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EDITOR'S ARCHIVE PICK 18/03/2013
As newspapers grapple with the digital world, editorial leaders are unrecognisable from days of yore. But what are the differences between 'old' and 'modern' editors? And what attributes make the best candidates for the 'chair' in 2013? Steve Dyson reports.
By Steve Dyson
The modern editor... Photograph: Colin Whittock
Apocryphal tales are often told in newsrooms across the nation about how editors used to act 'back in the old days'. Not all of them are believable, some are unpleasant and a few that involve secretaries, the editor's desk and closed office doors after hours are fairly unrepeatable.
But one of my favourites was recorded as fact in Copy! Boy! A 'black' from Brum, a mini-history of journalism during the 1950s in Birmingham, by former reporter Peter Deeley, (Parchment Press, 2006). Describing how the "ire of authority" could be aroused in old-fashioned, puffed-up editors, Deeley recalled: "Mr Jennings [former editor of the Birmingham Mail] was once roused in the night to be told the office was on fire. 'Editors don't put out fires,' he replied, and went back to bed."
It was this type of character from decades ago that I wanted to describe to delegates on a course entitled 'The Modern Editor' that I was delivering for Press Association Training last October. What were the best and the worst sides of the old-fashioned 'king' of the newsroom, and were any aspects worth retaining in today's newsrooms?
To help visualise this discussion, I commissioned two images from Colin Whittock, the Birmingham Mail's legendary cartoonist since the 1960s. No one, I thought, could create a better picture of the way editors have changed than Whittock, who has witnessed the comings and goings for more than 40 years, and is still going strong today.
It's great to be accepted on the news floor, but going unnoticed doesn't always keep staff on their toes.
'Editors of old'
Whittock's views are caricatures, of course, but just look at the way he's captured how 'editors of old' appeared to their troops and readers half a century ago. Back then, the editor always seemed to be in his office with the door closed – and woe betide those who dared disturb him. You can see that his staff outside the door lived in fear of him, including his secretary-cum-gatekeeper, who desperately tried to keep the peace by making him pots of tea.
This 'old' editor felt he was upwardly-mobile, hence the pin-striped suits and bad ties that Whittock has dressed him in. He largely depended on phone and memo communications with staff, readers and anyone upstairs. He was at best grumpy, at worst ferocious to anyone with the temerity to complain to him.
His working day, folklore insists, was punctuated by alcohol (note the whisky decanter and his ruddy complexion), cash advances in preparation for non-receipted expenses (there's piles of money to hand) and the terrifying spike – where any content that displeased him was mercilessly skewered.
And there was almost too much pride in the past (see the 'old' editor's favourite front page framed on the wall behind him), indicating complacent satisfaction in stories or campaigns he'd once led, distracting staff from the need for fresh approaches to changing audiences.
Modern editors must become the best in-house lawyers and ethical guides for their desk heads to bounce issues off.
'The modern editor'
How times have changed for 'the modern editor', depicted in Whittock's second sketch. The newsroom is now open-plan, with the editor himself comfortable to be out there – and his staff seemingly relaxed about this.
Gone are the pin-stripes and tie, in are open-necked shirts, a 'smart-but-casual' style. The same can be said for most of the other staff pictured, displaying a more contemporary approach as they watch wall screens for the latest, digitally-inspired stories, openly discuss the news and compare their work.
Spot the spikes (there are none), note the hot-desking enabled by lap-tops, and see the editor's chilled response to a ringing mobile (in his breast pocket), despite being busy analysing the latest trends and checking his title's updates on his iPad.
Whittock has also cleverly included a posh coffee take-out – now the ubiquitous drink in today's newsrooms – as opposed to sneaky alcoholic snifters at 11am and long, boozy lunches into the afternoon.
The best mix is somewhere in between – perhaps the type of editorial giant we saw in the 1980s and early 1990s.
So far, so good – as far as parodies of the past and present newsrooms are concerned. But surely there was something of value in the way editors of old used to 'rule' their newsrooms? And do the digitally-obsessed really deserve to inherit the earth, with their page templates, management reports and constant sobriety? The truth, of course, is that the very best of old and new characteristics are needed for the modern editor. Here's the top ten…
Leader. What makes brilliant editors and editorial managers? Great leadership. True leaders are visionaries – they know where the product is going, and they will do all within their powers to take it there. They have passion for the title; enthusiasm for the work. They have the ultimate desire to delight readers. Leading by example is the best way to start, of course. If the editor demands tweets and blogs, he – and increasingly she – had better be able to show they are active and successful in these areas themselves. Take Peter Barron, editor of the Northern Echo, as an example: watch how his tweets from @EchoPeterBarron attract more than 7,000 Twitter followers; and imagine how his newsroom is enthused at his constant blog-columns, 'Dad At Large' and 'From The Editor's Chair'.
Motivator. Yes, it's great to be accepted on the news floor, but going unnoticed doesn't always keep staff on their toes. What's wrong with the odd editor whose presence instils a certain sense of urgency and supreme effort from their team? The modern editor must motivate and inspire staff, other departments and their audience. They must listen to ideas, of course, but they should not be diverted from their main tasks. They must have courage, not only to stand up for their beliefs, but to stand up to their own people when required. Brilliant editors rarely please all of the people all of the time. Very occasionally, they need be prepared to fall out with someone within their own company.
Transformer. Modern editors must always be prepared to rebalance the types of journalism required. Yes, they need to ensure that enough new media is created for increasingly-hungry digital appetites. But at the same time, they should demand that sufficient magical story-getting and writing skills are retained, to captivate traditional print audiences.
Talent spotter. Probably, editors of old used too much 'gut instinct' to recruit, in days when staff numbers were flabby and several spare roles up their sleeves could be afforded. Those days are gone, and the modern editor needs, above all, to be a recruitment specialist, as it's vital that no time or money is lost on job candidates that 'might' show promise. Every hour from every scarce employee counts in 2013, which means spending more time to make sure jobs go to the right people, with less time then wasted chasing the tails of poor staff.
Lawyer. Old editors were often sticklers for media law, and never has this been more necessary than in today's post-Leveson world. Modern editors must become the best in-house lawyers and ethical guides for their desk heads to bounce issues off. If editors know for sure what can and cannot be allowed – in print and online – then their staff will develop confidence in the way they approach stories. If editors waver, huge mistakes will be made.
Money lender. What an old-fashioned term! But then the word 'accountant' is disliked on the news floor. Money is needed for good content, and money lenders need to be miserly. That means editors creating and keeping tight budgets – knowing them inside out to protect from overspends, but also to defend from too many management grab-backs. Modern editors should set and persistently monitor their own budgets, or else they'll find that someone else will do it for them. And budgets micro-managed upstairs means editors lose the ability to plan content.
Ambassador. Editors of old were too often found behind closed doors. It's good that this has changed, and that open-plan offices are now the norm. But contact with the world doesn't end in trendy, air-conditioned headquarters, too often based at out-of-town factory centres. Being a true ambassador means getting out and meeting readers, politicians and advertisers face-to-face, not just relying on social media. It might involve an occasional shandy…
Communicator. In a similar way, modern editors must communicate clearly and frequently with staff. Just standing around in the newsroom doesn't do it, however many gadgets are displayed. Talking to staff, cajoling style, tweaking intros, rewriting headlines, suggesting tweets, and standing on a chair to make major announcements – that's communication, and it has to be relentless.
Teacher. Continuously carrying out the above communications means the editor becomes one of the best teachers on the news floor. And, as we all know, great teachers command respect.
Delegator. But no editor can do everything by themselves. By recruiting the right staff and then teaching them how they want things done with brilliant communications, the modern editor can delegate clear responsibilities to trusted lieutenants. This doesn't mean editors putting their feet up back in the office, behind closed doors again. But it does mean they can get more things done, faster and at the same time.
The 'editors of old' from the 1950s and 1960s, as pictured by Whittock, died out with the dinosaurs. But his lampooning of 'the modern editor' warns newspapers against appointing those who are too bland, or too preoccupied with the latest management mantra. The best mix is somewhere in between – perhaps the type of editorial giant we saw in the 1980s and early 1990s. Outspoken, stirring, unafraid of taking on the big guns. A champion of their readers.
Which reminds me of a story about another editor. His name was Ian Dowell, editor of the Birmingham Mail from 1986 to 2000. In 1995, the then owner and chairman of Aston Villa FC, Sir Doug Ellis, decided to launch a free Sunday newspaper in a Birmingham suburb. Learning of his plans, Dowell launched a spoiler the week before. A short battle was fought, with Dowell insisting advertising was sold "cheap as chips" to beat his new opponent. Ellis' paper ceased publication within six months, and Dowell then closed his weeks after.
The pair ended up on live local radio to debate the issue, and Dowell's dulcet tones taunting the football legend were heard throughout the region: "If you want to play newspapers on my pitch, I'll run off with your balls."
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Home Conferences Nanotechnology in veterinary medicine
Unité de Virologie et Immunologie Moléculaires
Nanotechnology in veterinary medicine
7 march 2013 - Académie Vétérinaire de France
The French Veterinary Academy held the first conference on nanotechnology in veterinary medicine on 7 March 2013. The conference, organised by Bernard Charley at the INRA centre in Jouy-en-Josas, was an opportunity to present groundbreaking research on the subject, identify promising areas to pursue and discuss the foreseeable impact on veterinarian pharmacology and diagnostic capabilities.
Nanotechnologies, or sciences and technologies at the nanoscale (i.e. one millionth of a millimetre), make use of various disciplines and are of particular interest to biologists due to their unique applications on a very small dimension. While nanotechnology is already being used in many areas, such as in micro-electronics, computers and optics, its application in biology and medicine – veterinary sciences in particular – is still very recent.
What does the veterinarian field have to gain?
The field of veterinarian sciences stands to gain as much as human medicine does: diagnostic tools (nanoprobes) that can be used in vitro and on living animals, targeted delivery of medications, therapeutic nanomaterials, vaccine antigen vectors, in vivo imagery, or traceability of products of animal origin. The growing use of nanomaterials also reveals a need for risk assessment regarding the environment and even food.
Nanotechnologies: new means for drug and vaccine delivery to animals
Conference speakers discussed how viral nanoparticles – scaffolds for recombinant viral proteins – could be used as vaccine vectors. Topics dealt with nanomaterials used for drug delivery; nanoencapsulation of active substances, including via oral administration; improved solubility, bioavailability, and efficacy duration of active substances by reducing their toxicity threshold; and greater vaccine efficacy.
Risk assessment gains ground
As with any new technology, scientific progress must go hand-in-hand with risk assessment. Potential health and environmental risks were examined during the conference. Any risk assessment should include the development of new measuring methods, standardisation initiatives, scientific monitoring and communication efforts.
The various talks demonstrated that more active research is necessary to apply this technology to the real needs of animal health by taking into account the economic constraints of this sector, to assess their effects on the target animal species and to thoroughly evaluate the risks for the environment and consumers.
Contact(s):
Scientific contact(s):
Bernard Charley (+33 (0)1 34 65 26 20)
Molecular Virology and Immunology Unit
Press Relations: INRA News Office (+33 (0)1 42 75 91 86)
Associated Division(s): Animal Health
Associated Centre(s): Jouy-en-Josas
Author(s): INRA News office, translated by Teri Jones-Villeneuve
Url : http://www.academie-veterinaire-defrance.org/seances/
Creation date : 30 September 2013
Updated : 24 October 2013
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Recording sound effects or building a catalog of sounds to sell on some royalty free music or stock audio library sites? Follow these five tips for maximizing your library's size and overal success. You'll find that, with just a little careful planning and organization, you'll be able to curate the sound library that your production business needs to succeed.
1) Make a list in advance. Just as film producers create a list of shots they need to complete a scene or a video, and optimize their lists to minimize shooting time (equipment rental is expensive, man), so should the professional sound designer. Whether your goal is to get a single animal sound, or a collection of city ambiences, know what you're going for before you get on location. Make a list, and be specific! Do you need footsteps? Howling? Traffic? Once you've got your list, you can then optimize your locations — for example, you can get footsteps on a sidewalk, and at the same time get some traffic sounds if you record on a busy street. You can save time, and at the same time, get creative with your catalog. A little pre-planning can go a long way.
2) Invest in a high quality microphone and DAW. While technology is getting better and better, and cheaper quality equipment is becoming increasingly available, it's still important for sound effects producers to invest in great gear. Do your homework, because just like quality gear is becoming cheaper, cheap gear is becoming more and more prevalent. Find microphones that have excellent reponse at all frequencies, a solid hard disk to store your takes to, and don't skimp on your editing software. A quality digital audio editor such as ProTools or Logic can save you time and make your audio sound great.
3) Edit, Edit, Edit. Getting rid of extraneous noises is key in creating quality sound effects that are ready to use in production. No one wants footstep sounds with dogs barking in the background when they're searching for footstep sound effects. Cut the extra sounds, and your clients will thank you for it. Reduce the ambient noise as much as you can, as this will allow your sound effects to be used in as many different projects as possible without much editing. Separating your sounds this way will also pay off big in the size of your catalog.
4) Master your recordings and create high-resolution mixes. Invest in some quality mastering plug-ins. This will make your recordings have the loudness they need, along with the equalization required to make them sound their best. But remember, don't over-master. Chances are that whoever is purchasing your audio is likely to edit the effects to suit their specific needs. You can coun't on them adjusting volume, changing reverb, or mixing with other sounds. The key is to give them the best base material possible. Along these lines, don't forget to bounce to uncompressed formats like WAV or AIFF, which have far superior sound quality than a highly compressed MP3.
5) Tag and Describe your Sound Effects accurately. When you've completed your mixes, don't just label your files Car 1, Car 2, Car 3. That doesn't tell your customer anything about the sound they're looking at, and wastes their time. If you've recorded a Ferrari Testarosa revving up it's engine, label the file that way. People searching sound effects libraries have tons of material to go through, and need help finding things quickly. Similarly, you can save yourself numerous headaches when you need to dig up a file from your archives a year from now. With a little forethought and organization, you can build a better sound effects library with minimal effort.
The idea of using sound for branding is not new, but particularly in Europe, is considered an important marketing speciality. Using all of the usual marketing techniques of research, trial and retrial, entire agencies target sonic branding. It is the least used branding method and considered the technique with the most growth potential.
Contributing audio and music to marketing and branding campaigns can be a lucrative source of income for the stock music composer.
At the 2012 Audio Branding Congress at the University of Oxford, virtually every research project and branding development came from Europe. Speaking to other attendees, they were surprised at the lack of American participation when they felt American development was extremely mature. Cases cited included Harley-Davidson's famous exhaust tuning studio, Intel Inside, and the omnipresent McDonald's audio logo. New work presented at Oxford included sound design for the atmosphere in Harrod's famous toy department in London featuring regenerative soundscapes, audio logos for two famous European companies, and an entire suite of sonically different logo-based music for use throughout the Dell Computer organization.
Recent literature that sum up current directions in sonic branding include "Sound Business" by Julian Treasure of The Sound Agency and "Audio Branding", a compilation of articles and studies representing all issues associated with creating effective audio branding.
While considered a niche, sonic branding can be a differentiating part of the portfolio of a sound designer and/or composer. The unique chances to present their work from typical broadcast and the Internet to prestigious and renowned public spaces can be a fulfilling and challenging opportunity. Presented properly, any sound design student can be introduced to opportunities very closely tied to the main thrust of their education track. With awareness of jingle writers and sound designers in studios for traditional advertising media, adding the potential in sonic branding is worth investigating.
Are your sound effects and stock music tracks legal?
I came across this story the other day talking about how Warner/Chappell Music is being sued for demanding royalty payments for the usage of the song "Happy Birthday," and it brought to mind some important misconceptions about what it means for a sound effect or stock music track to be in the public domain.
As much as I personally dislike large music publishing conglom-a-corp-a-plunderbunds because I think large companies don't have artists' best interests at heart, but the fact remains that the song Happy Birthday is still under copyright. Just because the song is popular and well known doesn't make the plaintifs case that "the song should be dedicated to public use…" Under that logic, MC Hammer's "Can't Touch This" should be public domain because it is both popular and well known. Not true.
With that in mind, the question both video production companies and stock music and sound effects producers alike should ask themselves when considering a piece of stock audio for purhcase or sale is "Is everything in this track legal?" Of course, if it's 100% originally composed and produced, like most music on Productiontrax, then of course it is legal. Even though the tracks are under copyright, they're still licensed royalty free. But, if the sound effect or music track has audio in it recorded live, you have to check it for copyrighted sounds before uploading or downloading (uploading content that contains copyrighted sounds to Productiontrax is against the terms of service).
Is there a snippet of copyrighted music in it? Not legal.
Uses sample software or sampled sounds to produce the track? Legal.
Contains a sound of a tv or radio playing a copyrighted song? Not legal.
Contains a human singing Happy Birthday? Not legal.
Contains a piano playing a Chopin Waltz? Legal.
You get the idea. The key here is to double check your work. We triple check at Productiontrax when we can to make absolutely certain that the media you find here will be 100% licensable and not get you into a legal battle with a plunderbund, but keep these tips in mind when looking for sound effects from your favorite sound effects sharing site, or from some other music library that has some hard to find stock audio clips from 1950s television. Your legal budget will thank you.


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Gavialis gangeticus (GMELIN, 1789)
NAMES | DISTRIBUTION | HABITAT | STATUS | APPEARANCE | IMAGES | DIET | BREEDING | CONSERVATION
ALLIGATORIDAE
A. mississippiensis
A. sinensis
C. crocodilus
C. c. apaporiensis
C. c. fuscus
C. latirostris
C. yacare
M. niger
P. palpebrosus
P. trigonatus
CROCODYLIDAE
C. acutus
C. intermedius
C. johnstoni
C. mindorensis
C. moreletii
C. niloticus
C. novaeguineae
C. palustris
C. porosus
C. rhombifer
C. siamensis
M. cataphractus
O. tetraspis
T. schlegelii
GAVIALIDAE
G. gangeticus
DICHOTOMOUS KEY
[German]
MAIN MENU STATUS OF INFORMATION:
This information was most-recently updated January 2009 and is considered up-to-date. Please contact me directly regarding updates or corrections.
Indian gharial, Indian gavial, Fish-eating crocodile, Gavial del Ganges, Gavial du Gange, Long-nosed crocodile, Bahsoolia, Nakar, Chimpta, Lamthora, Mecho Kumhir, Naka, Nakar, Shormon, Thantia, Thondre, Garial
NAME ETYMOLOGY:
> Gavialis is a corrupted derivation from the Hindi word ghariyal which is a name for "crocodile".
> gangeticus means "of the Ganges (River)", where -icus means "belonging to" (Latin)
> "Gavial" is a mis-spelling of the word "Gharial" (derived from the Hindi ghariyal) that refers to the ghara (Hindi for "pot") - a swelling around the nostrils of mature males used for communication (sound)
[CLICK ON MAP FOR DETAILED RANGE]
Northern India subcontinent: Known populations exist only in India and Nepal. It is now considered very likely that historical populations in Bangladesh, Pakistan, Bhutan and Myanmar are extirpated.
Remaining populations in India are found in the Chambal River (<100 adults in National Chambal Sanctuary), Gitwa River (20-30 adults in Katernia Ghat Sanctuary), Son River (<5 adults in Son River Sanctuary), Mahanadi River (<5 non-breeding adults in Satkosia Gorge Sanctuary) and around 40 non-breeding adults in the Ken, Ramgenga, Yamuna and Brahmaputra rivers. Remaining populations in Nepal are found in Narayani/Rapti River (<10 adults in Chitawan National Park) and around 30 non-breeding adults in the Karnali, Babai and Koshi rivers.
Riverine - gharials are more adapted to an aquatic lifestyle in the calmer areas of deep, fast-moving rivers. Sandbanks on these rivers are exposed seasonally, sometimes in different areas as the banks are moulded by the river over time. Gharials concentrate around these sandbanks during the dry season making them more vulnerable to disturbance. The gharial is poorly equipped for locomotion on land, and adults cannot lift their bodies clear of the ground. It usually only leaves the water to bask and nest, both of which usually occur on sandbanks.
CITES: Appendix I
IUCN Red List: 2007 update: uplisted to CR CRITICALLY ENDANGERED, formerly EN C2a, E (ENDANGERED)
Estimated wild population:200 or less (based on 2005/06 information) with an estimated 96% reduction from historical distribution
Summary: Extremely fragmented distribution, deteriorating status in recent years and intense pressure from human activities makes the gharial one of the most endangered animals on Earth
[click on image for enlargement]
Characteristic elongate, narrow snout, similar only to the false gharial (Tomistoma schlegelii). Variation in snout shape occurs with age (generally becomes proportionally longer and thinner with increasing age). The bulbous growth on the tip of the male's snout is called a 'ghara' (after the Indian word meaning 'pot'), present in mature individuals. It has several functions attributed to it: a vocal resonator with which the gharial can produce a loud buzzing noise during social behaviour, a visual stimulus for females during courtship, and an aid to producing bubbles also during courtship. The elongated jaws are lined with many interlocking, razor-sharp teeth - an adaptation to the diet (almost exclusively fish in adults). The gharial is one of the largest of all crocodilian species according to several reports, approaching C. porosus in terms of maximum size - males reach at least 5 metres in length, and occasionally approach 6 metres. Reports of 7 metre animals exist, but are unconfirmed and considered highly unlikely. The gharial is poorly equipped for locomotion on land as an adult - the leg musculature is not suited to raise the body off the ground to produce the 'high-walk' gait - being able only to push its body forward across the ground ('belly-sliding') although it can do this with some speed when required. It is, however, very agile in the water - the tail is well-developed and laterally flattened, and the rear feet possess extensive webbing.
DENTITION:
5 pre-maxillary; 23-24 maxillary; 25-26 mandibular
Total no. of teeth = 106-110
Side view of adult gharial head Side view of adult gharial head
The diet changes between juvenile and adult - the juveniles are well suited to deal with a variety of invertebrate prey such as insects, plus smaller vertebrates such as frogs. Adults, however, are almost exclusively fish-eaters, for which their jaws and teeth are perfectly adapted - the thin shape gives the snout low resistance in water, which is suited to fast lateral snatching movements underwater; teeth are ideally suited for holding struggling prey such as slippery fish. The slender jaws are precision instruments capable of deftly manipulating fish into position for swallowing. There have been accounts of larger gharials being more opportunistic and taking larger prey, including mammals, but this seems extremely rare if it happens at all, and may simply be explained by a gharial snapping at a nearby disturbance.
Gharials are not considered a threat to humans. They have occasionally been blamed for human fatalities, but there is no evidence to back this up. Human remains and jewellery have been found in their stomachs and were thought to validate this fear, but these are most likely to have been scavenged from the dead - the Hindi funeral ritual ends with the remains of the cremated body being sent down the river. Jewellery is possibly ingested in the same way that stones would be in order to be used as gastroliths - hard objects which aid in digestion.
BREEDING:
Females reach sexual maturity around 3 m in length (usually over 10 years old). Males guard a harem of several females. The mating period occurs for two months during November, December and into January. Nesting occurs in March, April and May (the dry season) where hole nests are dug into seasonally-available riverine sand banks. Between 30 and 50 eggs (average of 37) are deposited into the hole before it is covered over carefully. The size of the eggs in gharials is the largest for any crocodilian species, weighing on average 160 grams. After 83 to 94 days, the juveniles emerge, although the female has not been observed assisting the hatchlings to the water as in many other crocodilian species. This is perhaps because of the unsuitability of their jaws for carrying hatchlings, and also because of their needle-sharp teeth. However, protection of the young does occur around the nesting area for some time after hatching.
CONSERVATION:
The gharial is in serious trouble once more. In the first half of the 20th Century the gharial was common throughout its range, with an inferred population in the 1940s of between 5,000 and 10,000. By 1970, however, it was apparent that the gharial was in serious decline and this prompted scientific surveys to determine the extent of the problem. These were initially carried out by S. Biswas of the Zoological Society of India, and then extended into an India-wide survey conducted by Rom Whitaker. Full protection was granted in the 1970s in the hope of reducing poaching losses, although these measures were slow to be implemented at first. A total of 9 protected areas were established in India linked to both captive breeding and 'ranching' operations where eggs collected from the wild were raised in captivity (to reduce mortality due to natural predators) and then released back into the wild (the first being released in 1981). Over 3000 animals were released through these programs, and the wild population in India recovered to an estimated 1500 adults - with perhaps between one and two hundred animals in the remainder of its range (Pakistan, Bangladesh, Nepal).
Yet despite this recovery, surveys within the last decade have revealed that populations are once again in decline, and this time it is looking grim. Available habitat is being eroded, fishing and pollution are serious threats to both juveniles and adults, and populations have disappeared from many former haunts. By 2007 the gharial was once again elevated to the status of CRITICALLY ENDANGERED on the IUCN Red List. This is the first crocodilian species to have been re-listed in this manner.
The major threat at present is habitat loss due to human encroachment, sand mining and disruption of populations through fishing and hunting activities. Pollution is also suspected to be a serious factor, possibly to blame for a mass die-off of adults in early 2008. A historical problem has also been a lack of suitable release sites for any release programs. Gharial eggs are occasionally collected by local people for medicinal purposes, and males have been targeted for the aphrodisiac properties associated with the snout. They may also be snared in fishing (gill) nets and killed by fishermen. The decline in gharial populations have been linked to a decline in fish catches, as predatory fish (of no interest to the fishermen) form a major part of the crocodiles' diet.
The Gharial Conservation Alliance (GCA) was established in 2007 and comprises key gharial scientists, experts and stakeholders primarily in gharial range states. Starting with fund- and awareness-raising campaigns, it is coordinating research and conservation activities on remaining populations and habitats. Key priorities include protecting all remaining suitable habitats from illegal activities that threaten gharials, monitoring and research on current populations, addressing human impacts on gharials and riverine habitat, and establishing conservation programs with local communities.
For more information on distribution and conservation issues for this species,see the CSG Action Plan resource.
SIGNIFICANT REFERENCES:
Bustard, HR & Singh, LAK (1978). Studies on the Indian gharial, Gavialis gangeticus (Gmelin) (Reptilia, Crocodilia). Change in terrestrial locomotory pattern with age. J. Bombay Nat. Hist. Soc. 74: 534-536
Maskey, BGH & Bellairs, AD'A (1977). The narial excresence and pterygoid bulla of the gharial, Gavialis gangeticus (Crocodilia). J. Zool., Lond. 182: 541-558
Rao, RJ & Singh, LAK (1994). Status and conservation of the gharial in India. In: Crocodiles. Proceedings of the 12th Working Meeting of the Crocodile Specialist Group. IUCN, Gland, Switzerland. Vol.1. pp. 84-97
Singh, LAK & Bustard, HR (1977). Studies on the Indian gharial, Gavialis gangeticus (Gmelin): V. Preliminary observations on maternal behavior. Indian Forester 103: 671-678
Whitaker, R & Basu, D (1983). The gharial (Gavialis gangeticus): a review. J. Bombay Nat. Hist. Soc. 79: 531-548
SPECIES LIST | BIOLOGY DATABASE | COMMUNICATION | CAPTIVE CARE
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1 eHome/RC remotes. The remotes in this section all use the Microsoft eHome driver on Windows. See Using a Microsoft remote control in Windows for details.
Infrequent computer system failures are often the result of a bad or expired i inc monitor driver, simply because it disturbs other programs which can induce such a issue, that only a shutdown or possibly a enforced reactivation may fix.
[ Select Operating System ] If you select your Operating System(just once), and then you can download a driver for your Operating System. If there is a service pack for your Operating System, I recommend install the service pack before install your driver.
IMPORTANT : ALWAYS BACKUP FIRST ! Some of these files are archived in ZIP, RAR, 7Z or CAB format. You need a file decompression (unZIPping/unARChiving/unRARing) tool to extract their contents.
Windows XP Media Center Edition is distinguished with its exclusive component, Media Center, a media player that supports watching and recording TV programs, as well as playing DVD-Video, photo slideshows, and music.


text:
package com.alibaba.jstorm.utils;

import java.io.File;
import java.io.IOException;
import java.util.Iterator;
import java.util.List;
import java.util.Map;
import java.util.concurrent.Future;

import backtype.storm.generated.KeyNotFoundException;
import com.alibaba.jstorm.blobstore.BlobStoreUtils;
import com.alibaba.jstorm.blobstore.ClientBlobStore;
import org.apache.commons.io.FileUtils;
import org.apache.thrift.TException;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

import backtype.storm.Config;
import backtype.storm.GenericOptionsParser;
import backtype.storm.utils.Utils;

import com.alibaba.jstorm.client.ConfigExtension;
import com.alibaba.jstorm.cluster.StormConfig;

/**
 * storm utils
 *
 * @author yannian/Longda/Xin.Zhou/Xin.Li
 */
public class JStormServerUtils {

    private static final Logger LOG = LoggerFactory.getLogger(JStormServerUtils.class);

    public static void downloadCodeFromBlobStore(Map conf, String localRoot, String topologyId)
            throws IOException, KeyNotFoundException {
        ClientBlobStore blobStore = BlobStoreUtils.getClientBlobStoreForSupervisor(conf);
        FileUtils.forceMkdir(new File(localRoot));

        String localStormJarPath = StormConfig.stormjar_path(localRoot);
        String masterStormJarKey = StormConfig.master_stormjar_key(topologyId);
        BlobStoreUtils.downloadResourcesAsSupervisor(masterStormJarKey, localStormJarPath, blobStore, conf);

        String localStormCodePath = StormConfig.stormcode_path(localRoot);
        String masterStormCodeKey = StormConfig.master_stormcode_key(topologyId);
        BlobStoreUtils.downloadResourcesAsSupervisor(masterStormCodeKey, localStormCodePath, blobStore, conf);

        String localStormConfPath = StormConfig.stormconf_path(localRoot);
        String masterStormConfKey = StormConfig.master_stormconf_key(topologyId);
        BlobStoreUtils.downloadResourcesAsSupervisor(masterStormConfKey, localStormConfPath, blobStore, conf);

        Map stormConf = (Map) StormConfig.readLocalObject(topologyId, localStormConfPath);

        if (stormConf == null)
            throw new IOException("Get topology conf error: " + topologyId);

        List<String> libs = (List<String>) stormConf.get(GenericOptionsParser.TOPOLOGY_LIB_NAME);
        if (libs != null) {
            for (String libName : libs) {
                String localStormLibPath = StormConfig.stormlib_path(localRoot, libName);
                String masterStormLibKey = StormConfig.master_stormlib_key(topologyId, libName);
                //make sure the parent lib dir is exist
                new File(localStormLibPath).getParentFile().mkdir();
                BlobStoreUtils.downloadResourcesAsSupervisor(masterStormLibKey, localStormLibPath, blobStore, conf);
            }
        }
        blobStore.shutdown();
    }

    public static void downloadCodeFromMaster(Map conf, String localRoot, String masterCodeDir,
                                              String topologyId, boolean isSupervisor) throws IOException, TException {
        FileUtils.forceMkdir(new File(localRoot));
        FileUtils.forceMkdir(new File(StormConfig.stormlib_path(localRoot)));

        String localStormjarPath = StormConfig.stormjar_path(localRoot);
        String masterStormjarPath = StormConfig.stormjar_path(masterCodeDir);
        Utils.downloadFromMaster(conf, masterStormjarPath, localStormjarPath);

        String localStormcodePath = StormConfig.stormcode_path(localRoot);
        String masterStormcodePath = StormConfig.stormcode_path(masterCodeDir);
        Utils.downloadFromMaster(conf, masterStormcodePath, localStormcodePath);

        String localStormConfPath = StormConfig.stormconf_path(localRoot);
        String masterStormConfPath = StormConfig.stormconf_path(masterCodeDir);
        Utils.downloadFromMaster(conf, masterStormConfPath, localStormConfPath);

        Map stormConf = (Map) StormConfig.readLocalObject(topologyId, localStormConfPath);

        if (stormConf == null)
            throw new IOException("Get topology conf error: " + topologyId);

        List<String> libs = (List<String>) stormConf.get(GenericOptionsParser.TOPOLOGY_LIB_NAME);
        if (libs == null)
            return;
        for (String libName : libs) {
            String localStromLibPath = StormConfig.stormlib_path(localRoot, libName);
            String masterStormLibPath = StormConfig.stormlib_path(masterCodeDir, libName);
            Utils.downloadFromMaster(conf, masterStormLibPath, localStromLibPath);
        }
    }

    public static void createPid(String dir) throws Exception {
        File file = new File(dir);

        if (!file.exists()) {
            file.mkdirs();
        } else if (!file.isDirectory()) {
            throw new RuntimeException("pid dir:" + dir + " isn't directory");
        }

        String[] existPids = file.list();
        if (existPids == null) {
            existPids = new String[]{};
        }
        for (String existPid : existPids) {
            try {
                JStormUtils.kill(Integer.valueOf(existPid));
                PathUtils.rmpath(dir + File.separator + existPid);
            } catch (Exception e) {
                LOG.warn(e.getMessage(), e);
            }
        }

        // touch pid before
        String pid = JStormUtils.process_pid();
        String pidPath = dir + File.separator + pid;
        PathUtils.touch(pidPath);
        LOG.info("Successfully touch pid  " + pidPath);
    }

    public static void startTaobaoJvmMonitor() {
        // JmonitorBootstrap bootstrap = JmonitorBootstrap.getInstance();
        // bootstrap.start();
    }

    public static boolean isOnePending(Map conf) {
        Object pending = conf.get(Config.TOPOLOGY_MAX_SPOUT_PENDING);
        if (pending == null) {
            return false;
        }

        int pendingNum = JStormUtils.parseInt(pending);
        return pendingNum == 1;
    }

    public static String getName(String componentId, int taskId) {
        return componentId + ":" + taskId;
    }

    public static String getHostName(Map conf) {
        String hostName = ConfigExtension.getSupervisorHost(conf);
        if (hostName == null) {
            hostName = NetWorkUtils.hostname();
        }

        if (ConfigExtension.isSupervisorUseIp(conf)) {
            hostName = NetWorkUtils.ip();
        }

        return hostName;
    }

    public static void checkFutures(List<Future<?>> futures) {
        Iterator<Future<?>> i = futures.iterator();
        while (i.hasNext()) {
            Future<?> f = i.next();
            if (f.isDone()) {
                i.remove();
            }
            try {
                // wait for all task done
                f.get();
            } catch (Exception e) {
                throw new RuntimeException(e);
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


TeenHelp Mind and Body Eating Disorders I have a problem!
I don't know what to do. I have a problem with food, so I don't eat all of my food when we are having dinner together as a family, my sister is always yelling at me to eat more and then my mom will tell me to eat more. Then when my mom and dad and sister get up from the table I throw my food away in the trash and act like I ate the food. I don't know what is wrong with me, I will eat breakfast and lunch, but why can't I eat all of my dinner? Is something wrong with me? I don't get it. Can someone please help me with this?
Do you know why you aren't eating? Are you not hungry? Are you afraid you will gain weight? Do you not like the food being served?
I used to skip Breakfast and Lunch a lot of the times. Sometimes it was due to my disordered eating habits and other times it was due to being busy. I would sleep in and wouldn't have time for breakfast and when lunch came around the school didn't always have the best options.
If you can try and figure out what is causing this you can work on figuring out how to improve the situation. If you are not eating because you don't want to gain weight than that would likely be a disordered eating behavior and you would want to look into therapy or something.
If there is a reason outside of gaining weight that you are doing this then it might not be disordered eating. Some people have difficulty eating because of nerves or because they are picky.
If you can supply a bit more information I might be able to give a better response.
Yes sometimes I just can't eat the food, it's hard to eat it. Sometimes it takes me a while to finish breakfast or dinner. Yes I am afraid to gain weight. I even have a hard time eating the food that I like. I don't know what is wrong with me, and my mom and sister are always yelling at me to eat more dinner. I just can't sometimes and I don't know what to do now.
I had an issue with struggling to eat my dinner. I never really understood why. I was kind of scare to be gaining weight and I even like the food sometimes. But u know what I did? I sat there and I kept telling my self one more forkful. Even if you jut eat half of what's left it's better than nothing. Your mum and sister are probably yelling at you because they care for you and don't want to see you get hurt. My sister has her own issues and she thinks I hate her because I'm hard on her. I just want her to get better. Maybe also talk to your sister to get some of her advice. Sorry ifs advice is crap. Stay strong!
Is the fear of weight gain your main reason for not wanting to eat? Do you know what's exactly causing the issue, particularly with dinner, as opposed to other meals?
No it's not just a fear of weight gain. It's other things too.
What kind of other things? I'm just asking because it'll impact the advice I'll give.
Having your mother and father and sister all yell at you certainly is counterproductive. That will stress you out, and stress is what triggers this problem. They're just making it worse!
It's the emotional midbrain that doesn't want to eat. The rational frontal cortex already knows you need to eat. But the fear comes from the midbrain.
The midbrain decides it doesn't want to eat, and you don't eat.
Oh, also, if you look at a diagram, notice the frontal cortex is on the top, and the spine which carries the nerves to the rest of the body which make the body move, and between the two is the midbrain! All decisions from the rational thinking frontal cortex have to go through the midbrain to reach the spine and the rest of the body! The emotional midbrain gets to review all instructions from the frontal cortex. You have to get the emotional midbrain on board to go along with this eating idea, because the midbrain can block any idea it doesn't like, and it can run off on it's own if it wants to do something else. If it doesn't want to eat, then your body isn't going to make the motions so you eat.
So one trick is to focus on how the midbrain is feeling, how are you feeling? The midbrain doesn't work on logic and rational thought, it runs on primitive emotions.
Thank you for your help, I get what you're saying.


Whether the stripes and lines are organised or random: the sailor vibe is evident from the interplay of vertical and horizontal lines. It continues with shoulder buttoning detail with buttons featuring the same interplay of lines.
Round neck, remeshed nautical sweater in 1x1 rib knit. Plain upper panel. Button fastening on one side.


text:
Film » Movie Review
Ghosts of Hollywood
The Decay of Fiction ★★★ (A must-see)
Directed by Pat O'Neill.
Truly original art tends to defy generic categories, and Pat O'Neill's 35-millimeter, 73-minute The Decay of Fiction (2002), which Chicago Filmmakers is presenting this Saturday night at Northwestern University's Block Cinema, is no exception. Inarguably an experimental work, it also reeks of classic Hollywood. The credits list O'Neill as producer, director, and editor and George Lockwood as cinematographer and sound designer, but no one is credited as the screenwriter—even though the film contains as much dialogue as any commercial feature, most of it apparently original. Forty-five cast members are cited alphabetically in those same credits, with no indication of who plays the most significant roles. Eight years in the making, the film partakes equally of the past (roughly the 1920s through the 1960s) and a disquieting version of the present.
It was filmed in and around LA's Ambassador Hotel, which closed in 1989 and was slated for demolition at the time the film went into production in 1994 (although it was still standing when the film premiered last fall). The Decay of Fiction is both a color documentary about that crumbling edifice (where the first Academy Awards ceremony was held in 1929, and where Robert F. Kennedy was shot in 1968) and a sonata of ghostly memories that permeate its various spaces—the latter taking the form of sound and imagery associated with black-and-white Hollywood movies.
As far as I can make out from the sketchy information available in the press book, most of the images, dialogue, and sound effects are masterful pastiches of snatches from typical Hollywood features (especially noirs and melodramas) while most of the music was lifted from old sound tracks. Most of the black-and-white characters and props seen among the hotel's ruins are transparent, and the majority of the sounds, including the dialogue and music, are pitched at the periphery of normal perception, so that even when they connote dramatic or violent action, they seem to be on the verge of evaporating.
A treasure chest of narrative fragments, The Decay of Fiction lacks the itinerary and "instructions for use" that automatically comes with a linear story. The shards of its many implied plotlines are the fruit of O'Neill's all-encompassing sense of form, which for better or worse is conceptual rather than technical or material. His overall concept is cogently expressed in the synopsis he provides in the film's press materials, so I've decided to quote it in full (though it should be kept in mind that O'Neill's description of the film is necessarily interpretive rather than objective).
"The Decay of Fiction is an intersection of fact and hallucination in an abandoned luxury hotel. The hotel is in Hollywood. The walls of the Ambassador are cracked and peeling, the lawns are brown, and mushrooms grow in the damp carpets of the Coconut Grove. The pool is empty, and the ballroom where Bobby Kennedy died is shuttered and locked. A tall, elegant blonde stands transparently on the terrace of her bungalow, smoking and watching the sunrise. Voices and tinkles waft across the lawn. A contingent of various sinister men arrive and ask for Jack. Jack is expecting trouble, but not this kind of trouble. Louise, a guest, replays a nightmare in which she drowns Pauline so that she can marry Dean. The sun sets and rises again. Two detectives seem to turn up everywhere, searching for Communist literature and telling one another pointless stories of underworld intrigue. In the kitchens and behind the scenes the daily routine continues, individuality melts, and workers fuse with their jobs. Winter passes, and then another summer, and finally it is Halloween, and there is a costume ball which claims the life of Rhonda the evasive soprano. And then the building comes down in a clatter of Spanish tile and concrete, and fact has finally become fiction once again." [The hotel's demolition is suggested with sound effects rather than seen over the final credits.]
"I scribbled the words 'The Decay of Fiction' on the back of a notebook almost 40 years ago, tore it off and framed it 15 years later, and have wanted ever since to make a film to fit its ready-made description. To me it refers to the common condition of stories partly remembered, films partly seen, texts at the margins of memory, disappearing like a book left outside on the ground to decompose back into the earth.
"The film takes place in a building about to be destroyed, whose walls contain (by dint of association) a huge burden of memory: cultural and personal, conscious and unconscious. To make the film was to trap a few of its characters and some of their dialogue, casting them together within the confines of the site. The structure and its stories are decaying together, and each seems to be a metaphor for the other.
"I am interested in exploring the boundaries of believability. The narrative tradition insists that, no matter how fantastic the story, its surface must be seamless. By contrast, I call attention to the artifice, all the staged aspects, and allow the well-worn stories to slip over and through one another. The film's intention could be described as wanting to take stories off the screen and into the imagination. I like to work within the gaps between reality and story, to look at what is going on around the story, its context, and to make that a part of my conversation with the audience."
An expert technician, O'Neill has worked on the special effects of such Hollywood features as Star Wars: Return of the Jedi (1983), Superman IV (1987), and The Game (1997), so his ambivalent relationship to the film industry—and to industrialization in general—is more than just theoretical. His best-known previous feature, Water and Power (1989), used time-lapse photography and optical printing (both techniques also central to The Decay of Fiction) to analyze the way water consumption in Los Angeles has despoiled the surrounding countryside. The evanescence of human presence in relation to physical landmarks is no less a major theme of both films. As Fred Camper wrote of Water and Power in these pages, "Using time lapse to make weather changes visible, O'Neill renders people as fleeting shadows whose power to alter the landscape fails to mitigate the fragility and shortness of human life on a geologic scale."
The film's images of the past and the present are formally distinct from one another: most of the former are transparent, steady, and in black and white; most of the latter are solid, jerky time-lapse sequences in color. But there's little else that's constant or predictable about O'Neill's high-end improvisations. The Decay of Fiction ultimately resembles a literary work insofar as its conceptual basis is so fully grounded in metaphor, as O'Neill himself notes. In this respect, it doesn't quite live up to the high standards of either of the two films it evokes most often, Last Year at Marienbad (1961) and The Shining (1980), both of which are also set in spacious luxury hotels inhabited by ghostly memories and hallucinatory visions. (Though it hasn't frequently been acknowledged by critics, Stanley Kubrick's horror film is deeply indebted to Alain Robbe-Grillet and Alain Resnais' experimental art feature. The Decay of Fiction seems equally influenced by Last Year at Marienbad's nostalgic and creepy poetry and its expert counterfeiting of various forms of Hollywood glamour and intrigue.) Maybe it's the absence of narrative that makes the sum of O'Neill's film less brilliant than its parts—despite the meditative possibilities that its nonlinearity offers. But if it's a work that ultimately fails, it fails on a much higher level than that upon which many lesser works succeed. It seeps into one's bones with a chilling conviction and leaves behind a poignant aftertaste.
Movie Review The Decay of Fiction Pat O'Neill


text:
Ducks take a wild victory from Vegas with…
Ducks take a wild victory from Vegas with captain Ryan Getzlaf sidelined
The Ducks' Trevor Zegras, from right, Hampus Lindholm, Sonny Milano and Rickard Rakell celebrate a goal during the second period of their 6-5 victory over the Vegas Golden Knights on Wednesday night at Honda Center. (AP Photo/Jae C. Hong)
By Elliott Teaford | eteaford@scng.com | Orange County Register
PUBLISHED: December 1, 2021 at 9:59 p.m. | UPDATED: December 2, 2021 at 10:01 a.m.
Ducks goaltender Anthony Stolarz, right, makes a save against the Vegas Golden Knights' Reilly Smith during the first period on Wednesday night at Honda Center. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Chandler Stephenson, right, and the Ducks' Josh Mahura fall to the ice as they fight for the puck during the first period on Wednesday in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Michael Amadio, left, moves the puck under defense by the Ducks' Cam Fowler during the first period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Keegan Kolesar, right, and the Ducks' Kevin Shattenkirk chase the puck during the first period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Isac Lundestrom watches action during the first period against the Vegas Golden Knights on Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Mattias Janmark, right, moves the puck under pressure from the Ducks' Josh Mahura during the first period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Max Pacioretty, center, moves the puck while under pressure from the Ducks' Jamie Drysdale, right, and Hampus Lindholm during the first period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Hampus Lindholm skates during the first period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Nicolas Roy moves the puck during the first period of an NHL hockey game against the Ducks on Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Chandler Stephenson, left, is pressured by the Ducks' Cam Fowler during the first period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Rickard Rakell shoots to score during the second period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Rickard Rakell (67) celebrates his goal with Sonny Milano (12) as Vegas Golden Knights goaltender Robin Lehner stands in front of his net during the second period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Rickard Rakell skates during the second period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Adam Henrique, left, and the Vegas Golden Knights' Zach Whitecloud skate after the puck during the second period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Troy Terry moves the puck during the second period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Rickard Rakell, right, fights for the puck with the Vegas Golden Knights' Jonathan Marchessault during the second period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
Vegas Golden Knights goaltender Robin Lehner, right, makes a save against the Ducks' Vinni Lettieri during the second period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Josh Manson (42) celebrates his goal with Trevor Zegras (46) and Rickard Rakell (67) as the Vegas Golden Knights' Alex Pietrangelo (7) skates away from them during the second period on Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Troy Terry skates during the second period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Nicolas Hague, left, skates past the Ducks' Jakob Silfverberg while chasing the puck during the second period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Sam Steel skates during the second period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Evgenii Dadonov, right, moves the puck around the net as Ducks goaltender Anthony Stolarz watches during the third period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. The Ducks won 6-5. (AP Photo/Jae C. Hong)
Fans cheer as the Ducks' Jamie Drysdale and Trevor Zegras celebrate a goal by Drysdale during the third period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Jamie Drysdale celebrates his goal during the third period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Vegas Golden Knights' Nicolas Roy, center, is defended by the Ducks' Jakob Silfverberg, left, and Hampus Lindholm during the third period of an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Trevor Zegras watches action during the third period of an NHL hockey game against the Vegas Golden Knights Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
The Ducks' Troy Terry, left, and goaltender Anthony Stolarz celebrate the team's 6-5 win against the Vegas Golden Knights in an NHL hockey game Wednesday, Dec. 1, 2021, in Anaheim, Calif. (AP Photo/Jae C. Hong)
ANAHEIM — The Ducks took the ice Wednesday without Ryan Getzlaf for the first time this season, their captain and second-leading scorer sidelined by a lower-body injury that prompted significant concern and lineup shuffling before facing the Vegas Golden Knights at Honda Center.
In the end, the Ducks seemed to be unfazed by Getzlaf's absence, energized by three-assist games from Trevor Zegras and Sonny Milano and 34 saves from backup goaltender Anthony Stolarz en route to a wild 6-5 victory over the Golden Knights, their second win in 24 hours and their 11th in their last 15 games.
That's not to say the Ducks didn't have their moments of uncertainty because they did, just as they did during their 5-4 shootout victory over the Kings on Tuesday, when Getzlaf exited midway through the first period. In that one, the Ducks lost all of a 4-1 third-period lead but won in a shootout.
This time, the Ducks (13-8-3) weathered a late onslaught from Vegas (12-10-0) that included a shorthanded goal by Mattias Janmark and power-play strikes from Max Pacioretty and Reilly Smith as the Golden Knights narrowed their deficit to 5-4 and finally 6-5 in the final, frantic seconds.
The Ducks countered with third-period goals from Jamie Drysdale and Isac Lundestrom. Lundestrom's goal, fired into an empty net while the Ducks were short-handed, proved to be the decisive score, enabling them to improve their all-time record to 4-13-5 against the Golden Knights.
"We can play with these guys, we can skate with these guys," Ducks coach Dallas Eakins said. "We don't need to go and try to contain, pull back and play safe. It's the safe-is-death mentality. We want to go and enjoy the game. You want to compete hard, but you want to have fun. I thought our guys did an unbelievable job."
No question, the Ducks seemed to be enjoying themselves during a four-goal outburst in the second period. Troy Terry, Rickard Rakell, Josh Manson and Hampus Lindholm scored in the middle period as the Ducks took their second 4-1 lead in as many nights.
"We're playing a different style," Manson said. "We're turning pucks back so much quicker now. We're not giving them (the Golden Knights) a chance to set up. We kind of understand their game a little better, too, how they want to go through the neutral zone. All those kinds of things.
"I think we're doing a lot of things better. When we win our battles is when we start to create offense. They come at you wholesale, with four or five guys on the rush. If you play them smart and you win your battles, you're going to get your chances going back the other way."
After a scoreless first period, the Ducks' third in a row, Terry sent a laser into the back of Robin Lehner's net for a 1-0 lead 4:21 into the second. It took 129 games for Terry to score his first 15 goals in the NHL. It took him only 23 games this season to score his next 15 goals.
Only two players in Ducks history have scored 15 goals or more in their first 23 games of a season. Paul Kariya did it twice, including in 1995-96 when he scored 50 by season's end, and Teemu Selanne did it in 1997-98 when he ended the season with a franchise-record 52.
Zach Whitecloud's short-handed goal with 12 seconds left in the second period cut the Ducks' lead to 4-2 and took some of the fizz out of their four-goal period. The Ducks outshot the Golden Knights by 15-10 in the period and generally controlled play in the second after Terry's goal.
Ducks draw a blank against Marc-Andre Fleury, Blackhawks
Ducks coach Dallas Eakins frets fatigue at midseason
Depleted, disjointed Ducks can't keep up in loss to Wild
Troy Terry enters COVID-19 protocols, so Ducks turn to Sam Carrick
Ducks' John Gibson selected to All-Star team; Troy Terry snubbed
Eakins had shuffled his lines with Getzlaf out of commission, moving Sam Steel from third-line left wing to top-line center. Eakins considered moving Zegras between Terry and Adam Henrique, but he gave Steel a promotion instead. Derek Grant moved into Steel's spot on the third line.
Zegras remained with usual linemates Milano and Rakell. Grant skated with Lundestrom and Jakob Silfverberg. Nicolas Deslauriers, Sam Carrick and Vinni Lettieri made up the fourth line. The Ducks bolstered their ranks by summoning Buddy Robinson from the AHL's San Diego Gulls.
The final period turned out to be a test of wills and skills, and the Ducks managed well enough in Getzlaf's absence.
"That's a dangerous team," Eakins said of Vegas. "Every shift is a dangerous shift against those guys. I thought right from the start, right through the finish, we were moving our feet. I thought we made some great plays at the other end. We made some mistakes, but we didn't get squirrely on the bench.
"We just kept playing."
anaheim-ducks
Elliott Teaford | Sports reporter
Elliott Teaford covers the Anaheim Ducks for the Orange County Register and the Southern California News Group. He's covered the Ducks since 2005, including their Stanley Cup season in 2006-07, for the Los Angeles Times and the Daily Breeze before returning to the beat in 2018-19 for SCNG. He also covered the Lakers for five seasons, including their back-to-back NBA championships in 2009 and 2010. He is a Long Beach State graduate.
eteaford@scng.com
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Southern Idaho It was a transition for me, my advice is be friendly, but keep both your eyes wide open. As said earlier, ease into things. I always pack a lunch, have some aspirin and cold meds with me in my lunchbox. I drive delivery so I try to be prepared.


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Several reasons why the sea is rising
A warmer climate leads to higher sea levels worldwide. However, this does not mean that the sea level is rising by an equivalent amount along the Norwegian coast. Tectonic uplift also plays an important role.
Last changed: 07. July 2014


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Home ► News ► Posts ► Empire State Realty Trust Welcomes Nestle's Nespresso as Full-Floor Tenant to 111 West 33rd Street
Empire State Realty Trust Welcomes Nestle's Nespresso as Full-Floor Tenant to 111 West 33rd Street
April 4, 2018 March 25, 2019
NEW YORK CITY, April 4, 2018 – Empire State Realty Trust (NYSE: ESRT) has signed a 41,800 sq. ft. full-floor office lease with Nestlé's Nespresso at 111 West 33rd Street.
"Nespresso's new 5th floor home will have an efficient floor plate and a beautiful outdoor terrace at 111 West 33rd Street where we have recently renovated the building's lobby, elevators, and entryways on both 33rd and 34th Streets designed by STUDIOS Architecture," said Thomas P. Durels, Executive Vice President, Real Estate, for ESRT. "Building-wide upgraded systems have been modernized for the 21st century."
Nespresso is an operating unit of the Nestlé Group and a globally recognized brand. It delivers luxury coffee and espresso machines straight from the café into your kitchen.
Scott Panzer and Justin Haber of JLL represented Nespresso in the lease negotiations. Landlord representation was provided by Keith Cody of ESRT, along with Newmark Knight Frank's Scott Klau, Erik Harris, and Neil Rubin.
About Empire State Realty Trust
Empire State Realty Trust, Inc. (NYSE: ESRT), a leading real estate investment trust (REIT), owns, manages, operates, acquires and repositions office and retail properties in Manhattan and the greater New York metropolitan area, including the Empire State Building, the world's most famous building. Headquartered in New York, New York, the Company's office and retail portfolio covers 10.1 million rentable square feet, as of December 31, 2017, consisting of 9.4 million rentable square feet in 14 office properties, including nine in Manhattan, three in Fairfield County, Connecticut, and two in Westchester County, New York; and approximately 700,000 rentable square feet in the retail portfolio.
This press release may contain forward-looking statements within the meaning of the Federal securities laws. You can identify these statements by use of the words "assumes," "believes," "estimates," "expects," "intends," "plans," "projects" and similar expressions that do not relate to historical matters. You should exercise caution in relying on forward-looking statements, because they involve risks, uncertainties and other factors which are, in some cases, beyond ESRT's control and could materially affect actual results. Such factors and risks include, without limitation, a failure of conditions or performance regarding any event or transaction described above, regulatory changes, and other risks and uncertainties described from time to time in ESRT's filings with the SEC. Except as may be required by law, ESRT does not undertake a duty to update any forward-looking statement.


April is my birth month when I am most focused on the passing of time and how I feel about it. It starts by replacing the negative and nonsensical notion of anti-ageing with Ageless Beauty and it ends with gratitude for the memory of survival. I still feel about nineteen but experience tells me that time heals and that is a blessing! I no longer look nineteen however and that's fine but I do like the idea of looking great (for me and for my age, whatever that may be); so the serums, the work outs, the facials, the supplements play an increasingly important role as time goes by.
This month's Gorgeous Girl celebrates her age and encourages others to do the same in her life and in her work. My Lust of the Month is a little ray of sunshine that comes in a bottle and this Month's Treat is a one-month supply of one of my favorite ageless beauty supplements.
I always say that fine lines are not the enemy of beauty, it is sagging skin that we need to fight – enter the Night Collagen serum QMS Medi Cosmetics this formula promises to firm the skin and boost cell turnover – and it does. It smells re-reassuringly challenging (this is a results driven rather than pampering line) my face feels instantly supported and looks subtly, at least temporarily lifted – time will tell if the results last but so far, so gorgeous.
MitoQ is the high powered cream that penetrates where so many others don't with a superior version of the cell nourishing anti-oxidant CoQ 10. These guys are confident, they are big on the science (see the video MitoQ) with a money back guarantee by way of explanation mark. I haven't used this for long enough to see significant results but after just a few days this cream had the effect of the perfect holiday. I had an instant glow and everything just seemed a little better!
As I get older I have to work harder at keeping fit than I did when I was younger. Moving is essential, running helps keep me in shape and clears my head when I've had a day in front of the computer, and the Joanna Hall Walk Active programme keeps the pounds off and the body firm.
I am a bit of a skincare and makeup junkie, I love trying new products and couldn't imagine being without eye cream, it's my beauty essential. I take a great amount of care over my skin and supplement a healthy balanced diet with fish oils, lots of flaxseed and Collagen Shots drink each night before bed to boost my collagen levels.
Keeping fit and taking care over my appearance really pays off, when I get ready to go out with my hair done, makeup on, and in a fabulous dress I feel at my most glamorous. Being confident and keeping a positive attitude goes a long way to help feeling and looking youthful, and smile, it's the best anti-ageing solution!
My Lust of the Month is more of a survival essential. It's vitamin D in a peppermint oil spray from Better You. Those of us in northern Europe will have depleted levels after the long cold winter. Vitamin D which is produced by the sun is essential for our bones and our immunity - so in the absence of the ray's I'm surviving on the sprays!


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Trudovoi - Трудовой  és un possiólok del territori de Krasnodar, a Rússia. És a 18 km al sud-est de Leningràdskaia i a 140 km al nord-est de Krasnodar.

Pertany al possiólok de Bitxevi.

Possiolki del territori de Krasnodar

redpajama_set_name: RedPajamaWikipedia


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Q: mongodb query updateMany : Updating fields in a list of embedded docs for all documents in a collection I have collection called Store like so:
    @Document("Store")
    public class Store implements Persistable<String> {

        @Id
        private String storeNum;

        private String publicHealthUnit;

        private List<RestrictionTracker> restrictionTracker;
}

The embedded doc restrictriction tracker looks like this:
public class RestrictionTracker {

    private int dailyCapRunningTotal;

    private int weeklyCapRunningTotal;
}

I'm trying to create a scheduled trigger that sets all the values of dailyCapRunningTotal field to 0 in every RestrictionTracker embedded doc for every single document in Store Collection -  every 24 hours starting at 12PM EST (I will configure the cron expression in GMT)
I'm trying to use the following query:
collection.updateMany(

 {},

 { $set: {"restrictionTracker.dailyCapRunningTotal":0}}

 );

There is a document in the store collection which has a list of RestrictionTrackers with 2 documents in them - that have dailyCapRunningTotal fields set to 30 and 50
when I run the above mentioned query I get the following error:

uncaught promise rejection: multiple write errors: [{write errors:
[{Cannot create field 'dailyCapRunningTotal' in element
{restrictionTracker: [ { dailyCapRunningTotal: 30 }, {
dailyCapRunningTotal: 50 } ]}}]}, {}]

Seems to me like its trying to create a new field with value 0 instead of replacing the existing values
Not sure what the issue is with the syntax as I'm using the queries provided in the following online manual: https://www.mongodbtutorial.org/mongodb-crud/mongodb-updatemany/
Any help would be appreciated. Thanks.

A: You can have a loook to the positional operator $[].
you can try to use this query
collection.updateMany({},{ $set: {"restrictionTracker.$[].dailyCapRunningTotal":0}});

A: I think @charlycou's answer should have worked. I don't know why it did not work for you.
Adding different version of the query with some comments. Also adding link to mongo playground.
db.collection.update(
{},/**filter criteria that matches all documents in collection*/
{
  $set: {
    "restrictionTracker.$[].dailyCapRunningTotal": 0/** `$[]` means all the elements of array will get updated*/

  }
},
{
  multi: true/** will update all the documents matching the filter criteria and not only the first document.*/

})

MongoPlayGorund

redpajama_set_name: RedPajamaStackExchange


The geometrically finite complete hyperbolic Riemannian metrics in the interior of a handlebody of genus g, having injectivity radius bounded away from zero, are exactly those produced by Schottky groups of rank g; these are called Schottky structures. A Whittakergroup of rank g is by definition a Kleinian groupK containing, as an index two subgroup, a Schottky groupΓ of rank g. In this case, K corresponds exactly to a conformalinvolution on the handlebody with Schottky structure given by Γ. In this paper we provide a structural description of Whittakergroups and, as a consequence of this, we obtain some facts concerning conformalinvolutions on handlebodies. For instance, we give a formula to count the type and the number of connected components of the set of fixed points of a conformalinvolution of a handlebody with a Schottky structure in terms of a group of automorphisms containing the conformalinvolution.


Class III-IV, 15 miles, 2.5-4 hours.
Chiwawa River is a small tributary of the Wenatchee River. As this run is an Action Rafting Co. exclusive, we're your only access to this very special gem. This trip is a bit wilder and more demanding and is more suited to the experienced rafter who's in good physical condition. The steep gradient makes it non-stop action from put in to finish! You'll experience drops through three spectacular canyons and frothing, foaming whitewater at its best! The Chiwawa has a very short season; we only raft it during ideal water conditions, which is usually mid-June through the 4th of July. Yahooo!!
Full Day River Trip $79.00 plus tax.
Includes riverside lunch and all gear.
Action Rafting Co. will meet you at our river take-out. Our take-out is not labeled with signs.
From Steven's Pass: Drive Hwy. 2 East to Coles Corner / Lake Wenatchee.
Turn North onto Hwy 207.
Drive approx. 3.5 miles, looking for the Plain/Wenatchee sign.
Turn Rt., towards Plain, onto Beaver Valley Rd.
Drive approx. 5 miles, you will cross the "Plain River" bridge, drive 200 ft and turn left onto a dirt road. You should see our Action Rafting Co. bus on the side of the road.
If you drive around the sharp curve or past the reduced speed 30 mph sign, you have gone too far. Turn around and drive back towards bridge. Dirt road will be on your Rt. approx. 200 feet before you cross the bridge.
From Hwy 97 and Eastern Washington: Drive Hwy. 2 West into Leavenworth. Take a right onto Chumstick Canyon. Drive the beautiful scenic country road for approximately 14 miles or 20-30 minutes. This road has many turns, please drive carefully. As you enter the town of Plain, the road bends to the right. Continue driving for .5 miles and you will come to a left bend in the road, stay left driving for approx. .2 miles. Turn Rt. onto a dirt road. You should see our Action Rafting Co. bus on the side of the road.
If you drive across the "Plain River" bridge, you have gone too far. Turn around, drive across the bridge and look for a dirt road 200 feet up and on your left.
Please allow enough driving time to reach your designated river staging area.
From Seattle - allow 2.5 - 3 hours driving time.
From Spokane - allow 3 - 3.5 hours driving time.


First Quality Cleaning Services, Inc. is a commercial cleaning company that provides industrial, janitorial and maintenance service to different markets.
The company focuses on providing quality service, immediate response to customer complaints, developing partnerships with each customer that will provide benefits for major business concerns and easy access to management for questions or problems.
We consider ourselves a growing and developing company who can and will adapt to the fast changes that are taking place in the market place. We also understand and focus our efforts on making sure the service provided "fits" the customer's needs and the proper resources are readily available.
Our 25 plus years of experience working with people and the commitment of our professional staff, makes us the company of choice.
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