+y+1}\le xy+yz+xz+9$$

A: Do as you said and we only have to prove
$$2\sum_{cyc}\sqrt{xy+x+y+1}\le xy+yz+xz+6-x-y-z$$
This is right, since $\displaystyle x+y+z=-xyz$ and $x,y,z,xy,yz,xz\in(-1;1)$, we have:
$2\sqrt{xy+x+y+1}
=2\sqrt{xy+x+y+1-x-y-z-xyz}
=2\sqrt{xy-xyz+1-z}
=2\sqrt{(1-z)(1+xy)}
\le 1-z+1+xy$
Do this with the other two and sum up, we have the inequality.


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text:
Q: Unmanaged code in .Net We have a custom Listview Treegrid in c++ project built on the Codeproject TreeGrid example from here.  The code has been modified quite extensively over time.
I have a requirement to port the c++ project to C# Winforms.  I'm thinking of creating a c++ dll for the Listview grid and interoperate with it in Winforms.
Am I asking for for trouble using an unmanaged Listview control in Winforms?  Should I just port/rewrite the listview in Winforms? (A task I do not look forward too)

A: I think it would be best to re-write it in managed code.
Interoperability usually works, but there's a reason managed code is preferred.  The runtime takes care of so many things for you, and it's just easier to maintain all around. Crossing the boundary can be problematic for some tasks.  You also lose Code Access Security, for example.  There's some good info here.
If you don't then you'll always need a .NET developer and a c++ developer to maintain it.
There's nothing wrong with c++/native code on its own, but mixing the two. I just think it's better long term not to mix unless you have to.
That said, there are time and budgetary constraints.  Interop exists for a reason.  If it would absolutely take too long to justify from a business sense, I'd retract the above recommendation.

A: If I were you, I would prefer rewriting the Listview in C# or looking for a free or paid Grid that was written in C# and is meant to be used in Winforms.
Don't forget that you will have to support the code after you do this job,
this probably includes fixing bugs and adding features.
It's better to know exactly how your code works and how to debug it.
You also gives you a chance to write a Listview that is better suited for your needs.
This will be quite difficult if you'll use this C++ Listview and use it in Winforms.
But if you decide using it, there are two options that I can think of:

*

*Creating a wrapper for the Listview in C++/CLI that will hold the object and show the data in C#, this means that you will have to write a lot of conversion code to move the data from the Listview to the C# objects, but it should work.

*Using DllImport and working with the ListView as a datasource, I'm not really sure how exactly you will be able to get all the data from it, but it prevents you from writing the ugly CLI code...
So to wrap it up, I recommend using a single language for UI code, and my language of choice for UI is C#, not C++.
Good luck...


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MOST POPULAR ETHNIC CUISINE IN AUSTRALIA
December 10, 2019 /in Food and Beverage, Latest News, Drop Goss, Library, Food & Beverage, Directory /by Diniesh Angel
Google provides data on a whole range of topics, including national cuisines, and allocates a score that indicates the level of interest in the topic. Google uses AI to categorize search terms for national cuisines. For example, Japanese cuisine will comprise hundreds or thousands of searches related to the topic such as Japanese restaurants, Japanese rice, sushi, sushi recipes, Japanese food, and even names of well-known Japanese restaurants.
Google then counts how often they are used in countries, regional areas, towns and cities relative to all local searches and allocates an interest score.
For example, if Geelong scores 100 for Japanese cuisine and Sydney scores 80, it doesn't mean more searches were done in Geelong than in Sydney; it means a higher percentage of people in Geelong than in Sydney searched for Japanese cuisine.
Let's look in-depth at the top six favoured cuisines, showing each region's and city's preference for a cuisine over the other four as a percentage. Of course, being not only down under but down under Asia, it is unsurprising that food from the region dominates the top six.
Read on to find out how the world's food ranked in Australia this year:
6. Mexican (Popularity Score 27)
Australia is going taco crazy, headlines Quartz magazine in 2015. And indeed – Mexican food popularity has soared in the early 2010s in Australia, according to Google data, and is now one of the most popular ethnic foods here.
Mexican food is most popular in Victoria (Score 100), followed by New South Wales (Score 88) and South Australia (Score 88). On a city level, the top spot is shared between Geelong and Sunshine Coast, with Gold Coast and Central Coast coming up in the 3rd and 4th place.
Australia's Capital of Mexican Cuisine: Geelong and Sunshine Coast
5. Indian (Popularity Score 29)
Indian and Mexican food fought for fifth position throughout the year, but Indian pipped Mexican (Popularity Score 27) at the post. And so it should, with Indians being the fourth largest immigrant community.
Australians love the intensity and colour of Indian cuisine and enjoy foods from various regions.
Across the country a taste for curries and naan has mushroomed since the 1960s, but it was Melbourne that scored full 100 points in popularity this year, Hobart second, with Sydney coming 7th with 81.
On a regional level, Indian food is most popular in Victoria (Score 100), followed by Western Australia (Score 88) and South Australia (Score 88). Hover on the map below to view popularity scores for each state and territory.
Australia's Capital of Indian Cuisine: Melbourne
4. Japanese (Popularity Score 32)
There's a love affair with Japanese food going on in Australia that is driven by the cuisine's seasonality, simplicity, and abundance of flavour. Australians are also thinking sustainability and the ethical sourcing of ingredients is driving interest in the cuisine.
Melbourne came top again in popularity stakes, scoring 100 points, with Sydney coming second with 90. The Northern Territory seems less sure of Japanese food with a score of just 40.
On a regional level, Japanese food is most popular in Victoria (Score 100), followed by Western Australia (Score 83).
Australia's Capital of Japanese Cuisine: Melbourne
3. Italian (Popularity Score 45)
Italian cuisine might have been voted the world's most popular, but down here the only non-Asian food in the top five comes in third. Makes perfect sense as Italians are the third biggest ethnic group in Australia and Italian is the third most spoken language.
It all began after World War Two when Italians began migrating to the country and bringing with them the delicacies of Italian food. But we weren't quick to savour the taste but as the ingredients became easier to get hold of, the Aussies love of Italian food took off.
Perth scored the highest interest with 100 points, but Sunshine Coast, Sydney, Gold Coast and Melbourne all came in with scores in the 90s.
Italian food is most popular in Western Australia (Score 100), followed by New South Wales (Score 94) and Victoria (Score 80). Hover on the map below to view popularity scores for each state and territory.
Australia's Capital of Italian Cuisine: Perth
2. Chinese (Popularity Score 57)
Every town in Australia has a Chinese restaurant, according to SBS. That's just how popular the Chinese cuisine is. The food was first available in the 1850s but its popularity didn't really take off until the 1960s.
According to a 2017 survey by research firm Roy Morgan, Chinese was the most popular cuisine across age groups in Australia. But that was a survey of 50,000. The beauty of Google Trends is that it picks up the interest of every computer user in the country, and that's a full 86% of homes.
Moreover, most Google searches show a clear intent for consuming dishes specific to a certain cuisine, either at home or while eating out, whereas Roy Morgan survey shows a preference for a cuisine, but not necessarily how many people are actually enjoying it.
Chinese food is most popular in Western Australia (Score 100), followed by New South Wales (Score 96) and Queensland (Score 84).
And the capital of Chinese food in Australia? Mandurah, which scored 100 in popularity with Central Coast second with 90.
Australia's Capital of Chinese Cuisine: Mandurah
1. Thai (Popularity Score 73)
Australia hosts more Thai restaurants per person outside Thailand than any other country. That's how much they love the food.
It's the balance of sweet, sour, hot and salty, the wonderful of array of dishes that make up a full Thai meal, and the availability of ingredients that make the food so tempting to the Australian taste.
Clearly, the Australian palate has become far more sophisticated than a few decades ago. It has come a long way and they have the migrants seeking new lives to thank for bringing such delights to their shores.
Thai food is most popular in New South Wales (Score 100), followed by Queensland (Score 93) and Victoria (Score 77).
On a city level, Thai cuisine is most popular in Sunshine Coast, followed by Cairns and Central Coast.
Australia's Capital of Thai Cuisine: Sunshine Coast
To check out the interactive Top 10 maps for each cuisine on the Chef's Pencil website click here >>>
https://chefspencil.com/most-popular-ethnic-cuisine-in-australia/
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A Quack Too Far by Melissa Culhane
ZF Team 09 March 2022
A fox settles down to sleep for the day, listening to the beautiful birdsong in the forest. However a noisy duck moves in next door and won't shut up. What does the fox have to do to get some peace?
This is the basis behind Melissa Culhane's animation short, A Quack Too Far. Here's the film to watch, and an insider info on the film's making
Watch A Quack Too Far:
ZF: The concept is delightful. I was wondering if that came out of a personal experience or you just made that up. We all seem to have these kinds of experiences, but tell us your story.
MC: Thank you! I really like the Grimm Brother's fairytales and I know they seem to be out of fashion these days as parents think they are too dark for the children. There's one particular one called 'The Cat and Mouse in Partnership' which was part of the inspiration behind 'A Quack Too Far'. The cat charms her way into the mouses life and they live together all winter until the surprising (but also inevitable!) conclusion when the cat eats the mouse. The final line is, "well what did you expect, it's a cat!" I wanted my story to have a similar message, that some creatures are just not suitable to hang out with, or you'll get eaten. I am big into seeing the best in everyone and being open-hearted but when you are a mouse or a duck, maybe put a limit on your compassion - if your friend is a bully, it's ok not to be friends with them.
ZF: Comedy needs very precise timing. Did you actually think through all your situations with script, storyboards etc.?
MC: I've been thinking a lot about the idea of working out everything in advance. For a Quack Too Far, I had a very minimal script and storyboard. I work best when I'm in the middle of the thing - so I felt into the timing of it as I was animating. The animation style was very simple and I was working on my own so it allowed for this approach. I'm good at the big beats but then it took a lot to get my head around the small connecting details - how everything links together, and how the character ends up here when he was there. I was more in a picture book mode to start with so that was an interesting learning curve.
For the animation that I'm currently working on, instead of the minimal storyboard, I did it the "right" way - and worked up every scene in detail. I'm still working on my own so I'm not sure I needed to lock myself in so tightly from the start. Most people seem to respond well to having everything mapped out and taking a linear approach, but I'm not convinced that it's the best way for me personally. It feels a bit too tight of a box to work in, like there's not enough breathing space. Maybe it's because all the fun decisions are already made and I'm just left with the hard slog. So that's something I'm trying to figure out a balance with.
I did a portrait course with the artist Sharon Brindle and she said, "the not-knowingness is a powerful place to be in" and I really agree. It's not a comfortable space but it can bring you deeper. I think that's why I like to work more intuitively as it means the conversation is constantly in motion between me and the work, the technique and the creation. So for me, having all the important decisions made in advance of making the actual piece, isn't the best approach. I think it's also partially to do with the fact that when I'm planning in advance, there's an element of the abstract to it which I can't fully connect to, whereas when I'm seeing the changes happening in front of me I can understand it better.
I think when you are working on your own you need a lightness, a bounciness, as you have to generate your own momentum. When you are in a big production the machine is moving by itself and you just need to link in with it and keep up. But making work completely on your own makes you both the taskmaster and the servant, so there's a whole unique set of challenges there. I am learning to allow myself to design my own rules, even if they seem unconventional to the outside world. I watched a few interviews with Mariusz Wilczynski talking about how he made Kill it and Leave this Town and it gave me strength when I was losing courage. He is very unique in his approach and that translates directly into the work. He purposefully made his own rules and followed his instincts. That film couldn't have been made any other way or it would have been a different film.
ZF: I liked the fact that the fox only uses its own force in the end, trying to rationally solve the situation beforehand. Was it part of the plot as well?
I feel like the fox was only showing patience so that he had a fresh duck in his backyard but maybe I'm just being cynical. That fox is so mean! He could easily have used brute force immediately but I guess he wasn't hungry enough. I know that foxes in the wild don't eat the neighbouring mice and rabbits until the weather gets bad and they are forced to stay near home. Some audiences think he was very patient to last that long but personally, I think it was calculated.
ZF: Is the whole film digital animation?
MC: Yes! It's completely digital. I was quite inexperienced in animation when I made this so I knew I had keep it simple. I designed it around my own personal strengths and limitations. I was already good at Illustrator and Photoshop (I teach digital illustration) so the production and character design came easy. There was a drawing I made a few years earlier (for a book called Naturama) of a fox asleep in a beautiful forest. This was my jumping off point for both the story and for the location design. I developed the forest backdrop in Illustrator. The characters were drawn in Photoshop so that I could take advantage of the brushes, which would introduce some texture against the flat background. I animated in After Effects. I used a Duik rig for the fox and a basic frame replacement technique for the duck. The drawing bit was easy but I really had to pull together all my strength to figure out how to make things move the way I wanted them to. Finally, I did the basic compositing in Premiere Pro.
ZF: How did you figure out the sound design? Obviously, sounds are very important in the film -they carry a big narrative burden.
MC: I made the decision early on to have no dialogue to be accessible to children worldwide without subtitles. I am also a fan of Pingu! The sound design itself came together in the final stages. I had an idea of what I wanted then it was a case of jumping in and using my voice to make funny sounds. I pressed play on the animation and watched it as I improvised sounds over it until it felt right. I recorded it on my iphone and brought it in straight. I know it's not perfect but I really like the immediacy of the sounds and I wanted something energetic. The birdsong track was lain underneath everything so that smoothed out the cracks.
ZF: I understand this is a student film. Tell us how the production started, your schedule and people who helped you. What was the biggest challenge here, deadlines or artistic work or both?
MC: I worked for a good few years in design, particularly focused on illustration, so it's only recently that I've been making animation. I did a one year course, a certificate in animation, before signing up for a one year 'top-up' degree in animation in Coláiste Dhúlaigh College of Further Education in Dublin. This was when I made A Quack Too Far. I was thrown in at the deep end but it was a really nurturing environment. My teachers were really encouraging and believed in me, which helped! I hadn't really planned on spending another year in college but sometimes things happen in my life where my next move is so clear that it feels impossible to take any other path. It's as if everything else fades away and only one option is glowing in front of me, and this was one of those times.
When I started college, I jumped straight into the scriptwriting. I wrote the main beats of the story on the first day. I already knew I wanted a forest and a fox then the rest of the story came together quickly during a writing exercise. I worked out a very basic animatic during the first semester. A couple of days after I made my pre-production presentation, I got married (and changed my surname from Doran to Culhane). So it was quite a busy time! January until May was the designated production time. I got really stuck for a few weeks, then overwhelmed. So overcoming the stuck-ness was by far the biggest challenge of the film. But something finally clicked and I was able to power up and get it done in time for my final presentation. I would say the deadline ultimately helped me even though it seemed impossible at one point. The following month it got accepted into the Galway Film Fleadh for its premiere which was the perfect launchpad to the world.
ZF: Does life in the forest/nature attract you personally? Or the film is only a reminder that even nature has its own rules that might be broken?
MC: I love being out in nature. I recently moved to Donegal in the northwest of Ireland which is famous for its stunning mountainous landscapes and beautiful beaches, so now I am even more connected to nature. I illustrated a book called Naturama, which is all about Irish wildlife and I do loads of nature art workshops with kids. When I was small I kept nature journals and knew all the names of all the birds and their songs. There is so much to learn, on all levels, through studying nature. Whatever your age it can help you make sense of your place in the world and helps you understand so much. At the moment I'm making a short animation called Keep Going, Little Snail. I keep going back to the idea of how each creature and plant has adapted a different pace of life for themselves, whilst perfectly fitting into the overall pace of the eco system around them. There's a famous Lao Tzu quote - "Nature does not hurry, yet everything is accomplished." I'm trying to accept my slow pace of creation at the moment and absorb the lessons that my main character, the patient and resilient snail, is teaching me.
ZF: Are you happy continuing with animation shorts directing or perhaps you would like to get aboard on a big animation project as an animation professional? The animation scene in Ireland is very vibrant.
MC: There are so many great productions coming out of Ireland, so working with an established company would be an exciting possibility. I'm trying to design a life for myself where I can be creative, give attention to my loved ones, as well as generate enough income to live well. I am currently animating Keep Going, Little Snail so that's my focus for the present moment. There is so many things I want to do next... I don't know what my next move will be but am sure that when the time comes, my next direction will be glowing in front of me and all will be clear.
Film Review (Vassilis Kroustallis)
Three times is the lucky (or unlucky) number in Melissa Culhane's definitely relatable A Quack Too Far, which manages to get its message across from the first frame -or quack. Drawn as to be an innocent nature adventure, and heard as if a noise is about to enter your eardrum, the comedy short is effectively calculated and executed. Poor (?) duck.
About Melissa Culhane
Melissa Culhane (formerly Doran) is an Irish illustrator and animator. She illustrated the best selling wildlife books Naturama and My Naturama Nature Journal. She has a degrees in animation, architecture, and a masters in digital media technology. A Quack Too Far, her graduate short, was released in 2019. Keep Going, Little Snail is her first professional short animation and is funded by the Arts Council of Ireland, Donegal County Council, Creative Ireland, and Westmeath County Council.
Melissa Culhane on the web, Instagram and Facebook
Melissa Culhane
Cockpera by Kata Gugić
Leaf by Aliona Baranova
Vassilis Kroustallis 29 December 2022
'What's Love Got to Do With It' by Irina Rubina
Kropka 21 December 2022


The good news: By 2045, Columbus has bucked its opioid addiction. The bad news: It's replaced it with something far worse.
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