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Interview with UFC cut man Jacob 'Stitch' Duran
MMAMemories April 2, 2008, 6:51pm #1
Renowned MMA and professional boxing cutman Jacob 'Stitch' Duran has for years worked the Octagon and corners of world championship professional boxing matches. He shares some of his fascinating and insightful perspectives about Fedor, who would win a Klitschko vs. Couture showdown and more…
MMAMemories.com: You have been to most of the UFC shows. What would you say has been the UFC's equivalent to the 1971 Ali-Frazier Fight of the Century?
Jacob 'Stich' Duran: "Wow, there's been some good ones. What is coming to mind is the most recent - Chuck and Wanderlei. I was there. That was exciting. I just heard those thumps. Boy, that one is coming to mind but there's been many."
MMAMemories.com: You work closely in both MMA and world class boxing - if Couture vs. Fedor is on the same night as Mayweather vs. Miguel Cotto which one are you watching and which one are you taping?
Jacob 'Stich' Duran: "I'd probably be at the Randy Couture-Fedor fight. I hope. The action. I'm into that action."
MMAMemories.com: You've worked with both Heavyweight champ Wladimir Klitschko as his cutman, and cornered for Randy Couture many times. You've seen both of these phenomenal athletes up close. Who wins a Muhammad Ali vs. Antonio Inoki type showdown?
Jacob 'Stich' Duran: "That's an interesting question. This one I haven't answered yet. With Wladimir's physical strength and abilities - In Germany I did pads for Wladimir - I felt his strength and power. Randy's takedown skills…I'd have to go with Wladimir. Wladimir knows how to kick too. I think Wladimir would catch Randy on the way in. That's a tough question. Wladimir has that one-shot opportunity. He would use that jab early to set the pace. If Randy got hit by Wladimir's right hand, he'd be out."
MMAMemories.com: Klitschko hand and footspeed are amazing. Footspeed is underrated. He might keep Couture at bay.
Jacob 'Stich' Duran: The guy is a great athlete. He really studies the sport."
MMAMemories.com: How did you first break into the world of world class pro boxing as a cutman?
Jacob 'Stich' Duran: "Before I got into pro boxing I was working with pro kick boxers. Then I got with the Sacramento boxers Tony 'The Tiger' Lopez, Ray Lovato, Willie Jorrin. Then I got a job transfer with RJ Reynolds Tobacco company to Vegas and I came to Vegas to be a cutman."
MMAMemories.com: What are the most common criticisms you hear about the UFC or MMA?
Jacob 'Stich' Duran: "No. You know what, I don't get involved in politics, whatever. I do my job. The UFC is one of the best organizations I've worked for. I left corporate America. What these guys do - the UFC, to me, is tremendous."
MMAMemories.com: If you were MMA czar for a week which changes would you try to make to enhance the overall presentation of the sport?
Jacob 'Stich' Duran: "I don't know. I don't know the game as good as the MMA guys, I'm a cutman. How would I change it? I don't know. I think it's pretty damn smooth now."
MMAMemories.com: What has been the greatest moment of your career?
Jacob 'Stich' Duran: "The greatest…the Forrest Griffin-Shogun fight. Or when Wladimir Klitschko, my first time with Wladimir Klitschko. He fought DaVarryl Williamson in Vegas (Oct. 2004). He had just come back (after losing by TKO to Lamon Brewster in April). He boxed well in the first two rounds, then in the third he got dropped. Then in the fourth he got a headbutt and a bad cut on his forehead. This was a split-second decision - the rulebook says if you get a beadbutt before four rounds it's an automatic no-contest. I said, He's already beat the odds, he's winning the fight, I said to Vitali (Wladimir's older brother), I'm stopping this now. Let it go to the scorecards. Why send him out wounded? (Klitschko won a technical decision because he was ahead on all three socrecards.) The next day, Dr. Margaret Goodman (Nevada Commission ringside doctor) said I did a very good job. The cut was near a nerve around his eye and it could have given him eye damage."
MMAMemories.com: What happened with the Griffin-Shogun fight?
Jacob 'Stich' Duran: "Griffin got a cut between the eyes. Like three inches long. I fixed the cut. The cut didn't bleed for four minutes. He ended up tapping out Shogun."
MMAMemories.com: Too bad for Vitali Klitschko you weren't working his corner when he was fighting Lennox Lewis for the WBC Heavyweight title (Klitschko suffered an unbelievable gash above left eye in round 3 and was still winning the fight on all three scorecards when fight was stopped because of the cut after round 6).
Jacob 'Stich' Duran: "Cuts like that I've worked before. Cutting the blood flow is difficult. I tell you what: I'm glad I didn't work that cut [laughs]. Vitali had not one but like three bad cuts, one in his mouth and lip. People don't realize he drank a lot of his own blood from that."
MMAMemories.com: What has been your most painful moment of your career?
Jacob 'Stich' Duran: "I don't think I've had one. I've been pretty blessed. The thing about it is, I've done so many fights. You always attach to the fighters in some way. But you accept defeat."
MMAMemories.com: Do you have any Fedor anecdotes you can share?
Jacob 'Stich' Duran: "I worked with Fedor. Fedor had just broke his hand. He was coming back, I don't remember which fight it was exactly. They asked me if I'd wrap his hands. While wrapping his hands I tried to shoot the shit with him. But he wasn't shooting it with me. He'd open and close the fist to see how it felt. After we finished I asked him how it felt? After he opened and closed the fist a bunch of times, he said, 'Super. Super.' That was the happiest moment of my life [laughs]. After the fight was over Josh Barnett invited me in the dressing room and we broke some vodka together. You know, I'm just a kid from a small town in California. Being at this level is a mindblower."
Note: Stitch Duran is in the process of creating an educational DVD/video 'Cuts, Cornermen and Confidence.' It will show how to properly wrap hands, how to work cuts, how to properly work corners. It will be available in June or July.
MMAMemories April 3, 2008, 11:13am #2
Mongo_Lloyd April 3, 2008, 12:24pm #3
Nice! That is awesome he is doing a DVD, something i've always been interested in.
Brigham April 3, 2008, 12:24pm #4
My girlfriend was watching the fights with me and she literally thought Stitch was Geraldo LoL
Geraldo
Best Cut man in the business by far.


And he's an alcoholic to boot, or getting there at any rate. You'll see a lot of redemption in Hollywood movies, where they like to tell audiences that no matter how badly you've behaved, there's always a chance that you'll get your reward for putting your life back on track and being nice to people - even, in some cases, if you've killed someone or something really awful like that. Jack Lucas here didn't pull the trigger, yet he still feels the responsibility for the tragedy that ruined his llfe, not to mention those of many others and he cannot envisage a way back from the hell of self-loathing he has wound up in. But it's not completely hopeless for him, as he has a job, a girlfriend - Anne (Mercedes Ruehl, the standout in this excellent ensemble) - and a place to stay, of course.
However, Jack still considers himself a terrible person, and there isn't going to be anything in his life, not even the love and security offered by Anne, that is going to change his mind so one night when there is no end of his misery in sight, he decides to commit suicide by throwing himself into the river. But as he is about to carry out that act, he is stopped by two punks who try to murder him before he can do it to himself; maybe he didn't wish to die like that, so the sight of a knight in shining armour is most welcome. Wait a sec, this is no knight, it's the schizophrenic homeless man Parry (Robin Williams) and his ramshackle band of comrades, but they do manage to get rid of the assailants and save Jack.
Now Jack must return the favour, as there is an even greater debt to repay as he discovers the next morning: Parry used to be a successful lecturer, but then he was caught up in the restaurant massacre and lost his wife, hence his manic (as if Williams would have played him any other way) and damaged personality. So there you go, redemption. But there's more to The Fisher King than simple and banal clichés that you could get in any TV movie of the week, as this is a Terry Gilliam film, and we didn't think he could come up with anything mediocre at this point (this was before The Brothers Grimm, naturally). We were right about that, because for all the reservations that this film throws up, it does move and it does make you laugh and, yes, it does offer a handful of unforgettable images of the type that Gilliam made his trademark.
Jack thinks he can save Parry, and by extension, himself, in getting him a girlfriend, as all the main characters in this need love because their isolation is sending them slightly crazy - more than slightly, in some cases. The woman Parry has his sights set upon is Lydia (Amanda Plummer), a clumsy and shy office worker who nobody pays much attention to, but in an act of goodwill which is not entirely unselfish on Jack's part, he and Anne set up the pair on a date that goes surprisingly, sweetly well in spite of nerves all round. Alas, Parry's suffering is not over as the vision of the Red Knight appears once more, heralding not only another relapse for him, but alerting Jack to unfinished business as he threatens to return to his old, hateful ways. If there's a little too much cute about this, in a look at the funny homeless/mad person manner, at least Richard LaGravenese's script acknowledges where it may be sugarcoating its message, and the faith that if you need help there will be someone to provide it after a fashion is affecting. It's all over the place emotionally, yet its variety, the optimism that dreadful events can work themselves out, are rewarding. Music by George Fenton.


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Why the government fears satire
Holding Court by Ding Jo-Ann | September 20, 2010 8 Comments
WHY is the government charging someone for writing a satirical piece? On 2 Sep 2010, Irwan Abdul Rahman, a Malay Mail executive editor was charged over a blog posting entitled "TNB to sue WWF over earth hour." Irwan's posting on his website Nose4news was below a huge banner with the words "The truth is out there (Not in here)." The banner also featured a long-nosed Pinocchio, whose nose grows every time he tells a lie.
Screencap of Nose4News
Irwan's post was clearly satirical. It claimed that Tenaga Nasional Berhad would sue the World Wildlife Fund over its Earth Hour campaign. The campaign involved everyone switching off all their lights for one hour to raise awareness about climate change.
TNB's president was quoted as screaming, "POWERRR…EXTREME!" in Irwan's spoof news article, as well as telling "those green terrorists" that "we love our lights!"
Unfortunately, not everyone can take a joke. Irwan was hauled before the courts under the Communications and Multimedia Act (CMA). He has been charged with allegedly posting a false blog entry "with the intention of causing hurt to the feelings of others". Now, is satire really a crime?
Satire exempted
Satire, by definition, is often false. But used well, it can offer critique and insight on issues of the day. George Orwell for example, was not writing a true account of a bunch of pigs taking over the yard in his book Animal Farm. He was, in fact, critiquing the form of communism being practised in the Soviet Union at the time. The use of irony, sarcasm and wit sometimes works better at getting a point across than if it were said directly.
Satire has also been highly successful in news commentaries. Here's The Daily Show's Jon Stewart criticising US President Barack Obama for being wishy-washy in his response over the building of an Islamic cultural centre, misreported as a mosque, near ground zero in New York.
And here's our very own satirical news programme That Effing Show commenting on Malacca Chief Minister Datuk Seri Mohd Ali Rustam's announcement on Muslim child marriages:
But the CMA says publishing false news on the internet is an imprisonable offence. Does that mean Malaysians are denied the use of satire as a literary device?
Now, it may come as a surprise, but apparently, our Malaysian authorities did take into account George Orwell and his revolutionary animals when drafting the CMA.
As pointed out by blogger and lawyer Art Harun, the government has expressly allowed satire in the Communications and Multimedia Forum of Malaysia content code. Under "Guidelines on Content", Article 7.3 states, "Content which is false is expressly prohibited except in the following circumstances… (a) satire and parody, (b) where it is clear to an ordinary user that the content is fiction."
Of course, satire that incites violence and contravenes the Penal Code would still constitute a crime. But it shouldn't take a lawyer to figure out that Irwan's blog posting falls safely within Article 7.3 of the content code and should be exempt from prosecution. So why then is the government charging him with a crime?
Control, control and control
Rais Yatim (© British Foreign and Commonwealth Office)
To me, it's all about control. The internet has long exasperated the ruling party. In 2005, Minister in the Prime Minister's Department Datuk Seri Mohd Nazri Abdul Aziz called Malaysiakini "a liar". In 2007, the Information Ministry set up a special unit to monitor and counter "internet lies". In 2009, Information Minister Datuk Seri Rais Yatim tried to propose an internet filter, which was shelved after public outcry. And in July 2010, the Home Ministry set up a committee comprising Nazri, Rais and Home Minister Datuk Seri Hishammuddin Hussein, to curb the dissemination of false news.
These are the actions of a party that has become so accustomed to controlling the flow of information to the public. Barisan Nasional (BN) owns and controls most of the traditional media, either directly or indirectly. Editors can be sacked or suspended at the executive's orders. And there is always the Printing Presses and Publications Act and other such laws that have proven effective in keeping the traditional media in check.
It is therefore not surprising that the BN also wants to control internet chatter and its image online. After all, one might say, what's the point of keeping an iron grip on the traditional media while the new media is allowed to do as it pleases?
Irwan is just the latest in a string of Malaysians arrested or charged for their online posts. Fellow bloggers Nathaniel Tan, Syed Azidi Syed Aziz (Kickdefella) and Raja Petra Kamarudin were also arrested under the Official Secrets Act, Sedition Act and the Penal Code respectively.
But can the BN intimidate the Malaysian public, as it has the Malaysian traditional media, and curb their expression on the internet? Will these arrests and committees succeed in steering Malaysian public opinion and make it BN-friendly?
Mainstream media - regarded as authoritative? (Pic of Metropolis by Amir Muhammad and Liza Manshoor, based on Harian Metro headlines; courtesy of Lainie Yeoh)
Unfortunately for the BN, probably only in a fantasy world, a-la Inception. In this dream world, the BN's every attempt to silence dissent would be interpreted as the benevolent act of a government that cares for the people. People would believe that the government is not in any way motivated by their desire to stay in power but by their responsibility towards Malaysian citizens. And everyone would know that everything reported in the traditional media is true, accurate, fair and unbiased. While everything reported in the new media, especially anything critical of the BN, is a lie, biased and distorts the facts.
It appears that some people in the BN believe we do live in this fantasy world, our prime minister being one of them. Datuk Seri Najib Razak recently advised the public to trust the "fact-based" traditional media, unlike websites and blogs, which were "half-truths and inaccurate".
"If we read the mainstream media, we intuitively regard it as an authoritative report, where its facts cannot be questioned," our prime minister said.
Again, dialogue
But for many Malaysians, the days of fully trusting the traditional media are gone. Dissent and alternative opinions have always existed in Malaysia, it was not the internet that caused them to exist.
The days of fully trusting "mainstream" media are gone, but can the government accept this reality? (Najib pic courtesy of theSun)
Attempts to clamp down on expression, especially when it comes to the internet, will only make an already sceptical public more distrustful of the government. Again, it comes back to dialogue and engagement, instead of a paternalistic "Believe this because I say so" attitude. But can the government accept reality and take the necessary steps to change?
Ding Jo-Ann appreciates the diversity of the new media, even though she may not always believe everything it says.
Filed Under: Columns Tagged With: #yorais, Animal Farm, Art Harun, Barack Obama, censorship, Communications and Multimedia Act (CMA), control, Datuk Seri Hishammuddin Hussein, Datuk Seri Mohamad Nazri Aziz, Ding Jo-Ann, Dr Rais Yatim, Earth Hour, George Orwell, Guidelines on Content, Hassan Skodeng, Holding Court, Home Ministry, Inception, Information Ministry, internet lies, Irwan Abdul Rahman, Jon Stewart, Kickdefella, Malay Mail, Malaysiakini, Nathaniel Tan, Nose4news, official secrets act, Printing Presses and Publications Act, Raja Petra Kamarudin, satire, sedition act, Syed Azidi Syed Aziz, The Daily Shows, TNB, WWF
Yeo Kien Kiong says
The current "kerajaan BN" will not accept this reality and will not take any necessary steps to change.
Reza says
It's no secret that our government is run by a bunch of "kampung"-minded simpletons. You can't expect people like these to understand a civilised concept like satire.
Sharina says
Imagine if we introduced the government to The Onion. Such chaos would ensue. Why does the Malaysian Government insist on making itself look idiotic to the rest of the world?
Anonymous Coward says
Forget The Onion*. Just give each of them a copy of "A Modest Proposal". (http://en.wikipedia.org/wiki/A_Modest_Proposal) Watch their heads explode as they try to wrap their minds around it.
* Note: I actually love The Onion.
azmo says
It is not that they're kampung minded. All this stems from the Mahathir era. He had the tendency to detain people under the ISA who disagreed with his view. Now, political satire is a form of disagreement. And since it wasn't published in the traditional media, they can't use the ISA, so they do the next best thing: sue the pants off the satirist.
All this stems from fear of questioning, rationalising, and critiquing. This leads to questions that needs answers – answers they don't have.
Your Harian Metro caption: you might want to fix that.
Thanks for the heads up. We have corrected the spelling error in the caption.
Nick Choo
Copy Editor / Graphic Artist
4 says
Malaysians are obviously lack of sense of humour.
Pinocchio? They wouldn't get it for sure.
Sometimes people just make themselves look like fools by taking words out of context.
frank peter says
It's all about control. You have to control dissent to stay in power. Just look at China.

redpajama_set_name: RedPajamaCommonCrawl


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Dopo qualche anno di attività pittorica, si fece prete e abbandonò la prima attività sino all'età di ventinove anni quando la riprese a Venezia in compagnia dell'amico Antonio Balestra. Tornato a Verona, entrò nel monastero benedettino di San Zeno, nella cui chiesa realizzò alcune opere: la pala San Carlo con la Vergine e il bambino, il Martirio di San Dionisio, un'altra pala con vari santi, una pala con Vergine, san Giuseppe e il bambino nel viaggio verso l'Egitto, l'Assunzione della vergine nella chiesa sotterranea e la Traslazione del corpo di San Zeno.

Bibliografia

redpajama_set_name: RedPajamaWikipedia


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Klay Thompson splashing even more while Stephen Curry recovers
How are the Warriors getting by without Stephen Curry? The other Splash Brosher has been tearing up the competition in the NBA playoffs.
Ben Leibowitz
Get all of Ben Leibowitz's columns as soon as they're published. Download the new Sports Illustrated app (iOS or Android) and personalize your experience by following your favorite teams and SI writers.
Throughout a record-setting 73-win season, reigning MVP Stephen Curry and versatile, Swiss Army-knife forward Draymond Green earned the bulk of the praise for the Golden State Warriors' exploits—and for good reason.
Green continued to stake out a new power forward prototype with his ability to bring the ball up the floor and pass like a point guard, knock down three-pointers and defend all five positions—particularly in pick-and-roll situations.
Curry, of course, shattered his own record for three-point makes in a season by draining an astonishing 402 treys. He once again set himself up as the MVP frontrunner in the process, but fellow Splash Brother Klay Thompson etched his name into the history books from deep as well. Take a look at Thompson's proficiency from 2015-16:
Top 10 Single-Season Leaders in Three-Pointers Made | PointAfter
By converting 276 threes of his own, Thompson's 2015-16 campaign trails only Curry's MVP campaign from last year and the latest record-setting pace from this season. Now, with Curry sidelined due to a sprained knee suffered in the first round against the Houston Rockets, Thompson is commanding attention by leading the charge for the shorthanded Dubs.
In this week's Data Dimes, the PointAfter team will take a look at the (relatively) unsung Splash Brother, and how his performances have kept the Warriors rolling without their best player.
More from PointAfter (Graphiq network): All-Time Rosters for Every NBA Franchise | Re-Picking the 1996 NBA Draft | 5 NBA Stars Who Lost Their Shooting Touch in 2015-16
Three-Point Mastery
From Game 4 against Houston (when Curry got hurt and played only 19 minutes) through Game 1 of the second-round series against the Portland Trail Blazers, Thompson has drained seven three-pointers in three straight games—a postseason record. No player had ever made seven or more threes in three straight playoff games prior to Thompson's streak.
His barrage of triples guided Golden State to three consecutive wins, mostly without the benefit of Curry.
In Game 2 against Portland on Tuesday, Thompson struggled from the floor. He entered the second half with just seven points on 3-of-9 shooting, but rebounded by scoring 20 points in the second half, erasing a 17-point deficit en route to another win.
• MORE NBA: Is Draymond Green the NBA's best all-around player?
Thompson finished with 27 points and made five three-pointers—including one with 6:44 remaining to tie the game, and another with 5:33 left to take the Dubs' first lead. Unlike Kyle Lowry and DeMar DeRozan in Toronto, Thompson has continued to shoot the ball at a level comparable to his stellar regular season.
Klay Thompson's Shooting Percentages (Regular Season vs. Playoffs) | PointAfter
He's shooting 44.2% from long range compared to 42% in the regular season, and his field goal percentage has remained steady. He's done most of his scoring damage on three-pointers above the break and when finishing at the bucket.
Klay Thompson's 2016 Playoff Shot Chart | PointAfter
Klay's mid-range shooting has something to be desired, but when you're as hot from downtown as Thompson is, the mid-range game doesn't really matter that much.
…But He's More Than Threes
Everyone's aware that Thompson brings three-point shooting to the table. We're talking about a guy who once got hot enough to score a league-record 37 points in one quarter. But Thompson's postseason performances (especially sans Curry) have upped the ante to other categories.
Klay Upping His All-Around Game This Postseason | PointAfter
Thompson's points, rebounds and assists per game have all increased in the playoffs compared to the regular season. Perhaps that shouldn't be surprising, provided the two-guard's usage rate is up to 28.7% this postseason—a playoff career high and more than two percentage points higher than his usage rate during the season (26.3%).
It's logical that Thompson's workload would increase without his fellow Splash Bro on the court working his magic. However, Thompson has never been much of a distributor (career 2.3 assists per contest), so the fact that he's dishing out close to four dimes per game is noteworthy in itself.
• MORE NBA: Curry: 'Good' chance I play in Game 3 | Second-round schedule
Of course, scoring remains Thompson's bread and butter. He was the game's top scorer in Games 1 and 2 against Portland, holding home court against the Trail Blazers and building a 2-0 series lead without the team's alpha dog.
The Warriors' team play remains the most impressive part of their ability to keep cooking without Chef Curry, but Thompson's fearlessness in big moments has been enormous. At this rate, Curry won't have to rush back to the court. With a potential Western Conference finals matchup against the San Antonio Spurs looming, Curry needs all the recovery time he can get.
Thanks to the younger Splash Brother, the brilliant basketball in the Bay Area shows no signs of abating.
stephen curry knee injurystephen curry returnKlay Thompsonstephen curry kneewarriors blazersStephen CurrySplash Brotherswarriorswarriors blazers game 3golden state warriors


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by Jonathan Bales
Jonathan Bales
Should You Work for Free?
Back in college, I tracked every play in every Cowboys game and charted them into like 50 different categories: every motion, audible, pass length, formation, personnel, and so on. It took me like 10-…
Daoist Time and Cosmology in Light of Modern Physics
I told you guys this blog would be a weird-ass collection of content, and I'm not going to disappoint. Earlier today, I read an article about how Elon Musk believes it's overwhelmingly lik…
What It's Like to Work in Daily Fantasy Sports
The title of this post should probably be something like "What It's Like to Only Occasionally See Other Humans" or "What It's Like Eating Cart Food for the Seventh Consec…
© 2016 Bales LLC.


It's all about knowing your music! SqueezePad 1.9.0 hits the App Store! What about the new iPad?
Me any my family celebrated christmas with a lot of christmas songs obviously.
A good companion of course was SqueezePad, which always showed us, what was playing right now.
Doesn't it look nice drapped up on our board?
I'm subscribed to one of the many streaming services, so was able to fulfill everyones christmas song wishes.
My granny was quite astonished by all the possibilities and that my 'library' even had old classics she used to hear on the disc record.
Just wanted to thank you for an amazing app. Found mention of it yesterday on another site, downloaded last night and was up and running in less than 30 seconds – no kidding!
Firstly, a great graphic to tell me the network connection choice for connecting to my NAS Logitech music server – made set-up a no-brainer. Brilliant.
Fast – my music (albums, artists, etc) showed up so quickly, I initially thought this was a demo screen! one touch and my Squeezebox Classic was on and playing. Spectacular.
Intuitive – of course, because you've created the same menu items, navigation and control is a piece of cake. It took me a few minutes to work out how to create a playlist (that was the only thing that cause me to search and think about the work-flows). Creation of Playlists is so much better than the clunky web interface – many thanks for solving the most painful task.
Again, brilliant work in creating a natural intercafe that is fast, intuitive, better than vendor product and at a great price. My Squeezebox Classic + iPad2 is now so much better than my Squeezebox Touch. Great work. Live long & prosper guys.
I'm having trouble getting Squeezepad to scrobble to Last.fm. I've tried adjusting settings on Squeezebox.com, but it didn't do anything. Is there a setting in Squeezepad for scrobbling?
Scrobbling is completely handled by the Squeezebox-Server. It knows exactly what song is played on each Squeezebox.
So if any song is not scrobbled correctly, I'm afraid you will need to ask Logitech support or forums.slimdevices.com.
Please also provide what music you are playing (internet radio, local music, music from some streaming service) as scrobbling might work differently for all of these.
1) The font size of the track titles is for some tracks smaller than normal.
2) the album coverage pictures are shown (left) when an artist is selected.
Why are the album covers not shown when an artist is selected via Music Folder?
the fontsize is reduced for long titles to show he complete text. If I didn't do that I had to use ellipses (…) and I try to avoid it as much as possible.
When you browse your library via music folders, the Squeezebox server unfortunately does not provide album images. As I cannot access your library directly there is no way to retrieve the images in these menus.


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Paris Basketball ist eine französische Basketballmannschaft. Sie stieg 2021 in die Ligue Nationale de Basket Pro A auf.

Geschichte
Die Gründung erfolgte am 11. Dezember 2017, der Verein soll eigener Aussage nach die Pariser Basketballkultur verkörpern. Im April 2018 schloss sich Paris Basketball dem 2013 von den Vereinen La Domrémy Basket 13, Ménilmontant Paris Sport und Club Sportif Ministère des Finances gebildeten Nachwuchsförderprojekt Paris Basket Avenir an, dessen Mannschaft in der vierthöchsten französischen Liga Nationale 2 antrat.

Hauptanteilseigner der Betreibergesellschaft von Paris Basketball wurde der US-amerikanische Geschäftsmann Eric Schwartz, sein Landsmann David Kahn wurde ebenfalls Anteilseigner sowie zusätzlich Vorsitzender von Paris Basketball. Im Juni 2018 erwarb Paris Basketball das Teilnahmerecht an der zweithöchsten französischen Spielklasse ProB vom Verein Hyères-Toulon. Der französische Basketballverband stimmte der Lizenzübertragung, die im Juli 2018 im Beisein der Pariser Bürgermeisterin Anne Hidalgo stattfand, mit der Begründung zu, dass er im Aufbau einer neuen professionellen Basketballmannschaft in Paris, mit Unterstützung der Stadt sowie in Hinblick auf die Olympischen Sommerspiele 2024 und den Bau der als Heimspielstätte angepeilten Sporthalle Porte de la Chapelle ein allgemeines Interesse für den Basketballsport sehe. Als Ziel gab die Führung von Paris Basketball den Aufbau eines "bedeutenden Vereins in Frankreich und Europa" sowie die Teilnahme an der EuroLeague aus. Als erster Trainer der Vereinsgeschichte wurde im Juli 2018 Jean-Christophe Prat verpflichtet.

Im Sommer 2019 holte Paris Basketball mit Amara Sy einen namhaften, in der französischen Hauptstadt geborenen Spieler, mit dessen Ankunft die Zeitung Le Parisien dem Verein zuschrieb, eine neue Entwicklungsstufe zu erreichen.

Im Januar 2020 gab David Kahn an, dass er und sein Mitgesellschafter Eric Schwartz seit ihrer Geschäftstätigkeit bei Paris Basketball einen Verlust von sechs Millionen US-Dollar verbucht hätten. In der Saison 2020/21 gelang Paris Basketball unter anderem dank zehn Siegen aus den letzten elf Spielen der Aufstieg in die höchste französische Spielklasse, Ligue Nationale de Basket Pro A.

Anfang Januar 2021 sorgte Paris Basketball mit der Verpflichtung von Nationalspieler Axel Toupane für Aufsehen. In der Sommerpause 2022 holten die Pariser den US-Amerikaner Will Weaver als neuen Cheftrainer. Mitte Oktober 2022 trug die Mannschaft ein Heimspiel im sonst für die French Open genutzten Tennisstadion Court Central Philippe Chatrier aus.

Erfolge
 Aufstieg in die Ligue Nationale de Basket Pro A 2021

Trainer

Weblinks
 https://www.parisbasketball.paris Internetauftritt von Paris Basketball (französisch)

Einzelnachweise

Basketballverein (Frankreich)
Gegründet 2017
Sportverein (Paris)


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VA shuffles managers, declares 'new leadership'
Only eight of 69 new medical center directors are from outside the VA, USA TODAY finds.
VA shuffles managers, declares 'new leadership' Only eight of 69 new medical center directors are from outside the VA, USA TODAY finds. Check out this story on courier-journal.com: http://usat.ly/2eMvlX1
Donovan Slack, USA TODAY Published 8:00 a.m. ET Oct. 18, 2016 | Updated 4:56 p.m. ET Oct. 18, 2016
The Washington, D.C., headquarters of the Department of Veterans Affairs.(Photo: Donovan Slack, USA TODAY)
WASHINGTON — Although Veterans Affairs Secretary Bob McDonald has asserted that more than "90%" of the VA's medical centers have "new leadership" or "leadership teams" since he took over the troubled agency in 2014, a USA TODAY investigation found the VA has hired just eight medical center directors from outside the agency during that time.
The rest of the "new leadership" McDonald cites is the result of moving existing managers between jobs and medical centers. Some managers were transferred to new jobs despite concerns about the care provided to veterans at the facilities they were previously managing.
USA TODAY determined that of 140 medical center directors, 92 are new since McDonald took office in July 2014. That's 66%. Of those, only 69 are permanent placements; the rest are interim appointees. And all but eight of these directors already worked at the VA.
VA officials said McDonald cited an erroneous statistic and the actual percentage of new medical center leaders is 84%. That figure includes new chiefs of staff, associate directors and other top executives, even where center directors remained the same. The agency considers a center as having new leadership if one member of its top management team has transferred from another center or job.
"I said very carefully, and I've always said 'leadership or leadership teams' — both are important," McDonald said in an interview. "In some cases, you've got directors who are doing a great job, but they've got a chief of staff who's not and you've got to change that person."
McDonald said the number itself is "almost irrelevant" and what's important is that he and other VA leaders are "trying to attract top talent, to get them in the right seats on the bus, in order to make outcome changes for veterans."
VA Undersecretary for Health David Shulkin said salary constraints, a lengthy hiring process and other factors have limited the agency's ability to attract non-VA applicants.
"We tend to use lots of numbers and that can be confusing, and what I'm trying to do is simplify the message, so here's my message: I need help," Shulkin said. "I need the right leaders to come in and to take these positions of responsibility on behalf of the country, and I don't care if it's 90%, 80%, or 60%. I know I have openings and I don't have the applicants."
USA TODAY scoured hundreds of documents, news accounts and web archives to build a database tracking VA personnel moves since the wait-time scandal broke in 2014, starting with a Phoenix VA facility where 40 veterans had died awaiting care. That case revealed widespread mismanagement of VA facilities and led to McDonald's appointment with a mandate to fix veterans' care.
President Obama has echoed McDonald's pride in the VA's transformation, saying on a recent CNN forum that "we have, in fact, fired a whole bunch of people who are in charge of these facilities." In fact, the VA only moved to fire seven medical center directors. One of them quit and another retired first.
Of the 69 permanent directors installed since McDonald took over, 49 transferred from a different VA medical center, while 12 came from different jobs within the same hospital. The moves included promotions, for instance from associate director to director of a medical center.
In 22 cases, the VA moved directors from one center to another, sometimes to more complex hospitals, but at other times, to less complex facilities. In Ohio, directors in Chillicothe and Columbus simply switched places.
Some of the directors came from facilities where they faced issues ranging from low-ranking quality of care to wait-time falsification to mismanagement identified by outside investigators.
Among them:
• Kathleen Fogarty cut veterans' access to outside care to help overcome a multimillion-dollar deficit as director of the Tampa, Fla., VA, in 2011 and repeatedly denied publicly that she was doing it, according to the Tampa Bay Times. In March 2015, the VA transferred her to the director's post at the Kansas City, Mo., VA.
• Joe Battle, who had been the director of the Jackson, Miss, VA, replaced Fogarty in Tampa. The Office of Special Counsel, which investigates whistle-blower claims, concluded in 2013 that Battle had downplayed serious problems with veteran care in Jackson, "calling into question the facility's commitment to implementing serious reforms." During his tenure in Jackson, doctors prescribed narcotics to patients they hadn't seen, schedulers slotted veterans into "ghost clinics" that didn't exist, and the American Legion, two years after he took over, said it was "appalled" by conditions at the facility.
• Robert Walton went from director of the Harlingen, Texas, VA, to director of the San Antonio VA in November last year. During his tenure in Harlingen, the facility ranked among the lowest in the country in quality and efficiency by the VA's own metrics and investigators found schedulers had routinely falsified veteran wait times under pressure from supervisors.
• Deborah Amdur went from director in White River Junction, Vt., to director of the troubled Phoenix VA last December. In Vermont, the VA's Office of Inspector General found routine scheduling manipulation directed by supervisors and a doctor told investigators that management pressure to increase productivity led to missed cancer diagnoses. Amdur retired in August citing "personal health reasons." Several weeks later, the inspector general released the results of another investigation at the Phoenix VA that found more scheduling improprieties.
• RimaAnn Nelson, who was director of a VA benefits and outpatient clinic in the Philippines, took over for Amdur in Phoenix. She previously had been director of the St. Louis VA when 1,800 veterans were potentially exposed to HIV and hepatitis because of poor sterilization. A follow-up investigation during her tenure found some of the problems hadn't been adequately addressed.
VA officials declined to comment on many of the transfers, citing privacy laws, but said that in general, they were consistent with federal guidelines. They said the vast majority of the moves were promotions. In at least one case, a director requested a transfer for personal reasons and the VA approved it.
"You can't have a robust human resource system unless you are providing opportunities for progression," McDonald said. "I'm sure the process we follow for promotion or for transfer to a larger facility is the government-regulated process, which is a fair process dictated by Congress and I'm sure the people who moved to new facilities were, you know, deserved that movement."
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Shulkin said the Phoenix crisis and ensuing media scrutiny triggered an exodus of leaders at the VA, and the agency hasn't been able to attract enough applicants to fill those slots. He said VA officials have filled as many as they could with a mix of inside and outside candidates. Shulkin said there are still more than two dozen directors' jobs open.
They are being filled right now by acting or interim directors, who have cycled through posts frequently at times, destabilizing leadership at some facilities. St. Louis had eight temporary directors between 2013 and this month, when the VA promoted an associate director to fill the role. Los Angeles had four; Oklahoma City and Phoenix had five.
Shulkin said one of the issues is salary: Pay for VA medical center directors without specialized medical degrees is capped at $185,100, but in the private sector, the average pay for overseeing a medical center was $349,000, according to 2015 statistics cited by the VA. The agency has asked Congress to increase the pay cap, but that effort has stalled on Capitol Hill.
Shulkin said another problem is the federal hiring process, which can take seven months on average for a medical center director and is "heavily weighted" toward applicants with federal government experience. He said he has been working to change that and said three non-VA candidates are currently in the pipeline to take jobs as medical center directors.
"Is it fast enough? No," he said. "Are there enough people responding to my call for assistance? No. But you know I hope somebody reading this might have a reaction that says 'You know what? Maybe I will, maybe I'll consider sending in my CV, this would be a way to give back.'"
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At the Phoenix VA, Shulkin approved Nelson's transfer there because he said she took immediate action to fix problems at her prior posting in St. Louis and he feels comfortable with her leadership skills.
"In my assessment she was an effective leader and the type of leader I need in my toughest place in the country right now, which is Phoenix," he said.
In Tampa, Battle said in a statement that investigators thoroughly reviewed problems at his previous facility in Mississippi. "We addressed any recommendations for improvement and took actions as appropriate," he said, adding that under his leadership, Jackson passed all accreditation reviews on quality of care.
In San Antonio, VA spokeswoman Nenette Madla said the Inspector General and the VA Office of Accountability Review cleared Walton of wrongdoing at his previous post in Harlingen. She did not address quality of care.
Kansas City VA officials did not respond to multiple messages seeking comment on Fogarty's record. Fogarty told The Arizona Republic in 2014 that she balanced the budget at her previous post in Tampa by reducing the amount of time veterans spent in non-VA hospitals. She also said she has a record of fixing troubled VA facilities during her more than 30 years with the agency.
Amdur could not be reached. She has retired from the VA, and a home number listed for in public records is disconnected. Amdur told The Arizona Republic earlier this year that she was the one who asked the inspector general to investigate wait time manipulation during her tenure in Vermont. "As information from the investigation was revealed, we made changes immediately," she said.
Whatever the case, Phoenix VA whistle-blower Brandon Coleman told USA TODAY that it looks like "bad apples, instead of being fired, are put into other facilities. "And then the VA acts like the problem's solved," he said. "'Nothing else to see here, please move on.'"
VA hasn't fixed wait-time problems, GAO finds
VA bosses in 7 states falsified vets' wait times for care
Read or Share this story: http://usat.ly/2eMvlX1
Louisville Police: Man who lost control of semi truck, rolled over guard rail dies


samlloyd7 The best winter chip pick-me-up!
Includes seamless version for looping.
World of Snow is the warm-up "game" I coded using FlashPunk to prepare for round 25 of the Ludum Dare 48/72-hour game development challenge.
The music here is simply a loopable version of the first section of World of Snow, from ~Monthlies 2012.12~, which I made for OHC round 218 (compo.thasauce.net/rounds/view/OHC218).


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EGYPT WITH THE WORLD'S GREATEST EXPLORER
The Last Remaining Ancient Wonder of the World
Ran and Joe drive up to the Pyramids of Giza and camp on the historic site, with a surprise for Joe.
Joe learns to drive off road amongst the dunes of Egypt.
Exploring Egypt
Images of Sir Ranulph Fiennes and Joseph Fiennes in some of the most iconic places in Egypt.
The 'World's Greatest Living Explorer', Sir Ranulph Fiennes, is returning to the scene of one of his earliest feats - his 1968 hovercraft expedition on the River Nile. As the 50th anniversary of that quest approaches he's ready for new adventures, fresh surprises and a novel challenge: can he teach his famous cousin, actor Joseph Fiennes, how to master the role of a lifetime?
Egypt with the World's Greatest Explorer on Facebook
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BLUF – Continuously driving towards Mission PARTNER Assurance in a professional manner is operating within #DBAA protocol.
The following is a conversation I had over e-mail with another officer in relation to our cyber community's role towards Customer Service vs Mission Assurance. To protect the innocent, no names will be mentioned/revealed in this conversation. I do believe the argument is professionally filtered through emotional frustration. There are irrelevant parts of the conversation that were removed, yet the remaining version below offers a view that many of us have with ourselves and each other.
By losing our focus and driving towards a customer satisfaction mindset, we have unconsciously fostered what has become the prevalent atmosphere and often ridiculed understanding that 'everything is a priority.' Furthermore, our community has allowed our mission and pride to become further saturated by defining our contribution to the base as simply being a 'service provider.' Key word service being ofttimes accepted as 'supplying a public resource or amenity.' To begin to work towards my problem resolution, I must first ask a question: When did comm become a commodity, or stated simply, Why is comm a military service? In the private sector the answer is easily as it firmly ties hand-in-hand with a respective equal level of financial gain. But does the customer service mindset equally tie into a military service support function, or is a shift in perspective required. And no, EITaaS is not factored into my argument as it conceivably a distant goal.
"If mission assurance deliberately includes the opinion of our mission partners from the beginning, satisfaction can be achieved and will probably earn the person more street cred for being sympathetic to the mission partner's requests/desires. Making decisions w/o any regard for the mission partner's request/desire doesn't work the best in the team sport we call 'work'.
I really don't like using the word customer, which [name] points out as potentially already skewing an interaction out of our favor. That's why I say mission partner, because partner means 50/50. An equal and professional relationship based on mutual respect.
I believe the expectations of our mission partners is that we treat each other in a professional matter. This means that even if the end answer is no, it also includes that we tried everything we can within our power to get to yes. That's how you 'finish your sentence.' Thinking back on [our command chief's] comments on the difference on being a good Airmen at our trade and being a professional Airmen, no one is going to be in a position to out-tech our position on a situation. I wouldn't question a maintenance Sq/CC on his job, nor do I expect them to question me on mine. But this only really works if we remain a professional at our core. Mission assurance has always been the primary goal for me, with customer satisfaction second…but both can be achieved if we spend our energy in time in the right manner.
Customer satisfaction isn't listed anywhere in my leadership philosophy, CyOD, or any of lines of effort…but #DBAA is woven throughout. Because you can't be an @sshole if you are always professional. I've also never cared about 99.9999% uptime or any measurement of the sort, and I care/don't care about timely ICE replies (I'm honestly ok if we don't answer in ❤ days…depending on what our response is). I care more about being responsive, articulating the truth of what is the current situation, working within 100% of our abilities and pushing AFCYBER with us, and communicating often to manage expectations. If we maintain that level of professionalism, we could be operating at 50% and leadership would be satisfied. They would still be frustrated at the situation, but they would be satisfied with our efforts as a good teammate. We need to lead our Airmen to derive internal satisfaction both within ourselves and with each other, not be reliant on external validation. Even though we work in an ICE environment which drives a response to negative experiences, if we have professionalism embedded in our unit's culture, both mission assurance and mission partner satisfaction can be achieved simultaneously.


How neat is this? The folks at Faber & Faber, an independent publishing house in London since 1929, recently found a forgotten hand press in their archives. As it turns out, the half-century-old machine was used by the firm's most famous designer, Berthold Wolpe: they've since refurbished the relic, which is going to be back in action producing limited edition broadsides and paper goodness for a brand new imprint.
The first offerings from Faber Fine Press are these four poems, sourced from the back catalog and illustrated with lovely new visuals. At £120 each, they definitely ain't cheap, but they sure are beautiful.


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Firebird Resources Inc. Exercises Option On South Carolina Gold Project
VANCOUVER, British Columbia/February 17, 2011/ -- Firebird Resources Inc. ("Firebird" or the "Company") is pleased to announce today that pursuant to its previously announced option agreement with Pageland Minerals Ltd. ("Pageland") dated June 24, 2010 (the "Option Agreement"), as amended, Firebird has completed the share issuance portion of its first option (the "First Option") to acquire a 70% interest in certain mineral leases covering the Buzzard- Jefferson-Belk properties (the "Property") located in South Carolina. Pursuant to the partial exercise, Firebird issued to Pageland 9,056,603 common shares (the "Shares") at an issue price of $0.53 per Issued Share, representing approximately 19% of the outstanding shares of Firebird.
"Firebird has focused primarily on the acquisition of key tracts of land along the Haile/Brewer Gold Trend in South Carolina and we are pleased to move forward with our acquisition of Pagelandâ€(tm)s Carolina slate belt properties", said Thomas R. Tough, President of Firebird Resources Inc. Romarcoâ€(tm)s recent success at the Haile mine has underscored the fact that the area has not been extensively explored compared to other major gold belts and represents a significant opportunity to us".
In accordance with the terms of the Option Agreement, the Shares issued to Pageland will be held in escrow until such time as Firebird exercises the First Option in full by making cash payments to Pageland totaling $700,000 in the times specified in the Option Agreement and incurring expenditures on or in respect of the Property totaling $495,000 on or before July 31, 2011. Pursuant to the terms of escrow, Pageland is prohibited from dealing with the Shares in any manner, including the exercise of any voting and dividend rights attached thereto, during the period of escrow.
The Shares are subject to a four month hold period in accordance with applicable securities law and the rules and policies of the TSX Venture Exchange.
For further information, please contact: Thomas R. Tough, P. Eng., President Telephone: 604-946-0787
About Firebird
Firebird is a mineral exploration company whose long term objective is to build a diversified company focused on the acquisition, exploration and development of mineral properties.
This news release contains certain forward-looking statements that reflect the current views and/or expectations of management with respect to performance, business and future events, including, but not limited to, express or implied statements and assumptions regarding the Company's intention to exercise the option referred to herein. Forward-looking statements are based on the then-current expectations, beliefs, assumptions, estimates and forecasts about the business and the industry and markets in which the Company operates. Forward-looking statements are not guarantees of future performance and involve risks, uncertainties and assumptions which are difficult to predict. Investors are cautioned that all forward-looking statements involve risks and uncertainties including, without limitation, that the Company will choose not to exercise the option and those risks relating to changes in the market, potential downturns in economic conditions, fluctuations in the price and supply of raw materials, equipment and skilled labour, fluctuations in the market price of minerals, foreign exchange fluctuations, regulatory requirements and changes thereto, competition, and other risk factors listed from time to time in the Company's public filings. These risks, as well as others, could cause actual results and events to vary significantly. Accordingly, readers should not place undue reliance on forward-looking statements and information, which are qualified in their entirety by this cautionary statement. The Company does not undertake any obligations to release publicly any revisions for updating any voluntary forward-looking statements, except as required by applicable securities law.


Calgary, Alberta resume writing service for executives, management, students, entry; oil & gas resume resume.
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The competition for jobs in Calgary is extremely fierce, so leverage the expertise of our Resume Writing Specialists who know the Calgary Job market and have success crafting job winning resumes. Through our strategic one-on-one resume writing consultation we will uncover your unique brand, experiences, talents, passions, values, achievements and more to craft a high impact management resume.
Resume Solutions Professional Resume Writers are skilled a creating the right writing style, tone, language, clarity, detail, information selection, design and format to "sell" your strongest achievements and qualifications to a potential employer. As our resume writing client, you will receive a personal consultation with a Certified Resume Writing Professional who asks strategic, probing questions to gather your achievements, core strengths and executive leadership acumen to effectively position you for the career of your choice.
As the top resume writing service in Calgary, Alberta, ResumeSolutionsinc.com proudly serves the city of Calgary and the province of Alberta online and via telephone. Resume Solutions team of certified professional resume writers are experts at writing resumes for all industries in Calgary including resume edits, resume rewrites, personal statement writing, executive biographies, cover letter writing and LinkedIn profile writing. This is why Resume Solutions is the largest and fastest growing resume writing company in Alberta, Calgary and Canada.


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Q: How to get root directory of project in asp.net core TESTS? I am writing a unit test where IWebHostEnvironment is not injectable and would like to get the ContentRootPath.
See: How to get root directory of project in asp.net core. Directory.GetCurrentDirectory() doesn't seem to work correctly on a mac
Is this possible, when testing a simple class outside the scope of the app?

redpajama_set_name: RedPajamaStackExchange


Before settling in Sunday for your 10-hour NFL binge, there's a pretty good chance you'll watch the hour-long pregame shows. There's also a pretty good chance you'll notice something slightly odd about their hosts: They never stop laughing.
Well, that's not entirely true, but an analysis of the CBS and Fox pregame shows before Week 5 shows that the hosts do spend a lengthy amount of time laughing—sometimes at nothing, sometimes at their own jokes and, occasionally, at things that are funny.
The amount of time they laugh, though, is what sets them apart. The five hosts on Fox's show—Curt Menefee, Terry Bradshaw, Howie Long, Michael Strahan and Jimmy Johnson—had a combined laughing time of two minutes, 22 seconds. That's about 11.6% of the 20 minutes, 27 seconds they were shown on set together. Mr. Bradshaw was easily the laughing leader, going for about 92.4 seconds—including 2.5 seconds at the start of the show before anyone said anything.
The CBS crew—Greg Gumbel, Dan Marino, Bill Cowher, Shannon Sharpe and Boomer Esiason—only laughed for 43 seconds. That's about one-third as much chuckling as the group at Fox. CBS declined to comment. Fox Sports spokesman Lou D'Ermilio says, "If we didn't tell the guys to stop they would laugh and crack jokes 100% of the time."
Do you have a digital executor?
The Chilean government wanted entrepreneurs. Jesse Davis and Nate Lustig wanted additional funding--and maybe some adventure.
Entrustet offers a free online service that allows users to list their digital assets such as e-mail, Facebook, Flickr and other accounts and to designate heirs for them.
The company is among about 10 in the digital estate planning services space, said Evan Carroll, co-founder of The Digital Beyond, a blog that calls itself the "go-to source for the digital afterlife industry."
The fate of your online accounts when you die might not seem like a big issue, but it's getting more attention as people move more of themselves online.
"Every lawyer is going to have to worry about transferring assets like this, every insurance company, every mutual fund company," Boucher said.
Entrustet and others store passwords for customers, but Entrustet is unique because it offers the option of designating a digital executor who is charged with distributing passwords and other digital information upon someone's death, Carroll said.
"It gives a level of oversight more in line with the traditional estate planning process," he said.
Entrustet brings in revenue through a premium version of its product that will automatically delete certain accounts upon someone's death, Davis said. The company also makes money through a program that automatically tells corporate partners when users die, and by educating lawyers around the country about how to handle digital assets.
Whether in Chile or Madison, Davis and Lustig say they're aiming to get people organized for their digital afterlives. They estimate 1.5 million users of Facebook alone will die over the next 12 months.
"Three Facebook users die every minute, and Facebook has no idea who's dead," Davis said.
Invasion of the Grease Poachers!
Two men pulled up behind Five Guys Burgers and Fries in North Bergen, N.J., recently, hooked a hose to a tank outside the restaurant and began stealthily siphoning 700 gallons of used cooking oil into a container in their van.
The suspects worked for a grease recycling company but were "freelancing" on two occasions in which they were charged with slurping up 1,400 gallons of the slippery stuff, according to police.
In some parts of the country, the restaurant owner might thank them for taking the waste material off their hands without charging for the service. But in mostly urban areas where there's more competition between companies seeking to pick up and resell used cooking oil for use in biofuels, the companies pay the restaurants for the oil, says Tom Cook, president of the National Renderers Association.
The organization, which represents legitimate companies that pick up and recycle spent grease, is in the process of an industry-wide survey to find out the extent of the loss, Cook says. He doesn't have numbers yet, but he expects they will be large.
"Virtually all of our members who are in the business of picking up used cooking oils are experiencing grease theft to some degree or another, in some cases, pretty significantly," Cook says.
About 3 billion pounds of "yellow grease," as the used oil is called, is produced in the USA each year, and traditionally, most of it has been mixed with livestock feed, he says. The value of the stuff fluctuates, but it hovers around $1.90 a gallon, he says.
David Miller, owner of the Kickin' Chicken restaurants based in Mount Pleasant, S.C., doesn't know who absconded with several thousand dollars worth of day-old vegetable oil from his seven stores.
He started noticing significant dropoffs in the monthly payment from the grease buyers and knew something was going on.
"When there's a market for something, there's somebody willing to steal it," he says.


Jeff volunteers with us when he finds a few hours each week in his busy schedule. He currently runs his own small business as a life and business coach. Jeff also runs a junior Olympic volleyball club here in Colorado Springs.
Jeff, prior to starting his own business, served with the US Air Force as a civil service employee for four years. Jeff was also active duty with the U.S. Air Force for seven years, three of those enlisted and four as an officer.
Jeff lives here Colorado Springs with his wife and 4-year-old daughter.
It's been about 2 years that Jeff has volunteered with us here in the Discovery Center. When asked why he came to volunteer with us, Jeff commented that his mission in life, and with his business, is to assist people in achieving their dreams. One of his dreams since he was a child was to be part of the space industry. While his jobs and careers took him on a different path, volunteering with the Space Foundation allows him to fulfill his dream of working in the space industry. A bonus, Jeff says, is being able to educate and share his love for "all things space" with our visitors and students who come through the Discovery Center.
Jeff went on to say that Science On a Sphere® is one of his favorites, as it allows us to display and teach information in a way that people aren't used to seeing. He knows this will make it much more likely for visitors to be inspired to have a love for space. The Lunar Module is another favorite of Jeff's. This display represents the history of space exploration and our incredible capacity as humans to achieve what was initially considered impossible.
When asked about a special moment Jeff has encountered while volunteering, he explains that it's an "every day moment." Every time a child gets that spark in their eyes from having learned something new or becomes excited about what they may have just discovered, that never gets old for Jeff.
Jeff is a great advocate for us the Space Foundation. He is not shy about encouraging anyone who may be thinking of volunteering to just DO IT! Take that first step and come in. Jeff knows the only way you will know if you love it as much as he does is to come and spend time in the Discovery Center and experience all there is to do and all there is to learn.
Jeff hopes to see you all soon on the scavenger hunt or at Rocket Alley!


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Jennifer Jones (1919-2009)
Joan Fontaine, The Constant Nymph, 1942. Arriving for lunch at Romanoff's, director Edmund Goulding stopped by Brian Aherne's table to chat with his pal. (He had starred in the UK version, circa 1933). Goulding said it was impossible to find the lead girl. He'd tried Jones, Wendy Barrie, Eve March, Joan Leslie. Head brother Jack Warner craved A Star… "She has to be consumptive, flat-chested, anemic, and 14!" "How about me?" said the the freckled miss sitting with Aherne. "Who are you?" asked Goulding, somehow not recognising his friend's wife in her leather flight suit and pigtails (they had just flown into LA from their Indio ranch). "Joan Fontaine." "You're perfect!" She was 25. So what! She signed next day and called it "the happiest motion-picture assignment of my career." Oscar nomination, included.
Dorothy McGuire, Claudia, 1943. Muddled between two aspirants, Phyllis Thaxter and Phyllis Walker, producer David Selznick eventually changed Mrs Walker into Mrs Selznick - making the re-named Jennifer Jones the fourth female star he "created" after Ingrid Bergman, Vivien Leigh, Joan Fontaine. He liquidated Selznick International to create David O Selznick Productions to launch Jones in Fox's Song of Bernadette, 1943, a coup assisted by the fact that Fox production chief during Darryl Zanuck's war service was family: Selznick's brother-in-law William Goetz. Bernadette won an Oscr for the "brilliant new discovery," remembered by some from Dick Tracy's G-Men, 1939. And Jennifer's dumped husband, poor Robert Walker, got lost in the shuffle, never recovered from losing her and was dead by 1951.
Jane Randolph, Cat People, 1942. Jones was first up for the (implied) mistress of our hero, Kent Smith… as… no, really… Oliver Reed! RKO gave producer Val Lewton a mere $150,000, Orson Welles' Magnificent Ambersons sets and 18 days to make the film. French director Jacques Tourneur used more shadows than lighs, few special effects, no stars, nor visible violence and scared everyone! Result: a $4m take, compared to Citizen Kane's $500,000.
Jane Ball, The Keys of the Kingdom, 1944. Producer David O Selznick was planning to start shooting in February 1942, with Ingrid Bergman, Shakesperean actor Maurice Evans and Jones (still known as Phyllis Walker until divorcing Robert Walker to become Mrs DOS). But only Evans' role was important. The women were window dressing. And knew it. Bergman balked and the whole house of cards collapsed. DOS threw in the towel and sold out to Fox. Nora became Ball's screen debut. The ex-chorus girl's career was over three films later in 1951 and she became a nurse. DOS also off-loaded…
Joan Fontaine, Jane Eyre, 1944. A third chance disappeared as Selznick searched for extra income to finance future plans.
Gene Tierney, Laura, 1944. And a fourth... Selznick stopped her reporting to Fox on April 24, 1944. Because, said Selznick's right hand, Daniel T O'Shea, her Fox contract stipulated that her films be consistent with her standing as The Song of Bernadette Oscar-winner. Yeah, yeah… Truth of the matter was Vera Caspary's novel contained too many echoes of their own life: ambitious beauty dominated by an obsessive older man.
Jane Ball, The Keys of the Kingdom, 1944. Anderson, Jennifer Jones ancd Trudy Marshall were also in the convoluted David Selznick-cum-Fox mix for the adult Nora - the childhood sweetheart of novelist AJ Cronin's herto, Father Francis Chishol - Gregory Peck's breakthrough.
Lana Turner, Cass Timberlane, 1947. David Selznick wouldn't loan his Jennifer to MGM on seeing how much Donald Ogden Stewart's script favoured Spencer Tracy's titular judge.
Ingrid Bergman, Joan of Arc, 1947. Merry-go-round… In 1935, Joan was to be Katharine Hepburn, but colour was pricey and her films were flopping. In 1940, David O Selznick talked to Bergman about it. Nothing happened. By 1944, Gabriel Pascal chose the (still) unknown Kit Cornell for another project that never heard voices in financial agreement. By 1946, DOS planned it for his lover, Jones, before bowing to the inevitable, ie: Sierra Pictures, ie: Bergman, producer Walter Wanger, director Victor Fleming.
Alida Valli, The Miracle of the Bells, 1947. Jones, Barbara Bel Geddes, Greer Garson and ballerina Ricky Soma were in the mix for the Polish actress dying upon completion of her Joan of Ark film in Hollywood. Plus the unknown Jane Garth, who played the role on-stage. Naturally, the screen's next Maid, Ingrid Bergman, was also considered by producer Jesse L Lasky for his surprisingly limp version of Russell Janney's novel.
June Allyson, Little Women, 1948. Selznick decided to re-make his l933 version in 1946 with Jones (his very own Susan Alexander) as Jo, of course. He was undecided between Shirley Temple or Dorothy McGuire for Meg. When both Jones and Selznick proved greatly fatigued, physically and emotionally, from making Duel in the Sun, he sold the project to MGM to inaugurate its 25th anniversary agenda.
Betty Hutton, The Greatest Show on Earth, 1951. Three years before CB De Mille made his old dream of a circus film (and inspired a six-year-old Phoenix kid named Spielberg to make movies), the Gone With The Wind producer David O Selznick planned risking $6m on a big top number named after the slogan of the Ringling Bros circus. The DOS line-up would have featured Jones, Joseph Cotten, Louis Jourdan, Dorothy McGuire, Robert Mitchum, Gregory Peck, Shirley Temple and Alida Valli. Obviously the DeMille epic had a different script, but it's safe to surmise that the characters would have been much the same… trapeze stars, lion-tamer, elephant girl, circus boss.
Olivia De Havilland, My Cousin Rachel, 1952. Producer-scenarist Nunnally Johnson had a so-so scenario. And big ideas. He wanted Greta Garbo as Rachel. No one else would do. Shd considered it as a comeback. For at least seven seconds. (A day, actually). First director George Cukor wanted Vivien Leigh. The second, Henry Koster, preferred Olivia opposite Richard Burton in his Hollywood debut as her cousin.
Barbara Stanwyck, The Moonlighter, 1952. One reunion for another…When Warners could not get the Ruby Gentry star and her director, King Vidor, it settled for Double Indemnity's Barbara Stanwyck and Fred MacMurray. Cowboys stars Gene Autry and Roy Corrigan also made a few dollars - their ranches ranches in Placerita Canyon and Simi Valley were chosen as locations.
Jean Simmons, The Robe, 1953. Also considered: Ingrid Bergman. Orson Welles called Jones "just hopless."
Eva Marie Saint, On The Waterfront, 1953. In the mix for a wee while for Edie Doyle (like Grace Kelly, and Elizabeth Montgomery) before producer Sam Spiegel gave Saint her debut role. And a Best Supporting Oscar.
Lana Turner, Betrayed, 1953. You don't mess with MGM… When La Turner missd a wardrobe fitting appointment in London for Clark Gable's Metro finale, the suits reached for Plan G and J. Gardner or Jennfier Jones. Turner talked her way back in. She was, after all, on honeymoon with the fourth of her seven husbands. Lex Barker, aka Tarzan, circa 1948-1952.
Grace Kelly, The Country Girl, 1953. Producer William Perlberg revealed that Jones was his first idea for Georgie. Hardly surprising as she had the role in the play's 1966 New York revival. Until another Selznick production intervened. Jones was pregnant with Mary Jennifer Selznick (a suicide in 1976). Grace got the Oscar.
Gloria Grahame, Human Desire, 1953. When the just-married Rita Hayworth fell out of the Fritz Lang re-make of the 1937 Jean Renoir/Jean Gabin French classic, La bête humaine, De Havilland fell in. Then, out. And Columbia called producer David O Selznick for a loan of Jones, his missus. No, well, hello Gloria… You're lookin' swell, Gloria You're still glowin' You're still crowin' You're still goin' strong…
Ava Gardner, The Barefoot Contessa, 1954. Jones and Yvonne De Carlo were being pushed towards writer-director Joseph Mankiewicz but he only had eyes for Ava - despite the $200,000 MGM was charging for her. She made it to escape LA, the US and the collapse of her marriage to Frank Sinatra.
Elizabeth Taylor, Giant, 1955.
Irene Papas, Tribute To A Bad Man, 1955. When Grace Kelly cooled (she was hoping for Giant), Spencer Tracy began to question his own interest on the project. All the more so when finding a replacement proved as troublesome as his health. Jones thought the roles were re-runs of Tracy and Katy Juardo in the previous year's Broken Lance. No one wanted the film: Dorothy McGuire, Eva Marie Saint, Marjorie Steele, etc. Spence voted McGuire. Director Robert Wise preferred "the simply awful Greek" - of whom Tracy also commented: "Boy or girl?"
Audrey Hepburn, War and Peace, 1956. Eager to get back into the big time, producer David Selznick started building Tolstoi's epic around his wife with MGMoney. He threw in the towel when Mike Todd and Dino De Laurentiis announced their own versions. As usual, he saw Jennifer younger than anyone else. At 35, she was hardly "the quintessential" Natasha Rostova. No, that was Audrey, 27, going on 19.
Ingrid Bergman, Anastasia, 1956. Four years earlier, having survived Gone To Earth, true Brit director Michael Powell planned his version with Mrs Selznick as the titular, mystery woman claiming to be the Grand Duchess Anastasia, youngest daughter of the last Russian Tsar… and sole survivor of the 1918 assassination of the principal Imperial royal family. Exiled aunts never believed her. She went to court to claim her inheritance. She lost the 1938-1970 case and on her death was proved an imposter called Franziska Schanzkowska. Bergman was banished by Hollywood after the hypocrotical scandal of her adultery with Italian neo-realistic director Roberto Rossellini in 1949 (because no one in LA committed adultery or had a child out of wedlock - hello, Loretta Young!). Finally, she was forgiven by head Fox Darryl Zanuck- and won the Best Actress Oscar on March 27, 1957, picked up for her by old friend Cary Grant. She did not return to Hollywood until Cactus Flower in 1969.
Ann Blyth, The Helen Morgan Story, 1956. For six months, Warner Bros scanned some 32 possible Morgans, including Jones, Dani Crayne, Susan Hayward plus singers Doris Day, Judy Garland, Helene Grayco, Peggy Lee, Jaye P. Morgan, Patti Page, Keely Smith. And even fashion model Nancy Berg. Morgan's friends and fans were aghast when director Michael Curtis chose Blyth, with Cogi Grant dubbing the songs, as neither looked or sounded like Morgan. Curtiz said Blyth was the best actress for the rôle and Grant's voice was better than Morgan's "kind of high-pitched, low-voiced torch singing… it's outmoded." So, tell another story! Berg's life, for example, was way heavier.
Ava Gardner, The Sun Also Rises, 1957. Director Henry King had aimed at Lady Selznick for Lady Brett Ashley. Ava proved far better. "I always felt close to Papa's women," said Ava. Apart from being British, Ernest "Papa" Hemingway's heroine, Lady Brett Ashley, was pure Ava - passionately promiscuous. Producer David Selznick saw all that in his Jones girl. No one else did.
Susan Strasberg, Stage Struck, 1957. David O Selznick naturally saw the 1932 Morning Glory re-make notion as a perfect vehicle for Jones in Katharine Hepburn's first Oscar-winning role. Jones was Mrs DOS. Suxan complained that her work was hampered by her Method-teacher father, Lee Strasberg, forever visiting the set. (Like his wife started to do wth Marilyn Monroe).
Natalie Wood, Marjorie Morningstar, 1957. Head brother Jack Warner paid author Herman Wouk $1m, "probably the highest price ever paid for any story" - so stars were wanted to protect the investment. Such as Jones - at 38! – for the title role taken by Wood, aged… 19. No matter, Wood's co-star was Gene Kelly... and he was playing 32 at 45. Hey, 'twas the fag-end of the 50s.
Kim Novak, Bell Book and Candle, 1958. Five years earlier, Selznick bought John Van Druten's play for the missus. They tired of it and sold out to Columbia czar Harry Cohn which meant Susan Hayward (opposite Rex Harrison). Ultimately, Cohn made a deal with Paramount - they could have Novak opposite Stewart in Hitchcock's Vertigo, as long as Jim rang the Bell with Novak at Columbia. And all the time, Cary Grant had been been pushing for it - it really required his unique sparkle.
Elizabeth Taylor, Cleopatra, 1963.
Julie Adams, The Last Movie, 1969. In the late 60s, when deciding to succeed the late Montgomery Clift as Kansas, director Dennis Hopper assembled a cast including Jane Fonda, Jason Robards…. and Jones (reduced to AIP's Angel, Angel, Down We Go at the time). And then decided not to risk Phil Spector's promised $1.2m budget. Based on Hopper's experiences while shooting The Sons of Katie Elder in Mexico (when indigenous natives re-enacted the movie-making), the film won the Critics' Prize at Venice but The Last Movie was damn nearly The Last Hopper. Well, he shot it in Peru - coke capital of the world. 'Nuff said?
Nastassja Kinski, Tess, France, 1979. Selznick had secured rights to Thomas Hardy's great heroine for his wife. And did nothing about it. Director Roman Polanksi and his discovery did plenty with it... when Paris producer Claude Berri gained the rights.
Shirley MacLaine, Terms of Endearment, 1983. Apart from replacing Olivia de Havilland in The Towering Inferno, 1974, Jones retired after her third marriage to industrial millionaire Norton Simon in 1971. Suddenly, she optioned Larry McMurtry's book in 1979 - with Pacino as her leading man. Just as suddenly she sold it to Paramount where it won MacLaine her Oscar.
Irene Jacob, Victory, UK-France-Germany, 1996. Looking for another grand role for his wife, producer David O Selznick met with Claude Chabrol at the Hotel Raphael in Paris - but the nouvelle vague icon was not keen on the Conrad book. Next to try was another New Waver, Louis Malle. With singer-actress Marie Laforêt.
Comments>>>>>>>>
"She had a divine madness. You could see what a tender, vulnerable creature she was on-screen. Being her friend was like being friuends with a unicorn." - Bud Cort
"David O Selznick was always waiting for that great vehicle for her to be reintroduced. I know projects came up all the time until people stopped asking, because David kept saying no. Nothing was ever good enough for her, I believe." – her son, Bob Walker.
"From the time of Bernadetteon… Jennifer was his property. That's what she was. She was his property. And then, at the end, she really let him down because she couldn't fulfill what he had in mind for her as an actress. She just wasn't that good. But he had made her such a great star that it didn't matter. That's reality." – Dennis Hopper.


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text:
Fred Irby III is an American jazz professor, music director and trumpeter. He is a Professor of Music at Howard University in Washington, DC and the director of the Howard University Jazz Ensemble (HUJE).

Career
Irby is from Mobile, Alabama and holds degrees from Grambling State University and Southern Illinois University. He is a Professor of Music at Howard University in Washington, DC, where he has taught since 1974, and the director of the Howard University Jazz Ensemble (HUJE). Under his direction the HUJE has toured internationally and has 41 recordings.  He is also Principal Trumpet of the Kennedy Center Opera House Musical Theater Orchestra. He holds active membership of many music associations and orchestras.

Performances
Major orchestral performances in which Irby has taken part include the Twentieth Century Fox movie Alvin and the Chipmunks, the ABC-TV show Dancing with the Stars, the NBC-TV show America's Got Talent, the 56th Primetime Emmy Awards, the 87th, 88th and 89th Academy Awards Gala (OSCARS), the Kennedy Center Honors Gala, and the Christmas in Washington Gala.

Commissions
He has commissioned and premiered compositions by two eminent African American composers: TROMBA: Suite for B Flat Trumpet and Piano by Ulysses S. Kay; and Spiritual Fantasy #1 for Piccolo Trumpet and Piano by Frederick Tillis.

Awards
Irby received the 2008 Downbeat magazine Achievement Award In Jazz Education, and in 2008 was inducted into the Grambling State University Alumni Hall of Fame. He received the Disney Performing Arts Award for Excellence in Teaching Jazz in 2009 at the MENC Teaching Music Awards ceremony, and was designated a Lowell Mason Fellow in 2010. In 2016, he received the Ronnie Wells Jazz Service Award at the Mid-Atlantic Jazz Festival, the DC Jazz Festival awarded him a Lifetime Achievement Award at their 2016 Gala at the Kennedy Center and he was inducted into the Southern Illinois University at Edwardsville Alumni Hall of Fame.

References

External links
Biography, Howard University Jazz Ensemble

Year of birth missing (living people)
Living people
Musicians from Mobile, Alabama
American jazz trumpeters
American male trumpeters
American music educators
21st-century trumpeters
Jazz musicians from Alabama
21st-century American male musicians
American male jazz musicians


text:
Home > News & Media > News Releases > PCL Construction Appoints Regional Vice President of US Buildings
PCL Experts
PCL Construction Appoints Regional Vice President of US Buildings
Printer-Friendly »
1/3/2018 Denver – US Head Office
Denver, CO (January 3, 2017) – PCL Construction Enterprises, Inc. has appointed Jack Sample to the position of Regional Vice President, US Buildings. In this role, Jack will oversee PCL's buildings operations in Seattle, Hawaii, and California, including the Los Angeles, Orange County and San Diego offices.
Prior to this appointment, Jack served as Vice President of PCL's California Buildings group. Under his leadership, and through his focus on building strong relationships and encouraging highly engaged employees, the group has grown to be one of PCL's largest divisions in the United States.
"Jack has been instrumental in growing PCL's California Buildings group, and we are excited to have him join the executive team," said Shaun Yancey, President and COO, US Operations.
Jack joined the PCL family in 1993 as an intern and has since held numerous roles that include Special Projects Manager, Construction Manager, Director of Business Development, and District Manager. Jack holds a bachelor of science degree in civil engineering from the University of California, Los Angeles, and is a LEED® Accredited Professional.
About PCL Construction
PCL is a group of independent construction companies that carries out work across the United States, Canada, the Caribbean, and in Australia. These diverse operations in the civil infrastructure, heavy industrial, and buildings markets are supported by a strategic presence in 31 major centers. Together, these companies have an annual construction volume of more than $6 billion, making PCL one of the largest contracting organizations in North America. Watch us build at PCL.com.
Stephanie McCay
Manager, US Communications
PCL Construction
smccay@pcl.com


text:
from datetime import datetime
import time

import numpy as np

from .externals.six import string_types

class Annotations(object):
    """Annotation object for annotating segments of raw data.

    Parameters
    ----------
    onset : array of float, shape (n_annotations,)
        Annotation time onsets from the beginning of the recording.
    duration : array of float, shape (n_annotations,)
        Durations of the annotations.
    description : array of str, shape (n_annotations,) | str
        Array of strings containing description for each annotation. If a
        string, all the annotations are given the same description.
    orig_time : float | int | instance of datetime | array of int | None
        A POSIX Timestamp, datetime or an array containing the timestamp as the
        first element and microseconds as the second element. Determines the
        starting time of annotation acquisition. If None (default),
        starting time is determined from beginning of raw data acquisition.
        In general, ``raw.info['meas_date']`` (or None) can be used for syncing
        the annotations with raw data if their acquisiton is started at the
        same time.

    Notes
    -----
    Annotations are synced to sample 0. ``raw.first_samp`` is taken
    into account in the same way as with events.
    """

    def __init__(self, onset, duration, description, orig_time=None):

        if orig_time is not None:
            if isinstance(orig_time, datetime):
                orig_time = float(time.mktime(orig_time.timetuple()))
            elif not np.isscalar(orig_time):
                orig_time = orig_time[0] + orig_time[1] / 1000000.
            else:  # isscalar
                orig_time = float(orig_time)  # np.int not serializable
        self.orig_time = orig_time

        onset = np.array(onset)
        if onset.ndim != 1:
            raise ValueError('Onset must be a one dimensional array.')
        duration = np.array(duration)
        if isinstance(description, string_types):
            description = np.repeat(description, len(onset))
        if duration.ndim != 1:
            raise ValueError('Duration must be a one dimensional array.')
        if not (len(onset) == len(duration) == len(description)):
            raise ValueError('Onset, duration and description must be '
                             'equal in sizes.')
        if any([';' in desc for desc in description]):
            raise ValueError('Semicolons in descriptions not supported.')

        self.onset = onset
        self.duration = duration
        self.description = np.array(description)

def _combine_annotations(annotations, last_samps, first_samps, sfreq):
    """Helper for combining a tuple of annotations."""
    if not any(annotations):
        return None
    elif annotations[1] is None:
        return annotations[0]
    elif annotations[0] is None:
        old_onset = list()
        old_duration = list()
        old_description = list()
        old_orig_time = None
    else:
        old_onset = annotations[0].onset
        old_duration = annotations[0].duration
        old_description = annotations[0].description
        old_orig_time = annotations[0].orig_time

    if annotations[1].orig_time is None:
        onset = (annotations[1].onset +
                 (sum(last_samps[:-1]) - sum(first_samps[:-1])) / sfreq)
    else:
        onset = annotations[1].onset
    onset = np.concatenate([old_onset, onset])
    duration = np.concatenate([old_duration, annotations[1].duration])
    description = np.concatenate([old_description, annotations[1].description])
    return Annotations(onset, duration, description, old_orig_time)

def _onset_to_seconds(raw, onset):
    """Helper function for adjusting annotation onsets in relation to raw data.
    """
    meas_date = raw.info['meas_date']
    if meas_date is None:
        meas_date = 0
    elif not np.isscalar(meas_date):
        meas_date = meas_date[0] + meas_date[1] / 1000000.
    if raw.annotations.orig_time is None:
        orig_time = meas_date
    else:
        orig_time = raw.annotations.orig_time

    annot_start = (orig_time - meas_date + onset -
                   raw.first_samp / raw.info['sfreq'])
    return annot_start

redpajama_set_name: RedPajamaGithub


Last-minute promo tickets for the month February for the route Kuala Lumpur - Surabaya. These promo fares were recently found but may have changed. You can easily look up most recent promo flights and flight availability by clicking on your preferred date or price.


text:
Q: No php.ini after installing php5.1 on debian 7.0 Lately i've been struggling with installing zend optimizer on my machine (since i needed that for irrelevant purposes), but i found out that it works best on php 5.1. So i get one from HERE and zend optimizer i had stored from my backup disk. Both tar.gz files. I installed php, so now php -v returns with:
PHP 5.1.4 (cgi) (built: Jun 10 2013 13:38:28)

Copyright (c) 1997-2006 The PHP Group

Zend Engine v2.1.0, Copyright (c) 1998-2006 Zend Technologies

Which indicates that it works quite well. However, to install zend optimizer, i need to edit php.ini file, which is basically nowhere.
I tried looking for it with where is php.ini , got:
php: /usr/lib/php /usr/local/bin/php /usr/local/lib/php

but obviously in none of those i can find any.
then i tried
sudo find / -name "php.ini"

and got nothing.
I'm running Debian 7 Wheezy, with apache2, mysql 5.1 and php5.1 - any ideas?
Linux sklep 3.2.0-4-686-pae #1 SMP Debian 3.2.41-2+deb7u2 i686 GNU/Linux

I'll provide any needed information, to help you help me solve the problem.

A: Make a PHP script with phpinfo(); in it.
Run it, and it will show you where the .ini file is.


text:
Реферат / Рефераты /category/by/type/referaty Иностранные языки /category/by/type/referaty/inostrannye-yazyki The Edmund Fitzgerald Essay Research Paper One
The Edmund Fitzgerald Essay Research Paper One
The Edmund Fitzgerald Essay, Research Paper One of the greatest ships to sail the Great Lakes was the Edmund Fitzgerald. The Edmund Fitzgerald had sailed for many years until it sank in 1975. The Edmund Fitzgerald was built in 1958; it was 729 feet long and weighed 13,632 tons (Stonehouse 13). This was the largest ship to sail the Great Lakes until 1971(Stonehouse 13). The Edmund Fitzgerald had a sister ship called the Arthur B. Homer, which was the second biggest ship on the great lakes (Stonehouse 13). The Edmund Fitzgerald had a 7,000 horsepower steam turbine engine that could push the ship at around 16 miles an hour (Stonehouse 13). Northwestern Mutual Life Insurance Company of Milwaukee owned the ship. Aboard the ship there were 29 crew members, the captain, 3 licensed
deck officers, a chief engineer, 4 licensed engineering officers, and 20 unlicensed personnel (U.S. Marine Reports). The ships captain was Ernest Mcsorley who was a master of the Great Lakes and had 44 years sailing them (Stonehouse 25). The ship had sailed the great lakes for many years until that day in 1975 when it was never seen again. The Edmund Fitzgerald had left a port in Superior, Wis. At around 2:15 pm on November 09, 1975 (Stonehouse 24). The ship was fully fueled and loaded for its trip to Detroit Michigan. The boat had traveled about two hours across lake superior when it became in sight of another boat, the Arthur M. Anderson. Around 7:00 Pm the Edmund Fitzgerald started to come across bad weather conditions and had to change its course. The Fitzgerald and the
Anderson both changed course and started heading to the lakes more northern waters, which was called the fall north route (Stonehouse 25). The two ships had traveled along the same course for many hours and the storm was still very strong. The two ships were battling waves of 10-12 feet, winds of up to fifty knots, and even snow (Stonehouse 26). The Anderson was about 16 miles away from the Fitzgerald when the watchman lost sight of it due to heavy snow (Stonehouse 27). That was the last time anyone had ever seen the Edmund Fitzgerald afloat. The two ships had traveled along, now only with radar and radio contact. The storm started to worsen. Now with winds at 43 knots and waves of 12 to 16 feet, the ship was taking on water (Stonehouse 27). The Fitzgerald had radioed to the
Anderson that they had a rail down and some vents were damaged (Stonehouse 27). Minutes after the radio contact between the Anderson and the Fitzgerald, the Anderson had received an emergency broadcast from the coast guard stating that all ships were to find safe anchorage (Stonehouse 28). At this time the Soo locks and the Mackinaw Bridge were closed down due to winds of up to 96 miles per hour (Stonehouse 28). The Fitzgerald had lost both of its radars and had to maintain radio contact with the Anderson (Stonehouse 28). During this contact the first mate of the Anderson asked the Fitzgerald: Oh by the way, how are you making out with your problem? the reply from the Fitzgerald was We are holding our own (Stonehouse 29). Those words were the last words ever heard from the
Fitzgerald, which soon disappeared off radar (Stonehouse 30). At 9:25 pm the call was made from the coast guard to start a search for the missing Fitzgerald (Stonehouse 32). The search for the Fitzgerald went on for 5 days. They had many ships and aircraft from all around the region including Canada. On the second day of the search they had found two of the lifeboats from the Fitzgerald very near to the Anderson, which was off from Coppermine Point (Stonehouse 43). On the fifth day they finally discovered a clue of the whereabouts of the missing ship. The discovery was made by a Navy aircraft, which was equipped with a magnetic detection device (Stonehouse 42). The first diver search was conducted from November 14 through the 16, but there was no luck on positively identifying


Gewandtheit und Bandbreite, die ihm als DJ inne wohnt. Eben diese Attribute lassen sich auch auf die Werke der Produzenten übertragen, die auf dieser 12" versammelt sind.
psychedelischem Funk und Dub und fügt sich so perfekt in die spätere Phase von Fenglers Mix ein.
Berghain's Marcel Fengler presents the fifth installment in the club's expanding mix series.
Marcel Fengler has proved filling floors doesn't have to be about ticking boxes. The versatile mix is a perfect example of the type of dexterity, sensitivity and scope he possesses as a DJ. These same attributes can be found in the work of the producers featured on this 12'' sampler.
Talented duo Reagenz aka Move D and Jonah Sharp have had a productive year, and their exclusive track, "The Labyrinth", proves just that. Leading us into a psychedelic dance of funk, dub and abstraction, this slow burning jam fits perfectly in the later stages of Fengler's mix.
The mysterious Vril is behind the dirty, dusty releases appearing on the Staub series from Geigling. "UV" follows that convention in a pounding, searing filtered techno tool that explores many zones over its powerful 10 minute reign.


Wimbledon Speakers Club kept up its fine tradition in competition this weekend as Bilwa won the Evaluation contest at the Area meeting in Central London on Saturday.
Many congratulations to Bilwa who goes on to fly the flag for WSC in the next round. Special mentions and congratulations also go to John, who was runner-up in the Topics contest and to Josie, who came runner-up in the speech contest. A magnificent effort!
Bilwa collects her prize from Chief Judge, Neil Harvey.


Fabulous Executive Brick home w/Resort like Backyard! 5BD/5BA with open floor plan. Living Room/Study, Formal Dining & 2-story Family Room w/built-ins and dramatic floor to ceiling windows overlooking the Pool and Spa. Updated gourmet Kitchen, w/oversized island, granite counter tops, stainless steel appliances that connects to a Sunroom/Breakfast nook, Main floor Guest Suite. Master Suite w/Sitting area plus spa bath and walk in closet. Finished Lower Level includes Media Room, Game Room, Wet Bar, Workout Room/BDRM, Bath, Unfinished Storage Area. Stunning Heated, Pebble-Tec Pool features a waterfall Spa, & Spacious Pool Decking. Located on a private quiet street that leads to two cul-de-sac.
Directions: Ga 400 Ex. 9 Haynes Bridge Rd. Turn East, Left On Northpoint Pkwy, Right On Kimball Bridge Rd. Left On Glen Abbey Dr. Right On Grey Abbey Dr.