text:
Long Live the King: Don King Fights for a Better America
He may have coined the phrase "Only in America," but that was a lifetime ago. In this lifetime, Don King is fighting for a better America.
Interview by Kamal Hotchandani
Story by Stephanie Wilson
Photography by Donna Victor
Don King's shots provided by David Martin
Iraq pictures by Kimi Zabihyan
A conversation with Don King is laden with lessons that take a lifetime to amass. Whether said conversation takes place inside his beautiful-and beautifully ornate-mansion on the sands of Manalapan, Florida, as ours did, or in the desert sands of Iraq (where he just returned from a second good will trip), one walks away from Don King with a finer knowledge of the past of this great nation of ours. This is a man who, while rooted in history, is rooting for the betterment of the American people as a whole in the future. And it doesn't matter which person-black, white, brown, or yellow-King wants everyone to work together to create the unique brand of unity that is found "Only in America."
These truths come pouring out of the legendary boxing promoter on a sunny Florida day in mid-December. We had the pleasure of joining Don King at his estate just one week before Christmas, and at the end of the day, our appreciation for all things U.S.A. was so enhanced, there was a strong desire to pick up an American flag and start waving it about, a desire that must be contagious when one is around Don King, evidenced by the countless images he shared with us during our tenure in his presence.
And throughout his long career, Don King has made a significant impact on the sport of boxing, but also on the lives of those boxers: Ninety-three boxers have earned $1 million or more under King Productions-promoted events.
Don King. We say Don King because that is how he continuously refers to others: using their full names. Whether speaking about Frederick Douglas, Aretha Franklin, or George Walker Bush, Don King time and again uses their full names: perhaps a result of a lifelong career as a boxing promoter, or his admirable thoroughness and attention to detail.
And thorough he is. He leaves virtually no stone unturned, no subject uncovered, when discussing what is important to him, from his rock and roll beginnings at his nightclub, Corner Tavern, which has hosted all of the greats, to his promoting career, where, likewise, he has worked with every great name that ascended through the sport. He credits his successes all back to his lovely and loving wife, Henrietta. "Nothing in my life is more important to me than her… She's there with the best of them, the sorrow, the trials and tribulations, you know, and there's the essence of what life is really about, you know. L-O-V-E."
And there, just minutes into our conversation, is our first Don King-ism, a series of words that are profound, simple, heartfelt, and real. It seems merely seconds before he spouts another one, this about his philanthropy: "The highest form of charity is opportunity." He then cites The Bible. References John Fitzgerald Kennedy. Quotes Susan B. Anthony. It doesn't take long to realize that this man, a pop-icon for decades, really is the larger-than-life character who one has seen on the television screen, promoting more than 500 fights throughout his boxing career, which began with a philanthropic request for Muhammad Ali.
Don King, born in Cleveland, Ohio, in 1931, is extremely loyal to his roots, and so when a hospital in his hometown was facing financial doom, he convinced Muhammad Ali to support a fundraising benefit. The two clicked, and boxing has never been the same, because, as the Don King-ism goes, "In a thousand ways, one man can make a difference."
And throughout his long career, Don King has made a significant impact on the sport of boxing, but also on the lives of those boxers: Ninety-three boxers have earned $1 million or more under King Productions-promoted events. On Don King's watch, the first Mike Tyson vs. Evander Holyfield fight was seen by more than two billion people. And the famed "Rumble in the Jungle," the tussle between Muhammad Ali and George Foreman that went down in Zaire? Don King was behind that one, too. In 1981, he became the first promoter to guarantee a fighter-in this case Sugar Ray Leonard-a $10 million purse.
But he is quick to dismiss the monetary value: "Money ain't worth having if you have to trade your money for your character and your integrity and your honor; you don't need that. If you can maneuver around to keep them both, great, but don't sell your soul. The Bible says, 'What good is it to gain the whole world and lose your soul?' Don't trade it in, take them both. Get the money and keep your reputation and your honor, then it has a lasting affect. But when you don't have your honor, you are not going to make it."
on King has had the ability to keep both. His massive oceanfront property in Manalapan (complete with a replica of the Statue of Liberty facing the Atlantic), is filled with priceless artwork and books that are the manifestations of his hard work. Even Forbes magazine has said, "Cash is part of the King persona," but it hasn't always been so. His youth was hard and many of his lessons were learned while hustling on the streets. "I'm not a graduate of Yale, Princeton, Cambridge, Harvard, or Oxford," he says. "I graduated from the University of Hard Knocks, and I graduated summa cum laude."
While that Don King-ism may be a little over-the-top, so is Don King, right on down to the electrified hair and jewel-studded American flag jean jacket, a Don King wardrobe staple. He wore it throughout his recent tour of Iraq, where his belief in the spirit of the American soldier was further cemented.
"I have the utmost respect for the men and women of our armed services. They pay the ultimate sacrifice in laying down their lives to protect our lives and the freedoms and liberties we enjoy. Nothing is too good for them and nothing we can do is enough. When I visited Iraq over Thanksgiving I was so impressed by these young men and women. Their character and their dedication and commitment is so inspiring. It just filled my heart with pride to stand side by side with these servicemen and women in Camp Warhorse in southern Iraq as we saluted the flag. It was a tremendous experience and one I shall always remember."
Don King lives for this country
He breathes for it and fights for it every day, as evidenced by his support of organizations like the NAACP, the United Negro College Fund, the Martin Luther King Jr. Foundation, the Simon Wiesenthal Center, National Hispanic Scholarship Fund, National Coalition of Title 1/Chapter 1 Parents, and so on. He states, "It's so fundamentally important that we recognize that we have the greatest nation in the world, and that we work toward the betterment of this nation by appreciating those who are different from us in the pigmentation of their skin, but who would judge us in content and in character of heart."
And as one of America's biggest advocates, he is a huge supporter for the country's controversial commander in chief, which he explains, of course, with a historical quote. "Shakespeare said, 'To thine own self be true.' If [people are] true to themselves, they would join me in celebrating George Walker Bush as one of the greatest presidents we've ever had, not from the battlefront or academic recognition, but from the heartfelt association with the masses of the people in America." George Walker Bush's often-used word that has struck a cord with Don King? Inclusive. Being that Don King is a constant advocate for a society where everyone is treated equally, the president's message corresponds with Don King's, and so during the presidential campaigns, Don King toured to raise support for George Walker Bush from the minority voters.
He also campaigns to give the minority a voice. In 1998, he bought Cleveland newspaper Call & Post, which he describes as "the paper for the black community in Ohio." He obviously has a thing for the demographic dissemination of information: He is launching www.DonKingNetworkTV.com. He explains, "I want to bring a network where I can give all the people a platform to speak their voice," which fits in with the idea of inclusiveness that pervades every aspect of his being. "I want to open the door to the mass public-whatever they want to do, they want to talk about baby stories, whatever they want to do, because it's going to be a democratic process. … Just as I live my life, I'm a people person. I'm a promoter of the people, for the people, and by the people, and my magic lies in my people ties, so I am going to be a television entrepreneur of the people, for the people, by the people, and the magic will lie in my people ties."
He continuously speaks in this descriptive and self-righteous prose that is indicative of a knowledge of the intricacies of both his past and the collective past of this country and the world beyond. For example, in one long Don King-ism, he cites Jesus, Confucius, and the great general Sun Tzu, who said, according to King, "You create havoc in the West, you strike in the East." This sounds a tad like the Muhammad Ali saying, "Float like a butterfly, sting like a bee." Don King is a man so rooted in the world of fighting, he can't help but make connections; even his multimillion-dollar art collection is reflective of it, as he collects works from places that were battlefronts.
is life is a constant battle, or at least is always about the next joust, which in this case, was the January 19 bout between Felix Trinidad and Roy Jones Jr., which Don King lauded as "The biggest event of alllll time" on his website, www.DonKing.com. He even compared it to the Rumble in the Jungle. "It is 'Bring on the Titans!' in Madison Square Garden," he said.
And Don King, without a doubt, is the greatest titan of them all. Overcoming adversity to be the face of boxing, Don King is the American Dream.
As he says, "Still standing. I've been born, shot, stabbed, bowed up; It's unbelievable, but I am still standing." Surely, we can expect to see many more great things come from Don King's corner.
Francis Ford Coppola Presents
To the Limit: Veuve Clicquot launches Vertical Limit by Porsche


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text:
Viral video star who claimed God cured his homosexuality has a bowl of frozen yogurt thrown in his FACE by an openly gay Fro Yo cashier who recognized him
Andrew Caldwell, 21, went viral in November after footage from a St. Louis megachurch showed him screaming 'I don't like mens no more'
He claimed to have been 'delivered', or cured of being gay
Caldwell had yogurt thrown at him at a FroYo in Delmar on Wednesday
He claims the employee recognized him and lashed out
However the worker, Stephanie Diaz, said Caldwell called her a 'dog'
By Joel Christie For Dailymail.com
Published: 12:06 EST, 24 April 2015 | Updated: 15:10 EST, 24 April 2015
According to a woman who is apparently against the preachings of Andrew Caldwell, the St. Louis man got his just desserts.
The 21-year-old became somewhat infamous late last year for video of him screaming 'I don't like mens no more - I like women, women, women!' after a pastor at an evangelical megachurch claimed to have cured his homosexuality.
Caldwell hit headlines in November after the footage surfaced of him being 'delivered' by God.
But he says he was attacked by an employee at a FroYo in Delmar on Wednesday after the cashier recognized him. He ended up completely doused in his own dessert at the counter.
'I filled (the bowl) all the way up to the top - I had some Kit Kats, I had some Reese's on it,' Caldwell told STL Today.
'It was all all in my face, on my clothes, in my shoes.'
Unhappy viewer: This is the moment St. Louis FroYo cashier Stephanie Diaz (green shirt) throws a bowl of yogurt in the face of Andrew Caldwell, a man who found internet fame for saying God cured his homosexuality
Doused in dessert: Caldwell claimed Diaz attacked him because she disagreed with his ideals about being 'cured'. However Diaz said he demanded a discount and called her a 'dog'
Heated confrontation over frozen yogurt: Caldwell was covered in FroYo, and said his bowl was extra large
Megachurch star: Andrew Caldwell in a still from a video of him speaking during a Church of God in Christ Convention in St. Louis last year, where he infamously said he 'don't like mens no more'
Caldwell claims the employee recognized him from his video at the Church of God in Christ's 107th Holy Convocation.
He said the woman called him a gay slur, said that it was impossible for God to 'turn' gay people straight, and then picked up the extra large bowl from the scale at the counter and aggressively threw it in Caldwell's face, according to The St. Louis Post-Dispatch.
However the employee, Stephanie Diaz, says Caldwell is a liar.
In an interview with the same TV station, Diaz said Caldwell demanded a discount for his yogurt.
When she didn't relent, he called her a 'dog' and a 'b----', Diaz said.
Diaz, who is openly gay, said it had nothing to do with the viral video.
'I threw the ice cream at him,' she said outside of the store Thursday.
'He called me a dog. … I lost it.'
'I lost it': Stephanie Diaz, who is openly gay, admits to throwing the yogurt at Caldwell, but said he is lying about his story
Scene: The incident occurred Wednesday at his FroYo store in Delmar, St.Louis
Comfortably straight: Andrew Caldwell, seen here in a recent photo from his Facebook page, happily announced last year that God had cured his homosexuality and that he had been 'delivered'
CCTV footage released of the incident shows Caldwell throwing money at Diaz.
That is when Diaz throws the yogurt.
The FroYo store released the footage to show Caldwell was lying.
Marco Rubio reaches out to gay Republicans as he builds new... Plans for rainbow-coloured zebra crossing to support gay...
Diaz said she had never seen the church video or heard of Caldwell.
She has been charged with third-degree assault.
However Diaz has not been fired.
FroYo have said any punishment that should occur from the incident will be handled internally.
Stylish: Caldwell is pictured here dressed in head-to-toe designer clothing on his Facebook page
Caldwell says he is considering suing Diaz and FroYo.
In he video of Caldwell being 'delivered' that went viral, he announces into the microphone: 'I'm not gay no more! I am delivered! I don't like mens no more! I said I like women! Women, women, women! I said women! I'm not gay! I will not date a man! I will not carry a purse! I will not put on makeup! I will love a woman.'
The megachurch audience can be heard screaming and cheering in the background, congratulating Caldwell on no longer being gay.
The pastor then hands him $100, saying the Lord told him to.
After the video spread, Caldwell - who was extravagantly dressed in a paisley suit, purple shirt and mustard bow tie - did a series of interviews, where he said he meant what he said, but was unhappy the video became so popular.
He said he did not want to get in front of the church to begin with, but believes his homosexuality no longer exists
Delmar FroYo attack triggered by viral video about gay conversion, man claims : Lifestyles
Viral video star who claimed God cured homosexuality has Fro Yo thrown in face

redpajama_set_name: RedPajamaCommonCrawl


so i've decided that i've stepped a bit too far away from photography in the last few years and that this year i'm going to fix that.
after carefully pondering the different types of photography that i enjoy most, i felt a severe lacking of something simple, manual, and as close to shooting with a film rangefinder as possible (without dropping a massive sum on a the new Leica). thankfully Sony came out with a camera that seemed to fit the bill to to a T, the new Sony A7R. this 36.4mp monster is packed into something more closely resembling a pocket camera rather than a professional level "DSLR" type camera (i have a very hard time calling anything with a digital viewfinder an SLR). though the best thing for me about this camera, is the ability to fit my collection of Leica M-mount glass on it, which i have plenty thats been just collecting dust.
i still need a Novoflex Nikon to NEX adapter so I can my Nikon glass, especially my 85/1.4, and i wouldn't mind a couple more batteries either.
well that's it until i actually get the body, next paycheck here we come!
Are these pic's from the A7R?
Hey Ron, not yet, haha I was started building up a kit before I decided to buy the camera.
I've actually replaced a few of these lenses already (happened on a couple deals). I now have a Minolta AF 80-200/2.8 HS APO G, Sony Carl Zeiss Vario-Sonnar T* 24-70/2.8, and I'm getting the Sonnar T* FE 35/2.8 ZA with the camera.


I considered cutting from the thicket.
swaddled in pine needle cradles.
shelved in the frozen cellar.
or just another, inconsequential sparrow.
Daniel David is a writer, artist and professor living along the southern shore of Lake Erie in North America. His poems have appeared widely in a number of venues across the United States, in Canada and the United Kingdom. His publications also include articles in the Journal of Creative Behavior; chapbooks Close to Home and Two Buddha; and his novel, Flying Over Erie.


The Water and Nature Initiate's (WANI) activities in the Mekong followed a strategy of mobilizing grass-roots engagement of local stakeholders in decision making, while facilitating high-level dialogues. This helped to build networked, multi-stakeholder processes which could begin to bridge local to national and regional decision making in the basin to support improved transboundary basin management. This case study describes the situation, activities taken, and results achieved during this process.


text:
Q: Significant time difference in CUDA while using bitwise shift instead of mod I'm relatively new  to CUDA programming and I was testing different, simple kernels to see the difference in execution time.
I have two kernels, that do the same for me:
__global__ void mathKernel2(float *c)
{
int tid = blockIdx.x * blockDim.x + threadIdx.x;
float ia, ib;
ia = ib = 0.0f;

    if ((tid / warpSize) % 2 == 0)
    {
        ia = 100.0f;
    }
    else
    {
        ib = 200.0f;
    }

    c[tid] = ia + ib;
}

and another one:
__global__ void mathKernel4(float *c)
{
    int tid = blockIdx.x * blockDim.x + threadIdx.x;
    float ia, ib;
    ia = ib = 0.0f;

    int itid = tid >> 5;

    if (itid & 0x01 == 0)
    {
        ia = 100.0f;
    }
    else
    {
        ib = 200.0f;
    }

    c[tid] = ia + ib;
}

I compile it with -g -G to get rid of optimization and get:
mathKernel2 <<< 8192   32 >>> elapsed 0.000259 sec
mathKernel4 <<< 8192   32 >>> elapsed 0.000103 sec

Why the difference is so big?

A: This line:
if (itid & 0x01 == 0)

reads as:
if (itid & (0x01 == 0))

which is evaluated at compile-time to false and one of the branches is removed.
Bitwise binary operators have a rather low priority in C/C++, as well as CUDA.

redpajama_set_name: RedPajamaStackExchange


Father Robinson was born in Spokane, WA and raised in San Francisco. He spent his formation years in the Society of Jesus and has dedicated his life to education. He has served at various high schools in Los Angeles and Sacramento. He also travelled to Nigeria for multiple overseas missions. In addition to multiple parish assignments, Father Robinson recently served in campus ministry for Ave Maria University.


Before looking to reduce your energy costs and emissions it is important to be able to estimate your current costs and emissions so to understand the potential energy efficiency opportunities that may apply to your business.
Knowing your current costs, potential energy efficiency opportunities and their associated costs will help a company develop a simple cost-benefit analysis which can highlight your likely savings.
To help companies analyse their fuel and electricity costs, emissions and opportunities Sustainable Freight has developed a series of calculators to help you identify opportunities across a range of sectors.
Further information on using the calculators can be found in our Decision Makers Guide.
Please note: the calcualtors have been developed using figures sourced from or supplied by third parties. Accordingly, SAFC accepts no liability resulting from the accuracy, interpretation, analysis or use of information gathered from the calculators.


With Dutch pianist, composer and ICP Orchestra founder Misha Mengelberg now sidelined with advanced Alzheimer's and unable to perform, new example of his work become more precious. This nearly 80 minute) 2011 ad-hoc session from Cologne with his contemporary –tenor saxophonist Gerd Dudek – plus a band of younger players – trumpeter Ryan Carniaux, guitarist Dirk Bell, bassist Jocha Oetz and drummer Nils Tegen – takes on added resonance. Yet until the sextet loosens up enough to slide into freer territory, the disc is more Misha-lite than expected.
With the first seven tracks give over to the group composition, "Eleven Steps to Heaven", connections to Miles Davis-influenced freebop are clear. Dudek for one, whose Trane influences are expressed with slurry roughness in the penultimate sequence, spends time earlier joining Bell's fleet modulations in counterpoint that resembles Stan Getz-Jimmy Raney more than Peter Brötzmann-Sonny Sharrock. Carniaux's fine-boned "Part 3" solo and playing elsewhere is likewise firmly in the modern mainstream, advancing call-and-response choruses with a straining Dudek. Add to this Tegen clatter-click drumming and the effect is that of an updated Jazz Messengers at a relaxed jam session. Bell's flowing lines, as when he solos lucidly on "Part 5" add to this pre-free impression, while master of understatement Mengelberg, chameleon-like mostly sticks to comping. Only Oetz, who has recorded cutting-edge solo bass CDs, puts aside boppy thumping to unveil a bowed multi-string solo on "Part 7". Abrasively nearly scuffing the finish off his strings spurs Tegen to arrhythmic pops and moves the tune into the 21st Century.
Wit the band now apparently more comfortable in each other's company, the 35-minute, two-part "Zok!" which concludes the disc, is closer to Mengelberg's usual milieu. Starting off with a shaking Monk-like piano dissertation, he and the guitarist, now employing a harsher tone, negotiate tempo shifts which in turn bring out blunt line variations from the tenor saxophonist. By the time "Zok! Part 2" rolls forward, the pianist is mixing stride references with Monkish key splatters, Carniaux is blaring staccato crackles alongside fiery sax blares and Tegen doubles the intensity of his initial playing with craggy rumbles. As the horns bringing a touch of the blues to the climax, jazz connections plus sly timbral extensions from the pianist combine for a sleekly satisfying ending. Featuring a different side of Mengelberg's whimsical quirkiness, the CD, while unusual, still celebrates his skills.


text:
Solomon Islands Environment Data Portal Environmental Information for Decision Making
 Inland Waters (2)
(-) biodiversity (23)
biopama2 (3)
biological (2)
marine environment (2)
protected areas (2)
species richness (2)
Secretariat of the Pacific Regional Environment Programme (14)
Solomon Islands Ministry of Environment, Climate Change, Disaster Management and Meteorology (8)
Solomon Islands Ministry of Forestry and Research (1)
SPREP Island and Ocean Ecosystems (IOE) (1)
Solomon Islands Ministry of Environment, Climate Change, Disaster Management and Meteorology
 Land  Biodiversity  Coastal and Marine
Dataset that provides a direct link to Solomon Island's data hosted on the GBIF website / records.
2xhtml
CEPF Ecosystem Profile- East Melanesian Island Biodiversity Hotspots
Solomon Islands Ministry of Environment, Climate Change, Disaster Management and Meteorology, Solomon Islands Ministry of Forestry and Research
The Critical Ecosystem Partnership Fund (CEPF) is designed to safeguard the world's biologically richest and most threatened regions, known as biodiversity hotspots.
Biodiversity Assessment Report : Maramasike Passage, Malaita
Under the MESCAL project, the objectives of this assessment are to;
* Improve understanding of mangrove ecosystem functions, values, key threats, and processes at a local and regional scale;
* Provide a standardized method to assess shoreline mangrove condition and change over time;
* Generate community awareness of mangroves and encourage local environmental stewardship;
* Conduct a rapid and representative survey of fish and mobile crustacean assemblages;
UN Biodiversity Lab
 Atmosphere and Climate  Land  Biodiversity  Coastal and Marine
The UN Biodiversity Lab is an online platform that allows policymakers and other partners to access global data layers, upload and manipulate their own datasets, and query multiple datasets to provide key information on the Aichi Biodiversity Targets and nature-based Sustainable Development Goals.
Student Research Materials
 Atmosphere and Climate  Land  Built Environment  Coastal and Marine  Culture and Heritage  Inland Waters
This contains awareness materials,presentations and promotional materials in the form of photographs, posters, brochures, pull up frame banners, videos and reports.
REVIEW OF LEGISLATION, POLICIES, STRATEGIES AND PLANS RELATING TO THE USE AND MANAGEMENT OF THE OCEAN IN SOLOMON ISLANDS
This report provides an analysis and assessment of legislation, policies, strategies and plans relevant to management and use of the Solomon Islands oceans and will contribute to the development of both the oceans policy and plan.
Solomon Islands Marine Species Richness
Maps on Species Richness developed by MACBIO as resource for the bioregions workshop (Feb 2018). The tool AquaMaps was used to show predictions of relative probabilities of species occurences in a global grid of half-degree latitude and longitude cell dimensions.
3xpng
Solomon Islands ecologically and biologically important areas
A map created by MACBIO as resource for the bioregions workshop in Feb 2018, showing Ecologically or Biologically Significant Marine Areas (EBSAs), Key Biodiversity Areas (KBAs) and Important Bird and Biodiversity Areas (IBAs).
Solomon Islands Turtle Research and monitoring Database System (TREDS)
Map showing the location of Turtle tag stations and migration routes. The map was developed by MACBIO as resource for the bioregions workshop in Feb 2018. Data is based on SPREP's Turtle Research and Monitoring Database System (TREDS).
Convention on Biological Diversity Cartagena Documents
Guidelines, brochures, Indicators and published work on the Cartagena Protocol on Biosafety to the Convention on Biological Diversity which is an international treaty governing the movements of living modified organisms (LMOs) resulting from modern biotechnology from one country to another.
24xpdf 8xdoc
State of Conservation in Oceania - Regional Report
This report assesses the overall state of conservation in the Pacific Islands region of Oceania, that is, the 21 countries and territories covered by SPREP plus Pitcairn Island. The report uses an analysis of 16 indicators chosen in consultation with SPREP and based on the Global Biodiversity Indicator project (http://www.bipindicators.net).
Island Life in the 21st Century
This paper attempts to present a "quick snapshot" of the status of biodiversity in the Pacific Islands and the prospects and challenges for the mainstreaming of its conservation and sustainable use by Pacific Island peoples during the 21st century
Climate Change and Invasive Species in the Pacific
 Atmosphere and Climate  Biodiversity
A Pacific information brief from the Pacific Invasives Partnership (a working group of the Roundtable for Nature Conservation in the Pacific Islands)
Assessment and Control of Biological Invasion Risks
This book is of worldwide benefit to people, for assessment and management of biological invasion risks
Regional Dialogue and Learning Mission on Integrating Climate Change and Biodiversity at the Country Level
 Atmosphere and Climate  Land
A guiding presentation on a series of regional dialogue seminars and field visits held in order to raise awareness, capacity and identify opportunities for effective policy coherence, implementation and mainstreaming of nature-based solutions at the national level.
Aichi Biodiversity Targets - Quick Guide
This document contains a set of quick guides on each of the Aichi Biodiversity Targets. The guides provide an overview of the main issues addressed under each target.
Atolls – the "biodiversity cool spots" vs hot spots: a critical new focus for research and conservation
This paper highlights the seriousness of the "biodiversity crisis" on atolls and the need to place greater research and conservation emphasis on atolls and other small island ecosystems. It is based on studies over the past twenty years conducted in the atolls of Tuvalu, Tokelau, Kiribati, the Marshall Islands and the Tuamotu Archipelago of French Polynesia. It stresses that atolls offer some of the greatest opportunities for integrated studies of simplified small-island ecosystems.
pdf 2xxlsx csv
World Database on Protected Areas
The World Database on Protected Areas (WDPA) is the most comprehensive global database of marine and terrestrial protected areas, updated on a monthly basis, and is one of the key global biodiversity data sets being widely used by scientists, businesses, governments, International secretariats and others to inform planning, policy decisions and management. The WDPA is a joint project between UN Environment and the International Union for Conservation of Nature (IUCN).
pdf JPG
Global Mangrove Distribution - Global Mangrove Watch
The Global Mangrove Watch (GMW) is a collaboration between Aberystwyth University (U.K.), solo Earth Observation (soloEO; Japan), Wetlands International the World Conservation Monitoring Centre (UNEP-WCMC) and the Japan Aerospace Exploration Agency (JAXA).
pdf zip
Marine Species Biodiversity - AquaMaps
AquaMaps are computer-generated predictions of natural occurrence of marine species, based on the environmental tolerance of a given species with respect to depth, salinity, temperature, primary productivity, and its association with sea ice or coastal areas. These 'environmental envelopes' are matched against an authority file which contains respective information for the Oceans of the World. Independent knowledge such as distribution by FAO areas or bounding boxes are used to avoid mapping species in areas that contain suitable habitat, but are not occupied by the species.


text:
Central Coast Endocrinology & Diabetes
Michael K. Lai, MD
Dr. Lai is a Board Certified Internal Medicine and Endcrinology & Metabolism physician with over 30 years of experience. He obtained his MD from UCLA School of Medicine before his internship and residency at St. Mary's Medical Center in Long Beach. Dr. Lai completed his fellowship in Endocrinology at the University of Irvine. After working as an endocrinologist in Southern California, Dr. Lai moved to the Central Coast to start his own private practice in 1993.
In addition to his practice, Dr. Lai is the Medical Director of Diabetes Services at Marian Regiona l Medical Center in Santa Maria and an Adjunct Faculty at Touro University College of Osteopathic Medicine.
Thomas P. Knecht, MD, PhD, FACP
Dr. Knecht was diagnosed with Type 1 Diabetes at age 19. He is Board Certified in Internal Medicine and Endocrinology & Metabolism and has over 20 years of experience. He obtained his MD and PhD from University of California, San Diego (UCSD) School of Medicine and completed his internship and Residency at the University of Iowa. Dr. Knecht then completed his Endocrine Fellowship at UCSD School of Medicine.
Jessica Joslyn, PA-C
Jessica is a Physician Assistant and graduate of Stanford School of Medicine Primary Care Program. After graduating in 2011, she relocated to the Central Coast to work in gynecology and family practice. After having her daughter she specialized in Internal and Integrative Medicine, and now found her niche in Endorinology.
Jessica's interests are diabetes, thyroid, geriatrics and women's health issues.
Marya Bolynantz, MSN, FNP-BC, CDE, BC-ADM
Marya graduated from CSULB with a degree in Liberal Studies in 1980. After moving to the Central Coast in 1996, she changed careers and went to Cuesta College. Upon graduating as a registered nurse, she went to San Jose State to become a women's health nurse practitioner.
While working in Santa Maria, she became interested in caring for patients with Diabetes. This led to more education, including a master's degree in nursing in 2006. Marya became a Certified Diabetes Educator in 2000 and Board Certified in Advanced Diabetes Management in 2015. Marya's passion for diabetes is shown in the way she takes care of her patients.
Lisa Dawes RD, CDE
Lisa is a registered dietitian, certified diabetic educator and integrative nutritionist with over 15 years in nutrition therapy and lifestyle counseling. Lisa's educational accomplishments include a Bachelor of Science from Cal State Fullerton, a diabetic internship through Cal State Long Beach, a Master's of Nutritional Science from Cal Poly, San Luis Obispo, and certification from the Institute of Integrative Nutrition and the American Academy of Diabetes Educators.
Gail, Sylvia, Ally, Esther, Edgar, Myrna and Maria
Pismo Beach and San Luis Obispo


text:
Hon. Marcia P. Hirsch
Supreme Court, Queens Criminal Term
Presiding Judge, Queens Treatment Courts
Kew Gardens, NY, USA
Hon. Marcia P. Hirsch is the Presiding Judge of the Queens Drug Treatment Court, the DWI Treatment Court, the Mental Health Court, the Veterans Court and the Drug Diversion Court. She was appointed to the New York Court of Claims in March 2005 and was assigned to Queens Supreme Court, Criminal Term. She presided over hearings and trials before she was assigned to the therapeutic courts in October 2005. Judge Hirsch has lectured extensively on therapeutic justice, trauma-informed courts, and procedural justice. She is a past president of the New York Association of Drug Treatment Court Professionals. She joined the faculty of the National Judicial College in 2015.
Judge Hirsch is a graduate of Union College, where she was elected to Phi Beta Kappa, and a graduate of Syracuse University College of Law. She served for nine years on the Rockville Centre School Board and also was a member of her community's Drug & Alcohol Task Force. Prior to taking the bench, Judge Hirsch was the General Counsel and Deputy Commissioner at the New York State Division of Housing & Community Renewal. Before that, she was in private practice for many years.
Program or Publication
Mental Health Issues & the New York State Courts 2019: Substance Use Disorders
Mental Health Issues & the New York State Courts 2018: Why Trauma Matters to Judges and Lawyers


text:
Немања Тодоровић (Чачак, 23. април 1991) је српски кошаркаш. Игра на позицији крилног центра, а тренутно наступа за Борац Чачак.

Биографија
Тодоровић је започео каријеру у кошаркашком клубу Младост из Чачка где је прошао све млађе категорије и у току сезоне 2009/10. био члан сениорског тима тог клуба. У паузи између сезона прелази у КК Борац, за који је успешно наступао закључно са сезоном 2012/13. Наредње 2013/14. сезоне играо је за Константин из Ниша, да би се 2014/15. преселио у Ваљево и екипу Металца. Сезону 2015/16. почео је у Игокеи да би се у децембру 2015. поново вратио у Металац са којим проводи остатак те сезоне. У сезонама 2016/17. и 2017/18. поново је био играч чачанског Борца. У сезони 2018/19. је наступао за Ловћен, након чега се вратио у Борац.

Спољашње везе
 Профил играча на сајту Евробаскет

Рођени 1991.
Спортисти из Чачка
Српски кошаркаши
Крилни центри
Кошаркаши чачанског Борца
Кошаркаши Игокее
Кошаркаши Константина
Кошаркаши Ловћена
Кошаркаши Металца из Ваљева

redpajama_set_name: RedPajamaWikipedia


text:
Gavin King
Email Gavin King
Capital city "overnight food trend" native to Cairns for over two decades
Craig Squire - Ochre Restaurant
It's the overnight food trend in capital cities that's been two decades in the making here in the Tropical North.
Suddenly, native Australian and bush tucker inspired dishes are everywhere, featuring on menus in some of the nation's best restaurants. Southern media outlets are praising the use of ingredients like riberry, lemon myrtle, salt bush, finger limes, native basil and meats like wallaby, kangaroo, emu and crocodile.
The latest series of Masterchef even featured an episode that challenged contestants to utilise bush foods in a cook-off.
Noting the trend, the Australian Financial Review recently proclaimed: "A new generation of chefs is reigniting the interest in native food, and a modern, sophisticated use of the produce could fuel a growth in this niche supply industry."
It's not news to Craig Squire from Ochre Restaurant. He's been using native foods in his cooking for more than 25 years.
"It's great to see native ingredients gaining traction as it's been a slow burn for a long time," Craig told TropicNow. "There has been great success by some dedicated chefs that have given natives a strong presence on their menus, like Attica in Melbourne.
"We have a lot of interest from international gourmands but still many locals that aren't interested. I hope we can attract a younger generation that appreciates the cultural significance as well as the nutritional, economic and environmental benefits."
Despite supply issues – these are often wild harvested and foraged ingredients after all – Craig believes the Tropical North holds great potential to become a globally recognised native foods destination.
"TNQ has the greatest variety of food of any region in Australia," he said. "Right now, Taste Paradise is trying to reinvigorate itself as our regional food brand but it needs consistent funding that is sensibly used.
"We also need TTNQ to support food tourism but the organisation has often dismissed it as an after-thought, even when Tourism Australia began using food tourism as its major campaign focus.
"The public needs to support restaurants and retail that feature local produce and the media and tourism authorities need to pull their heads out of the sand and catch up with the rest of the country. I hope I get an opportunity to brief the new TTNQ CEO Pip Close as soon as possible.
"We can't ride on the Reef's back forever."
MORE: ochrerestaurant.com.au


text:
// This file is part of Eigen, a lightweight C++ template library
// for linear algebra.
//
// Copyright (C) 2015 Benoit Steiner <benoit.steiner.goog@gmail.com>
//
// This Source Code Form is subject to the terms of the Mozilla
// Public License v. 2.0. If a copy of the MPL was not distributed
// with this file, You can obtain one at http://mozilla.org/MPL/2.0/.

#ifndef EIGEN_CXX11_TENSOR_TENSOR_META_MACROS_H
#define EIGEN_CXX11_TENSOR_TENSOR_META_MACROS_H

/** use this macro in sfinae selection in templated functions
 *
 *   template<typename T,
 *            typename std::enable_if< isBanana<T>::value , int >::type = 0
 *   >
 *   void foo(){}
 *
 *   becomes =>
 *
 *   template<typename TopoType,
 *           SFINAE_ENABLE_IF( isBanana<T>::value )
 *   >
 *   void foo(){}
 */

// SFINAE requires variadic templates
#if !defined(EIGEN_GPUCC)
#if EIGEN_HAS_VARIADIC_TEMPLATES
  // SFINAE doesn't work for gcc <= 4.7
  #ifdef EIGEN_COMP_GNUC
    #if EIGEN_GNUC_AT_LEAST(4,8)
      #define EIGEN_HAS_SFINAE
    #endif
  #else
    #define EIGEN_HAS_SFINAE
  #endif
#endif
#endif

#define EIGEN_SFINAE_ENABLE_IF( __condition__ ) \
    typename internal::enable_if< ( __condition__ ) , int >::type = 0

#if EIGEN_HAS_CONSTEXPR
#define EIGEN_CONSTEXPR constexpr
#else
#define EIGEN_CONSTEXPR
#endif

#if EIGEN_OS_WIN || EIGEN_OS_WIN64
#define EIGEN_SLEEP(n) Sleep(n)
#elif EIGEN_OS_GNULINUX
#define EIGEN_SLEEP(n) usleep(n * 1000);
#else
#define EIGEN_SLEEP(n) sleep(std::max<unsigned>(1, n/1000))
#endif

#endif

redpajama_set_name: RedPajamaGithub


text:
Q: Use a div as a submit button in JSP Servlets I need a way to use a div as a submit button to send a form request to a Servlet, Or is there any other way to solve my problem. "logoutbutton" is the div.

           <% out.print(session.getAttribute("userid")); %>

              Log Out

A: You need to call the your servlet which handles logout action for the link. You can do it using
 Logout

After doing this, you can logout from doGet method of LogoutServet

A: I would use jquery for this and then listening for events on DOM obejcts is a peice of cake.
$(".logoutbutton").click(function () {
      window.location.href = 'logout.url';
});

or
$(".logoutbutton").click(function () {
      $.post( "logout.url" );
});

A: That's easy, use the 'onclick' event:

...

On the onclick you can also use
window.location.href='LogourServletUrlPattern';

if you don't want to call a function and invoke the sevlet directly

A: Wrap your DIV as part of your form and submit the form on clicking on DIV

<form id="frm1" action="form_action">
First name: <input type="text" name="fname">

Last name: <input type="text" name="lname">

           <% out.print(session.getAttribute("userid")); %>

              Log Out

</form>

A: Use jquery for achieving this with ease.
In the DOM

Logout

In javascript/jquery
$("#logout-button").click(function () {
   alert("ajax call to end session");
});

Even if your not using jquery you could use the above to get a round about idea on how to achieve this.

A: You can use javascript to capture click event on the logoutbutton div and submit the form. Assuming you have a form with id 'myform':

Note that using this method the div isn't treated as a hyperlink by the browser, hence you can't do right-click-and-open-in-new-tab.
If your javascript gets complicated consider using library such as jquery.


Redshirt sophomore De'Andre Hunter led Virginia in scoring with 18 points.
Virginia lost to Duke in a nailbiter at Cameron Indoor Stadium Saturday night, ending their undefeated run. The hard-fought contest had 15 lead changes.
The No. 4 Cavaliers (16-1, 4-1 ACC) fell to the No. 1 Blue Devils (15-2, 4-1 ACC) 72-70 behind 57 combined points from freshman forward Zion Williamson and freshman guard RJ Barrett.
The game started off back and forth with teams trading baskets.
Virginia was up 7-5, but Duke went on a 7-0 run to take a 12-7 lead with 14:16 to play in the first half, capitalized by an impressive drive by Williamson.
Guy responded with a tough lay-in, but the Blue Devils scored again on a putback by Barrett. The Blue Devils dominated the Cavaliers early and often on the offensive glass.
Redshirt sophomore forward Jay Huff provided some great energy off the bench.
Two emphatic dunks by Huff on consecutive possessions made the score 20-17 Duke with 10:41 to play in the half.
Williamson had a string of great offensive plays to extend the Blue Devils' lead back to five points, 27-22, with 7:33 left in the first half. The freshman forward had buckets on three consecutive possessions, even as Virginia kept pace offensively.
Redshirt sophomore guard De'Andre Hunter had an outstanding first half. Just as Duke appeared to be pulling away, Hunter responded with an impressive take to the basket. He finished with 11 first-half points.
Virginia came within one point on a layup by Guy to make it 33-32 with 2:14 to play, but layups by Williamson and Barrett saw the Blue Devils go into the halftime break with a 37-32 lead.
Williamson and Barrett led all scorers in the first half with 14 points apiece, accounting for 28 of Duke's 37 first half points.
Junior guard Ty Jerome's first three-pointer of the evening brought the Cavaliers within one point, 40-39 with 16:10 left in the game, but Duke junior forward Jack White responded with a dunk to restore the Blue Devils' lead to three points.
Virginia took its first lead of the game since the first half with 14:00 left, 43-42, on a pair of free throws from junior transfer guard Braxton Key.
However, the Cavaliers struggled to stop the Blue Devils' inside scoring. Williamson scored a tough layup to make it 48-47 Duke, but Guy responded with a take to the basket to put Virginia back on top, 49-48.
Guy finished with 14 points, although he shot poorly (2-7) from three-point range. Duke paid special attention to his prolific long-range shooting in scouting the game.
The teams traded baskets for multiple possessions, with no team having more than a one-point lead for a 7:37 stretch in the second half, when Barrett made a layup to put the Blue Devils up 57-55 with 7:32 to go.
Zion made a dunk with 4:51 left to put Duke up 61-58, but a layup from Hunter pushed the Blue Devils' lead back to one point.
Duke took its biggest lead of the half on a falling away layup by Barrett to make it 65-60 Duke with 2:18 to play. The Blue Devils shot 63.2 percent from the field in the second half.
Two free throws by Duke junior center Marques Bolden extended the Blue Devils' lead to seven. The Cavaliers struggled to make open shots to respond. They shot 3-17 from three on the night, just 17.6 percent.
Still, Virginia remained in the game. A three from Guy cut Duke's lead to three, 69-66, with 23 seconds left.
But it was too little, too late for the Cavaliers. Freshman forward Cam Reddish sank two free throws to put Duke up four, and Hunter's shot at the buzzer was not enough. Hunter led Virginia in scoring with 18 points.
The Cavaliers have a quick turnaround. They will take on Wake Forest next at John Paul Jones arena Tuesday night in an attempt to get back to their winning ways.
While it was a tough loss for Virginia, the Cavaliers certainly proved they have what it takes to play with the nation's best.


text:
Revinylization #5: Craft Recordings & Charlie Parker's Savoy LPs
Art Dudley | Apr 30, 2020
I was well over 50 when I first heard an original copy of Charlie Parker's "Ko-Ko." It was a happy accident. I received a call from the family of a well-to-do neighbor who had recently passed away, asking if I'd be interested in having his record collection. Three minutes later, I was parked near the servants' entrance of their centuries-old brick mansion—how quickly we forget our proletariat resentment when there's vinyl to be had—loading a few cartons of LPs and 78s into my car: The collection was small but high in quality, reflective of very good taste that cut across multiple genres. And there, in one of those cartons, was a copy of the 10" LP New Sounds in Modern Music, Volume 2 (Savoy MG 9001).
Except it wasn't: When I got home and removed the good-condition disc from its fair-condition jacket, I found that it was in fact New Sounds in Modern Music, Volume 1 (Savoy MG 9000). The one with "Ko-Ko" as the Side Two opener.
As I recall, this happened not long after I got hold of an EMT OFD 25 mono pickup head, the stylus of which is sized for early LPs. By the time I acquired the Savoy LP, I had owned the EMT long enough to appreciate its almost comically superior (footnote 1) way of reproducing the touch and impact so often found in early-1950s LPs. But nothing could have prepared me for what I heard from that Charlie Parker record: Low in the mix though it was, Curley Russell's string bass was taut and forceful; every note attack from Parker's alto sax and Miles Davis's trumpet (footnote 2) had the feel of the real thing; and Max Roach's drums exploded from the speakers—no other word for it.
In fact, upon my first listen to the original 1950 LP, I experienced recorded music in a way that's happened only a handful of times in my life. I was so knocked out by one side of a record that, for weeks, I couldn't bring myself to flip it over and listen to the other side. Whether I feared being disappointed (what on Earth could possibly match what I had just heard?) or was simply being superstitious (what if I break the spell?), I have no idea, but my paralysis had far more to do with the music-making than the punchy mono sound: The sheer audacity of Parker's and Davis's rapid-fire playing, some lines performed in unison, was startling—like hearing a silence broken by a small group of people speaking in code, loudly and joyously.
Parker's "Ko-Ko," in which a semi-improvised introduction hurtles into an up-tempo progression based on the jazz standard "Cherokee"—and which boasts one of the strangest endings in all of jazz—is arguably the first bebop recording ever released. The session took place in November of 1945 at WOR studios in New York and was issued on a Savoy 78rpm single, backed with a version of "How High the Moon" by another bebop artist, Don Byas. Its first LP release was in 1950, on Savoy's New Sounds in Modern Music, Volume 1, the first of four 10" LPs, the last of which came out in 1953. Now, in celebration of the centennial of Parker's birth, Craft Recordings has reissued all four volumes in a boxed set called Charlie Parker: The Savoy 10-inch LP Collection (CR00010). It isn't enough to say "Ko-Ko" isn't the only gem among the set's 28 selections: Every minute of music herein is electric. Standouts include "Constellation," "Ah-Leu-Cha" (which Thelonious Monk and others have covered), "Chasin' the Bird," and a live performance of the Parker composition "Confirmation," recorded in 1947 at Carnegie Hall.
The sound of Craft's remastered LPs is a mixed bag. Surfaces on my review copy were exceptionally clean and tic-free, with lead-in grooves so quiet that the music never failed to surprise me at least a little. But the EQ was somewhat different from the original; in particular, the lowest frequencies had been bumped up. Most bothersome was the fact that note attacks, especially audible in the drums and the double-bass, were smoothed over. Compared to the very live-sounding original disc, the sound overall was just a tiny bit plasticky. (I reached out to the label's publicist in an effort to determine what source materials—original tapes? files made from the best available LPs? something else?—were used for the new LP masters, but by press time I had not heard back. The liner notes credit Grammy-winning engineer Paul Blakemore with "audio restoration and mastering.") To my ear, the LP masters were cut from digital, but I've been known to be wrong.
That being said, I would rather have a set of less-than-ideal 10" Charlie Parker LPs than no 10" Charlie Parker LPs, and the packaging and very good liner notes sweeten the deal—that, and a retail price of $89.99 for the set, including a Savoy T-shirt (which I haven't seen, so I've no idea if it's 100% cotton or a polyester blend [do please imagine a semi-ironic smiley emoji in this space]).
If you don't have these records, you need them, so order a set now before the supplies dry up.
Footnote 1: As in: to everything.
Footnote 2: There is no consensus among critics as to who played trumpet on this track. The liner notes for this reissue credit Dizzy Gillespie, who was hired for the session as a pianist. I tend to think it was Davis.
s10sondek
Submitted by s10sondek on April 30, 2020 - 5:13pm
Damn, we miss you, Art!
If the original recording sessions were indeed held in 1945, then I would imagine they were recorded direct-to-disc. I believe the first commercially-available magnetic tape recording machine was the Ampex 200, which didn't ship until mid-1948. Perhaps there were earlier prototypes out there used occasionally for testing and de-bugging, but my best guess is that the first-generation medium for these dates is 78rpm disc. (That itself could be a clue as to why the sound is so uniquely present and explosive on Art's LP copy).
Can anyone chime in here regarding the typical re-mastering and cutting workflow used when the primary source material is a 78 or 33 1/3 rpm disc? Are there any good examples or stories of such materials being reissued using a minimalist, all-analog process (meaning one that doesn't impose an intermediate tape generation prior to cutting the lacquer)?
In any case, this reissue set looks like a great introduction to the genius of Charlie Parker and his "backing band" of Miles, Diz, Roach, et al. Thanks for publishing this heads-up within the precious last few words we will ever hear from Mr. Dudley, may you Rest in Peace!
I've worked with a number of
Submitted by empirelvr on May 1, 2020 - 7:05am
I've worked with a number of discs that originated from WOR. The first generation medium would have been a 12" to 16" lacquer disc, recorded more than probably at 33 1/3RPM.
The problem here is how deep did the research into these reissues go. Did they go as far as just finding the master tape made for the 10" LP issue and be done with it; or did they go the extra mile to find any original lacquers the LP was originally compiled from that still exist?
A well recorded lacquer, played a minimum amount of times in the past, well taken care of, and transferred using modern equipment can sound spectacular.
In either case, the capture medium was most likely digital, hopefully 96kHz/24 bit or higher.
A good example of the type of reissue you hypothesize about is the recent Classic Records issue of the complete Muddy Waters Plantation recordings. From the surviving lacquers to 96/24 digital files with no futzing in between. It's a shame though that most of the lacquers were either quite worn or second generation, along with being field recordings made under less than ideal situations so the sound isn't as revelatory as you would hope.
Lacquer Life: Short and Brutish? Or Long and Archival?
Submitted by s10sondek on May 1, 2020 - 7:31pm
Thank you so much for your comment. It really helps to shed some light on the workings of the mastering and reissue process.
Perhaps one point you can educate me (or us) on: you imply that first-generation direct-to-disc lacquers often survive long after the session date/s and can be used decades later as the primary source for reissues.
However, my understanding of the disc-manufacturing workflow is that lacquers (whether cut directly during the session, or subsequently in a mastering suite from a tape) are short-lived inputs into an electroplating process wherein silver and nickel are plated onto the modulated-groove surfaces, creating a "father" raised-ridge relief of the laquer's etchings. My impression was that this electroplating step destroyed the original lacquer and that it was forever lost.
But in the pre-tape era, this process would have had the alarming consequence of irreversibly destroying the sole set of first-generation media. So in that era, was there a different record manufacturing process used that protected or saved the session lacquers from the otherwise destructive plating sequence? It would make sense to preserve the first-generation media, of course, but so much of my knowledge is focused on the tape/LP era as to be stunned that the original session lacquers from 1945 would still be extant. From your comment, it sounds like not only are they sometimes extant, but that they can oftentimes be tracked down with a bit of sleuthing. How fascinating!
Pre-tape Session lacquers
Submitted by Jazzmaster Jake on May 4, 2020 - 12:12am
The "pre-tape era" 33.3RPM session discs became common place for recording sessions by 1938. WOR extensively used this process about 1929. The use of session discs was very similar to tape (obviously direct editing of the session being the biggest difference) and allowed for instant playback auditioning without having to wait for a test pressing when cutting to wax. A 16" disc running at 33.3RPM could hold approximately 15 mins of music since they used a large width groove (before the advent of 1mil microgroove). Session discs, unlike modern 'Direct-To-Disc' recordings, could not be sent direct to plating. Besides being cut at a different speed, they also contained false starts and outtakes. To make stampers, the selected track would be dubed onto another lacquer running at 78RPM, which would be sent to plating. For all modern (Micro-groove LP) issues of sessions from these discs, the disc was dubbed to either digital or analog tape, which would also would have been done for the original early 1950's 10" LPs on Savoy.
78 era session discs?
Submitted by TNtransplant on May 4, 2020 - 3:00pm
Thanks for the info Jake! Presumably the session discs from the Koko recording date had been preserved as there is an aborted first take extant which is stopped when the arrangement veers into the familiar "Cherokee" melody (which would have required publishing compensation).
Curious as to whether it was fairly commonplace to have these original session discs saved, and how durable are/were they?
I was under the impression that most of the LP reissues of 78 era recordings were sourced from issued discs or test pressings that have found their way into the hands of private collectors.
BTW - unfortunately no longer have any versions of the Parker Savoy sessions on vinyl, but did compare several of Koko on CD with a 44.1/16 download of this new Craft 10" reissue. To my ears this reissue sounds pretty good -- seems like higher frequencies are a bit more open albeit with perhaps a bit more surface noise than my other digital versions which included CD's: Savoy Jazz/Arista copyrighted 1976 [which would have been date for LP compilation but this claims "Mastering for CD (from original acetates) Jack Towers assisted by Phil Schaap") so probably late 80's(?), Denon "20 bit" from mid-90's (?) that has obvious tape wow & flutter, Denon "24 bit" from 2000 and a JSP boxset from 2003 (probably the most "listenable").
But of course this is all relative and raises an obvious question: how finicky can you be when dealing with old jazz, blues, folk, etc. recordings which, aside from historical value, can still be musically thrilling (Louis Armstrong's Hot 5 and 7!) but clearly the sound quality is more dependent on the condition of original source material and mastering process than end recording format. Even essential Duke Ellington from the 30's/40's -- whose recordings tended to be much better than those of his peers from the era and included an early stereo from 1932(!) -- is nowhere near the early 50's LP's in terms of SQ.
Submitted by BillBrown on May 1, 2020 - 9:50am
My understanding is that Dizzy was the piano player on the session, but that he played trumpet on "Koko." I believe it as it sounds like him and I don't think Miles (though I love his work) had the chops at the time (or maybe ever). It is technically a very difficult part.
Submitted by Big Star 72 on May 1, 2020 - 5:42pm
Wonderful. RIP.
Is this Art's last piece?
Submitted by wgb113 on May 1, 2020 - 10:51am
If so and it was written with the end in sight, he must have wondered where his own record collection would end up.
Man I miss him already.
Re: Is this Art's last piece?
Submitted by John Atkinson on May 1, 2020 - 12:22pm
The last 2 pieces Art wrote before he was struck down are Listening and Revinylization in the June 2020 issue of Stereophile. Both will be posted to the Stereophile website in the next few weeks after the print edition has reached subscribers.
We all miss you, Art.
John Atkinson
Technical Editor, Stereophile
"The last 2 pieces Art wrote ....inJune 2020 Issue.." J Atkinson
Submitted by Jack L on May 4, 2020 - 2:12pm
I'd not miss reading them, for sure.
"To my ears, the LP master was cut from digital, but I've been known
to be wrong." quoted Art.
To my ears, even I were blindfolded, I can tell digital from analogue
rightaway.
FYI, I've collected some 35 LPs of digital masters, e.g. EMI, EMI Angel, London, DGG, RCA, Archiv, CBS, CBC & Hungarton (Hungary).
Sad to say, I am yet to be impressed by any of these 1980s digital masters. They were not there yet vs conventional analogue masters cut decades earlier. in term of being OPEN, engaging & enjoyable.
Just to mention 2 LPs of conventional analogue masters cut in 1960-1970s which sounds even better than many many LPs of analogue masters
of my 1,000+ vinyl collection.
Incidentally, both are opera arias master-singers from Italy of the same era, both born in Modena, north of Italy: Soprano: Mirella Freni & tenor: Luciano Pavarotti.
Both LPs were recorded in 1968-1971 era & their performance recorded there was so OPEN (which, IMO, no digital masters can match yet), so engaging & so enjoyable. I'd take these 2 LPs (namely: "Mirella Freni" (Angel) & Luciano Pavarotti "Primo Tenore" (London ffrr) as my music reference. Excellent vocal performance masterpiece & superb sonic quality.
Listening is believing
This collection is also available as a 16/44.1 download on Qobuz
Submitted by NeilS on May 1, 2020 - 12:34pm
https://www.qobuz.com/us-en/album/the-savoy-10-inch-lp-collection-charlie-parker/m70e3tp90ux0a
"..available as a16/44.1 download in Qobuz" quoted NeilS
Please stick to analoge only as this topic is vinyl only.
Like many audio fans, I also stream music performances of my favourite
artists to update myself the current music world. I would not mention here - vinyl only & only.
I referenced CD's in my new post. But with all due respect, this is not Analog Planet. And while I might generally agree with your sentiments regarding Analog vs. Digital, bringing operatic performances (and performer birthplaces?) from the late 60's seems even further afield.
I kind of thought the original post was about the experience of hearing Charlie Parker as he takes flight... via a wonderful remembrance from Art who will be much missed.
Not contrite.
Submitted by NeilS on May 4, 2020 - 3:38pm
I don't feel the least apologetic. I am grateful to Art Dudley (R.I.P.) for alerting me to this set of recordings - and to Craft Recordings for also making the collection available as a download as well as a limited release on vinyl.
"upon my first listen to the original 1950 LP, I experienced ..
....... recorded music in a way that's happened only a handful of times in my life." quoted Art Dudley.
If you care to read between the lines, he said he was so pleasantly surprised to hear the original 1950 mono LP sounded so so good, sonically blowing away the newly remastered LPs now being available for same artist.
Hence my response to his finding- totally agreed with him that so many decades' old recordings still sound so much better than new recordings, digital-mastered or whatever.
Yes, you can down the same remastered recording, but you would not get back the same musically sound of the good old days.
"....... recorded music in a
Submitted by rl1856 on May 13, 2020 - 2:25pm
"....... recorded music in a way that's happened only a handful of times in my life." quoted Art Dudley."
This statement is also a comment on the visceral quality of a vintage mono LP reproduced using correct equipment. I have experienced this many times- I use a true mono cartridge and I am astounded at how big, explosive and dynamic a well recorded mono LP can sound. I use a Ortofon CG25DI MKII, which is very close to the EMT cartridge used by AD. A current reissue, cut and played using modern equipment, just does not sound the same.
Miles or Diz
Submitted by Paul S. on June 10, 2020 - 10:14am
I sent Art Dudley an email about this column. As I rarely look at the Stereophile website, I was unaware of Art's passing and the email was sent two days after he passed away.
I'll reprint part of the email here, as it would seem to be relevant.
No offense intended, but it's clearly not Miles playing trumpet on "Ko Ko". Listen to the trumpet on the rest of the date (which is Miles) and it sounds nothing like the trumpet on "Ko Ko". It's clearly Dizzy playing trumpet on that tune.
If you don't trust my ears, read what an eyewitness,Teddy Reig, who was the A&R man for Savoy at the session (and on all of Bird's Savoy sessions) had to say in the LP booklet for Charlie Parker: The Complete Studio Sessions:
"So Dizzy plays trumpet on the opening and then goes to the piano and we put in the drum solo so Dizzy would have a chance to get back for the ending."
Here's a more detailed version of the record session:
https://www.npr.org/2000/08/27/1081208/-i-ko-ko-i
If you still think it's Miles, listen to the trumpet on the other tunes for the session and listen to some small group Dizzy from this period. You may rethink things.
Dizzy on trumpet
Submitted by directdriver on November 10, 2020 - 12:53pm
I agreed. To my ears, the trumpet sounded like Dizzy. According to wikipedia, here's a passage stating "Miles Davis confirms in his autobiography that he did not play trumpet on "Ko Ko":
"I remember Bird wanting me to play "Ko-Ko," a tune that was based on the changes of "Cherokee." Now Bird knew I was having trouble playing "Cherokee" back then. So when he said that that was the tune he wanted me to play, I just said no, I wasn't going to do it. That's why Dizzy's playing trumpet on "Ko-Ko," "Warmin' up a Riff," and "Meandering" on Charlie Parker's Reboppers, because I wasn't going to get out there and embarrass myself. I didn't really think I was ready to play tunes at the tempo of "Cherokee" and I didn't make no bones about it."
Revinylization #12: Déjà Lou (Reed)
Revinylization #11: James Booker, Louis Armstrong, Oscar Peterson, Joan Armatrading
Revinylization #10: Bill Evans's Live at Montreux
Revinylization #9: Sonny Rollins's Way Out West on ERC
Revinylization #8: Charles Mingus: Mingus Ah Um
Revinylization #7: Lee Morgan's The Cooker
Revinylization #6: Acoustic Sounds Bach & Vivaldi Reissues
Revinylization #4: Sundazed Music/Modern Harmonic and Speakers Corner
Revinylization #3: Analogue Productions, Blue Rose Music, Mobile Fidelity
Revinylization #2: Frog Pad Records, Electric Recording Company, Blue Note Tone Poet
Revinylization #1: The Burrito Brothers Fly Again


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Pulitzer No Prize
I don't know how the winners of Pulitzer Prizes are decided. But the committee had a huge blind spot this year. Claudia Rossett of the Wall Street Journal doggedly followed every lead on the Iraq Oil for Food program run by the United Nations. She was the first to put in print the clues that something was wrong. (As far as I know.) And something huge was wrong. Billions were misused. The intention was that Iraq would be allowed to sell oil, but only to feed its people. Not for weapons, not for Saddam's limosines and palaces. A special management and auditing program was set up to make sure the money was used correctly; using contracting companies and run by the UN. But the UN bureaucrats allowed Saddam Hussein to divert billions away from food to serve all his power needs - favors for the people who ran Iraq into the ground for him; was it 30 palaces? And some of those "palaces" were compounds of hundreds of acres with a dozen or more buildings. And, yes, weapons from Russia and Germany. (France, too?) The UN is shaken to the foundation. The UN staff - a large portion - have lost their respect for Kofi Annan. The Volcker report says Annan was remiss - at least by not recognizing the conflict of interest of his son being hired and paid by one of the mangement companies. Kofi says the report exonerated him, but he knows it didn't.This is the biggest thing to shake the UN in years. So Claudia Rossett definitely deserved the Pulitzer for International Reporting. I am sure the winners did good work. But her work was more important and she did a first-class job on it. Her latest article is a good example of her work. She reports that Kofi Annan has proudly announced a "reform" proposal for the UN that uses lofty prose to say: "rearrange the chairs and spend lots more money." (This link is to her latest article, so it is subject to change.) In Deep Trouble -Kofi Annan's idea of "reform" is more of the same--and lots more money. Update - Jim Miller of Sound Politics on his own blog calls them the "Pulitzer Reprimands," because the only way to get one is to be anti-American. Jim Miller Michelle Malkin has more. And John Hindraker of Powerline Blog shows how horrible the winning cartoons were.
The United Nations is a Mess - Zimbabwe
Revising History - Operation Iraqi Freedom
Nuclear Power is Green
Washington Legislature - the Good, the Bad and the...
Binding Arbitration - a Surpise?
Social Security - one step forward
60 Years Ago - Nerd Nights in Boston
Endangered Species - I don't recommend this solution
No Patent for PBJ
Election Townhall in Shoreline
Confirm John Bolton as Ambassador to the UN
Meet Dean Logan in Shoreline Tuesday
Google Satellite Photos
Priorities at the Legislature
Headline: The New Republic defends Bush
Living Life movie premiere April 8
Discovery Institute and Intelligent Design


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Timothy Hodgson – Cognitive Neuroscience
Oculomotor, fMRI and patient based research into visual and cognitive function
Research & Collaborations
HomeBiography
My research career started as an undergraduate student in the 1980's carrying out a research project on visual motion perception under the supervison of Laurence Harris (now at North York University, Toronto) and Andy Smith (Royal Holloway University). This sparked an interest in visual and behavioural neuroscience which led to a job as a perceptual psychologist at a flight simulator manufacturer in Gatwick. After 2 years in the private sector I commenced study for a PhD at Birkbeck college, University of London, researching the cognitive and neural systems involved in the control of human eye movements and visual attention supervised by Prof. Hermann Muller.
Following my doctorate I was employed as a post-doctoral research fellow on a Wellcome Trust program grant held by Christopher Kennard (now at University of Oxford) and the late Leslie Henderson at Charing Cross Hospital London, investigating the role of fronto-striatal brain circuits in oculomotor control.
In 2002 I accepted a lectureship in cognitive psychology at the University of Exeter. In May 2003 I was awarded a 3 year project grant by the Wellcome Trust to forward my research into the control and self-monitoring functions of the human frontal cerebral cortex. The project resulted in four peer reviewed publications in high ranking journals, including a major study of response inhibition and rule switching in patients with focal frontal damage published in Brain. In 2008-2009 I was awarded a Wellcome Trust sabbatical grant to pursue my research studies at the Behavioural and Clinical Neurosciences Institute, University of Cambridge.
I was appointed as Professor of Cognitive Neuroscience at Lincoln in September 2011 to join a growing team of researchers in the Cognition Perception and Action group. I served as research director from 2011-2013 and took the lead in overseeing the Schools submission to the 2014 Research Excellence Framework assessment. In 2012 I was awarded a 2 year Knowledge Transfer Partnership grant by the Technology Strategy Board and Medical Research Council to work with the WESC Foundation specialist centre for visual impairment. In 2016, Lincoln collaborator Dr Frouke Hermans and I won a British Academy / Leverhulme Trust grant to examine social attention and interaction in people with Parkinsons.
Between August 2013 and July 2017 I was Head of the School of Psychology University of Lincoln.
Visual Attention and Paeleolithic Stone Tools
Orienting to social cues in Parkinsons
Assessing premorbid IQ with picture vocabulary tests
Hemi-disconnection project at Great Ormond Street Hospital
Eyelander Goes Mobile
Eyelander


Humpback whales in the Northwest Atlantic. Photo credit: NEFSC/NOAA.
The Stellwagen Bank National Marine Sanctuary is an important feeding ground for Humpback whales who can be found there between April and December. By using passive acoustic monitoring techniques, researchers found that the humpbacks sing from April through May, following the spring migration from southern waters, and from August to December before they return south in the fall. Researchers also found that most of the singers were actively swimming. Although the humpbacks remain in the sanctuary throughout the summer, no singing has been recorded during that time when they are feeding.
A new study from the U.S. Geological Survey found that green sea turtles are benefiting from marine protected areas. The results show that nesting green turtles use habitats found within the MPA boundaries. This study is important because it shows policy-makers and managers that MPAs are effective and it helps researchers understand what kinds of habitats the turtles use the most.
Green sea turtles on a beach. Photo credit: Andy Collins, NOAA.
Check out this great interview with David Miliband, former foreign minister for the United Kingdom. In the interview, Mr. Miliband discusses his new role as co-chair of the Global Ocean Commission and the problems our oceans face today.


I looked up the word discourage in the dictionary this morning. I know that may sound silly, but I wanted to know exactly what it meant. My brain doesn't let me remember things like that any more.
According to Webster's Dictionary, discourage means to deprive of courage, hope, or confidence.
Wow…lately I guess you could say I have been deprived of courage, hope and confidence. Maybe you have too. It's hard trudging through the day when I feel like I'm dragging the weight of all my emotions and troubles along the journey with me. Emotions can get messy and heavy. I don't know about you, but I definitely don't need any more messiness in my life let alone extra weight to add to my load.
So many times life just doesn't make sense…MS doesn't make sense. We try to fit everything that is happening around us into a neat little package and tie it up with a pretty little bow, but it just never seems to quite fit as we had hoped. Life begins spilling out around us and discouragement has this wonderful ability to sneak in to join the party.
When I get discouraged and start to feel as if I'm falling apart, I remind myself of why I have stuck it out this far in the first place. Yes, the road is hard. Yes, I'm dodging bullets at every turn. Yes, I have been hit and wounded by a few. Yes, I'm tired, worn out and weary, but I'm more than those things…and so are you.
We are warriors fighting in a battle that many will never see. Our battle is real, it's personal, and it's ongoing. But just because each day we wake up in the trenches, doesn't mean we have to sit down and never move forward. You have to keep going even if all you can do is drag your body through the mud on your elbows.
Don't let the struggle you are facing keep you from being the amazing person that you are. Fight with your head held high, full of courage, hope and confidence. Don't let discouragement set up camp along the way.
Be encouraged by looking back at how far you have already come. Yes, there's a long road ahead, but don't look at how long it is. Focus just on today and the journey in front of you right now. You will conquer it one step at at time.
Thank you for the positive message and encouragement to keep moving forward. Like you, I always look for that positive in every negative. It's there, most just don't take the time to look.
I tend to take a inventory of all I am blessed with and know the challenges are just that, "a challenge".
Keep up your positive work and messages. Wishing you the best!
Thanks Penelope another great post. I know you are a good person.
Wow. Beautifully written. You hit the nail on the head with every reference.
It has been a struggle for me since being diagnosed…and it's hard sometimes to let the anger go of "why me" and discouragement creeps into my life too.
But, reading this and knowing I'm truly not alone…helps.


The RDV is a 10 day festival that incorporates various activities for superyachts, however its main emphasis is on raising awareness for and helping needy kids in isolated areas of Indonesia.
Around 500 people attended the charity party at Tulip Restaurant to mark the height of The 5th Annual YSG / Cape Discovery Bali Superyacht Charity RDV. The charity party night was open to the owners & crews of 5 superyachts as well as to the public. As many of the yachts that attended are still cruising in Indonesian waters, the details of the yachts are unavailable for security reasons.


Toucan provide a fully managed email marketing service. We create an original design for your emailer, manage your mailing lists including opt-in and opt-out autoresponders, mail merge and distribute. We also provide web based copies of your mailing for those having trouble reading the email message and verify mailings are below the Spam threshold.


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Home ವಾರ್ತೆಗಳು Karnataka Former minister Shobha stranded in Uttarakhand
Former minister Shobha stranded in Uttarakhand
19/06/2013 By Karnataka News Bureau 1 Min Read
BANGALORE, June 18;The former Minister and Karnataka Janata Paksha leader Shobha Karandlaje is among the pilgrims stranded in the hilly State of Uttarakhand by landslides, and flash floods in the Ganga and its tributaries, following heavy rain.
Speaking to The Hindu on the telephone, Ms. Karandlaje said, "I have been stranded in Budla village in Rudraprayag since Sunday morning. A large number of pilgrims are taking shelter in a house located atop a hill. I am the only person from Karnataka in this group."
Ms. Karandlaje said she got stuck in that village after leaving Uttarkashi. "We were on the way to Kedar. But we were forced to stop here since the roads are blocked by landslides and falling trees. It appears as though parts of the mountains have fallen on the road," she said.
"It is difficult to differentiate between the sky and the earth here as the clouds appear to be touching the road in this hilly area. It is raining so heavily that visibility is poor," she said. Bangalore District Brahmana Sabha President Mrutyunjaya, who was carrying ashes of legendary playback singer P.B. Srinivas for immersion at Gangotri, is also among the people stranded at Uttarakhand.
Karnataka News Bureau
England seem to reverse the ball a bit quicker: De Villiers
Her presence of mind throws a lifeline to many


The book shows how the abstract methods of analytic semigroups and evolution equations in Banach spaces can be fruitfully applied to the study of parabolic problems.
Particular attention is paid to optimal regularity results in linear equations. Furthermore, these results are used to study several other problems, especially fully nonlinear ones.
Owing to the new unified approach chosen, known theorems are presented from a novel perspective and new results are derived.
The book is self-contained. It is addressed to PhD students and researchers interested in abstract evolution equations and in parabolic partial differential equations and systems. It gives a comprehensive overview on the present state of the art in the field, teaching at the same time how to exploit its basic techniques.
This very interesting book provides a systematic treatment of the basic theory of analytic semigroups and abstract parabolic equations in general Banach spaces, and how this theory may be used in the study of parabolic partial differential equations; it takes into account the developments of the theory during the last fifteen years. (...) For instance, optimal regularity results are a typical feature of abstract parabolic equations; they are comprehensively studied in this book, and yield new and old regularity results for parabolic partial differential equations and systems.
Motivated by applications to fully nonlinear problems the approach is focused on classical solutions with continuous or Hölder continuous derivatives.


text:
Q: Use selectors from jQuery or JavaScript in this project? I'm  making a project that includes a lot of elements creation and appending, after a little research i came up with that
$(newElement) and $(selector)
are slower than
.createElement(newElement) and .getElementBy
Since i'm doing a todo-list app which will include a lot of creation/appending/selection of this :

    This is task1

Details

Divide

Edit

Delete

What would you advise me to use ? jQuery selection and creation way, or JavaScript one ?

A: Depends a bit on what else you're doing.  In some cases, setting innerHTML is the fastest (esp. with big bulky blocks getting inserted).
That said from a dev standpoint the jquery method is really the most maintainable.  I'd probably go w/ the jquery version until performance becomes a problem, and wrap the calls to jquery in other functions that I can swap out when it does.

A: It's really a developer preference issue.
Personally, I find strictly using jQuery selectors to be easier to write and understand, and more consistent when the selectors get more complex.  Using native JavaScript is faster to compile and render, but you might not actually see any difference depending on the complexity of your page.

A: When you say "a lot of creation/appending/selection", what exactly do you mean?
Is it in the order of several per second, or just "a lot"? Since the code will run client-side, one per second won't be that much of an issue.
jQuery would then be the 'best' choice, as maintainability is a large plus, and any code you write with jQuery will probably be a lot clearer.

A: I would advise you NOT to create that many identical elements all at once. Instead, place them once in your HTML and hide it (use display:none) and then use jQuery to .clone() the whole block as needed.
HOWEVER: First, get rid of those id= attributes. You can't have more than one element on a page with the same ID.


GST is included in the price!Brand new strata 1/2 duplex, European builder. 3 bdrms up, 2 bdrm ground level self contained suite, 2 car garage, hardwood floors, very open floor plan, 10 year warranty, high backyard.
Central location, cul-de-sac, & fireplace.


text:
Oricia homalochroa är en fjärilsart som beskrevs av Felder 1870. Oricia homalochroa ingår i släktet Oricia och familjen tandspinnare. Inga underarter finns listade i Catalogue of Life.

Källor

Tandspinnare
homalochroa


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CONRAD SHAWCROSS, PARADIGM
A public art commission by Conrad Shawcross RA, The Crick Institute, 2016
CONRAD SHAWCROSS, PARADIGM: A public art commission by Conrad Shawcross RA, The Crick Institute, 2016
"It is important for the Crick that researcher collaborate with colleagues in other disciplines. New advances often occur when we are able to look at things from a difference perspective. Conrad's stimulating design for Paradigm draws on both artistic and scientific inspiration, and is an interesting piece of engineering. The Crick is proud to contribute to the cultural landscape of London through this impressive public sculpture, which echoes the industrial heritage of King's Cross and encapsulates the ethos of the Crick with its boldness and ambition." - Sir Paul Nurse, Director, Francis Crick Institute
"Paradigm playfully toys with an idea at the very heart of the scientific process; but it also demonstrates just how much public art can add to a city, interacting in intriguing ways with both King's Cross built environment and its history." - Ken Arnold, Creative Director, the Wellcome Trust
Commissioned by the Francis Crick Institute, funded by the Wellcome Trust and curated by Artwise, Paradigm, by artist Conrad Shawcross, is one of the tallest public sculptures in central London. Conrad Shawcross' concept for Paradigm was chosen after a long and rigorous selection process from a considered shortlist of eminent international artists.
Thomas Kuhn's theory of the 'paradigm shift' provided the starting point for Shawcross' work for the The Crick. Kuhn, an American philosopher of science, believed that scientific advancement does not progress in a seamless linear fashion, but rather through massive shifts that lead to breakthroughs, which change the course of thought, comprehension and application. Paradigm provides a metaphor for potential and reflects the ambitions of the biomedical research institute: to grow; to advance; to discover.
Recognised as one of the most innovative sculptors in the UK today, Shawcross' sculpture towers at an impressive 14 metres high and made up of 17 tessellated tetrahedra, the massive 27 tonne sculpture elegantly balances on the smallest tetrahedron of just 80cm across. Paradigm's majestic form defies gravity, embodies boldness and courage whilst its materiality (COR-TEN weathering steel) gives a respectful nod to the industrial heritage of King's Cross.
The public sculpture was officially launched by The Crick Institute and the Wellcome Trust in June 2019 and for the occasion Artwise invited Claire Lilley to conduct a conversation with the artist in the newly inaugurated Crick Lecture theatre. For the occasion we also mounted an exhibition of small sculptural works by Conrad that had been developed from the Paradigm concept.
Artist: Conrad Shawcross RA
Commissioned by the Francis Crick Institute (visit project website here)
Funded by the Wellcome Trust
Fabricated by Benson-Sedgewick
Engineered by Structure Workshop
Curated by Artwise
Conrad Shawcross - Paradigm - Leaflet


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