text:
Q: Connection reset exception while trying to contact an Oracle LDAP server from JBOSS Getting the following error when trying to contact oracle LDAP from JBOSS. Immediately after deploying into JBOSS the connection works fine. After around ten minutes , i'm getting this error.If i again remove and redeploy the application into JBOSS the same thing happens again.It stops working after 10 minutes.Please provide your valuable suggesstions.
2015-11-30_02:25:28 c.t.c.c.CASSelfServiceRestController createUser 116 - INFO  --- 10.48.120.22 SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328
2015-11-30_02:25:28 c.t.c.c.CASSelfServiceRestController createUser 126 - INFO  --- SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328 LD_Update_Test_21@gmail.com
2015-11-30_02:25:28 c.t.c.s.s.ServiceProviderImpl createUser 99 - INFO  --- SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328 LD_Update_Test_21@gmail.com
2015-11-30_02:25:28 c.t.c.d.d.DAOProviderImpl searchUser 995 - INFO  --- SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328
2015-11-30_02:25:28 c.t.c.d.d.DAOProviderImpl searchUser 1026 - INFO  --- SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328  Response to Service Layer
2015-11-30_02:25:28 c.t.c.d.d.DAOProviderImpl searchUser 1030 - INFO  --- Query : (uid=LD_Update_Test_21@gmail.com)
2015-11-30_02:25:28 c.t.c.d.d.DAOProviderImpl searchUser 1033 - INFO  --- SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328  Response to Service Layer
2015-11-30_02:25:28 c.t.c.d.d.DAOProviderImpl searchUser 1039 - INFO  --- Search User : Connection reset; nested exception is javax.naming.CommunicationException: Connection reset [Root exception is java.net.SocketException: Connection reset]; remaining name 'ou=people,ou=lexus,ou=lexusconsumers,o=teds'
2015-11-30_02:25:28 c.t.c.d.d.DAOProviderImpl searchUser 1040 - INFO  --- LdapTemplate Object : org.springframework.ldap.core.LdapTemplate@28f807ec
2015-11-30_02:25:28 c.t.c.d.d.DAOProviderImpl searchUser 1041 - INFO  --- StackTrace : org.springframework.ldap.CommunicationException: Connection reset; nested exception is javax.naming.CommunicationException: Connection reset [Root exception is java.net.SocketException: Connection reset]; remaining name 'ou=people,ou=lexus,ou=lexusconsumers,o=teds'
    at org.springframework.ldap.support.LdapUtils.convertLdapException(LdapUtils.java:100)
    at org.springframework.ldap.core.LdapTemplate.search(LdapTemplate.java:318)
    at org.springframework.ldap.core.LdapTemplate.search(LdapTemplate.java:258)
    at org.springframework.ldap.core.LdapTemplate.search(LdapTemplate.java:570)
    at org.springframework.ldap.core.LdapTemplate.search(LdapTemplate.java:555)
    at com.toyota.casservice.dao.daoproviderimpl.DAOProviderImpl.searchUser(DAOProviderImpl.java:1031)
    at com.toyota.casservice.service.serviceproviderimpl.ServiceProviderImpl.createUser(ServiceProviderImpl.java:119)
    at com.toyota.casservice.controller.CASSelfServiceRestController.createUser(CASSelfServiceRestController.java:129)
    at sun.reflect.NativeMethodAccessorImpl.invoke0(Native Method)
    at sun.reflect.NativeMethodAccessorImpl.invoke(NativeMethodAccessorImpl.java:57)
    at sun.reflect.DelegatingMethodAccessorImpl.invoke(DelegatingMethodAccessorImpl.java:43)
    at java.lang.reflect.Method.invoke(Method.java:606)
    at org.jboss.resteasy.core.MethodInjectorImpl.invoke(MethodInjectorImpl.java:167)
    at org.jboss.resteasy.core.ResourceMethod.invokeOnTarget(ResourceMethod.java:269)
    at org.jboss.resteasy.core.ResourceMethod.invoke(ResourceMethod.java:227)
    at org.jboss.resteasy.core.ResourceMethod.invoke(ResourceMethod.java:216)
    at org.jboss.resteasy.core.SynchronousDispatcher.getResponse(SynchronousDispatcher.java:542)
    at org.jboss.resteasy.core.SynchronousDispatcher.invoke(SynchronousDispatcher.java:524)
    at org.jboss.resteasy.core.SynchronousDispatcher.invoke(SynchronousDispatcher.java:126)
    at org.jboss.resteasy.plugins.server.servlet.ServletContainerDispatcher.service(ServletContainerDispatcher.java:208)
    at org.jboss.resteasy.plugins.server.servlet.HttpServletDispatcher.service(HttpServletDispatcher.java:55)
    at org.jboss.resteasy.plugins.server.servlet.HttpServletDispatcher.service(HttpServletDispatcher.java:50)
    at javax.servlet.http.HttpServlet.service(HttpServlet.java:847)
    at org.apache.catalina.core.ApplicationFilterChain.internalDoFilter(ApplicationFilterChain.java:295)
    at org.apache.catalina.core.ApplicationFilterChain.doFilter(ApplicationFilterChain.java:214)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:330)
    at org.springframework.security.web.access.intercept.FilterSecurityInterceptor.invoke(FilterSecurityInterceptor.java:118)
    at org.springframework.security.web.access.intercept.FilterSecurityInterceptor.doFilter(FilterSecurityInterceptor.java:84)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.access.ExceptionTranslationFilter.doFilter(ExceptionTranslationFilter.java:113)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.session.SessionManagementFilter.doFilter(SessionManagementFilter.java:103)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.authentication.AnonymousAuthenticationFilter.doFilter(AnonymousAuthenticationFilter.java:113)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.servletapi.SecurityContextHolderAwareRequestFilter.doFilter(SecurityContextHolderAwareRequestFilter.java:154)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.savedrequest.RequestCacheAwareFilter.doFilter(RequestCacheAwareFilter.java:45)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.authentication.preauth.AbstractPreAuthenticatedProcessingFilter.doFilter(AbstractPreAuthenticatedProcessingFilter.java:94)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.context.request.async.WebAsyncManagerIntegrationFilter.doFilterInternal(WebAsyncManagerIntegrationFilter.java:50)
    at org.springframework.web.filter.OncePerRequestFilter.doFilter(OncePerRequestFilter.java:107)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.context.SecurityContextPersistenceFilter.doFilter(SecurityContextPersistenceFilter.java:87)
    at org.springframework.security.web.FilterChainProxy$VirtualFilterChain.doFilter(FilterChainProxy.java:342)
    at org.springframework.security.web.FilterChainProxy.doFilterInternal(FilterChainProxy.java:192)
    at org.springframework.security.web.FilterChainProxy.doFilter(FilterChainProxy.java:160)
    at org.springframework.web.filter.DelegatingFilterProxy.invokeDelegate(DelegatingFilterProxy.java:344)
    at org.springframework.web.filter.DelegatingFilterProxy.doFilter(DelegatingFilterProxy.java:261)
    at org.apache.catalina.core.ApplicationFilterChain.internalDoFilter(ApplicationFilterChain.java:246)
    at org.apache.catalina.core.ApplicationFilterChain.doFilter(ApplicationFilterChain.java:214)
    at org.apache.catalina.core.StandardWrapperValve.invoke(StandardWrapperValve.java:230)
    at org.apache.catalina.core.StandardContextValve.invoke(StandardContextValve.java:149)
    at org.jboss.modcluster.container.jbossweb.JBossWebContext$RequestListenerValve.event(JBossWebContext.java:91)
    at org.jboss.modcluster.container.jbossweb.JBossWebContext$RequestListenerValve.invoke(JBossWebContext.java:72)
    at org.jboss.as.web.security.SecurityContextAssociationValve.invoke(SecurityContextAssociationValve.java:169)
    at org.apache.catalina.core.StandardHostValve.invoke(StandardHostValve.java:145)
    at org.apache.catalina.valves.ErrorReportValve.invoke(ErrorReportValve.java:97)
    at org.apache.catalina.core.StandardEngineValve.invoke(StandardEngineValve.java:102)
    at org.apache.catalina.connector.CoyoteAdapter.service(CoyoteAdapter.java:336)
    at org.apache.coyote.http11.Http11Processor.process(Http11Processor.java:856)
    at org.apache.coyote.http11.Http11Protocol$Http11ConnectionHandler.process(Http11Protocol.java:653)
    at org.apache.tomcat.util.net.JIoEndpoint$Worker.run(JIoEndpoint.java:920)
    at java.lang.Thread.run(Thread.java:744)
Caused by: javax.naming.CommunicationException: Connection reset [Root exception is java.net.SocketException: Connection reset]; remaining name 'ou=people,ou=lexus,ou=lexusconsumers,o=teds'
    at com.sun.jndi.ldap.LdapCtx.doSearch(LdapCtx.java:2003)
    at com.sun.jndi.ldap.LdapCtx.searchAux(LdapCtx.java:1847)
    at com.sun.jndi.ldap.LdapCtx.c_search(LdapCtx.java:1772)
    at com.sun.jndi.toolkit.ctx.ComponentDirContext.p_search(ComponentDirContext.java:386)
    at com.sun.jndi.toolkit.ctx.PartialCompositeDirContext.search(PartialCompositeDirContext.java:356)
    at com.sun.jndi.toolkit.ctx.PartialCompositeDirContext.search(PartialCompositeDirContext.java:339)
    at javax.naming.directory.InitialDirContext.search(InitialDirContext.java:267)
    at org.springframework.ldap.pool.DelegatingDirContext.search(DelegatingDirContext.java:347)
    at org.springframework.ldap.core.LdapTemplate$4.executeSearch(LdapTemplate.java:252)
    at org.springframework.ldap.core.LdapTemplate.search(LdapTemplate.java:292)
    ... 63 more
Caused by: java.net.SocketException: Connection reset
    at java.net.SocketInputStream.read(SocketInputStream.java:196)
    at java.net.SocketInputStream.read(SocketInputStream.java:122)
    at java.io.BufferedInputStream.fill(BufferedInputStream.java:235)
    at java.io.BufferedInputStream.read1(BufferedInputStream.java:275)
    at java.io.BufferedInputStream.read(BufferedInputStream.java:334)
    at com.sun.jndi.ldap.Connection.run(Connection.java:853)
    ... 1 more

2015-11-30_02:25:28 c.t.c.s.s.ServiceProviderImpl createUser 168 - ERROR --- SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328 LD_Update_Test_21@gmail.com Error Code: 26
2015-11-30_02:25:28 c.t.c.c.e.GenericExceptionHandler toResponse 28 - ERROR --- SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328 Error Code: 19
2015-11-30_02:25:28 c.t.c.c.e.GenericExceptionHandler toResponse 32 - INFO  --- SXM 5955d46b-a8f9-251e-9b88-fcc11c0c8328 Error Code: 19 Response Sent Out <--

A: You should check that the context is correct and there are users in that context: ou=people,ou=lexus,ou=lexusconsumers,o=teds.
You can use something like JXplorer to verify if the context is correct.
If that context is correct, then try increasing the read and connection timeouts that are on the directory side. Increasing these values may allow the operation to complete and prevent the connection reset issue.


Cranberry - L 1 in stock.
Light Blue - XS 1 in stock.
Light Blue - M 1 in stock.
Light Blue - 2XL 1 in stock.
Olive Green - L 1 in stock.
Slate Grey - S 1 in stock.
Slate Grey - M 1 in stock.
Slate Grey - L 1 in stock.
Slate Grey - XL 1 in stock.
Lotus Pink Medium 1 in stock.
Pine Green Medium 1 in stock.
Pine Green Large 1 in stock.
Radish Red Medium 1 in stock.
Radish Red Large 2 in stock.
Radish Red - XL 1 in stock.
Radish Red - 2XL 1 in stock.
Pine Green 1 in stock.
Radish Red 1 in stock.
Lotus Pink 1 in stock.
Neptune Blue 1 in stock.
Shirt will ship within 1-2 days of the order being placed.
Baby Blue 2 in stock.
Light Pink 1 in stock.
Olive Green 2 in stock.
Medieval Grey 2 in stock.
Indigo X-Small 1 in stock.
Kelly Green Small 1 in stock.
Kelly Green Medium 1 in stock.
Kelly Green 2XL 1 in stock.
Plum Small 1 in stock.
Vintage Purple Medium 1 in stock.
Vintage Purple Large 1 in stock.
Vintage Purple 2XL 1 in stock.
Vintage Purple 3XL 1 in stock.
Vintage Red XL 1 in stock.
Ash Small 1 in stock.
Ash Medium 1 in stock.
Ash XL 1 in stock.
Oatmeal Small 1 in stock.
Oatmeal Medium 1 in stock.
Peacock Large 1 in stock.
Rose Small 1 in stock.
Rose Large 1 in stock.
Screenprinted items ship within 1-2 days of the order being placed.
Ash Large 2 in stock.
Rose Medium 1 in stock.
Rose XL 1 in stock.
If a size or item shows Out of Stock that item is currently being re-stocked but is available to order now. The expected ship date for back ordered items is approximately 1-3 days.
V-Neck (14-16) 1 in stock.
V-Neck (18-20) 1 in stock.
V-Neck (22-24) 1 in stock.
V-Neck (26-28) 1 in stock.
Scoop (14-16) 1 in stock.
Scoop (18-20) 1 in stock.
Scoop (22-24) 1 in stock.
Scoop (26-28) 1 in stock.
Tank (14-16) 1 in stock.
Tank (18-20) 1 in stock.
Tank (22-24) 1 in stock.
Tank (26-28) 1 in stock.
Blue Sleeves 1 (14-16) 2 in stock.
Blue Sleeves 2 (18-20) 2 in stock.
Blue Sleeves 3 (22-24) 2 in stock.
Blue Sleeves 4 (26-28) 2 in stock.
Pink Sleeves 1 (14-16) 2 in stock.
Pink Sleeves 2 (18-20) 2 in stock.
Pink Sleeves 3 (22-24) 2 in stock.
Pink Sleeves 4 (26-28) 2 in stock.
Red Sleeves 1 (14-16) 2 in stock.
Red Sleeves 2 (18-20) 2 in stock.
Red Sleeves 3 (22-24) 2 in stock.
Red Sleeves 4 (26-28) 2 in stock.
Smoke Sleeves 2 (18-20) 1 in stock.
Smoke Sleeves 3 (22-24) 1 in stock.
Smoke Sleeves 4 (26-28) 1 in stock.
Purple Small 1 in stock.
Purple Medium 1 in stock.
Purple Large 1 in stock.
Purple X-Large 1 in stock.
Red Small 1 in stock.
Red Medium 1 in stock.
Red Large 1 in stock.
Turquoise Medium 1 in stock.
Turquoise Large 1 in stock.
Small Blue Marble 2 in stock.
X-Large Blue Marble 1 in stock.
2X-Large Blue Marble 2 in stock.
X-Large Pebble Brown 1 in stock.
Medium Red 1 in stock.
Large Red 1 in stock.
Small Red Marble 2 in stock.
X-Large Red Marble 2 in stock.
2X-Large Red Marble 1 in stock.
Medium White 1 in stock.
Large White 2 in stock.
X-Large White 3 in stock.
2X-Large White 3 in stock.
Small White Marble 2 in stock.
2X-Large White Marble 2 in stock.
Screen printed items are either in stock or will ship within 1-2 days of your order.
X-Large Blue 1 in stock.
S Turquoise 2 in stock.
Light Pink 2 in stock.
Baby Blue 6 in stock.
Medieval Grey 1 in stock.
Oatmeal Small 3 in stock.
Oatmeal Medium 2 in stock.
Rose Small 3 in stock.
Rose Medium 2 in stock.
Goldenrod (Yellow) 3 in stock.
Sandalwood (Red/Orange) 5 in stock.
Indigo Medium 1 in stock.
Indigo 2XL 1 in stock.
Indigo 3XL 2 in stock.
Kelly Green X-Small 1 in stock.
Kelly Green Large 1 in stock.
Kelly Green 3XL 1 in stock.
Olive Grey XL 1 in stock.
Royal Blue X-Small 1 in stock.
Royal Blue Small 1 in stock.
Royal Blue Medium 1 in stock.
Royal Blue Large 1 in stock.
Royal Blue XL 1 in stock.
Royal Blue 3XL 2 in stock.
Plum X-Small 1 in stock.
Plum 3XL 1 in stock.
Vintage Purple X-Small 1 in stock.
Vintage Red X-Small 2 in stock.
Vintage Red Small 1 in stock.
Vintage Red 2XL 1 in stock.
Shirts ship within 1-2 days of the order being placed.
Indigo Large 1 in stock.
Indigo XL 1 in stock.
Kelly Green Medium 2 in stock.
Kelly Green XL 1 in stock.
Plum Large 1 in stock.
Vintage Purple Small 1 in stock.
Red X-Large 1 in stock.
Turquoise Small 1 in stock.
Turquoise X-Large 1 in stock.
Oatmeal Small 5 in stock.
Oatmeal Large 1 in stock.
V-Neck (14-16) 2 in stock.
V-Neck (18-20) 2 in stock.
V-Neck (22-24) 2 in stock.
V-Neck (26-28) 2 in stock.
Scoop (14-16) 2 in stock.
Scoop (18-20) 2 in stock.
Scoop (22-24) 2 in stock.
Scoop (26-28) 2 in stock.
Tank (14-16) 2 in stock.
Tank (18-20) 2 in stock.
Tank (22-24) 2 in stock.
Tank (26-28) 2 in stock.
Olive Gray Large 1 in stock.
Vintage Red Large 1 in stock.
Baby Blue - 2XL 1 in stock.
Olive Green - XL 1 in stock.
Tri-Blend Coffee 2 in stock.
Indigo 3XL 1 in stock.
Royal Blue 2XL 1 in stock.
Royal Blue 3XL 1 in stock.
Plum 2XL 1 in stock.
Oatmeal XL 1 in stock.
Red Small 2 in stock.
Turquoise Small 3 in stock.
Small Blue Marble 1 in stock.
Large Blue Marble 1 in stock.
X-Large Blue Marble 2 in stock.
2X-Large Blue Marble 3 in stock.
Small Pebble Brown 1 in stock.
Small Red 1 in stock.
X-Large Red 1 in stock.
2X-Large Red 2 in stock.
Small Red Marble 4 in stock.
Medium Red Marble 2 in stock.
Large Red Marble 3 in stock.
X-Large Red Marble 1 in stock.
2X-Large White Marble 1 in stock.
Peacock Medium 1 in stock.
Peacock XL 1 in stock.
Medium Blue 1 in stock.
Turquoise Large 2 in stock.
Turquoise XL 1 in stock.
Turquoise 2XL 1 in stock.
Turquoise 3XL 1 in stock.
Turquoise 4XL 2 in stock.
Red XL 1 in stock.
Red 2XL 1 in stock.
Red 3XL 1 in stock.
Red 4XL 1 in stock.
Burgundy M 1 in stock.
Burgundy 2XL 2 in stock.
Burgundy 3XL 1 in stock.
Grey L 1 in stock.
Grey XL 1 in stock.
Grey 3XL 1 in stock.
Kelly Green Small 2 in stock.
Royal Blue Small 2 in stock.
Royal Blue Large 2 in stock.
Royal Blue XL 2 in stock.
Royal Blue 2XL 2 in stock.
Plum X-Small 2 in stock.
VintagePurple XL 1 in stock.
Vintage Red X-Small 1 in stock.
Vintage Red 3XL 1 in stock.
Small Oatmeal 1 in stock.
Medium Oatmeal 1 in stock.
Small Rose 2 in stock.
Medium Rose 1 in stock.
Large Rose 1 in stock.
Cranberry - S 1 in stock.
Olive Green - S 1 in stock.
Screen printed items ship within 1-2 days of the order being placed.
Baby Blue 8 in stock.
Olive Green 7 in stock.
Light Pink 6 in stock.
Olive Grey X-Small 1 in stock.
Baby Blue 3 in stock.
Olive Green 3 in stock.
Purple Small 2 in stock.
S Turquoise 1 in stock.
M Turquoise 1 in stock.
3XL Turquoise 1 in stock.


text:
Pterotrachea
Pterotracheidae
Pterotracheoidea
Caenogastropoda
Other Pterotrachea
Pterotrachea scutata
Pterotrachea coronata
Pterotrachea hippocampus
Pterotrachea coronata Niebuhr (in Forskål) 1775
Roger R. Seapy
Containing group: Pterotrachea
Pterotrachea coronata attains the largest size (to 385 mm) among the Pterotracheidae and has the most streamlined body shape. The proboscis is long and pointed, terminating in a small buccal mass. The trunk is long and slender, with ventro-lateral folds of cutis anterior to the swimming fin that form a concave bib. The visceral mass is long and slender (the highest length to width ratio in the genus), and the basal part of its length is deeply imbedded in the posterior end of the trunk. The tail is large and laterally flattened, creating a broad surface area that aids in burst swimming, attributable to strong side-to-side flexion of the trunk and tail. During burst swimming, the proboscis is tucked into a ventral groove in the anterior one-half of the trunk created by the ventro-lateral folds of cutis. When viewed dorsally the eyes have a rectangular shape with a retinal base somewhat wider than the lens; shape similar to that in P. scutata. A small fin sucker is located on the mid-ventral surface of the swimming fin in males only. The geographical distribution is cosmopolitan in tropical to subtropical waters.
Brief Diagnosis:
A species in the genus Pterotrachea with the following characteristics:
Body shape streamlined for burst swimming, produced by side-to-side flexion of the elongate trunk and the laterally flattened tail
During burst swimming the slender, elongate proboscis is tucked into the ventral groove formed by the ventro-lateral folds of the cutis
Eyes rectangular in dorsal view, with the retinal base somewhat wider than the lens
Visceral mass slender and elongate
Swimming fin sucker small and only in males
Body morphology
Body length greatest among the pterotracheids (to 385 mm)
Streamlined body shape; trunk elongate and cylindrical, tail large and laterally flattened (see title illustration)
Proboscis long, slender and cylindrical, tapering to a small buccal mass (see title illustration)
Eye shape rectangular in dorsal view, with retinal base somewhat wider than the lens; very similar in appearance to that in P. scutata. In Hawaiian P. coronata the average eye length to width ratio = 2.2, decreasing from 2.5 in small to 1.9 in large individuals (Seapy, 1985)
Figure. Dorsal views of the head region (left) and a dissected right eye (right) in Pterotrachea coronata. ©
Visceral nucleus long and narrow (see photograph below and title illustration). The shape contrasts markedly with the shorter, tear-drop shape of the visceral nucleus in P. scutata and P. hippocampus (see the respective species pages). In Hawaiian P. coronata the ratio of length to width averages 5.6 and ranges from 4.1-7.2 (Seapy, 1985).
Visceral nucleus imbedded in the cutis, with only the tapered, pointed end extending above the posterior end of the trunk
Figure. Posterior portion of body in a female Pterotrachea coronata, viewed from the left side. Note the gills projecting dorsally and the long egg string that extends below the visceral nucleus toward the lower right. Note also the linear arrangement of the developing embryos in the transparent mucus sleeve (click on photograph for enlarged view). ©
Swimming fin closer to the visceral nucleus than to the head, with the anterior end of fin just anterior to the midpoint of the trunk (see title illustration)
Small sucker located medially on ventral margin of the swimming fin and present only in males
Figure. Swimming fin and sucker in a male Pterotrachea coronata, viewed from right side.©
Tail terminates in a pair of small, laterally-flattened lobes (see title illustration), between which emerges an elongate filament (see photograph below). In specimens collected by plankton nets and transferred to preservatives, the filament is usually missing; due either to damage during capture or subsequent detachment during preservation
Figure. Tail filament of Pterotrachea coronata, viewed from right side. ©
Shell present only in larvae and is lost following metamorphosis
Larva unknown, but probably is represented by either larva 2 or larva 3 of Richter (1968); see the Pterotrachea page
Radular morphology similar to that in the other species in the genus; the median cusp is conspicuously broader and longer than the lateral ones (see the Pterotrachea page)
The largest individual recorded to date (365 mm) is attributable to a specimen collected at Shelly Beach, Bermaqui, New South Wales; as reported by Libby Hepburn in the Atlas of Life in the Coastal Wilderness (http://www.alcw.org.au/index.php/2012/12/biggest-carinaria-yet/). The estimated body length was determined from the meter tape in the photograph.
Figure. Largest recorded specimen of Pterotrachea coronata (OAL = 365 mm). The animal was washed ashore at Shelly Beach, Bermaqui, New South Wales, southeastern Australia. Additional photographs are available at http://www.alcw.org.au/index.php/2012/12/biggest-carinaria-yet/.
Swimming behavior has been observed in the field by R. Gilmer (cited in Lalli and Gilmer, 1989). Animals exhibited different behavior during daytime and nighttime hours. During the day animals swam with their ventral sides directed upward (see title illustration), which facilitates visual location of prey silhouetted against the lighted surface waters. Active swimming occurred when animals were observed pursuing prey or when they were disturbed by scuba divers (and, presumably, by "natural" predators). At other times they appeared to be neutrally buoyant, floating curled into loose balls. At night animals also appeared to be neutrally buoyant, but were oriented with their ventral sides directed downward with or without slow undulation of the swimming fin. In this position animals hypothetically could locate bioluminescent prey beneath them
The tail of Pterotrachea coronata is large and laterally flattened, creating a broad surface area that aids in burst swimming, which involves strong side-to-side flexion of the trunk and tail. During burst swimming, the proboscis is tucked into a ventral groove created by the ventro-lateral folds of the cutis in the anterior half of the trunk. An excellent photograph of an animal exhibiting burst swimming was obtained by Olivier le Corre while diving in Villefranche Bay in the Meditteranean Sea. Click on the photograph for an enlarged view, and note the right-side flexion of the body posterior to the swimming fin and the tail filament streaming posteriorly from between the tail lobes
Figure. In-situ photograph of Pterotrachea coronata swimming rapidly upward. © 1993 O. le Corre
Pterotrachea coronata was studied by Denton and Shaw (1961) to determine how these animals are able to achieve neutral buoyancy. The authors found that body fluids obtained by centrifugation of the gelatinous tissues had a lower density than sea water, attributable to the replacement of heavier sulfate by lighter chloride ions. The sulfate ion concentration in the body fluids was shown to be about three-fourths that in sea water.
Results from a study by Pafort-van Iersel (1983) of the diel vertical distributions of carinariids and pterotracheids along a north-south transect in the mid North Atlantic Ocean indicated that Pterotrachea coronata ranges through the epipelagic into the upper mesopelagic zone. The samples upon which the study was based were collected with paired 1-m2 and 8-m2 opening-closing, rectangular midwater trawls at depth intervals of 50-100 m, 100 m intervals between 100 and 500 m, and 500-1,000 m. Among the daytime tows a total of eight specimens were collected from 100-200 m, fourteen from 200-300 m, thirteen from 300-400 m, with none below 400 m. In the nighttime tows two individuals were recorded from 50-100 m, 52 from 100-200 m, twelve from 200-300 m, and none below 300 m. These results suggest a nocturnal vertical migration of about 100 m from a depth range of 200 to 400 m (the upper mesopelagic zone) during the day to 100-300 m at night. Because only two specimens were captured in the 50-100 m tows at night (with none collected during the day), the diel depth range of P. scutata appears to be mostly limited to depths below 100 m.
Denton, E. J. and T. I. P. Shaw. 1961. The buoyancy of gelatinous marine animals. Journal of Physiology, London 161: 14P-15P (Proceedings).
Lalli, C. M. and R. W. Gilmer. 1989. Pelagic snails. The biology of holoplanktonic gastropod mollusks. Stanford University Press, Stanford. 259 pp.
Pafort-van Iersel, T. 1983. Distribution and variation of Carinariidae and Pterotracheidae (Heteropoda, Gastropoda) of the Amsterdam Mid North Atlantic Plankton Expedition 1980. Beaufortia 33: 73-96.
Richter, G. 1968. Heteropoden und Heteropodenlarven im Oberflächenplankton des Golfs von Neapel. Pubblicazioni della Stazione Zoologica di Napoli 36: 346-400.
Richter, G. and R. R. Seapy. 1999. Heteropoda, pp. 621-647. In: D. Boltovskoy (ed.), South Atlantic Zooplankton. Backhuys Publishers, Leiden.
Seapy, R.R. 1985. The pelagic genus Pterotrachea (Gastropoda: Heteropoda) from Hawaiian waters: a taxonomic review. Malacologia 26(1-2): 125-135.
This media file is licensed under the Creative Commons Attribution-NonCommercial License - Version 3.0.
California State University, Fullerton, California, USA
Correspondence regarding this page should be directed to Roger R. Seapy at
Page: Tree of Life Pterotrachea coronata Niebuhr (in Forskål) 1775. Authored by Roger R. Seapy. The TEXT of this page is licensed under the Creative Commons Attribution License - Version 3.0. Note that images and other media featured on this page are each governed by their own license, and they may or may not be available for reuse. Click on an image or a media link to access the media data window, which provides the relevant licensing information. For the general terms and conditions of ToL material reuse and redistribution, please see the Tree of Life Copyright Policies.
Content changed 17 July 2010
Seapy, Roger R. 2010. Pterotrachea coronata Niebuhr (in Forskål) 1775. Version 17 July 2010 (under construction). http://tolweb.org/Pterotrachea_coronata/28738/2010.07.17 in The Tree of Life Web Project, http://tolweb.org/
This page is a Tree of Life Leaf Page.
Each ToL leaf page provides a synopsis of the characteristics of a group of organisms representing a leaf at the tip of the Tree of Life. The major distinction between a leaf and a branch of the Tree of Life is that a leaf cannot generally be further subdivided into subgroups representing distinct genetic lineages.
Pterotrachea coronata Leaf Page
Pterotrachea coronata Images
Pterotrachea coronata Movies
Pterotrachea coronata People

redpajama_set_name: RedPajamaCommonCrawl


The owners, avid travelers and collectors desired to create the heart of their home inclusive of the treasures that they have salvaged over the years. Lucy was able to integrate clients' specific ideas and enhance them with the masterful combination of color, texture, and designer details. The focal point of the living room remodel became a beautiful custom made fireplace that now houses many of the homeowners memorabilia items yet elegantly connects with the dining room and the kitchen.


text:
Podcast 002: Breaking Down Ghostbusters
Blog: Legendary's Live-Action Gundam Film Will No...
Blog: Spider-Man: Sunrise of the Webslinger
About SuperTangent
8 STAR WARS Nods You Might Have Missed in THOR: The Dark World
Posted by Justin Williams | Apr 1, 2019 | Cinema | 0 |
NOTE: This article, written by Justin Williams of SuperTangent, was originally published for Laser Time and can be found here.
Affiliate links included.
With its recent release of this year's highly successful Doctor Strange, Marvel Studios continues to keep their house intact, imploring various genres and subgenres of storytelling and mesmerizing visuals into their massive mythos to deeply impact the world of cinema, and the hearts of avid comic book fans and cinephiles alike. Their potentially biggest hit so far has been the critically-acclaimed Guardians of the Galaxy (2014), a science fiction slot machine Marvel Studios bet heavily on and, against all odds, won it all. Taking a look back at their series of "Phase 2" entries, the post-Avengers Marvel Cinematic Universe did take a step into the sci-fi direction, surprisingly enough, with Thor: The Dark World, Alan Moore's sequel to the 2011 Kenneth Branagh hit that contained almost no explicit sci-fi material. Let's take a look at a handful of heavy nods Moore placed in his superhero sequel to none other than the largest geekdom franchise this side of the galaxy: Star Wars.
1) Dark Elves/Storm Troopers
The first few characters introduced in Thor 2 come in the form of innumerous, faceless troopers serving under the villainous dark elf Malekith. These dark elves, each identical to next and armed primarily with a laser-based rifles, are also similarly colored and equally as expendable as the hopeless Stormtroopers of the Star Wars universe.
A mere coincidence perhaps that these two militias of masked–potentially mindless–soldiers seem similar at first glance. After all, the same could be said about the suddenly-faceless, emotionally cold redesigns of the PanAm Peacekeepers reintroduced in the Hunger Games: Catching Fire (2014). The list, however, only grows from here.
2) Malekith/Sidious
Take a second to revel in the pale majesty of the seemingly immortal dark elf Malekith. Almost stuck to one useless emotion and evil for the sake of, this Infinity Stone-searching leader of the mythical dark elves at first seems to conjure no immediate resemblance to Darth Sidious, the primary antagonist of the original Star Wars trilogy.
Take into consideration their positions of power, however, and the treasures they seek. Malekith and Sidious play the long game; the former for the Aether/Reality Stone after battling three generations of Asgardian royalty (King Bor, his son Odin, and his own son, The Mighty Thor), the latter for ultimate power in all the universe, by wiping out the Jedi Council of Coruscant, taking on an apprentice who would knowingly outpower him but could simultaneously be manipulated, and having two planet-destroying Death Star battle stations constructed some thirty years later.
These boys (old men?) are pasty, patient, and obsessed with power.
3) Lt. Algrim is Kurse/Anakin Skywalker is Darth Vader
What evil lord seeking unlimited power would be successful without his right-hand man? Beyond all the expendable dark elf troopers at Malekith's utter disposal, he also had Lieutenant Algrim, a proven aide to his side and blindly loyal to his master's cause, eventually becoming the powerful entity known as Kurse, of his own will, to further Malekith's plans for power and revenge.
Darth Sidious had the same ace up his own sleeve. He needed more than his similarly recycled Stormtroopers to carry the Empire he built. By the third Star Wars episode, Revenge of the Sith (2005), the "chosen one"–Jedi Anakin Skywalker–was virtually wrapped around the finger of the seemingly kind, cautiously understanding, and dangerously powerful Senator Palpatine, the all-too humane facade Darth Sidious hid behind for years, and more years, and even more years. Young Anakin was already going by his new Sith name Darth Vader, before even being transformed and fitted into the iconic helmet, mask and battle armor we know him for (not to mention leveling up to being voiced by James Earl Jones), blinded by the dark side's promises of infinite power beyond that of the light side, and standing by Sidious' new galactic regime. Interesting comparison between these two.
4) Asgardian soldiers/Jedi Knights
Here's a more interesting nod to the Star Wars universe, one that cries of a galactic redesign of the Asgardian armies of Odin to match the soulless Dark Elves, in all their pseudo-Stormtrooper glory. Unike the first film, Asgardian swords now sparkle and glow in usage as if emitting a blade of contained beam weaponry. It is very difficult then, with everything covered so far, to not compare these blades of light to the traditional weapon of a Jedi Knight–the lightsaber.
It is especially compelling to consider Attack of the Clones (2002) as a point of reference for these new Asgardian soldier redesigns, in which the final battle scene of the second Star Wars episode showcases what seems to be an innumerous amount of trained Jedi, lightsabers activated, engaging in a chaotic melee with an innumerous amount of battle droids. The opening scene of Thor 2 bears strong resemblance to this scene, as troughs of Asgardian warriors wielding light-blades slay Dark Elves with their red-beam emitting rifles.
5) Usage of starships
Considerably the weakest of the nods, it still speaks in no less than dissertations the connections the film is attempting to make to Star Wars, especially considering the first Thor film of 2011 contained close to no noticeable elements of science fiction, let alone massive starships. I had personally assumed the numerous and sudden sci-fi elements were intentionally presented to create a bridge of anticipation between this film and Marvel Studios' then upcoming science-fiction action film, Guardians of the Galaxy (2014). That theory was confirmed when the film concluded with a cameo from Benicio del Toro's "The Collector", a character who would go on to play a major role in Guardians. Consider also, however, what purpose massive starships have in the Star Wars universe.
Storing troopers, and smaller spacecraft. No less, massive ships of identical design traveling in fleets. Foundationally, one could theorize Thor 2 had created its own version of Star Destroyers! Before we stray too far off into a forum of suggestion, let us return to more tangible references.
6) Frigga's Death/Vader's Death
Quite possibly the most powerful reference to the Star Wars universe was the funeral of the slain queen of Asgard, Frigga. The people of Asgard, civilians and warriors alike, paid traditional respects to the wife of Odin by sending her soul off into the great beyond, her serene boat riding down an eventual waterfall set ablaze with her peaceful but lifeless body occupying it. Within the beautiful conflagration, we get a quick close-up right-side profile of Frigga. It seemed just too familiar to pass up.
When Darth Vader finally succumbed to his wounds both in battling his son Luke in Return of the Jedi (1983), and eventually rescuing him from the clutches of Emperor Palpatine/Darth Sidious by enduring his powerful Force Lighting before killing him, Luke took his father's dead body back to the forest planet Endor for a proper Jedi send-off, setting him atop a bed of wood and setting it ablaze. Here, we also got–check this out–a quick close-up right-side profile of Vader as he burned. Come on.
7) Thor loses his right hand/Luke loses his right hand
Thor 2 depicts a scene in which an ill-fated attempt to destroy both Malekith and the Infinity Stone he seeks begins with the deceptive play that Loki has betrayed Thor and wishes to align himself with the Dark Elves. Loki angrily cuts off Thor's right hand with his signature dagger, but it all turns out to be a ploy as Loki, a master illusionist, projects Thor's hand back and the two continue forth with their plan, killing Algrim/Kurse in the process, but allowing Malekith to leave with the Aether/Reality Stone in his possession.
Okay, COME ON.
Every Star Wars geek knows somebody gets a limb on their right side of their body cut off in all current Star Wars episodes except The Force Awakens (2015) and The Phantom Menace (1999). The trend exists in all the episodes in between though, and even if you only remember the saga's most iconic laser-amputation from The Empire Strikes Back (1981), this scene might make you experience some cinematic deja vu!
8) "Go….my son."
This is ridiculous.
I literally remember sitting in the theater, watching Thor 2 for the first time, thinking to myself how funny it would be if Odin quoted one of Darth Vader's final lines to his son Luke in Return of the Jedi, saying "Go….my son", as a final farewell.
And I kid you not, it happened. Odin said it. Not only did he say the words to his own son Thor, but he specifically said them with that dramatic pause between "Go" and "my son" that Vader used, requesting Luke to save his own life and escape the crumbling second Death Star they were both inside. Both films ended shortly thereafter.
Did I miss anything? Is this list completely absurd, or were the references so obvious that they didn't even need an article on them? If that's the case, why are you reading this? Did Thor: The Dark Work director Alan Moore just love Star Wars this much, or was he specifically assigned to work science fiction elements into this sequel to get people pumped up for the then-upcoming Guardians of the Galaxy? Join the conversation by answering or asking any and all questions below!
PreviousBlog: Marvel vs. Capcom–Why It Means the World to Me
NextENTERTAINMENT: Technology is Literally the Worst: An Effing Memoir
Justin Williams
Podcaster; graphic designer; blogger; MC; gamer; father; otaku; Gundam pilot; I'm hungry.
Podcast 003: The Fast and the Virtual
Podcast 033: Captain Marvel Unearthed
Podcast 008: God Loves, Man Kills the X-Men Films
Podcast 038: Who Ya Gonna Call? JESSICA JONES! June 20, 2019
Podcast 036: Dark Fate–Terminator, Game of Thrones, Star Wars, and Spider-Man May 27, 2019
Blog: Terminator Dark Fate: Sarah x Grace May 27, 2019
Podcast 035: 3000–Avengers Endgame May 13, 2019
Podcast 034: Disney Buys Fox! May 6, 2019


For questions about our books or games or support, please use the form below. We do our best to respond to all inquiries within 24 hours.
Thank you! Your message has been sent. We will reply as soon as we can.


First of all, let's get one thing straight: You don't need to wear wiccan jewelry to practice Wicca!
There are many wiccans who don't like to wear to wear a pentacle necklace or triquetras, simply because they don't like to let others know about their religious beliefs.
I'd say it really depends on who you are as a person and where in the world you live. In general, if you live in a big city, people tend to be more used to people wearing all kinds of stuff and most people wont notice.
If you live on the country side, you may want to be a little more careful. Especially with the pentacles. Some people don't understand what it is and what it stands for and you may very well be accused of being a devil worshiper.
This is something you will have to decide for yourself and you should never let anyone else tell you what to wear or not to wear.
If you ever get in touch with a coven or a group that insist that you must wear a pentacle or something else, then my best advice to you would be to stay away from them!
You should wear the jewelry you want to wear. The jewelry that is meaningful for you.
Wiccan jewelry is very symbolic and has deep and profound meanings for the people who wears it.
So just make sure you understand the symbolism and meaning behind whatever symbol you choose to wear.
The simple pentacle – this is a very straightforward pentacle necklace.
Pentacle of Power – I really like this one, but it's very big and will surly draw some attention.


The goal is to bring a consistent bring new visitors each month, all looking to take out a service or make a purchase for a product.
We're experienced and results driven company. Our working methods and processes mean that we can deal with companies from all over the Canada and the USA. We have successful experience optimising websites for a wide range of markets. Our SEO consultants optimise sites in accordance with what the search engines look for - which gives you the greatest chance of success.
We're not like other SEO companies as we don't believe in off the shelf SEO packages. Everything we do is based on your website and its industry. Some websites require more work than others in order to achieve and sustain the necessary level of traffic.
Our SEO experts will consistently carry out a range of tasks in order to build your website's authority and trust with the search engines (Google, Yahoo, Bing) so to achieve higher rankings and positions. As a result of our work, you should expect to receive an increase in leads, inquiries, and sales.
Over a period of time, you'll notice the keywords that bring people to your site improve and become more specific to what you offer. We help your pages become more relevant to your target specific markets.


Steve Winkelmann has worked in the substance abuse field since 2001. Currently, Steve is the program director for Insight – North Carolina.
He has worked with adolescents, young adults, and their families for the past 15 years. His personal dedication to serving young people and their families enabled Steve and his wife, Heather, to expand Insight to the Greater Charlotte area in 2012. His own experience with recovery began as a young person in 1999. Steve and Heather happily reside in South Charlotte with their son Barrett.


continued augmentation of the DeathMatch MOD code.
Probably the two most important news are the new lighting system, and the availability of Ca3DE for Linux!
The entirely new Ca3DE rendering engine employs the latest 3D technologies by combining physically correct, radiosity based lightmaps with dynamic per-pixel lighting and robust stencil shadows!
Ca3DE only requires a GeForce3 or ATI Radeon 8500 graphics card to run, and can switch into higher-quality rendering modes for more recent GPUs (or fall automatically back into compatibility mode for non-programmable GPUs). This is the first time that such unique and state-of-the-art rendering technology is presented outside of tech-demos, but rather in a real, production-quality game engine. And while commercial, comparable products like Half-Life 2 or Doom3 are not even on the market, Ca3DE is available NOW!
Even better, thanks to its improved design for portability, Ca3DE is now on Linux as powerful as it is on Windows, and demo releases and developer kits for both platforms are available from the website!
There have been many other significant "under-the-hood" improvements that are not mentioned here - the list is simply too long.
You can either study the fully detailed change log that is included with the Ca3DE demo, or have a look at the updated screen-shots on the Ca3DE website.
Best, of course, is to download the new demo, and experience all the new stuff for yourself! (Although the DeathMatch MOD is not yet entirely finished, you can already enjoy real multi-player action together with your friends. Test reports are welcome.) Happy fraggin'!
Spherical Harmonic Lighting is a new lighting technology that is still in academic research, and subject of my masters thesis in computer science. It has the potential to vastly improve the quality of the lighting and shadowing, pushing Ca3DE years ahead into the future.
Finally, I'm very grateful for all the great help that I have received with the artwork and other material for the current release: Kai Schadwinkel and Frank Plohmann created all the impressive, professional-quality texture maps. That was a lot of work (several weeks!!), and their textures contribute to a large degree to the great image quality of Ca3DE. Other texture contributions came from Tig and his "Industri" project, and from Willi Hammes. SparX sent me a new set of animated explosion and smoke particle images, and Alvaro F. Celis created the "Loading..." screen logo and proof-read the updated manuals, press-release, and website texts. Fredrik Svensson wrote a Ca3DE Master Game Server - more details on that later.
Important note: This is my first try on the new lighting technology, and in the current release, there are some minor bugs and problems associated with it. I'm aware of these problems (mostly artifacts with the shadows and specular lights), know their cause, and will fix them for the next release. I'm very sorry for that. However, rather than delaying the demo for four additional weeks, I've decided to release it as-is, because Ca3DE is my hobby project, and I have invested a lot of work into it during the past 5 months. I hope you like it anyway.


text:
Arbeit und Sitte in Palästina (ASP) ist das Hauptwerk des evangelischen Bibelwissenschaftlers und Palästinaforschers Gustaf Dalman. Das mehrbändige Werk entstand von 1928 bis 1942 in Greifswald und beruht auf Material, das Dalman, nach 1902 Direktor des Deutschen Evangelischen Instituts für Altertumswissenschaft des Heiligen Landes (DEIAHL), in Palästina gesammelt hatte. Es stellt das Leben der palästinensischen Landbevölkerung vor dem Ersten Weltkrieg umfassend dar, weil Dalman überzeugt war, dass dies zum Verständnis der Bibel nützlich sei. Zu Lebzeiten Dalmans erschienen sieben Bände; das Fragment des achten Bandes (Das häusliche Leben, Geburt, Heirat, Tod) wurde 2001 aus dem Nachlass herausgegeben.

Bände
 Band 1, 1 Jahreslauf und Tageslauf: Herbst und Winter. 1928 (Digitalisat der Universitätsbibliothek Tübingen)
 Band 1, 2 Jahreslauf und Tageslauf: Frühling und Sommer. 1928 (Digitalisat der Universitätsbibliothek Tübingen)
 Band 2 Der Ackerbau. 1932 (Digitalisat der Universitätsbibliothek Tübingen)
 Band 3 Von der Ernte zum Mehl. 1933 (Digitalisat der Universitätsbibliothek Tübingen)
 Band 4 Brot, Öl und Wein. 1935 (Digitalisat der Universitätsbibliothek Tübingen)
 Band 5 Webstoff, Spinnen, Weben, Kleidung. 1937 (Digitalisat der Universitätsbibliothek Tübingen)
 Band 6 Zeltleben, Vieh- und Milchwirtschaft, Jagd, Fischfang. 1939 (Digitalisat der Universitätsbibliothek Tübingen)
 Band 7 Das Haus, Hühnerzucht, Taubenzucht, Bienenzucht. 1942
 Band 8 Das häusliche Leben, Geburt, Heirat, Tod. Fragment. Sowie Gesamtregister für die Bände 1-8, hrsg. von Julia Männchen. De Gruyter, Berlin 2008, ISBN 3-11-016607-0 (teilweise online bei Google Books)

Palästina als geographischer Begriff
Ein siebenmonatiger Aufenthalt in Aleppo von Juni 1899 bis Januar 1900 machte Dalman mit den Gegebenheiten in Nordsyrien vertraut, wobei Aleppo Anschauungsmaterial für das traditionelle städtische Leben bereithielt. Die Eindrücke aus Nordsyrien gehen immer wieder als Vergleichsmaterial in Dalmans Darstellung des palästinensischen Alltags ein. Eine Rundreise durch "ganz Palästina", wie Dalman sie im Frühjahr 1900 unternehmen konnte, führte ihn von dem Dorf Balāṭ (zwischen dem südlichen Libanon und dem Hermon gelegen) durch das Westjordanland bis nach Hebron und En Gedi am Toten Meer und dann im Ostjordanland nordwärts bis nach Damaskus.

Dalmans Arbeitsweise

Die Annahme, dass Aspekte des Alltagslebens am Anfang des 20. Jahrhunderts mehr oder weniger noch genauso seien wie 1900 Jahre früher, ist aus heutiger Sicht problematisch. Doch erwies sich Dalman als sehr aufmerksamer Beobachter, der die verschiedenen Themenkreise umfassend kennenzulernen versuchte: "Wer solche Arbeit als Theologe tut, wird sich deshalb nicht verführen lassen, die Forschung auf die Dinge allein einzustellen, bei welchen ein rascher und vielleicht sehr oberflächlicher Blick biblische Beziehungen wahrzunehmen glaubt. ... Es ist auch nicht erlaubt, nachträglich in der Darstellung nur mitzuteilen, was für die Erklärung biblischer Ausdrücke und Aussagen Beiträge leistet."

In der Regel notierte Dalman den Ort, in dem er eine Beobachtung gemacht hatte, und dokumentierte so die Vielfalt der palästinensischen Kultur.

Ein Beispiel ist der Backofen tannūr, nur einer von mehreren Backofentypen, die Dalman beschrieb. Es handelte sich um einen etwa 70 bis 100 cm hohen Tonzylinder, der am Boden 60 bis 70 cm weit war und sich nach oben verengte. Der Leser erfährt, dass ein tannūr in den Boden eingegraben sein kann oder auch nicht; er kann zylindrisch, eiförmig, spitz oder gewölbt sein; zur Not kann man auch einen großen Wasserkrug zum tannūr umbauen. Einen Monat lang wohnte Dalman im Dorf Balāṭ in Nordgaliläa und hatte Gelegenheit, "das Backen im unterirdischen tannūr nicht nur zu beobachten, sondern selbst ein wenig zu versuchen." Dabei wird eine Teigkugel zum Fladen gedehnt und an die innere Wand des tannūr geklebt. "Sowohl das Dehnen wie das Anklatschen erfordert nicht geringes Geschick. Bei ungeschicktem Dehnen, wie ich es bei meinem Backversuch zustande brachte, zerreißt der Kuchen ..., bei ungeschicktem Anklatschen fällt er in die Kohlen..." Es versteht sich, dass Dalman auch alle Brotrezepte erfragte, die in Balāṭ bekannt waren: Gefaltete Fladen etwa, die mit einer Spinat-Zwiebel-Mischung gefüllt waren, oder mit einer Quark-Zwiebel-Mischung, oder mit Rosinen und Pinienkernen, und so weiter.

In einem davon getrennten, eigenen Kapitel arbeitete Dalman auf, was in der Bibel, in der rabbinischen Literatur und bei den antiken Schriftstellern zum Thema Backen im tannūr zu finden war.

Rezeption
"Sprachenkenntnis und Interesse am Detail haben ... einen Schatz kulturellen Erbes überliefert, der heute im entsprechenden Gebiet nicht mehr ohne weiteres erhebbar ist. Zu stark sind die umfassenden Einschnitte, die durch Industrialisierung und nicht minder durch die aktuelle politische Lage verursacht wurden/werden."

Das Werk wurde 2011 gemeinfrei. Ein Gemeinschaftsprojekt der Universität Wien, der Universität Haifa, des Gustaf-Dalman-Instituts der Universität Greifswald sowie des Deutschen Evangelischen Instituts für Altertumswissenschaft des Heiligen Landes in Jerusalem übersetzt Dalmans Werk ins Englische und Hebräische und bereitet eine kommentierte deutschen Neuausgabe vor, die die historischen, archäologischen und ethnographischen Forschungsergebnisse zu Dalmans Arbeit in Beziehung setzt.

Literatur
 Alex Winder: Dalman for All Seasons. Book Review. In: Jerusalem Quarterly 55, S. 97–99 (Digitalisat).
 Jawad Anani: Work and Customs in Palestine. In: The Jordan Times, 6. Februar 2018.
 Ilan Ben Zion: The beauty of Ottoman Palestine, lovingly explored and documented. In: The Times of Israel, 12. Mai 2014.

Weblinks

 Julia Männchen: Dalman, Gustaf

Einzelnachweise

Neutestamentliche Wissenschaft
Theologisches Werk (Christentum)
Geschichte Palästinas
Literatur (20. Jahrhundert)
Literatur (Deutsch)
Orientalistische Publikation

redpajama_set_name: RedPajamaWikipedia


text:
Home » Discounters, Specialty Channels Drive Licensed Entertainment/Character Sales in 2019
Discounters, Specialty Channels Drive Licensed Entertainment/Character Sales in 2019
Contact the editor at karina@plainlanguagemedia.com
Brick-and-mortar channels fielded 81.2% of all licensed entertainment- and character-based sales in 2019, according to TLL's Annual Licensing Business Survey.
Physical retail's share of U.S. and Canadian sales has decreased from 86.0% in 2009, when TLL began tracking this data. Since then, ecommerce channels have jumped from 11.0% share to 17.6% share, up by nearly $1.2 billion over the 11-year period. Other channel sales, including TV shopping and mail order, made up 1.3% share of sales in 2019.
The largest distribution channel among brick-and-mortar channels is distributors with 56.3% share of all physical retailer sales and 45.7% share of all entertainment- and -character-based sales. Channel sales were up 3.5%, or $211 million, to reach almost $6.2 billion in sales after a sudden -1.4% dip in 2018. Since licensed sales through distributors jumped 4.8% in 2013, the channel had consistent year-over-year licensed sales growth averaging 7.0% through 2017.
Retail Sales of Licensed Entertainment & Character Merchandise, by Distribution Channel, U.S. & Canada, 2018–2019
Note: Numbers may not add up exactly due to rounding.
Retail Sales, 2019
Change, 2018–2019
Share, 2019
Discounters $6,178 $5,966 3.5% 45.7%
Specialty stores $2,701 $2,602 3.8% 20.0%
Ecommerce $2,378 $2,286 4.0% 17.6%
Food and drug $903 $871 3.7% 6.7%
Variety, dollar and convenience $801 $773 3.6% 5.9%
Department store/mid-tier $394 $378 4.0% 2.9%
TV shopping $106 $102 3.4% 0.8%
Mail order $13 $13 3.5% 0.1%
Other $52 $51 2.9% 0.4%
Total $13,526 $13,043 3.7% 0.0%
Following two straight years of declining channel share, with sales declines of -10.5% in 2017 and -4.0% in 2018, licensed sales through specialty retailers rebounded with 3.8% growth in 2019. Dollar sales were up $99 million for a total of $2.7 billion in retail sales. Licensed sales are not expected to rebound to a significant degree over the next couple of years.
Most of the declines in the discounter and specialty channels in 2018 (a combined loss of $197 million) were regained in the distributor channel in 2019. These sales largely translate to toy and game sales, which were redirected from specialty retailer Toys'R'Us to mass retailers like Target and Walmart over the next year. Some toy and game sales were routed to other specialty retailers, such as Barnes & Noble, or department stores, such as Macy's.
Licensed sales through food and drug channels were up 3.7%, or $32 million, to surpass $903 million. While most sales through the channel are food and beverage products (on the food retailer side) and health and beauty products (on the drug store side), retailers in this category are taking on an increasingly diverse range of product categories.
Sales through variety, drug, and convenience stores were up 3.6%, or $28 million, to reach $801 million. The lion's share of products sold through this channel tend to be impulse, such as confectionery, accessories, and novelties, but as with food and drug channels retailers are increasingly taking on a diverse range of product categories.
Department stores and mid-tier retailers saw a 4.0% boost in sales, translating to $15 million and bringing total sales through the channel up to $394 million in 2019. Higher-end apparel, accessories, and footwear products saw steady sales with new inroads for toys/games opening up over the last couple of years.
TV shopping channels saw a 3.4% rise in licensed sales in 2019, with dollar sales up $3 million to reach $106 million. This is a surprisingly dynamic channel for entertainment and character properties, and has proven to be a strong break-out sales category for new brands.
Mail order sales were flat, with sales up 3.5% (under $500,000) to remain at $13 million in 2019. Sales within the category have been reduced by almost 90% since 2009 thanks to evolving retail trends.
Filed Under: Articles, Ecommerce, Entertainment/Character, Featured, Retailers, TLL, U.S. and Canada


text:
Opportunity and anxiety at the center of China's surveillance industry
Anhui province is at the center of China's surveillance industry. The people there have mixed feelings about this.
Nick Kaufman	 Published March 26, 2021
Illustration by Alex Santafé
https://supchina.com/2021/03/26/opportunity-and-anxiety-at-the-center-of-chinas-surveillance-industry/
For decades, Anhui province's development has lagged behind surrounding provinces. As nearby regions like Shanghai and Zhejiang have become centers for finance and business, large parts of Anhui still rely on agriculture and steel production, much as they did 50 years ago.
Yet the inland province is now an unlikely pacesetter in China's drive to dominate artificial intelligence. Massive advanced technology investment is fueling economic growth. At the same time, companies that receive these investments are helping turn Anhui's residents into test subjects for a government surveillance system that publicly names and shames troublemakers — even those running behind on their mortgage repayments.
For many of the students in the province's prestigious STEM universities, who will be the next generation of AI pioneers, this shift has brought newfound prosperity and job opportunities. But for others in the same classrooms, the rising application of these AI advances for surveillance and policing is causing fear and anxiety. Some feel a growing awareness of the dangers of surveillance, which they see appearing around them.
Understanding what's happening in Anhui is essential for illuminating the social and political dynamics of the tech-enabled growth spreading throughout China, and the ways these shifts interact with the nation's young people.
Cultivating local talent to build national companies
As economic growth numbers slow across China, local Anhui leaders have come under increasing pressure to find a sustainable growth engine. The province would like to emulate the prosperity of wealthier neighbors like Jiangsu, which doubles Anhui in terms of GDP per capita and routinely attracts young people from Anhui looking for work.
According to an official in Hefei, Anhui's capital and the province's largest city, the government's answer has been to foster advanced technology industries, using Hefei's two most prestigious universities, the University of Science and Technology of China (USTC) and the Hefei University of Technology (HFUT).
Both institutions are highly regarded in STEM fields, but particularly the nationally renowned USTC, which draws some of China's top students as a member of the C9 League — China's answer to the Ivy League. It has been on the cutting edge of China's scientific progress, from satellite technology to quantum computing. Local officials hope to entice graduates of these elite institutions to stay in Hefei and thereby transform the city into a hotbed of STEM innovation, to drive Anhui's economic renaissance.
Since 2008, the Hefei government has funneled investment into local firms that specialize in emerging technologies. To take just one example, Anhui-based companies that work on video display screens have received $19.83 billion over the past 12 years. In April 2020, cash-strapped electric car company NIO agreed to accept a $1 billion infusion of funds from the Hefei government in exchange for relocating its headquarters from Shanghai.
Many such firms are concentrated in a high-tech AI development zone in western Hefei that specializes in audio technology, dubbed "Sound Valley" by local boosters. The area was the first "National AI Industrial Base" designated by the Ministry of Industry and Information Technology. It houses more than 630 AI enterprises and has incubated 130 AI products. In 2019, the tech sector is credited with generating 56% of Anhui's growth.
A major beneficiary of these policies has been iFlytek, a Hefei-based AI company founded by local USTC graduates, which specializes in voice recognition software. In 2015, iFlytek was named a "National Champion" in AI and encouraged by national leaders to "advance the interests of the nation." In 2019, the company received $407 million of support from state-backed industry funds.
Previously, iFlytek had mostly worked on commercial products, including translator tools and voice-activated robots. Now, flush with Beijing's money, its research and development teams pivoted to a field more closely aligned with state interests: voice surveillance.
This new research made international headlines when, in October 2019, the U.S. Department of Commerce placed iFlytek on the non-entity list, barring the firm from purchasing American-made technology. The company was sanctioned for manufacturing voice-recognition software that Chinese security forces used to surveil the Uyghur minority in the autonomous region of Xinjiang in China's northwest.
Another sanctioned company on the same Department of Commerce non-entity list was Hangzhou-based video surveillance company Hikvision, which the previous month had completed an expansive office complex in Hefei. At the September 2019 opening ceremony of the new lab and office space, Hikvision executive Zhāng Xù 张旭 emphasized the role the new development will play in recruiting Anhui natives to work for the company.
For one iFlytek employee and USTC graduate, the Department of Commerce's sanctions were a validation of his work. As a student at USTC, he had attended recruitment events for other burgeoning AI firms, including Hikvision, and he was enthusiastic about the city's rising technological profile. He viewed the sanctions as symptomatic of U.S.-China competition, an American attack on Chinese companies challenging U.S. dominance in AI.
Fostering technologies for state control
An electric billboard in Suzhou, Anhui province (photo by Nick Kaufman)
Cities in Anhui were among the first in China to experiment with what will become a national "social credit system." This initiative is a national endeavor to promote "trust" and financial accountability between citizens and the government by identifying and punishing, often publicly, perceived bad actors. Penalties range from blacklists that prevent lawbreakers from buying certain goods to "red lists" that reward good behavior.
Using cameras and facial recognition software, many of which are provided by Hikvision, the cities in Anhui deploying the system have elected to publicize the identities of local troublemakers. Across the province, enormous mugshots of debtors, jaywalkers, and other petty criminals peer down at passersby from electronic billboards that overlook busy intersections.
Those who fail to meet their obligations, or who commit other minor infractions, are often labeled "untrustworthy." This designation can prevent an individual from buying plane tickets, limit the class of train tickets they can purchase, or make people they call listen to a preloaded message that warns of the caller's potential duplicitousness.
At HFUT, an engineering student from wealthy Guangdong province in southern China was unfazed by the appearance of these electronic billboards just outside his campus. "I had never seen the screens in my home city," he said, adding that the screens serve as a necessary safeguard. "Anhui in its history is not very rich. As they [begin to] make more money, maybe it is good to see who is trustworthy."
Among other locally raised STEM students, though, the appearance of these screens has been unnerving. "Why would they do this in our Anhui first?" asked a student surnamed Hu, an Anhui-born USTC student.
Hu's mother, a police officer, and his father, a local official in his hometown, instilled in him a deep patriotism, and he is part of USTC's Communist Party branch. Still, he often uses a virtual private network to jump China's "Great Firewall," the country's internet censorship apparatus. He said he has never read about such a "behavior scoring" system in the West.
Hu is disinclined to work in Hefei at a company like iFlytek or Hikvision after graduation. Having never left China, he'd prefer to work at a multinational firm in Shanghai or Shenzhen that would allow him to travel. However, he sometimes feels like the career services department at his university tries to dissuade him, pointing him toward the high salaries being offered at Hefei's surveillance firms. "Right now, they want us to get a job close to home at one of these companies rather than to leave for the coast."
Another Anhui native, now living and working at a tech firm in Australia who goes by her English name Rachel, expressed similar concern when video screens showing the faces and identification card numbers of jaywalkers appeared in her hometown of Suzhou (in Anhui province, not the more famous Suzhou in Jiangsu). "Every time I return here, I am surprised by the new development."
Passing by a screen displaying jaywalkers in front of a mall entrance, she remarked, "I think my parents view the screens as part of Suzhou's development…I don't think these screens are a symbol of an open and developed country."
Despite these concerns, companies like Hikvison and iFlytek recruit aggressively at local universities. Both companies host internship programs available to students at USTC, with many receiving job offers at their conclusion.
Kang, a USTC student born in Hefei who plans to work at a STEM company in the city after graduation, praised the Hikvision cameras and video screen displays. He said they ensured people followed the rules and repaid debts. He appreciated how the screens were localized by neighborhoods, meaning that friends and neighbors would be the first to know of someone's transgressions.
While Kang acknowledged that seeing himself or a family member on a screen would be "uncomfortable," he was quick to point out that public shaming "must be the objective of the system." In a country defined by close-knit kinship groups, the student believed that the social pressure brought by the screens would keep people in line. He believed that joining a surveillance firm would help him ensure "civility" and fairness in his hometown.
Another local student wasn't so sure. "If you made a mistake, you could choose to handle it in private," he said. "Now that decision is not an option anymore."
While several Hefei city officials were reluctant to discuss the system, one official viewed it in a positive light. In a conversation that dovetailed with discussion of Hefei's active investment in the technology sphere, he listed the rollout of the video screens as an achievement. "[The screens] show that Hefei is becoming a modern and developed city," he said.
Despite concerns, expansion forthcoming
A farmer in Hefei, the capital of Anhui province, where Hikvision has a major office (photo by Nick Kaufman)
The rollout of surveillance has encountered pushback in Anhui. Most notably in Suzhou, when officials displayed residents of the city wearing their pajamas in public, they were lambasted by online users. The officials were eventually forced to apologize for publicly "shaming" residents and agreed in the future to blur the faces of violators.
USTC graduates that live abroad have also commented on the school's deepening relationship with the government. In the MIT Technology Review, USTC graduate Yangyang Cheng (who writes a column for SupChina) explored the history of USTC scientists pioneering technologies for state use. "Many of the technologies that facilitate oppression in Xinjiang come out of work done at USTC. And many of them are now being used elsewhere in China. iFlytek is collaborating with Chinese authorities to build a nationwide voice-based surveillance system," she writes. But, she notes via a quote from another U.S.-based USTC graduate, "Our view of what is right or wrong is from 6,000 miles away. It's a different view for students and researchers on campus."
For the USTC graduate working at iFlytek mentioned earlier, any misgivings he might have harbored about the rollout of the social credit system disappeared a while back. He said he has grown more accepting of the system now that it has spread, including to his home county in northeast China. He now believes — echoing Party lines — that it is important to keep lists and publicize the offenses of wrongdoers to promote social stability.
While he made it clear that he did not enjoy every aspect of living in Hefei, he appreciated his steady job at iFlytek. In his mind, the changes afoot are part of Hefei's economic development. The investments in surveillance companies and rollout of the Social Credit System simply symbolized Anhui's rise to join its wealthier neighbors.
A professor at USTC echoed the benefits of these firms moving into Anhui. "The area around USTC used to be very rundown," he said in an email, "and most students would move to jobs in other regions, with a small group staying on at the university in academia. Now there are many graduates staying here to work locally…Hefei has become a major AI base."
The tech-driven, surveillance-forward development now occurring in Anhui, along with its local backlash, will not be restricted to this province. As the Chinese economy slows and officials feel increased pressure to generate growth, local and provincial governments elsewhere may follow Hefei's lead in investing in technology fields to spur their economies. Surveillance continues to offer a business opportunity. Eighteen of the world's 20 most surveilled cities are in China. Students, particularly STEM students like those at USTC and HFUT whose careers depend on joining this emerging technology sector, may feel an increased incentive to tolerate the actions of these state-influenced firms despite personal reservations.
Increasingly, people are getting peeks at the next evolution of surveillance technology. In Nanning in Guangxi province, for example, the city government partnered with Chinese company TikTok (called Douyin in China) to display the faces of blacklisted citizens between videos on their platform. In a country increasingly able to track every act of dissent and perceived slight, people will have little recourse. Instead, for many young Chinese destined to swell the middle class, the expansion of surveillance will become a persistent aspect of their lives and careers.
Free from work one Saturday, the iFlytek employee I spoke to returned to USTC to visit friends. Over lunch in the cafeteria, he reiterated his stance that he does not mind AI powering a nationwide surveillance system. These policies stand to benefit all of China, especially less-developed provinces like Anhui, he said. When pressed as to whether it was a good thing that Anhui's development was tied so closely to surveillance companies, he grew contemplative. "It's no problem," he declared. Then, he paused before adding, "It's the future."
Nick Kaufman is a student at the Johns Hopkins University School of Advanced International Studies. He was awarded a 2019-2020 Fulbright Grant to research development in Anhui Province, China. He can be reached at n.kaufman617[at]gmail[dot]com Read more
Tech companies hit hard in this year's 315 Gala
Luz Ding
Two Chinese military suppliers to merge to counter U.S. sanctions
Our future tech dystopia begins in China
Duncan Hewitt
China's invasive surveillance state is not yet a panopticon
In Beijing, social monitoring and control turns Kafkaesque
The coming biosecurity state
Jeremy Goldkorn


The most significant aspects of the Reform Treaty are the institutional changes it makes to the Treaty on European Union, which have already been described.
The Treaty also provides for certain policies to be decided by majority voting rather than by unanimity. It is essential that the EU be in a position to take decisions by majority vote. In a 27 member Union, it would be impossible to take all decisions unanimously.
The Robert Schuman Foundation, leading Paris-based European think tank.
It also makes various adjustments and additions to the Treaty on the functioning of the European Union which will set out in detail the competences of the Union. In some cases, adjustments are made to existing EU competences.
The Treaty provides a new basis for EU activity in certain areas:- i.e. energy, climate change, sport, humanitarian aid, civil protection, space research, tourism and administrative cooperation.
Most of these are areas where the Union already undertakes some activity; in most cases, its role will be limited to complementing or coordinating national actions.
"…the Union shall take into account requirements linked to the promotion of a high level of employment, the guarantee of adequate social protection, the fight against social exclusion, and a high level of education, training and protection of human health".
Because of the especially sensitive nature of criminal law cooperation and the fact that Ireland has a distinctive "common law" system, Ireland will avail of a special arrangement which will allow the State to participate in EU criminal law and police cooperation measures on a case-by-case basis.
A declaration has been made indicating the Government's intention to participate in future measures in these areas to the maximum possible extent and to review these arrangements after three years.
The Reform Treaty gives a legal base for combating climate change. This is the first time that this issue is included in an EU treaty.
During negotiations that led to agreement on the Treaty, it was agreed that unanimity will continue to apply in all taxation matters. This means that no changes can be made in this area without the approval of all Member States including Ireland.


"Eggsplotion": easy to grasp as neologisms go, but enigmatic nonetheless. So what do we mean by eggsplotion? The outcome of a straightforward physical phenomenon, the representation of some kind of culinary reassurance rooted in recourse to energy profusion. From behind this title emerge new artworks produced by different ideas, places and modes of collaboration. Theory, technology, mankind and food are brought together in the exhibition space by some accidental process.
"Dinner for 1", for example, is an experiment carried out by the help of Parisian restaurant "Sauvage"; as the embodiment of a contemporary, not to say futuristic vision of food, it forms the exhibition's starting point. Also on show are Adriana Lara's latest Interesting Theories, based on a system she developed in 2010: continuously generated shapes associated with fresh production of knowledge function as both chronicles and multiples in a wide variety of forms. Symptomatic of the possibility of eternal recontextualisation, these screens have become what might be called "sample diagrams"; their underlying principle is extremely reflexive, their subjects being none other than themselves!
Clearly, then, theory looms large – but so does technology. In particular in a video showing the moving graphs of the popular Live software used by composer/producer Emilio Acevedo, a fixture on the Mexico City electronic music scene for the last twenty years. Here music is mainly used by Adriana Lara as a visual field for quite a range of colours, spaces and lines. The song used for this installation is a dance piece like any other pop music product: a mix of cultural references sort of sound sandwich whose different layers we can nonetheless readily visualize. A kind of audiovisual readymade projected onto a curved screen that underscores its cyclical character. Spoken in English by a digitized voice, the words Wild, Animal, Disco, and Deviant are some of the random components of the composition, backed up by a repertoire of especially heady generic sounds; the upshot being a light-hearted multicultural hit who sources are elusive.


text:
Flyways: Mara Rosenbloom Speaks
Photo by Antonio Porcar, courtesy of the artist.
Pianist Mara Rosenbloom moves freely between musical idioms, yet always showcasing a deeply personal perspective. For over a decade, Rosenbloom has collaborated with musicians across popular, modern, avant-garde, and other cross-cultural jazz styles. Her most recent album, Prairie Burn (Fresh Sound/New Talent) was met with smashing reviews from New York Music Daily and DownBeat.
Rosenbloom's trio project, Flyways, uses the concept of migratory bird patterns as a metaphor for the interplay between personal confidence and group sensitivity. The trio consists of Rosenbloom on piano, Anaïs Maviel on voice and percussion, and Adam Lane on bass. At The Jazz Gallery, Flyways will perform "I know what I dreamed," a long-form exploratory piece expanding the text from one of Adrienne Rich's Twenty-One Love Poems. We spoke with Rosenbloom on working with Maviel and Lane, the ever-important significance of Rich's poetry, and her process of adapting text to an improvisational trio format.
TJG: Tell me a little about the development of the Flyways trio.
MR: Flyways has taken a few forms. It began, as my projects often begin, with an intuitive, organic feeling about putting elements together that might make sense. Flyways started as a larger ensemble with Daniel Carter playing horns and Jeff Davis on drums. At that point, we were totally improvising, and played a few shows together. I can't say Flyways will never be a larger group again, but as I began to whittle down and make things more clear, the trio format became a natural fit for me.
TJG: Tell me about Anaïs Maviel. I discovered her through your music, and I've been blown away by what I'm hearing.
MR: Anaïs is amazing. She's a force. The first time I saw her, I was totally blown away. She's singing on a very high level, and her rhythmic concept is very strong. Anaïs plays the Surdo drum, which most people know from Brazilian Samba. For marching, it's often a lightweight drum, but hers is a custom-made heavier wooden version that stands on the floor. It's got a big, warm sound. It's great in the band. We don't have a drum set in the group, so the Surdo brings in some of the same texture and rhythmic interplay with a different sort of timbre and space.
TJG: Does she live in New York, or is she just passing through?
MR: When I met her, Anaïs had just moved to New York, and was here for at least a few years after. She's been touring the world as a soloist and in duos, so we're excited that she's in town now. She's from France, partially of Hatian descent, and she's in New York now by way of Paris. I met her through the Arts for Art community, the organization that puts on the Vision Festival in New York, now in its 23rd year. Both of my mentors, Connie Crothers and Cooper-Moore, were involved with Arts for Art, along with other musicians I work with, and I've steadily become a part of the scene myself. I met Anaïs after seeing her perform at one of Arts for Art's smaller monthly concerts. She's not quite sure where she'll end up next, I think, traveling through music has been good for her. Musical opportunities arise, life pulls you where it pulls you. I reached out to The Jazz Gallery when I knew there would be a window where we could get this project rolling.
July 31st by Noah Fishman in	Interviews
Carving Out a Space: Steve Lehman and Maria Grand Speak
Photo by Willie Davis, courtesy of the artist.
This Tuesday, July 31, The Jazz Gallery is pleased to welcome saxophonist Steve Lehman and his trio back to our stage for two sets. Lehman, bassist Matt Brewer, and drummer Damion Reid have been playing together for ten years and are preparing material for their next record.
The last time Lehman's trio graced our stage, the musicians were joined by saxophonist Maria Grand as part of The Jazz Gallery's Mentorship Series. After that experience, we sat down with Lehman and Grand to talk about the educational exchange. Read below to dive into both artists' thoughts on phrasing, commanding space as a soloist, and fitting in with a long-running group, before coming out to see Lehman's trio at the Gallery this week.
The Jazz Gallery: Maria, how were the shows for you?
Maria Grand: I had an amazing time. They didn't go easy on me at all, and I progressed a lot. I feel like I learned more at those three shows than I might have learned in a long time of practicing.
TJG: What do you mean? Walk me through it.
MG: I mean, you can practice forever, but there are things you only learn in a focused performance environment. One thing I learned a lot about was phrasing. Every show we played, I recorded with my phone, and I'd listen back the next morning. On the first show, I noticed that my phrasing was just too soft, compared to Steve's. It was lacking, in my opinion. So I became really aware that I'd have to keep things strong, solid, and assertive throughout a phrase I'd be playing. He'd play a solo, and I'd have to make a statement after that: His solidity forced me to have more solidity. So you can practice, but I don't know if you can learn that stuff on your own.
TJG: Steve, did you and Maria speak about her awareness of phrasing, and the idea that it "wasn't strong enough?"
Steve Lehman: Yes, I remember talking about carving out a space for yourself as a soloist in a wide variety of musical settings. If the music is quiet, spacious, transparent, it's easier to make space for yourself as a soloist. If things are dense, louder, there's a lot of activity, a great deal of interaction, it can be a little bit more challenging. If you feel like you're not able to drive the music or contribute in the way you want, you're compelled to think about what tools you have to make the space you're looking for. It might be something about your phrasing, the length of your notes, the register you're playing in, your articulation, how big your sound is, clarity of ideas, how straight-forward it is for a rhythm section or accompanist to follow whatever indications you're putting out there. It can happen off the bandstand too, through a discussion, making sure everybody's on the same page, thinking about aesthetics in ways that overlap, compliment each other.
TJG: So after you made those changes, did Steve notice? Did you talk?
MG: Yeah. We also talked about not thinking about the rhythm section as an assistant, as someone who's going to help you out. I've noticed a lot of times that when Steve solos, it's almost like he's stating the form, and Damian would be playing some intricate counterpoint, not necessarily stating the form in a basic way. Of course, he knows where he is, but no big crashes on the one [laughs]. Steve was stating the form, and Damion would be improvising around him. So even though it was Steve's solo, Damion was also soloing.
July 30th by Noah Fishman in	Interviews
Sympathetic Fluidity: Lee Konitz and Dan Tepfer Speak
Album art courtesy of Verve Records.
Pianist Dan Tepfer (age 36) and saxophonist Lee Konitz (age 90) forge a unique, timeless and enrapturing musical partnership which has been documented on multiple releases over the past ten years. Their most recent, Decade, out now on Verve/Decca Records France, celebrates their improvisational connection performing and recording as a duo (it has been almost ten years since the release of their album Duos With Lee on Sunnyside Records). We spoke with both musicians about their creative process; the creation and release of this album; and about towing the line between lush free-improvisation and songbook reinvention.
The Jazz Gallery: Lee, I feel that there is an almost universal, romantic quality to your playing which is featured well on this stripped down duo recording; somehow you resist grandiosity while remaining interesting—can you speak about that description at all, and about what we might expect at the release show at the Gallery?
Lee Konitz: Let's talk after the show, so you can use your Imagination, but thank you, that's a good description, I guess. Thanks!
TJG: Dan, you've been playing with Lee for 10 years now, and you play a little bit of saxophone yourself (on your duo album with Ben Wednel). What can you say about Lee's saxophone playing, and it's impact on you as a musician, and on this duo's aesthetic?
Dan Tepfer: Um (laughs) well, he's one of the all time great saxophone players. He's one of the people who's really carved a path for a certain way of playing jazz saxophone. Back in the day he was really the main alternative to Charlie Parker, in terms of bringing something different to the table on the alto. One thing that draws me to Lee Konitz is his total commitment to making music in the moment. I've witnessed this over and over on the stage. He's just never phoning it in. He's always asking himself, what is happening right now and what is the most musical, best decision i can make for the music right now. That sounds simple, but it's something that you have to constantly renew, and he's 90 and still renewing it.
TJG: Lee, you've performed and recorded in a duo context many times, on many different albums (Martial Solal; Jim Hall; Elvin Jones; Joe Henderson; Gil Evans; Hal Galper; Jimmy Raney; Matt Wilson; many others). As a guitarist, I'm really interested in what your duos with Billy Bauer were like, and how they were constructed.
LK: Well if I can remember back 45 years or so…! Billy had some sort of idea or theme and I added something and we put it together for that piece, or something. And yes, I think that music does relate.
July 24th by Tom Csatari in	Interviews
R3ACT: James Francies Speaks
Design by Remi Denis, courtesy of the artist.
To say that pianist James Francies has had a busy 2018 is the epitome of understatement. For one thing, he's been hard at work putting together his Blue Note Records debut, coming out in September. For another, he's continued to play regularly with The Roots on The Tonight Show. And when we talked on the phone this week to discuss his 2018 Jazz Gallery Residency Commission, Francies was in between shows on tour with Lauryn Hill.
For the Commission, Francies has convened a trio of longtime collaborators—drummer (and fellow Houston native) Eric Harland, and vocalist Kate Kay Es. He's called the project R3ACT, and it examines notions of interactivity and the improvisational mindset. The project also finds Francies taking stock of his life in New York, now a year a removed from his undergraduate studies. To hear more about R3ACT, check out our conversation with Francies, below.
The Jazz Gallery: You've been working on your debut record for Blue Note for a while now, and I was wondering if your Residency Commission project is an extension of the record, or a shift to something new.
James Francies: It's something completely different for me. If anything, it's more of an extension of a duo project that Eric Harland and I have going. I definitely wanted to tap into that world a bit more. Eric and I had talked about adding voice in the past, and I thought that this would be a good opportunity to try that out, especially with Kate. She's on the album, and I've always been a fan of hers. With Kate, it's more of a vocalist acting more like an instrumentalist—someone who's contributing ideas within the whole, and not just being supported by the band.
I've been working on the record for so long, and I'm such a meticulous person in the studio. We've been recording and mixing and tweaking in the studio this whole year up until June, basically. I wanted to take my time in this way and try to get it as close to perfect as I could—just get the songs to sound the way that I wanted them to.
The commission then became a whole different thing. It's called R3ACT, and it's all about the reactions within the group, like a perpetually energy that's moving between each person. That's how I like to approach playing in a group—I'm always reacting to things that I'm hearing. I think as an artist, it's really important to react to what's around us, not just in music, but in our lives.
TJG: It sounds like you're exploring a method of music-making, rather than music with a more explicit narrative.
JF: I guess you could put it that way. When I talk about reaction, it has to do with the way things are composed as well. A lot of these pieces lend themselves to going to a further place. They're designed to be played live, if that makes any sense. When I'm listening to my favorite records, I feel that the musicians aren't just playing through the music as they know it. They're also adding to it at the same time. A reaction is all about decision-making. A lot of my favorite musicians make amazing decisions in the moment. The music that we're playing is about decision-making. It's about knowing to go somewhere different, knowing when to stay in a place, to let something simmer.
I feel sometimes it's easy to write a lot of music and then get so glued to the paper that it's hard to get away from what you know and just play and let other people into your world. Even though we'll be working from the same material, it will be very different each night as we build the music together, whatever that thing is.
July 20th by Kevin Laskey in	Interviews
This World of Dew: Aaron Shragge and Ben Monder Speak
Ben Monder and Aaron Shragge. Photo courtesy of the artists.
For an example of how New York can bring together exciting pairs of musicians, look no further than Aaron Shragge and Ben Monder. Together, they weave through the sonic worlds of North Indian Classical music, Japanese poetry, modern jazz vocabulary, and spacious, long-form improvisation. The duo features Monder on electric guitar, and Shragge on shakuhachi, trumpet, and his custom "Dragon Mouth Trumpet," an instrument combining elements of trumpet and soprano trombone.
Having released their first record in 2010, The Key Is In The Window (Tzviryu Music), the duo will celebrate the release of their second duo recording at The Jazz Gallery at the end of July, This World of Dew. We spoke with Monder and Shragge about the evolution of their duo, as well how poetry infused this project with themes of loneliness, perseverance, and impermanence.
The Jazz Gallery: You and Ben are such a balanced and sensitive duo. We're lucky when we find musical counterparts who complement us so well. Did you know of Ben and his musicianship before you began playing together?
AS: I first met Ben through an improvisation teacher of mine, Rémi Bolduc. Ben was in Montréal performing with Rémi, and I sat in on a rehearsal they had and I met him that way. We met again through [guitarist] Brandon Bernstein when Ben was playing at the Vanguard several years ago. So I knew who he was, but I wouldn't necessarily have thought to reach out to him on my own. Some time later, Brandon met Ben in Louisville where Ben was giving a workshop. Brandon showed him around, they hit if off, and Brandon told me "You should play with Ben sometime." We got in touch, and it worked out. Working with Ben has been an inspiration. I've learned a lot playing with him and writing for him.
TJG: Were you living within walking distance of each other at that time?
AS: I was actually living in Bushwick, in the recording studio where we recorded both of our albums. I lived in that recording studio for over five years. One of those New York living situations: It was great for practicing, and obviously for recording [laughs], but there were no windows. For the last leg of it, I was actually living in the vocal booth. After leaving Bushwick, I was in Ridgewood for a time. When my wife and I, my girlfriend at the time, decided to move in together, we found this place in Kensington. It was a coincidence that we would move so close to where Ben had lived for quite a while. I remember the first time Ben and I rehearsed, I wondered how I'd get to his place, and I realized the easiest and fastest way would be just to walk.
TJG: Ben, you've released two records with Aaron at this point. Can you remember your first impression of his playing?
Ben Monder: Aaron was coming from a different place than I was used to, which was refreshing. He's a scholar of Indian Hindustani music, and I've always been a fan of it, but have never really studied it and never knew too much about what's going on. It was interesting to fit into the schemes of the Ragas he was adapting to his instruments. The music had a peaceful aura, and we could get into some more purely timbral areas as opposed to just playing over forms and jazz harmonies.


Jennifer and her colleagues took on the Dublin Mountains Challenge last year. Here is their story of how the day went.
2017 was the first time myself and my work colleagues from Willis Towers Watson had taken on the Dublin Mountains Challenge. Being actuaries and naturally risk averse we opted for the 24km option for our first time out. Although we're quite an active bunch the Dublin Mountains Way was new to us and we were surprised by how quickly our hike took us from the urban suburbs of Tallaght to the heart of the south Dublin countryside. Conditions were in our favour with a dry but not scorching hot day which allowed us to stop and enjoy the beautiful scenery around us, not to mention the copious amounts of supplies we had prepared to keep our energy up! We were grateful for the impressive organisation, especially the huge number of volunteers along the way who made sure there was never a risk of us taking a wrong turn and provided us with refreshments. All in all we had a very enjoyable day and all slept well that night! Hopefully it won't be the last time we make the trek – maybe we'll take on the 42km next time!


text:
'If Abbas accepts Jewish State, 90% of conflict resolved'
Cabinet secretary Zvi Hauser says Netanyahu's speech to US Congress successfully "put the ball in the Palestinians' court".
By JPOST.COM STAFF
Published: MAY 25, 2011 06:52
Hauser Netanyahu 311
Cabinet secretary Zvi Hauser on Tuesday said that Prime Minister Binyamin Netanyahu made clear in his speech to the US Congress that "the ball is now in the Palestinians' court" and if PA President Mahmoud Abbas accepts Israel as a the Jewish State, "ninety percent of the conflict will be resolved," Israel Radio reported.
Hauser stated that all remaining problems could be negotiated, but it seems that there is "not the slightest hint that the Palestinians were willing to recognize Israel as the nation state of the Jewish people".
PA on Congress speech: PM's policies won't bring peace
Analysis: Applause heard in White House, around world
White House: PM reaffirmed strength of US-Israel ties
Settlers: We'll remember PM's readiness to cede W. Bank
The cabinet secretary said that Netanyahu expects Abbas to renounce Fatah's unity agreement with Hamas.
Hauser would not give any specifics into Netanyahu's claims in the speech that some settlements would end up beyond Israel's border as part of an agreement with the Palestinians.
He said that the prime minister's point was that he is willing to give the Palestinians an offer "generous enough" to lead to a peace agreement.
Hauser said that by doing so, Netanyahu showed that the problem was not territory, but rather the Palestinian refusal to accept Israel.
The prime minister was scheduled to return to Israel on Wednesday afternoon.


ISIS Calls For Jihad Against Christians In America.
The enemy is Islam and we are at war.
As Christians around the world celebrated the birth of Jesus, Muslims were calling for their slaughter. According to the Islamic States social media group called "Secrets of Jihadis", they called upon their soldiers to cause a "bloody celebration" for Christians. Abu Marya al Iraqi posted this message of violence and asked they "turn the Christian New Year into a bloody horror movie". Thankfully, Christians in America did not suffer that fate, but the threat is not gone.
On December 12, at the St. Peter Cathedral in Cairo, Egypt which was packed with worshipers celebrating Sunday mass, a suicide bomber detonated himself, killing 27 women and children. But that is over there…right? Muslims in America like to say Islam is different over there, that by doing so it somehow relieves them of scrutiny, because after all, they claim their god is the same as ours. Unfortunately, scores of Christians embrace that belief , despite Christians dying at the hands of Islam.
These are a sample of over 100 verses in the Quran that call for the killing of non believers. The same Quran Muslims adhere to worldwide. Islam is Islam.
These are the faces of Christians murdered by Muslims because they were Christians.
And kill them wherever you find them.
That isn't exclusive to "over there". Islam is Islam.
Next → Next post: Is a Revolution Around The Corner?
Thank You for sharing! this is just horrendous!!! Wake Up America!!! They are here!!! They have had an Agenda for thousands of years!! They are patient— plan to get it done!!! Kill them— WHEREVER— you find them!!!!!


Marcus, along with Stanley Clarke, Boney James and John Burk, was one of the producers of Al Jarreau's tribute CD "My Old Friend" celebrating the music of George Duke. The CD debuted at #1 on the Billboard Jazz chart. (August 2014).