text:
Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge
Richard J. Cooke, Ian J. Griffin, Kenny McCormick
To determine whether adiposity was altered, body size (weight, length) and composition, determined by dual energy X-ray absorptiometry, were examined in preterm infants fed with a nutrient enriched (A, n = 56), a term infant (B, n = 57) or the nutrient enriched (discharge and term) plus the term formula (term and 6 mo; C, n = 26), and a group of breast-fed preterm infants (D, n = 25) at hospital discharge, 3, 6, and 12 mo corrected age. The results were analyzed using standard statistics. One hundred sixty-four infants (birth weight = 1406 ± 248 g, GA = 31 ± 1.7 wk) were studied. All infants underwent catch-up, but weight and length were greater in infants in group A compared with groups B, C, or D. More rapid and complete catch-up was paralleled by increased total nonfat and fat mass (g) but not percentage of fat mass. Changes in fat mass (g) were primarily explained by increased fat accretion on the legs. More rapid and complete catch-up growth, therefore, reflected increased nonfat and peripheral fat mass. These data do not support the hypothesis of increased or central adiposity in infants fed a nutrient-enriched formula after hospital discharge.
https://doi.org/10.1203/PDR.0b013e3181da8d01
10.1203/PDR.0b013e3181da8d01
Fingerprint Dive into the research topics of 'Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge'. Together they form a unique fingerprint.
Adiposity Medicine & Life Sciences
Premature Infants Medicine & Life Sciences
Nutrients Medicine & Life Sciences
Body Size Medicine & Life Sciences
Photon Absorptiometry Medicine & Life Sciences
Body Composition Medicine & Life Sciences
Birth Weight Medicine & Life Sciences
Cooke, R. J., Griffin, I. J., & McCormick, K. (2010). Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge. Pediatric Research, 67(6), 660-664. https://doi.org/10.1203/PDR.0b013e3181da8d01
Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge. / Cooke, Richard J.; Griffin, Ian J.; McCormick, Kenny.
In: Pediatric Research, Vol. 67, No. 6, 06.2010, p. 660-664.
Cooke, RJ, Griffin, IJ & McCormick, K 2010, 'Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge', Pediatric Research, vol. 67, no. 6, pp. 660-664. https://doi.org/10.1203/PDR.0b013e3181da8d01
Cooke RJ, Griffin IJ, McCormick K. Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge. Pediatric Research. 2010 Jun;67(6):660-664. https://doi.org/10.1203/PDR.0b013e3181da8d01
Cooke, Richard J. ; Griffin, Ian J. ; McCormick, Kenny. / Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge. In: Pediatric Research. 2010 ; Vol. 67, No. 6. pp. 660-664.
@article{21e12c4b209a452e8c37e7e800b5e2c9,
title = "Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge",
abstract = "To determine whether adiposity was altered, body size (weight, length) and composition, determined by dual energy X-ray absorptiometry, were examined in preterm infants fed with a nutrient enriched (A, n = 56), a term infant (B, n = 57) or the nutrient enriched (discharge and term) plus the term formula (term and 6 mo; C, n = 26), and a group of breast-fed preterm infants (D, n = 25) at hospital discharge, 3, 6, and 12 mo corrected age. The results were analyzed using standard statistics. One hundred sixty-four infants (birth weight = 1406 ± 248 g, GA = 31 ± 1.7 wk) were studied. All infants underwent catch-up, but weight and length were greater in infants in group A compared with groups B, C, or D. More rapid and complete catch-up was paralleled by increased total nonfat and fat mass (g) but not percentage of fat mass. Changes in fat mass (g) were primarily explained by increased fat accretion on the legs. More rapid and complete catch-up growth, therefore, reflected increased nonfat and peripheral fat mass. These data do not support the hypothesis of increased or central adiposity in infants fed a nutrient-enriched formula after hospital discharge.",
author = "Cooke, {Richard J.} and Griffin, {Ian J.} and Kenny McCormick",
doi = "10.1203/PDR.0b013e3181da8d01",
journal = "Pediatric Research",
T1 - Adiposity is not altered in preterm infants fed with a nutrient-enriched formula after hospital discharge
AU - Cooke, Richard J.
AU - Griffin, Ian J.
AU - McCormick, Kenny
N2 - To determine whether adiposity was altered, body size (weight, length) and composition, determined by dual energy X-ray absorptiometry, were examined in preterm infants fed with a nutrient enriched (A, n = 56), a term infant (B, n = 57) or the nutrient enriched (discharge and term) plus the term formula (term and 6 mo; C, n = 26), and a group of breast-fed preterm infants (D, n = 25) at hospital discharge, 3, 6, and 12 mo corrected age. The results were analyzed using standard statistics. One hundred sixty-four infants (birth weight = 1406 ± 248 g, GA = 31 ± 1.7 wk) were studied. All infants underwent catch-up, but weight and length were greater in infants in group A compared with groups B, C, or D. More rapid and complete catch-up was paralleled by increased total nonfat and fat mass (g) but not percentage of fat mass. Changes in fat mass (g) were primarily explained by increased fat accretion on the legs. More rapid and complete catch-up growth, therefore, reflected increased nonfat and peripheral fat mass. These data do not support the hypothesis of increased or central adiposity in infants fed a nutrient-enriched formula after hospital discharge.
AB - To determine whether adiposity was altered, body size (weight, length) and composition, determined by dual energy X-ray absorptiometry, were examined in preterm infants fed with a nutrient enriched (A, n = 56), a term infant (B, n = 57) or the nutrient enriched (discharge and term) plus the term formula (term and 6 mo; C, n = 26), and a group of breast-fed preterm infants (D, n = 25) at hospital discharge, 3, 6, and 12 mo corrected age. The results were analyzed using standard statistics. One hundred sixty-four infants (birth weight = 1406 ± 248 g, GA = 31 ± 1.7 wk) were studied. All infants underwent catch-up, but weight and length were greater in infants in group A compared with groups B, C, or D. More rapid and complete catch-up was paralleled by increased total nonfat and fat mass (g) but not percentage of fat mass. Changes in fat mass (g) were primarily explained by increased fat accretion on the legs. More rapid and complete catch-up growth, therefore, reflected increased nonfat and peripheral fat mass. These data do not support the hypothesis of increased or central adiposity in infants fed a nutrient-enriched formula after hospital discharge.
U2 - 10.1203/PDR.0b013e3181da8d01
DO - 10.1203/PDR.0b013e3181da8d01
JO - Pediatric Research
JF - Pediatric Research

redpajama_set_name: RedPajamaCommonCrawl


Stainless steel doors and drawer-fronts are available with choice of handles. Continuous recessed handle, vertical or horizontal - reversible (left or right hand hung).
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In the News | Marc D. Ostrow, Esq.
Given its prior ruling in last year's substantially similar HathiTrust case, the Second Circuit's October 16 decision in The Author's Guild v. Google, Inc. was as inevitable as the Cubs failing to win the World Series. Still those in the content creating community feel it's fundamentally unfair that Google gets to scan millions of copyrighted books in their entirety without paying a dime for the privilege under the banner of fair use. The opinion, written by Judge Pierre N. Leval (Mr. Transformative Use, himself), not surprisingly held that Google's usage was a transformative, and therefore fair, use under the Supreme Court's 1994 decision in Campbell v. Acuff-Rose Music, which had relied upon Judge Leval's own Harvard Law Review article advocating a transformative use analysis.
The facts are briefly as follows: Google digitally scanned more than 20 million of books that were submitted by participating university libraries – but without the consent of the rights holders – to create a searchable database for these materials. In return, the submitting library gets a digital copy of each work it submitted, providing that the library agrees to use the digital copy only in compliance with copyright laws. The database, which can be searched online by the public for free, provides a list of works containing the key terms searched as well as snippets from each book containing the search terms in context. Google has built in safeguards that limit the number of snippets and the amount of text displayed so that a searcher cannot obtain a copy of the book, or a substantial portion of it, simply by doing repeated searches.
I'll leave it to others to critique the Court's analysis of the finding of fair use under the four factors of Section 107 of the Copyright Act. My focus is on the opinion's distinction between "transformative" fair uses of copyrighted works, for which no permission is needed, and the creation of "derivative works" as defined in Section 101 and for which authorization from the copyright owner is required pursuant to Section 106(2).
Judge Leval, in pages 17 through 19 of his opinion, including a lengthy footnote 18, appears to address the Seventh Circuit's issues with the transformative test, particularly as voiced in Judge Easterbrook's opinion in last year's Kienitz case, which I've previously written about. Kienitz concerned alterations to a copyrighted photograph of the mayor of Madison, Wisconsin. The District Court found that the usage was fair, relying on a "transformative use" analysis.
Judge Leval further elaborated: "In other words, transformative uses tend to favor a fair use finding because a transformative use is one that communicates something new and different from the original or expands its utility, thus serving copyright's overall objective of contributing to public knowledge." But, as the Court's opinion cautions: "The word 'transformative' cannot be taken too literally as a sufficient key to understanding the elements of fair use. It is rather a suggestive symbol for a complex thought, and does not mean that any and all changes made to an author's original text will support a finding of fair use." Fair enough, but how is this dictum helpful in practice?
I'm doubtful the foregoing answers Judge Easterbrook because even this formulation of transformative use sounds like it could cover a lot of protected derivative works as translations and abridgements of texts and arrangements of musical works surely expand their utility and often communicate something new. For example, the Southern District of New York recently held that taking the characters, settings and entire scenes from the TV series, Three's Company, and adapting them into a stage play (a mere "change of form" and presumably a derivative work under Judge Leval's revised formulation), was a transformative fair use that parodied the original.
As I've previously written, the transformative use test remains amorphous and something akin to a restatement of Justice Stewart's "I know it when I see it" standard where wholesale copying of large swaths or entire works can be found to be fair use if transformative. As the Court concluded in its epic footnote 18: "Attempts to find a circumspect shorthand for a complex concept are best understood as suggestive of a general direction, rather than as definitive descriptions." Yeah, right.
However, in Campbell, the Supreme Court pointed out that the musical parody of Roy Orbison's iconic "Oh, Pretty Woman," used only as much as was needed to conjure and comment upon the original song. Here, the Second Circuit blesses the copying of millions of complete works in the name of transformative use. There's no doubt that Google's database is incredibly useful and can provide substantial benefits to the public. However, as with derivative works, there are lots of really useful and beneficial things for which licenses are routinely obtained.
Transformative use analysis can be a helpful tool in applying the first statutory factor but it shouldn't override all four §107 factors as it seems to do under current Second Circuit jurisprudence. And however formulated, it doesn't adequately distinguish between fair and derivative uses. There is, however, one other point on which the estimable judges Leval and Easterbrook agree: fair use is an affirmative defense, as pointed out in Campbell. However, this seems to conflict with the Ninth's Circuit's recent opinion in the "dancing baby case" where, in the context of DMCA takedown notices, it states that fair use is something that is substantively "authorized by law." Perhaps it's time once again for the Supreme Court to transform fair use jurisprudence by providing some clarity to the concept.
In its October 8 decision in Baldwin v. EMI Feist Catalog, Inc., the Second Circuit reversed the District Court's granting of summary judgment to defendant music publisher, holding that a 2007 termination notice effectively severed a portion of EMI's US copyright interest in the Christmas classic, Santa Claus is Coming to Town (the "Song"). The Song was written by J. Fred Coots and Haven Gillespie. Plaintiffs are Coots's statutory heirs.
In order to understand the Court's 40-page opinion, one must briefly delve into the differences between the Copyright Act of 1909 and the current copyright law, the Copyright Act of 1976, which became effective as of January 1, 1978. Works created since 1978 enjoy a copyright term of life of the author(s) plus 70 years. Under the 1909 Act, the US copyright consisted of two distinct terms, an initial term of 28 years, followed by a renewal term of an additional 28 years. One reason for the bifurcated term of copyright under the 1909 Act was to give authors such as songwriters a second chance to negotiate for the value of their creations as fledgling artists often lack the information or bargaining power to do a good deal. However, writers often, but not always, assigned both the initial and renewal terms of US copyright to the grantee, here a music publisher. This assignment of both terms was valid so long as the assigning author lived into the renewal term so that the grant of those rights would vest.
When the 1976 Act was passed, it included some provisions that affected copyrights under the 1909 Act. First, it extended the renewal term so that a pre-1978 copyright would last for a total of 75 years. Second, the 1976 Act introduced similar, but not identical, termination provisions for both old and new copyright assignments, allowing authors or their statutory heirs (who are often different from, and for copyright purposes superior to, those designated under a will or state intestacy statutes), another chance to reclaim their share of the US copyright. Although termination notices can be served prior to the effective date, no termination of a US copyright interest can be effective until 35 years after the original assignment was made.
Section 203 governs terminations of copyright assignments occurring after January 1, 1978 and Section 304(c) covers those that occurred pre-1978. Since book and music publishers had better lobbyists than struggling writers, the termination provisions are deliberately difficult to execute. Both Section 203 and 304(c) require that the termination notice must: a) be served within a specific window of time, b) contain all of the required information including the date of the grant to be terminated, c) be served on the proper party, d) be executed by the author or the requisite percentage of statutory heirs; and e) be recorded in the Copyright Office. The details are contained in the statutory provisions and the Copyright Office regulations for terminations.
Both Sections 203 and 304(c) contain an additional clause: terminating parties cannot re-assign their post-termination US copyright interest until after the effective date of the termination – except they may do a new deal covering the post-termination period prior to the effective date with the party whose rights are being terminated. This gives the incumbent rights holder a leg up in negotiations and it is often the case that termination notices are used by authors and heirs merely as leverage to get a better deal with their current publisher.
With this somewhat simplified legal background, let's review the salient facts in our Santa Claus suit. Coots and Gillespie wrote the Song and assigned the copyright to Feist, EMI's predecessor-in-interest, in 1934. Copyright for the song was registered later that year. However, Coots didn't assign his renewal rights in the 1934 agreement but did so separately in a 1951 agreement. A renewal registration was timely filed in 1961 as was required under the 1909 Act to prevent the copyright in the Song from going into the public domain. As of 1961, the copyright in the song was due to expire at the end of 56 years, in 1990.
In September 1981, Coots served a notice under §304(c) terminating the 1951 agreement, effective as of October 1990. By that time, the 1976 Act had passed and the copyright in the Song was now due to expire in 2009. Coots's attorney sent the termination notice to the Copyright Office for recordation, as required by the statute. Under the doing a deal with the current publisher exception, Coots's lawyer then engaged in negotiations with the music publisher to secure a new (and presumably better) deal. This usually consists of one or more of the following: the writer receiving a larger percentage of royalties, the writer being paid an acquisition fee for the post-termination term and the writer receiving a hefty recoupable advance on post-termination royalties.
The new deal concluded with Coot's signing a 1981 agreement and the assignment clause included the usual boilerplate: "all rights" including "all renewals and extensions" of the copyright as well as "reversionary and termination interests" pursuant to section 304. The 1981 agreement further stated that the termination notice was filed in the Copyright Office and, in addition to payment of royalties, included a "non-recoupable bonus" (i.e., an acquisition payment) of $100,000 for the post-termination rights. After the 1981 deal was done, apparently Coots's lawyer contacted the Copyright Office and the unrecorded termination notice was returned to him.
With the passage of the Sonny Bono Copyright Act of 1998, the term of pre-1978 copyrights was again extended (as were post-1978 copyrights from life plus 50 years) for another twenty years, bringing the duration of copyright protection for pre-1978 works to a total of 95 years. As a result, the Song now would not enter the public domain until 2029. Moreover, the 1976 Act added yet another termination provision for an author or his statutory heirs to obtain these final twenty years of copyright protection. However, this provision, section 304(d), stipulates that it is available only if there had not been a prior exercise of termination rights under section 304(c).
Although the Coots heirs served a section 304(d) termination notice with respect to the 1951 agreement in 2004 (under the theory that because the prior 304(c) notice had not been recorded it was a nullity), EMI and the Coots heirs ultimately agreed (at least at that time) that any termination rights should be directed against the 1981 agreement in accordance with §203, governing post-1978 grants.
So in early 2007, the Coots heirs served – and recorded—a notice of termination of the grant under the 1981 agreement pursuant to §203, with an effective date of December 15, 2016. EMI offered the heirs $2.75 million for their post-termination copyright interest but that offer was rejected as being too low. Because of additional complications dealing with "publication" rights, the Coots heirs subsequently served another termination notice in 2012, with an effective date of December 2021. The lawsuit over the Song about red-suited St. Nick ensued.
The District Court held that since the 1981 termination notice (under §304(c)) was never recorded, the termination of the 1951 agreement was ineffective and therefore EMI still controlled the copyright as a pre-1978 grant (here, 1951) cannot be terminated pursuant to either notice served pursuant to §203, which only covers post-1978 transfers.
The Second Circuit reversed, holding that the 1981 agreement superseded the 1951 agreement and that latter agreement was properly terminated by the 2007 notice pursuant to §203. While EMI argued that the 1981 agreement conveyed only post-termination rights, the Court held that the parties' intent was such that the 1981 agreement, which was executed by Coots himself rather than his statutory heirs (thereby not running afoul of prior Second Circuit precedent in the Penguin Group v. Steinbeck case), replaced the 1951 contract, even in the absence of an integration clause, based upon the broadness of the grant.
What do we take away from all this? First, exercising termination rights is complicated. Second, you may have noticed that I've consistently referred to the "US copyright" in discussing the case. That's because the statutory termination provisions, whether under §203 or §304, apply only to US copyrights. By contract, songwriters and other creators typically assign worldwide rights, although recent vintage agreements assign rights "throughout the universe." So, EMI will still continue to own the rights corresponding to Coots's share outside of the US, despite the effect of a valid termination notice.
What does that mean? By music industry convention, the US interest is typically valued at 50% of the economic value of the worldwide copyright and the rest of the world constitutes the remaining 50%. So let's say someone wants to do a synch deal to use the Song in a feature film and the producers pay $40,000 for a worldwide, all rights buyout for several seconds of underscore in an upcoming Christmas caper. By custom, the party that owns the US rights would collect $20,000 and the party that controls the rest of the world would also get $20,000.
Mind you, these fees only cover the composition; the rights to the master recording of the composition would be separately licensed and would command a commensurate fee. And remember, this case only concerns Coots's share of the Song. As to that of his co-writer, Gillespie, ASCAP's online database indicates that the US rights are controlled by another publisher (but it's possible EMI may still control world-ex US rights). So while Santa Claus may no longer be coming to towns in the US for EMI, it's still possible St. Nick may sojourn through a few foreign cities on its behalf.


text:
Q: Drag and Drop Html 5 file upload - Prevent loading I have this code so far. I can see dragenter and dragleave events, but when I drop the
file, the browser(Chrome or Firefox) just opens the file (a picture) even though preventDefault() is called. Anyone see any mistakes? What should I change?
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it works charms .

redpajama_set_name: RedPajamaStackExchange


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text:
Cape Heritage Hotel
Hotel | CBD
Experience Modern History in Cape Town
The Cape Heritage Hotel building was originally built in the 1780s – making this location steeped in history. It has since been carefully refurbished into a luxury four-star hotel, but without losing its historical allure, with its former life reflected in the style and grandeur of the hotel.
Located in Heritage Square and right in the heart of Cape Town's city centre, the Cape Heritage Hotel is perfect for touring the city centre on foot. Take a stroll to Long Street or to the V&A Waterfront – Cape Town's shopping mecca. The hotel's centrality means that getting around to further areas is just as simple: hop on a MyCiTi bus, take the train or simply call a taxi. You'll work your way around the city in no time.
The hotel has 17 bedrooms (a mixture between Standard, Luxury and Suites) and two Apartments, each with two bedrooms. Enjoy a breakfast in the hotel or in the courtyard and indulge in amazing food from one of the several nearby restaurants. Alternatively order room service or a picnic basket to enjoy at Signal Hill or Kirstenbosch Botanical Gardens.


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Mint City Chapters: It's Our Turn Now
(Photo: Announcement Day/Kevin Ketchie)
by David Baker
Our team is almost three weeks old. And by "our team," I am referring to a team that's got no name, no colors, no coach, and no players. Wonderful!
So what do we do for the next year as we impatiently await game one? Tepper told us at the announcement. First, he explained his intentions to build a world-class organization and a team that will compete for MLS Cup from day one. The team itself has a lot of work to do this year to keep that promise.
Tepper then challenged the fans to do their part. Mint City Collective already has a lot planned for this year, and local chapters are going to play a major role in that.
Side note: I personally had zero interest in joining a supporters' group at first; I envision myself as more of an independent fan than anything, and I talk about the team on Facebook with our discussion group all the time. But what I learned from talking to the guys in the Collective was that their vision for Mint City was very much in line with what something I want to be a part of.
MCC wants to reach everyone and come together on game day as a united group of fans with one goal: Support the team! Together! And local chapters help to organize that effort. Fifteen MCC supporters, a venue for watch parties, and occasional outreach in the community is all that's needed? We can all do that! And a lot more! It's like each Charlotte neighborhood or Carolina city can have its own soccer-loving fan group community, one that can serve their local area too. (Editor's note: we have a group forming in Denver, Colorado too. We're going national already – global's next.)
Did you know that buying a T-shirt is all it takes to be a member of MCC? Most of you probably do. But every one of us fans could reach out to our immediate circle of friends and get them onboard. Now, it's also likely that some of these chapters won't be right around the corner from Bank of America Stadium and everyone won't be able to easily make it to every game. But with chapters, you'll still be able to go watch the game with fellow fans and have a great time!
Right now, there are nine chapters available on the MCC website, and many more are in the process of forming. Is there a max number of chapters? I hope not! Otherwise, we fans aren't living up to our end of the deal. Tepper told us to do our part as fans, so let's be creative, form our chapters, and get to work!
Can you imagine showing up in Uptown for a game, standing alongside friends from your city or Charlotte neighborhood, and then joining with other chapters at our march to the match to fill the lower bowl with a sea of blue and mint?
It's plain as day to me that the #TimeToStrike really is now!


Come learn, listen and enage with 4 amazing entrepeurs as they share with you their entrepreneurial journey's and help inspire you to develop your entrepreneurial mindset and how you have the ability to take the same career path.
The panel will consist of.
Event will take place at GBC Casa Lona Campus - Carrer Services Centre, 3rd Floor Building C.


So, last Monday I posted about the UPS #WishesDelivered campaign. Who shared their wishes? There's so many good hearted people out there, I think this is a great time to acknowledge someone special. Remember that for every wish you share, UPS will donate $1 to one of their charity partners (Boys & Girls Club of America, World Food Programme, Toys for Tots Literacy Program, The Salvation Army, or The UN Refugee Agency).
One sweet acknowledgement I came across on the #WishesDelivered Site was the Crayon Initiative. They take unused or discarded crayons from restaurants and melt them down and make new crayons for children's hospitals across the country. This not only is economical in that they are recycling, but they are helping brighten children's days by helping them with a creative outlet.
Get on social media and share your wish to Twitter or Instagram and use the hashtag #WishesDelivered! A simple tweet or 'gram could help a charity! This campaign ends on Friday January 1st!
Comment/share the link below if you've submitted a wish to the UPS #WishesDelivered site!
The holidays are a time for family, food, and decorating with twinkling lights and banners of holly. But most of all, the holidays are a time for giving. And it's not all about giving people gifts from their lists of superficial things, it's also about giving to people and charities who truly need help.
UPS is putting on a great campaign called #WishesDelivered. UPS deliverers are extremely busy this time of year and work so hard to get everyone their packages on time. This season, UPS wants to highlight the people and organizations who are dedicated to making their communities, country, and world a better place by "delivering wishes" in their own way.
We are asking YOU to submit a wish for someone. By submitting a wish with the hashtag #WishesDelivered, you are helping for a greater cause, because UPS will donate $1 for every wish submitted! The money will get donated to one of UPS's charity partners: Boys & Girls Club of America, World Food Programme, Toys for Tots Literacy Program, The Salvation Army, & The UN Refugee Agency. Your wish could automatically be a part of the #WishesDelivered site by simply posting the wish on Twitter or Instagram with the hashtag #WishesDelivered, or going directly to the #WishesDelivered Site and submitting there.
Some examples of wishes are: helping the homeless, tackling poverty in third world countries, and as many of you may know, helping Safyre, the fire survivor from New York, to receive holiday cards.
Tell us your general wish for the greater good, or share how someone you know is making wishes for others come true. This is supposed to be a selfless campaign to help others and to help the world. UPS wants to celebrate these people and spread holiday cheer! Get in the spirit and share your wish!
Post your wish for good to Twitter or Instagram with the campaign hashtag #WishesDelivered.
Go directly to the UPS #WishesDelivered site (https://wishesdelivered.ups.com) and submit a story about how you or someone/an organization you know that is making wishes come true.
Cute sayings: "Mommy! Daddy! I wake up!" when she gets up for the morning or from a nap. "But you have to!" when she wants us to do something. "I want 1-2-3 of us" when she wants mom AND dad to be home. "Stop saying stuff!" when she wants us to stop talking, yeah she's a sass.


text:
Posted on 27 June 2017 29 November 2020 By AntBit
Endless Poetry first published by Little White Lies
"I thought you had changed, but you're still the same man," complains Sara (Pamela Flores), near the beginning of Alejandro Jodorowsky's Endless Poetry (Poesía sin fin), to her unloving, bullying husband Jaime (Brontis Jodorowsky).
On one level Sara's words serve as a reflexive joke. For, like every single film in Jodorowsky's œuvre (since he debuted in 1968 with Fando y Lis), this latest feature concerns the individual quest for identity, meaning and transcendence in a world of vanity and illusion. After decades of experimenting in a variety of genres (from the western in El Topo to the slasher in Santa Sangre), and then a 23-year hiatus from filmmaking, Jodorowsky returned in 2013 with The Dance of Reality. As an autobiographical work tracing Jodorowsky's childhood in Tocopilla, Chile, it ostensibly marked a change in the man's output, but in fact displayed the same spirit of metaphysical questing found in all his previous works, as both the young Jodorowsky and his father Jaime are shown undergoing transformative journeys. Plus ça change…
Endless Poetry is both sequel and sort-of remake to The Dance of Reality, as it shows the young Jodorowsky undergoing further formative rites of passage in Santiago – rites that, apparently, never really end, but are merely lent arbitrary calibration by closing credits. If it picks up exactly where The Dance of Reality left off, with Jodorowsky departing in a boat for a new future, that is also more or less where it ends: another boat, another future, another stage in the same journey.
In this circular portrait of the artist as a young man, Jodorowsky's principal theme is the permanence of impermanence. Despite his past metamorphosis, Jaime has returned to being a petty patriarch, running his new little shop once more like a fascist regime, and hoping that 'Alejandrito' will become a doctor rather than a 'faggot' poet. Again Sara is a font of nurturing compassion, her separateness from the world's cruelties and vices marked by the way that she sings her every line in a soprano voice.
In a fit of rebellious anger, Alejandro (Jodorowsky's son Adan) literally chops down his family tree in the back garden. It is a vain attempt to sever domestic ties and branch out on his own – but he can never quite shake his roots, and with his strivings for independence and change come certain fixed continuities. Accordingly his first lover, the poetess Stella Diáz Varín, is portrayed by the selfsame actress who plays his mother, while his father is played by another of his sons – and Alejandro's failure, even now, to leave behind his parents' influence is suggested by the very existence of two feature films devoted to their memory. Jodorowsky appears as himself again, ghosting his younger incarnation as a guardian angel from the future, while also using this film to stage his own psychological flotsam – in a Brechtian world where the Santiago of the past is evoked by an overtly set-dressed present, and black-clothed stagehands visibly pass props to the players. In this theatre of the absurd, though, the younger Alejandro proves so supine and unengaging a character that a different kind of endlessness quickly asserts itself.
Enjoyment: Some fine touches of madness, but haven't we seen this before?
In Retrospect: An artist's rites of passage, familial but also familiar.
© Anton Bitel
Raining In The Mountain (Kong shan ling yu) (1979)
Deadly Manor (aka Savage Lust) (1990)
First Love (Hatsukoi) (2019)
Witching and Bitching (2013)
Bluebeard (Haebing) (2017)


Here are the basic requirements for joining the special constabulary.
We're looking for much the same personal qualities in specials that we look for in the regular force - integrity, honesty, tact and communication skills.
Basic eligibility requirements are the same for the specials as for joining the regular police force; you must be over the age of 18 and there is no upper age limit, although you will need to be reasonably fit and in good health.
Read more about the detailed eligibility criteria (new window).
Some occupations are considered incompatible with becoming a special, for example, if you are a member of the armed forces. Contact your chosen force for a comprehensive list of all the affected careers.
Your local police force can provide you with more information about the specific attributes they're looking for, so please get in touch with them before applying.


"This is definitely a family favorite! I think it makes 3 pounds of caramel."
Line an 8-inch square baking dish with aluminum foil and grease the foil with about 1 teaspoon butter.
Melt 1 cup butter in a saucepan over medium-low heat. Stir brown sugar, sweetened condensed milk, corn syrup, and coffee granules into the melted butter. Clip candy thermometer to the side of the saucepan. Cook and stir brown sugar-butter mixture over medium heat until caramel reaches 248 degrees F (120 degrees C), about 20 minutes. Remove saucepan from heat.
Stir walnuts, vanilla extract, and orange zest into caramel; pour into prepared baking dish. Let caramel cool to room temperature.
Remove caramel from dish and peel aluminum foil from caramel; discard foil. Slice caramels into squares.
See how to make chewy, satiny-smooth caramel candies from scratch.
Fantastic caramel! The caramels have a very soft, smooth texture and the flavor is excellent! I made the recipe exactly as written and it came out perfect!
Looks good! About how many pieces of caramel does this make?


text:
Q: Background does not load properly when scrolled with chrome The following problem only occurs in Google Chrome. Firefox, Opera, Safari and IE are doing fine.
I have a background on my body:
background: url('../../../views/blog/images/achtergrond.png') 50% 0 fixed repeat-x;

Then when I scroll the page and then reload only a part of the image is displayed:

The full image should look like this:

Note: See the actual website

A: Background loading is working fine in my chrome as well..
The issue may be you stoped the browser loading while image is loading:
Also do this thing:
Make the size of background image more smaller that will help you to download background more easilty and fast..
Right now your background image size is : 1.73MB
That is so huge...
Do this and background will load more fast and will not cause issue in any browser...


It's not always about having someone there to pick you back up, but rather having someone there waiting for you to get back up.
A collection of responses to prompts and requests––FEEL FREE TO SKIP AROUND THE CHAPTERS! Explore the fun, fluff, and angst with me! I like to write fairly realistic content and often approach a story with the thought, "how would these characters work in this real life situation." These prompts are the answer to that question, I hope you enjoy some of the rawer content with me!
These are all little one-shots that are independent of each other, and storylines will not be explored beyond their one chapter (unless otherwise stated).


Ya gotta love the English language. Just yesterday my wife and I were discussing how cool the English language is–how it constantly changes with new phrases, new meaning for old phrases and new words. One new word getting a ton of play in the judicial system is robo-signers.
Coined first in Florida, it refers to bank officials robotically signing foreclosure documents, swearing that certain allegations, necessary to initiate a foreclosure, are true. In fact, such is not the case. For example in a foreclosure in Maine, the robo-signer signed a document that was filed with the court. A legal aid attorney, who used to work for a bank handling foreclosures, thought the document failed the sniff test. He deposed the robo-signer who admitted his sworn statements were false and that he sometimes signed as many as 400 such documents in a single work day.
I would characterize that conduct as an unfair or deceptive trade practice and refer the matter to a local class-action lawfirm. It's unfair to the borrowers, it's unfair to other lenders that follow the rules and it's a fraud on the court.


text:
Contact · Newsletter
Presentation by SSV at the RIOT Summit 2021
Over the last five years, RIOT has been emerged as one of the agile and state of the art operating system for the IoT. The previous Summits were a big success. It's time to meet again!
RIOT is the friendly operating system for the Internet of Things. If you cannot run Linux on your device due to constrained hardware, use RIOT! RIOT explicitly implements the idea of an open Internet. It supports all relevant standards and is distributed under open source license.
You find more details on the RIOT website.
The RIOT Summit aims for bringing together RIOTers, beginners and experts, as well as people interested in the IoT in general and decision makers who plan to deploy RIOT in the future. The event combines plenary talks, hands-on tutorials, and break-out sessions. The Summit will not only inform about latest developments but will also help to gather feedback from the community to shape the RIOT future.
Presentation by SSV
Jürgen Fitschen, Systems Engineer at SSV, gives his presentation on Thursday, 9 September at 15:15 h with the title Secure Update of IoT Devices over Low Data Rate Wireless Networks.
Over-the-air (OTA) updates are one of the key parts of a solid foundation for IoT applications and IoT security. It not just allows for fixing bugs and vulnerabilities during the product life cycle, but also enables the device vendor to enhance the application by adding new features or adjusting parameters.
In this contribution, we showcase building blocks for optimized transmission of OTA updates. We utilize compression schemes for reducing the update's redundancy and – if applicable – multi-cast transmissions for updating groups of IoT devices that are in proximity of each other.
Where and when?
The RIOT Summit 2021 will take place online on September 9 - 10 2021.
Here you can find all information about the RIOT Summit 2021 and the registration.


text:
TT & road races
Month: ALL
Dakar stage 1: Sunderland wins opening stage
04 January 2015 by Michael Guy
Factory KTM rider Sam Sunderland has won the opening stage of the 2015 Dakar. The 25 year old Brit secured his second stage win of his Dakar career, underlining his potential as a true Dakar contender...
MCN's top five road races: 1st
03 January 2015 by Stephen Davison
William Dunlop pips his brother Michael in last lap thriller to win first international superbike race at the North West 200 North West 200 Superbike race one Finishing order: William Dunlop, Michael...
MCN's top ten WSB riders: 1st
03 January 2015 by Gordon Ritchie
A remarkable season of FIM Superbike World Championship racing delivered an eclectic bunch of riders onto the podiums, from Australia to Qatar and all points in between. MCN's entirely subjective top...
Marc Marquez: Lorenzo biggest title threat in 2015
02 January 2015 by Matthew Birt
Marc Marquez believes the biggest threat to his hopes of securing a third successive MotoGP world title in 2015 will come from Yamaha rival Jorge Lorenzo. Lorenzo's challenge in 2014 evaporated...
MCN's top five road races: 2nd
Michael Dunlop gives BMW their first international road race win at the North West 200 North West 200 Superbike race two Finishing order: Michael Dunlop, Josh Brookes, Alastair Seeley For many people...
Ducati boss: 'I'm sorry I couldn't help Crutchlow get right feeling'
If Ducati boss Gigi Dall'Igna has one regret about last year, it was the failure of Cal Crutchlow to pose a stronger threat on a factory-backed Desmosedici machine. Dall'Igna believes Isle of...
Red Bull Desert Wings: Sam Sunderland
02 January 2015 by MCN Staff
Having shredded the tracks and trails of the British motocross scene since he was seven years old, rider Sam Sunderland has become a true international star, garnering a reputation as a fast and...
MCN's top ten WSB riders: 2nd
MCN's top ten BSB riders: 1st
01 January 2015 by Simon Patterson
With all the dust settled on yet another highly competitive year in the MCE British Superbike championship, MCN have taken the opportunity to look back on the season and sort our top ten riders –...
MCN's top five road races: 3rd
Michael Dunlop wins four TTs for the second year in a row Isle of Man TT Senior TT Finishing order: Michael Dunlop, Conor Cummins, Guy Martin A fortnight after taking two wins on his first outing on...
MCN's top ten WSB riders: 3rd
MCN's top ten BSB riders: 2nd
31 December 2014 by Simon Patterson
TT star Anstey gets Royal recognition
Bruce Anstey, the fastest ever man around the Isle of Man TT course, is set to be officially recognised for his contributions to the sport by the Queen. The New Zealander has been awarded a Member of...
MCN's top five road races: 4th
31 December 2014 by Stephen Davison
Bruce Anstey wins the Ulster Grand Prix Ulster Grand Prix Superbike race two Finishing order: Bruce Anstey, Guy Martin, Lee Johnston Valvoline Padgett's Honda veteran Bruce Anstey might have...
MCN's top ten WSB riders: 4th
31 December 2014 by Gordon Ritchie
MCN's top ten BSB riders: 3rd
Stuart Easton wins the Macau Grand Prix after a three-year absence Macau Grand Prix Finishing order: Stuart Easton, Michael Rutter, Martin Jessop When Stuart Easton ploughed into the back of MSS...
Red Bull Desert Wings: Marc Coma
30 December 2014 by MCN Staff
Marc Coma's aspirations have always focused on one race: the Dakar Rally. When he was a young boy, Marc collected the pictures of Dakar Rally riders to adorn his bedroom wall. By the tender age of...
MCN's top ten road racing riders: 1st
The 2014 road racing season promised to be a vintage year and it didn't disappoint. The defection of Michael Dunlop from Honda to BMW during the winter set the tone for a year of change that saw new...
MCN's top ten BSB riders: 4th
Jorge Lorenzo: 2014 revival builds confidence for fresh title challenge
29 December 2014 by Matthew Birt
Jorge Lorenzo believes his revival in the second half of last season bodes well for a renewed title tilt in 2015. But the double MotoGP world champion admits he was lucky to clinch third in the...
Honda boss: Tyre life key advantage over Yamaha
Superior grip on worn tyres was a key advantage that dominant world champion Marc Marquez had over Yamaha duo Valentino Rossi and Jorge Lorenzo in last season's MotoGP campaign. That's the view of HRC...
MCN's top ten road racing riders: 2nd
Red Bull Desert Wings: Hélder Rodrigues
Hélder – Estrelinha (little star) – Rodrigues was born in Lisbon, Portugal on February 28, 1979. He is best known for his participation in the Dakar Rally series, although he already had a pretty...
MCN's top ten road racing riders: 3rd
MCN's top ten road racing riders: 4th
Red Bull Desert Wings: Jordi Viladoms
As a child, Jordi Viladoms was a four-time champion of Spain at cyclocross. At 12, he turned his talents to motocross, and again showed great potential. The versatile Viladoms was also adept at in...
A remarkable season of FIM Superbike World Championship racing delivered an eclectic bunch of riders onto the podiums from Australia to Qatar and all points in between. MCN's entirely subjective top...
MCN's top five WSB races: 1st
Five different riders on four different makes of machinery won WSB races in 2014 which made the job of picking the top five of the year far from easy - and entirely opinion-based. But here's MCN's...
MCN's top ten WSB riders: 10th
A remarkable season of FIM Superbike World Championship racing delivered an eclectic bunch of riders onto the podiums, from Australia to Qatar and all points in between. MCN's entirely subjective...


MBA166 Should You Join a Mastermind Group?
Mastermind groups provide a chance for like-minded people to exchange knowledge and skills. But are these groups for you? What are the pros and cons of joining one? Tune in today to find out!
Nadex - see how far your $100 can go in binary trading. Open your free account today!


Find the inscription "My little pets roam the lower ..." Read the inscription. Second time press the right key. You will move to another place. Skip room with falling stones from the ceiling. Finally, the button appears. Press the button. Fish will be in cages.
I am following this clue but the damn fishes wont go into cages! "Finally button appears" do you mean the button thru the door where the spikes are? cause thats the only button i see! Tried every which way!!!
Annie: go through the middle big red curtain in the corridor with three big red curtains to a long room where blocks from the ceiling keep dropping down on you for three screens (best to move to r/h edge of fallen block, jump right (save game) and edge forward and back til the next block drops). The next room contains some dynamite and a notice, Read the notice and the button to shut the fish in appears.
"The button that releases the bats in the ceiling"
Where is that button? I can not find it anywhere. Could you give me some clue?
I totally stuck, have zero coin.
^Look for a place to hang that rope from. It is near where you used the red keys.
Now I can't find the mentioned snake in the maze. I draw a full map on a paper, but there is no snake. What I have missed?
Thanks for the help Grandad. I've managed to kill the snake and use the gold key but I only have 60 coins. I'm sure I've visited all the rooms etc. is there a nice cache of money that I've missed?
There are no flying spikes nor snake for me, only more and more doors.
Are we speaking about the same maze? Next to the Sacred Shrines?
OK found all the money and reached the castle but confused about using the drone. I've followed the instructions and moved it around the ventilation shaft but can't get any useful info from it. Have I missed something as usual?
Thanks for another fiendish set of brainteasers. Look forward to the next one.


Measure inspiration in regards to locating inspiration to achieve the goals, generally there are a few of us whom simply effortlessly include itand consequently at this time there are other folks who find it difficult to find and embrace it. When this is inspiration that you want, or perhaps inspiration that you want, gratitude usually helps. The motivation raises. In my own experience, there exists just 1 motivation, which is desire. Understanding motivation results in that you need to appreciate real human nature. Some people think that determination is just for lazy persons since they can't be irritated getting details done. Innate motivation is within reality just the same as proposal. If you or perhaps someone you already know appears to shortage motivation, it will be a awesome idea to obviously determine or specify the desired goals you would like to reach. Motivation may be hard point to discover. Personal inspiration is the matter that powers us in house and externally to be good in what at any time we would like to succeed in.
The potency of Determination It is usually troublesome to stimulate yourself. Determination is certainly the secret to success to increasing performance. That Here is usually the place that the stress starts off. Anytime there is correct inspiration, that leads to great performance and bigger productivity towards the sustenance of your countrywide rise and expansion when well seeing that the well being of the individuals. Inspiration is frequently an external spur, inducement, impetus, motivation. So determination can suggest the procedure for animation the eye of an individual to provide a walk to a sure aim. It is an inside procedure that makes a person maneuver toward an objective. For a enterprise to succeed and survive, determination of the personnel is essential. Every thing has to end up being clear in your brain, whether it's not in that case you aren't in good sized hassle. Your mind features decided that it can be totally reliant on anything. You maintain the preliminary which may free the mind to find every one of the opportunities to choose from.
The significance of existence is to get your gift. Take in consideration the direction that you would like your life to get planning in and make an work to figure out who may have been in a situation to do some thing similar. Each time you have some kind of earn within your existence, they have environment you up to get more accomplishment later on. One other way to stay encouraged the moment undesirable individuals wish to try to discourage you is certainly to understand what you wish out of life. Avoid just move through your life wanting to go through because you're hesitant to try away different things.
In lots of conditions, a deficiency of determination might just be linked to not feeling encouraged. It is normally a procedure rather than a item. It is certainly an part of psychology which has gotten lots of attention, especially in the recent years. When you stimulate determination that may make life. Inspiration can come out of various options. Earliest, it is not necessarily a'bad thing'. It is hard to research, thus around july standing up right in front of you in the form of a friendly competition, it might be stupid to let that bypass you. The interesting issue is that some folks show up to mistake motivation designed for inspiration.
The business is financially strapped. On the other hand very much you like the organization, there are likely occasions whenever you may desire to take action. You contain to get sure you own a target marketplace and a business framework which you aren't so in love with that nobody should imply to you to marketplace. You are most likely to be a little more confident inside your ability to become successful. Each of our ability to remain excited regularly and consider action determines the varieties of results all of us achieve. Emphasize yourself that you've the skill sets plus the drive to complete all the things which you would like to and take the probabilities offered for you.


In this exhibit visitors experience the determining role the riverbed plays for the stream and the speed of the river.
In this river the speed of stream is relatively steady. The speed depends on the difference in height of the starting point and the ending point of the river, called the fall. The bigger the fall is, the faster the water will stream. By transforming the riverbed, you can manipulate the stream and speed of a river.
Let the water stream more freely.
Narrow the river by placing the obstacles in the river.
Try to stop the water with the obstacles.


text:
Home Investment Winds of change in Insurance Sector
Winds of change in Insurance Sector
The proposed merger of Max Life Insurance/Max Financial Services with HDFC Standard Life Insurance may pave the way for more such deals in the future due to the current business model of Indian life insurers….writes Venkatachari Jagannathan
A Delhiite enjoying the rains near India Gate
The proposed merger of Max Life Insurance/Max Financial Services with HDFC Standard Life Insurance may pave the way for more such deals in the future due to the current business model of Indian life insurers, say senior industry officials. They also said over the next couple of months, officials of Max group and HDFC Standard Life will be having tough negotiations over aspects like valuation of liabilities, embedded value – the present value of future profits from their existing policies, enterprise value and other aspects and the foreign and domestic shareholders of the two insurers have to be satisfied.
Explaining the proposed deal to the media on Thursday, Analjit Singh, Founder of the Max Group said: "First Max Life Insurance will merge with Max Financial Services – a listed entity. Then Max Financial Services will be merged with HDFC Standard Life."
The emerging entity will become a listed company.
"It seems the two companies have followed the principle – united we stand, divided we fall. As a combined entity the two hopes have a better valuation than as individual companies," said V. Manickam, Secretary, Life Insurance Council.
"The announcement by HDFC Standard Life and Max Life came as a pleasant surprise. Normally a strong company will acquire a smaller one whereas here two big players are coming together," Ashvin Parekh, Managing Partner at Ashvin Parekh Advisory Services told IANS, adding the two are an apt fit for each other and the merger would succeed if the integration challenges are properly managed.
Earlier this month, Housing Development Finance Corporation Ltd (HDFC) had announced that its general insurance company HDFC ERGO General Insurance's board had approved the acquisition of L&T General Insurance Company for Rs. 551 crore.
According to Parekh, the market condition is apt for consolidation not only for life insurers but also for non-life insurers.
"More mergers and acquisitions are to be expected. For more than 10 years companies individually have not been able to gain significant market share. The private companies are not able to shake the strong position of (government-owned) Life Insurance Corporation of India (LIC)," he said.
"There may be more reverse mergers happening in the sector so that life insurers are quickly listed," Manickam said.
Around 10 private life insurers are making profits but not on a consistent basis, an industry official said.
"The regulatory changes between 2008 and now have forced the merger and more such mergers may happen. Either one has to build scale or be a niche player with a targeted segment like the Shriram Life. The times are difficult for middle-level players," Rajesh Dalmia, Partner, Ernst & Young told IANS.
"The business model of Indian insurance industry could be termed as a 'bankruptcy model' – expense overshooting the income which in turn needs regular capital infusion," said a senior official of a private life insurer who did want to be identified.
Experienced industry officials have been telling IANS that life insurance is a business of distribution and those who master than at lower cost would succeed.
"There is a big mismatch between the acquisition costs and the margins. The cost of distribution is very high to reach a policy to a customer. While bank-promoted life insurers are reaping the benefits of wide distribution network, it is those who do not have bancassurance partners or those non-bank promoted life insurers but having bancassurance partners are suffering from high distribution costs," an industry expert told IANS.
Non-bank promoted life insurers have to shell out huge sign-up bonus to a bank to act as their corporate agent which even over a long period does not work out economical, note officials.
"Private life insurers depending on individual agents for business are suffering from low productivity and higher fixed costs. The more the variable costs the better for the company but it is not so in the Indian life insurance space," an industry official said.
Earlier insurers were enjoying handsome surrender profits-amounts forfeited by insurers when a policyholder surrenders his policy but now with changed regulations, the surrender profits have largely vanished whereas the policy persistency ratio has come down, officials complained.
For life insurers to make profit continued renewal of policies by policyholders is a must as the cost of acquisition is mostly met upfront.
Meanwhile speaking about the challenges for Max Life and HDFC Standard Life in consummating their merger agreement, officials said the first step is to arrive at their valuation – liabilities and enterprise of both insurers – and the swap ratio.
Foreign shareholders – Sumitomo Mitsui, Japan in Max Life and Standard Life, Britain in HDFC Standard Life – and others in both companies have to be satisfied with the valuations.
While no major regulatory hitch is expected to complete the deal, the real challenge will be post-merger.
Policies issued by Max Life will be taken over by the merged entity and will not go automatically. The merged company has to refile the products for the insurance regulator's approval.
The challenge for merged entity is to retain the talent in Max Life that is managing the agency force as well as individual agents, said officials.
Asked about the impact of the merger on the policyholders and employees of both companies, HDFC chairman Deepak Parekh said those issues would be looked into latter.
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25   1, 41  |         have said that the power to beget signifies relation ~in God.
34   1, 41  |         Father has greater power to beget than has a ~created father.
39   1, 42  |          omnipotence to be able to ~beget a Son equal to Himself.
44   1, 51  |              1/1~OBJ 6: Further, to beget offspring is a vital act.
66   1, 41  |         have said that the power to beget signifies relation ~in God.
75   1, 41  |         Father has greater power to beget than has a ~created father.
80   1, 42  |          omnipotence to be able to ~beget a Son equal to Himself.
85   1, 52  |              1/1~OBJ 6: Further, to beget offspring is a vital act.
99   3, 82  |         another species, ~lest they beget revulsion in the communicants.
102 Suppl, 51|        error for many ~years and to beget between them sons and daughters.


text:
var assert = require("assert"),
  should = require('should'),
  EndpointBuilder = require('../lib/endpoint-builder');

describe('stevedore EndpointBuilder module', function() {
  describe("endpoint should be built with authenticator", function() {
    var express = {
      get: function(path, authenticator, router) {
        path.should.be.mypath
        assert.deepEqual(authenticator, {});
        assert.deepEqual(router, {});
      }
    };
    new EndpointBuilder().withVerb('get').withPath('mypath').withRouter({}).withAuthenticator({}).build(express);
  });

  describe("endpoint should be built without authenticator", function() {
    var express = {
      get: function(path, router) {
        path.should.be.mypath
        assert.deepEqual(router, {});
        assert.equal(arguments.length, 2)
      }
    };
    new EndpointBuilder().withVerb('get').withPath('mypath').withRouter({}).build(express);
  });
});

redpajama_set_name: RedPajamaGithub


text:
ACLU Expresses Concern Over Cleveland Schools' Plan to End Assistance to Families Who Cannot Afford Uniforms
CLEVELAND- The American Civil Liberties Union of Ohio sent a letter to the Cleveland Metropolitan School District today regarding a recent announcement that the school district would no longer provide vouchers for low-income families who cannot afford uniforms. State law requires school districts that implement uniforms or strict dress codes must have a policy in place to assist families who qualify for financial aid. Under current district policy, students who do not comply with the uniform policy may be suspended or given detention.
"Education is the bedrock of our community and we cannot allow young people to be denied access to schools because they are unable to buy certain clothes. Uniforms are optional for school districts, but providing our children with quality education must not be," said ACLU of Ohio Executive Director Christine Link. "While I sympathize with the financial challenges Cleveland schools face, they are not released from their responsibility to comply with the law."
In 1996, the Ohio General Assembly passed a law outlining requirements for school districts who voluntarily implemented uniforms or strict dress codes. The guidelines state that uniforms may not be required without a policy in place to aid economically disadvantaged families. The law allows the school district to use its own funds or outside funding to provide vouchers for low-income students.
"Many families in Cleveland are struggling to make ends meet and simply cannot afford an additional expense," added Link. "Those students who come from economically disadvantaged households already face tremendous obstacles, and now will likely be punished more frequently because they cannot afford uniforms. In effect, officials have created a modern-day 'pauper's prison' in our schools."
During the 2009-2010 school year, over 10,500 vouchers were claimed by families who needed financial assistance to purchase uniforms. Several non-profit agencies also assisted with financial and in-kind donations for low-income families. School officials have not provided an estimate for how many families may need assistance during the 2010-2011 school year.
"With economic woes continuing to plague Cleveland families, the need for aid may be even greater than in years past," concluded Link. "Schools have an obligation to provide our young people with an education, regardless of their income level. We cannot allow the ability to afford certain clothes impede a child's learning. Officials must comply with state law and either provide vouchers or stop requiring students to wear uniforms."


At Comic-Con, Miramax Films premiered the movie trailer for the Don't Be Afraid of the Dark, a horror film remake co-written and produced by Guillermo del Toro. The trailer (and additional footage) went over big in San Diego, and now MySpace has the trailer online for everyone to check out. Watch it now embedded after the jump. Please leave your thoughts in the comments below.
When a little girl (Bailee Madison) is sent to live with her father (Guy Pearce) and his girlfriend (Katie Holmes) in the old mansion they are renovating, she unwittingly unleashes malevolent creatures bent on destroying all of them.


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Is the DR database really accurate for vinyl?
Discussion in 'Music Corner' started by Mij Retrac, Oct 3, 2013.
Page 11 of 43 < Prev 1 ← 9 10 11 12 13 → 43 Next >
Mij Retrac Forum Resident Thread Starter
vinylphile said: ↑
I find it hard to believe that if this pretty big difference in DR was due to nothing more than distortion, the end result would sound anywhere near "good" - let alone better to many people's ears.
The issue hear is the vinyl IS adding distortions to the sound and I believe it is affecting the DR number, maybe not 4db but maybe it is. The distortion that is added by the vinyl is typically distortion that is enjoyable by most vinyl lovers. There is nothing wrong with that its just the reality. The bottom line is and the biggest reason I posted this thread was because this proves that the DR database cannot be reliably used to determine whether the vinyl and CD released at the same time are the same master or not. I can't tell you how many times I read on this forum that someone is gonna hold out for the vinyl because its more dynamic than the CD assuming they used a different master. Then they show the numbers from the DR database to prove their point. If you like the sound of vinyl more than CD thats fine but the vinyl is adding things to the original master so if your a purist and like getting as close as you can to the original master, vinyl isn't always gonna do that for you.
Mij Retrac, Oct 6, 2013
Chooke likes this.
Bill Hart Forum Resident
This is a fascinating thread, and kudos to Mr. Shepard, not only for his feedback but his graciousness in responding to the various questions and comments. I have a few questions/observations as well:
1. Mike Fremer made a blog entry on his Analog Planet site comparing a digital file to the vinyl mastered from that same digital file (I think it was a Tom Waits album). Fremer concluded that he liked the sound of the vinyl better; he didn't attempt to explain the mastering process involved and the mastering engineer (I think it was Bernie Grundman on the vinyl side) didn't weigh in either. Fremer simply acknowledged that it may be a matter of 'euphonics'- that the vinyl (whether the mastering, the medium or the playback chain was not specified) adds something he likes. This precipitated an endless- and in my view unnecessarily rancorous debate on another forum- about what 'changed' between the digital-digital playback and the digital to vinyl version. Many (including me) attributed that to some 'special' mastering that was done just for the vinyl release. But, according to Ian Shepard, here nothing was changed in the mastering between the two formats. So, the difference in end results (not by the DR tool measuring results, but by ear) is solely the result of the vinyl playback chain.
2. Is there a more accurate way to measure what we are hearing than this DR tool? And, in particular, comparing a digital recording with an analog recording made simultaneously from the same performance? Obviously, there will be many variables that differ in the process, from the recording itself to the mastering, but comparing a 'native' analog source all the way through might be instructive. Ralph Karsten, the maker of Atmasphere amps, is making analog recordings and claims that vinyl is capable of being 'cut' very dynamically-the limitations, he claims, are less format inherent, and more the result of the limitations of the cartridge and tonearm. (I suppose this would explain the forum favorite- the so-called "RL" cut of Led Zep II, which can be played back with aplomb over modern turntables, but apparently caused problems when first released, given the state of tonearms and cartridges on mass market phono players circa 1970).
3. One observation on my part; when EMI released The Beatles boxed set on vinyl in the fall of 2012, there was considerable debate about its sonic merits, here and on other fora. Out of curiosity, I bought one record from that set, Revolver. Compared to an older Parlophone release of the same record (the latter from the first series old Blue Box), the "new" Revolver vinyl did not have all those attributes that vinylistas attribute to the format, e.g., warmth, dimensionality, etc. It sounded very "neutral" but lacked that 'euphonic life' that we associate with vinyl. So, at least in that case, the vinyl playback chain did not give the digitally sourced vinyl added 'euphonics.'
4. A final thought: As Mij, the OP, suggested when answering whether there is a ''list' of what records have been mastered from digital file, this information is often difficult to come by; almost like food products that are often required to disclose ingredients, it would be helpful to have this information as part of the release, e.g. the Simply Vinyl reissue of Dylan's Blonde on Blonde, which was first released from a tape source, and later, from a digital file.
Bill Hart, Oct 6, 2013
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kevintomb Forum Resident
Near Pittsburgh Pa.
Yes, I am just trying to guess what would cause the difference, but as far as the distortion thing, there was a study or something done, and people actually "prefer" a small amount of distortion to zero distortion when hearing music. I have no clue where I read that as it was years ago, but apparently they did some test, where they could slowly add harmonic distortion to a music signal, and most agreed it sounded Better WITH some amount of distortion than with none at all. But most agreed after a certain point, the distortion became a negative.
Im not even sure where I found that at, but it was interesting to me.
kevintomb, Oct 6, 2013
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SergioRZ Well-Known Member
This topic about the possibility of TT Meter not being accurate for all source material should not turn into a Vinyl vs CD or Analog vs Digital debate... these are very different issues. Doing that only introduces confusion and serves no meaningful purpose.
The exact moment TT Meter is said to be unreliable for unknown reasons is the exact same moment where it becomes unusable for any Vinyl vs CD discussion, this is going nowhere for as long as some members try to push the original question into this Vinyl vs CD territory.
SergioRZ, Oct 6, 2013
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vinylphile Forum Resident
SergioRZ said: ↑
It's hard not to move into that territory when "distortion" is just assumed to be the culprit for what appears to be better numbers.
However, overall I think we probably all agree that all that really matters is what we hear.
vinylphile, Oct 6, 2013
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The main reason I posted this is because of the CD vs vinyl debate. Many people here buy the vinyl version of a new release because they think it has a different master because they look at the TT meter measurements. There have been many discussions and even arguments I have had on several posts where people swear that the vinyl has to have a different master because the TT meter says it's at least 3 to 4db louder. This disproves that and proves my theory that the TT meter is not a reliable way to differentiate masters when comparing CD and vinyl that came out at the same time.
Mij, that's fine, I understand that and I would very much prefer that more people used their ears instead of these tools to be confident about their choices and preferences. But you should understand that the very same reasoning should apply to any data that TT Meter looks at, be it retrieved from a CD, Blu-Ray, Reel Tape, Vinyl, straight from a mix console, or whatever... this is not a Vinyl issue, this is not a Vinyl vs CD issue. It seems to be more some kind of EQ issue than anything else... or maybe it's no issue at all.
As far as we know, right now, TT Meter might be always right, or always wrong, or maybe there's even no pattern to its readings... and we don't know "why" for any of those possibilities. How can we draw any conclusions from that?
Ian and others might be on to something interesting about TT Meter, that's all it is in my opinion, and until that is cleared up and proven and fully understood it's not doing any good to mix that debate with the Analog/Vinyl vs Digital debate as it just confuses both debates and is not helping at all.
Follow the White Rabbit! If you guys found TT Meter can be deceived by adding stuff to the source file, then do it in the digital domain, do some EQ tricks, add distortion or surface noise, even those "vinyl like" plug-ins might help, see if anything like that can make TT Meter get a +4dB reading... I'm sure TT Meter can't tell by magic that the data in the file cam from a turntable! Be scientific about it and undertand what it is before going the easy vinyl beating based on theories that are, at this point, VERY FAR for being any kind of facts...
I've read a lot of bad information and generalizations in this topic about vinyl as a format and those who like to listen to vinyl as their best sounding format... it's not fair that this TT Meter thing is being used as a weapon to bash vinyl and people who love it, there is nothing there to support it, just theories and pure speculation.
This ends up being very tiring and destroys the original topic purpose because after a few posts it all starts to look like a group of people desperately searching for technical reasons why we shouldn't like and prefer to listen to vinyl... I mean, what's the point in that? We just like it! It sounds great! I'm not constantly searching for technical reasons to justify why I love to listen to vinyl records (and there are plenty)... just the same way that I don't try to justify my love for Lasagna or Football Sure I once tried and tested and read a lot about this and became quiet well informed about the A vs D issue, and then I let it be... I'm not obsessing over it, I'm enjoying it!
In this topic there was no need for this, if we all stick to the main issue (as we should, it's quite interesting actually), there's no reason why the focus should turn to Analog vs Digital here.
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Agree with every word you say.
However, re the bold part at the top - I think the problem for lots of us is that we can't listen until we buy - and we can't compare unless we buy both. Therefore we do look to things like other listeners' opinions and DR values to try and make some kind of educated guess about which may sound better before shelling out our hard earned bucks.
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I really haven't seen a whole lot of vinyl bashing here myself. I see explanations as to why the vinyl will get different results on the TT meter and how the TT meter can't give a definitive answer to anybody interested in a new release as to which version may sound better or whether the CD and vinyl have different masters or not. If you consider relaying the facts about vinyl and some of its shortcomings bashing vinyl and vinyl lovers well I think you might be just a little sensitive on the subject. I actually buy more vinyl than CDs nowadays because I prefer the sound of vinyl when it's mastered right because it usually is higher resolution. However if I know that the original master is a 24/44.1 or 24/48 master then I think that there isn't enough of a difference in the resolution to make up for the things I don't like about vinyl so I will just buy the CD. These things only take place if there isn't a high resolution digital version of the album available however. To me that is the best way to listen to music in this day and age. I think it gets you the closest to what was going on on the studio which is what I'm looking for.
Ian Shepherd Forum Resident
OK, I've been playing around with this, and I think I know where this apparent difference in DR comes from. But before I get to that I'd like to make (and re-state) a few points.
- I'm not saying (and this video doesn't show) that vinyl isn't more dynamic than CD, sometimes. There are definitely vinyl releases that sound more dynamic than the CD versions, because of different mastering choices. Others don't - for example this one. ALL I'm saying is that the TT meter isn't a useful tool to distinguish which is which.
- Even with a great master, there may well be tweaks made at the vinyl cut, as I mention in the video. Examples include the RIAA curve (which is mandatory), and processing specifically to optimise for the format - for example extra de-essing, elliptical filtering (to prevent issues with phase and level in the bass) and changes to the overall stereo width.
- None of these adjustments are "artistic" or "creative" decisions that will enhance or significantly change the perception of the original master, they are all technical issues based on the particular properties of the vinyl format. They're simply intended to make sure the material "translates" successfully to vinyl in the same way that CDs can't contain frequencies above 20 kHz, or peaks above 0 dBFS
- However in the sense that they change the source a little during the cut, you could argue that they represent a separate "master". Personally I don't categorise them in that way, but there's room for semantic disagreement. For me, a separate master is (for example) one with less compression, or a markedly different EQ.
- I don't know for certain that nothing was done at the cut of this record - I wasn't there. But I do know that the band were very happy with my digital master, and asked me for a version that could be used for the vinyl, as well. I've simply level-matched the two and made the observation that I hear no massive differences, beyond what I can easily ascribe to RIAA processing and variables in the replay chain.
- Finally, anyone trying to argue that the apparent extra PLR (peak-to-loudness ratio) of the vinyl represents "genuine" musical dynamics needs to let it go. There are no extra musical dynamics in this digital master file to be "discovered".
So, having said all of that, I do think I know where the apparent DR increase comes from in this case, as I mentioned at the start of this post.
In the video, I mention that I can hear a change in the image. More specifically, I hear it as narrower, on the vinyl. This is quite normal - there is always a certain amount of crosstalk between the left and right channels, and it's also quite common for the cutting engineer to choose to narrow the stereo image in the bass region, or even overall, as I mentioned above. I have no idea if that was done in this case - the image on the CD is quite wide, so it's perfectly possible.
Either way, I tried the same thing on the digital file, ie. narrowing the stereo image slightly. And lo and behold, the measured DR value increased to... DR12! Looking very similar on the meter to what we see on the vinyl.
So, it may be as simple as that. Either a tweak during the cut, or just normal crosstalk, is sufficient to alter the waveforms so that their peak level increases enough to account for the "extra" DR points.
And before anybody asks, no this isn't a "real" increase in dynamics, it's just a side-effect of the audio processing.
Now to the really important part, for the purposes of this thread.
The channel crosstalk I mentioned will certainly play some part in what we're seeing, even if the engineer also made a tweak. And it happens on every vinyl release, and just like the EQ, it depends on the playback system.
In other words, the same record played on different decks may exhibit a different degree of image width, and measure a different DR value as a result - which is a point that's been made several times in this thread already. What's interesting to me is that this change alone is sufficient to cause the spurious DR boost, and it will happen to some extent whenever a piece of vinyl is played.
Which just supports the whole point of the video - the TT meter can't be used to prove anything about the dynamics of a vinyl release compared to a digital release - or indeed to anyone else's vinyl rips.
Maybe it could work up to a point for comparing your own rips with each other, but personally I have my doubts about that, too...
Ian Shepherd, Oct 6, 2013
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Now we're talking That's great information Ian! Who would have guessed that a narrower image separation could cause such a different DR rating? I'm impressed! I suppose this is a flaw with TT Meter algorithm... a serious flaw so it seems. Now, wouldn't this happen for every data file? I guess crosstalk is not exclusive to vinyl rips...
ad180 Forum Resident
Thanks Ian, that makes a lot of sense.
ad180, Oct 6, 2013
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Now we're talking That's great information Ian! Who would have guessed that a narrower image separation could cause such a different DR rating? I'm impressed! I suppose this is a flaw with TT Meter algorithm... a serious flaw so it seems.
No, not at all. The TT meter was designed to work with lossless digital files - which it does. You could call this a "drawback", but I can't think of a way of getting around it. As with all meters (digital peak, PPM, VU, LUFS) you need to use it with understanding, and when appropriate - and on a vinyl rip it's just not.
Now, wouldn't this happen for every data file? I guess crosstalk is not exclusive to vinyl rips...
Well, crosstalk like this doesn't happen in digital at all. On analogue tape it happens, but to a far lesser degree. So actually, it's pretty unique to vinyl.But what is true is that any kind of processing may mess with the results from the TT meter. Basically it should only be used with a lossless digital file and no processing. Otherwise, all bets are off.
Steve Hoffman Your host Your Host
Los Angeles CA, USA
Ian Shepherd said: ↑
Why can't each and every file (digital and analog) be summed to mono first and then measured? Wouldn't that eliminate the ********?
Steve Hoffman, Oct 6, 2013
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kevnhuys Forum Resident
It's basically the difference between the peak level and the RMS, averaged over a 300ms time window, but biased to only pay attention to the top 20% of the range - so it tells you roughly how squashed the loudest moments are.
It's probably worth saying at this point that it doesn't really measure "dynamic range" at all - there's a technical definition for that which is quite different. So in hindsight it's a shame they used that as the name - on the other hand it works very well on an intuitive level, so maybe it is a good name, after all...?Regardless, it works well in digital processing at the very end of the processing chain. But other processing that causes variations in the peak level not related to the original music, can "fool" it into giving a much less useful reading - like cutting to and playing from vinyl as in this case.
Yes! The TT Meter is measuring crest factor (peak vs average), not actual dynamic range. Most discussions of 'dynamic range' in forums like this are really about crest factor
One thing to also consider, is that perceived loudness is a psychoacoustic phenomenon that doesn't track simply with crest factor. There's debate over how to model it properly for use in, say, tools like Replaygain , that try to 'normalize' perceived loudness across multiple tracks.
Finally, here's a short but pithy list of the wrong ways to determine if a vinyl master sounds better than a CD master
How do you know if a vinyl master is audibly superior than the CD master?
Overall, TT Meters and its ilk, as well as waveforms, are pretty blunt tools for predicting how something will *sound*.
kevnhuys, Oct 6, 2013
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You mean crosstalk of this order of magnitude, right? Crosstalk exists even in the digital domain, doesn't it? And as you mention, also on analogue tape there is some crosstalk (that's why in previous posts I questioned if there would be a similar behavior if the data file was transferred from analogue tape)... less than the expected crosstalk from vinyl playback on most systems but still a considerable amount, no?
And this is one feature that you identified as being capable of messing with TT Meter's "math", who knows what else is at play here, for all files from all sources...
Steve Hoffman said: ↑
No, because then it's not an accurate representation of the source file. To give an extreme example, imagine something where the drums were in anti-phase - yes, I've seen this...! When mono-ed they would cancel out completely, which would dramatically change the DR reading as compared with the same thing in stereo. The same factors would apply to different degrees to less extreme cases.
You mean crosstalk of this order of magnitude, right? Crosstalk exists even in the digital domain, doesn't it?
And as you mention, also on analogue tape there is some crosstalk (that's why in previous posts I questioned if there would be a similar behavior if the data file was transferred from analogue tape)... less than the expected crosstalk from vinyl playback on most systems but still a considerable amount, no?
No. Far less.
Actually I listed a whole slew of them, in the video, and I've said repeatedly here that ANY form of processing could mess with them - especially the RIAA encode/decode process - basically anything that isn't phase linear (which is a lot of processes).
But none of these happen in the situation the meter was designed for - lossless digital files.
SuperFuzz said: ↑
Here's a link to an audio recording of a vinyl mastering panel with Doug Sax, Bob Ludwig and Michael Fremer from SXSW 2011. http://schedule.sxsw.com/2011/events/event_MP5680 At the beginning Bob talks about how the frequency response on a vinyl disc is wider than a compact disc, and how the quality of higher resolution files (24bit, 96khz) can be resolved on a vinyl disc.
Mr. Ludwig makes some claims of 'fact' there that are anything but -- in particular, him citing Dr. Diamond's bogus work about the negative physiological effects of digital, is really sad.
back2vinyl said: ↑
The TT meter may not tell us much but it does tell us the difference between average RMS and peak RMS and it's not lying when it says the range is 4dB bigger with the analogue waveform measured by Ian Shepherd and the digital waveform - you can see that by looking at the waveform in the video.
Well, it's not quite that simple -- there is more than one way to calculate average RMS. If you read the TT Meter technical paper, you learn their choices in windowing, how to treat low-level peaks, , etc.
Regardless of that, the point of Ian's demo is that the extra 4 dB in this case cannot have come from using a source with wider 'dynamic range' -- which is the assumption audiophiles often make when they see comparisons like this. Therefore the extra 'dynamic range' must come from some other process, and is possibly even artifactual. An analogy would be to look at the spectrum of an SACD vs the CD and see a band of 'signal' way above 20kHz, and conclude from that, that the source of the SACD had a wider frequency range than the source of the CD (when in fact the band you're seeing in the SACD spectrum is due to noise shaping).
There is digital crosstalk. Every DAC shows a Crosstalk figure in tech specs, actually any digital circuitry of any kind gives quite a bit of importante to Crosstalk... but I understand what you mean, it's so little that it can be safely considered completely harmless for the purpose of this discussion.
You did list/mention other factors, but one thing is to talk about them, another thing is to actively test each of them to get/share measured results (note I did not say objective results, at this point there are too many unkowns and variables involved for it to be truly objective).
I think this last step you did is really something useful and can really help us all understand what is going on and how, if at all, TT meter or other tools can be safely used to compare audio files and in what controlled conditions it can or cannot be done.
As for me, I'l just keep using my ears
Ham Sandwich Forum Resident
Sherwood, OR, USA
What about calculating the DR for the left channel and again for the right channel? Would that offer any sort of benefit in comparing the vinyl DR numbers to the CD DR numbers? I'm guessing it wouldnt.
Ham Sandwich, Oct 6, 2013
floweringtoilet Forum Resident
Barrington, RI, USA
Ham Sandwich said: ↑
You would have some crosstalk from the left channel in the right channel and vice versa, even if you measured them independently, so it really doesn't get you anywhere.
floweringtoilet, Oct 6, 2013
tmtomh Forum Resident
Philadelphia, PA, United States
In the video, I mention that I can hear a change in the image. More specifically, I hear it as narrower, on the vinyl. This is quite normal - there is always a certain amount of crosstalk between the left and right channels, and it's also quite common for the cutting engineer to choose to narrow the stereo image in the bass region, or even overall, as I mentioned above. [...]
I just had to quote this again and say, Wow. The first and only explanation I've heard for the "vinyl DR factor" that makes sense.
tmtomh, Oct 6, 2013


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