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How does personalized care benefit me?
Today, people want more from health care. They want the best high-tech treatments available today, but they also want the personal attention and care of yesteryear … and at the same time, they want a way to reduce health care costs. What’s the answer? Ministry's approach to personalized care. This model helps patients achieve that level of care. But what does personalized care actually mean? It is modeled after the health care delivery model, Patient Centered Medical Home. But it's not a physical “home.” Rather, it is a relationship developed with your primary care provider and his or her staff at one of our outpatient facilities. It is a place where people know you, know your needs and preferences, and know the best way to care for you. Click on the video below to learn more about Patient Centered Medical Home and how this more personalized approach benefits you as a patient.


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Manufacture or metal creation is a procedure that utilizations crude materials, for example, light weight auxiliary steel or metal sheets to transform it into an item with a particular structure and capacity utilized in structures and building parts. Such manufactured things may have different uses other than in development like in overwhelming apparatuses or boats and so on. sheet metal fabrication shops
The procedure is done in exceptional assembling units furnished with essential instruments and hardware. The preparing units are called fab shops in USA and somewhere else.
The procedure generally starts with:
Computer aided design or PC supported planning
Contingent on the reason for creation, adjusted procedure may likewise come into picture utilizing higher advancements, machine and apparatuses.
When the segments are made they might be amassed to shape one gainful unit utilized in the structure. The amassing procedure may include welding, official with cements or riveting. Following stages would prime, powder covering, painting and sand impacting.
Famous utilization of creation innovation is to make building parts which are generally single segments worked at a fab shop and introduced at building site.
The utilization light weight basic steel, construction method utilized at fab shops and resulting establishment at work environment close-by all understanding fiscal gains or advantages making the business productive.
Components as well as basic steel work may likewise be utilized to make a skeletal edge of the building.This outline more often than not comprises of segments and pillars produced using hot moved steel which is catapulted or bolted or welded together.
The underlying advance includes segment drawings which more often than not depicts the parts that contain the unit. In the drawings details or part measurements and physical and synthetic properties might be featured. The notice of properties features the quality which is significant part of this business.
At the point when more than one segment is included, it is called get together and the get together attracting alludes to the parts. The drawings are made with respect to all parts of structure development. The drawing are made utilizing CAD programming or other open source advance programming.
The manufacture drawing are extensive and not simply straightforward graphs or lines. They give point by point depictions and determinations and a rundown that recognizes all materials utilized. The drawing notes ought to explain the warmth medications and stress diminishing necessities too.
Fab shops in this way are far reaching units in present day times with amalgamation of numerous advances including computerization. So as to create building segments quality steel fabricators pursue a severe procedure. The business has over the quantity of years become extremely aggressive yet fulfilling.

domain: design


text:
In a twist strangely echoed by the actor’s recent art-world novel An Object of Beauty, Der Spiegel reports that Steve Martin is the victim of a German art forgery ring. Martin purchased what he thought was Heinrich Campendonk’s “Landscape With Horses” (1915) for $850,000. Turns out, the painting was from an art collections devised by a group of German swindlers caught in 2010, the newspaper writes.
You may know Steve Martin from being one of our time’s defining comedians, actors and celebrity figures. But along with those first few titles, the man is also a renowned collector of contemporary art, as well as a novelist and a playwright. These pursuits could be called hobbies if they didn’t require quite so much dedication. Martin’s An Object of Beauty (2010), his third novel, attempts to combine the actor’s sidelines in writing and art into a narrative showpiece that aims a satirical skewer at the art world. Unfortunately, the punch never lands. Object of Beauty is too simplistic and editorializing for an art world-savvy audience and too limping for readers just looking for a punchy narrative.
Mary Louise Schumacher on Steve Martin’s art world novel — Carolina Miranda on the “new shape of street art” in ARTnews — “Smithsonian” of Arab art in Qatar — Filip Dujardin’s architectural remixes — Star Wars Modern blogs on art and technology
I can’t remember the last time so many bold faced art names were on mainstream television. Last night, Stephen Colbert tried to convince well-known art collector Steve Martin to buy his René Magritte-like portrait but it wasn’t an easy sell. Colbert soon marched on some major artists to make it more enticing. As he said, Stella declared it art, Fairey recontextualized it, Serrano added controversy, and Colbert even added Martin’s image but still no sale. The segment is a funny and clever way to introduce some artists to a mass audience that may not be familiar with their work. For that, Colbert gets an A++. Click thru to watch the segment.
I am offering to erase my signature from signed books at 92nd St. Y.
Reacting to the refunding of tickets to the actor’s conversation with Deborah Solomon held at 92Y, Steve Martin has offered to erase his name from books he signed at the community center.

domain: news


IBB News Releases
- Iowa Biodiesel Board Hails $7M Infrastructure Boost, State Tax Incentive
Iowa Biodiesel Board Hails $7M Infrastructure Boost, State Tax Incentive
June 30, 2020
(ANKENY, Iowa) – Iowa Governor Kim Reynolds today announced a planned $7 million boost to the Iowa Renewable Fuels Infrastructure Program, a move applauded by the Iowa Biodiesel Board.
The IRFIP provides cost-share grants to help fuel distributors and retailers modernize equipment to include biofuels like biodiesel. Usually funded by the state at $3 million annually, the $7 million boost will come from the federal CARES Act, Reynolds said, for an expected total of $10 million for the year.
“This increased funding represents a potential quantum leap in Iowa’s distribution of renewable fuels, not just for our state, but for the entire region,” said Grant Kimberley, executive director of the Iowa Biodiesel Board. “We commend the governor for seeking innovative funding sources to expand the Renewable Fuels Infrastructure Program, which is likely to help cement Iowa’s leadership role in a national renewable fuel movement.”
Kimberley called the IRFIP a true legislative success story that has already increased retail availability of biodiesel in Iowa almost three-fold since 2015.
The governor made the announcement as she signed legislation that included extending a fuel tax incentive for diesel sold in the state containing more than 10 percent biodiesel. The IBB also commended that bill signing, which extends the 3-cent-per-gallon fuel tax differential until 2026.
Since the fuel tax differential took effect, more than half of the state’s on-road diesel fuel now contains at least 11 percent biodiesel (B11).
“Extending this fuel tax differential for B11 and higher was the top biodiesel priority for our state’s biodiesel producers and soybean farmers alike, and we thank Governor Reynolds for her unwavering commitment to biodiesel growth in our state,” he said. “All of the pro-biodiesel policies in our state improve availability for consumers while contributing to the state’s economy, including the struggling farm economy.”
A study by ABF Economics shows biodiesel supports about 3,875 full time equivalent jobs and contributes $489 million to the state’s Gross Domestic Product annually.
Biodiesel is an advanced biofuel made from agricultural byproducts and co-products, such as soybean oil. The Iowa Biodiesel Board is a state trade association representing the biodiesel industry. For more information on biodiesel, visit IowaBiodiesel.org.
Tagged As: Biodiesel, Renewable Energy,


UPDATE: Pricing has now been revealed, with substantial price-cuts across the range.
The refreshed flagship model for Skoda boasts a new interior, improved fuel consumption, new technical features and substantial price-cuts for all models.
Pricing now starts from $31,990 plus on-road costs for the entry-level Ambition; down $7000 from the outgoing model’s $38,990 starting price.
The range-topping Elegance diesel wagon now starts at $46,690, representing a $3800 saving over the $50,490 plus on-roads price for the previous model.
The model range has been simplified for 2014, with petrol-power being the only choice in the Ambition while the Elegance is available with both petrol and diesel engines.
Both models are available in either sedan or wagon (the wagon is a $1700 option), and all Skoda Superbs on-sale in Australia are matched with automatic transmissions.
The petrol option is the 118TSI 1.8 litre turbocharged engine making 118kW and 250Nm, while a 2.0 litre 125TDI engine is the diesel option, available only in the Elegance.
The 118TSI returns 7.2 l/100km (down 0.1 l/100km on the sedan) and is matched with a seven-speed DSG automatic.
The diesel option gets a six-speed DSG automatic with fuel consumption improving to 5.5 l/100km (down from 6.2 l/100km in the sedan), while power and torque for the diesel unit are listed at 125kW and 350Nm respectively.
Both engines feature brake-energy recuperation as standard, while the diesel also gets stop/start technology. The 3.6 litre six-cylinder engine and the 103TDI diesel from the outgoing model are no longer available.
Skoda says front styling has been revised “up to the A-pillars”, with a new grille, headlights, fog lights, bumper and bonnet all featuring on the updated model.
Customers choosing the Elegance over the Ambition will also get Bi-Xenon headlights with LED daytime running lights, along with LED indicators.
Rear styling includes Skoda’s trademark ‘C-shaped’ tail-lights, but rear LED lighting is now standard for the 2014 Superb.
Other exterior features include 17-inch alloy wheels on the Ambition and 18-inch on the Elegance, a new two-button control for the clever ‘TwinDoor’ boot on the sedan, and two new metallic paint finishes called Metal Grey and Moon White.
Inside, the Superb gets a new steering wheel, new interior colours, a sunroof and a handy umbrella housed in the left-rear door.
Dual-zone climate control, leather seat trim with heaters for the front and a 6.5-inch multimedia display screen are standard on both variants, while the Ambition gets an eight-speaker audio system and the Elegance gets a ten-speaker unit.
The updated Superb is now available with the latest-spec Automatic Parking Assist (standard on the Elegance), which now adds a reverse perpendicular park option to its existing parallel parking feature.
While Skoda calls its Superb model an “upper-midsizer”, it’s classed as a ‘large’ car in Australia and competes against the Ford Falcon, Toyota Aurion, Peugeot 508 and Holden Commodore in the large-car segment below $70,000.
MORE: Skoda news and reviews
Pricing (excludes on-road costs)
- Superb Ambition 118TSI $31,990
- Superb Elegance 118TSI $39,990
- Superb Elegance 125 TDI $44,990
- (Wagon option for all models adds $1,700)
Travel Pack [Ambition] $1,000
- 18” Trinity Alloy wheels
- Front Parking Sensors
- Privacy Glass [Sun Set]
Driver Pack [Elegance] $700
- Advanced Keyless Entry including Smart Start [KESSY]
- Fatigue Detection
- Sun Shade for rear side windows [manually operated]
- Interested in buying SKODA ? Visit our SKODA showroom for more information.


Marmot Brilliant Insulated Jacket – Review – The-house.com
FanBox Video Earnings
The Women's Aruna Down Jacket is a puffer-style piece designed for warmth and comfort in cold conditions. This winter-ready jacket is insulated with 600 fill power down and protected with Down Defender-a moisture-resistant treatment that keeps the coat's insulation from clumping and losing its loft when exposed to wet environments, thus increasing its ability to keep you warm when the weather takes a turn for the worse. The Aruna is also outfitted with zippered hand warmer pockets that keep your fingers toasty, and elastic-bound cuffs and hem that provide a secure fit to help keep out the cold., Fabric: 100% Polyester Ripstop DWR 1.5 oz/yd
CERTAIN CONTENT THAT APPEARS ON THIS SITE COMES FROM AMAZON SERVICES LLC. THIS CONTENT IS PROVIDED ‘AS IS’ AND IS SUBJECT TO CHANGE OR REMOVAL AT ANY TIME.


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Jim Cummings and Julia Bales were at LAX when they decided to launch the Kickstarter campaign for “Us Funny.” It had been something that was spontaneous and at the same time deeply felt, working out what it might look like if the young couple were confronted with serious milestones in their relationship perhaps before they were ready, dealing with big emotions in a playful way. Cummings had just had great success with handling such a tricky tone in his Sundance Grand Jury Prize-winning “Thunder Road,” involving a policeman’s awkward eulogy for his mother – in fact, he and Bales were headed to Oslo to present the film – and Bales, a comedy writer, was eager to stretch her creative muscles. The two thought nothing of throwing up the crowdsourcing campaign, hoping that maybe in a month they’d raise the thousand dollars necessary to shoot this thing, but by the time they landed in Norway, they were quite pleasantly surprised.
“We had already funded like 25 percent of the budget and it was like wow, this is crazy,” recalls Cummings. “We ended up making $3700 or something like that. We were very lucky. I feel like the movie would’ve just been all from a couch if we had gotten what we had asked for, but we were able to make a bigger movie.”
Perhaps the short film became bigger in terms of more locations, but one suspects “Us Funny,” which is now available on Vimeo (and right below) always had grand ambitions, once again setting Cummings up en route to a funeral before reflecting back on the moment he was going to be a father for the first time. With Bales acting from a script she wrote as his longtime girlfriend who gives him the news, it wears its heavy subject matter lightly, somehow distilling the highs and lows of a casual relationship that’s grown serious over time into a beguiling 15-minute drama that packs an emotional wallop when you realize it so precisely captures a defining moment for the pair, with a sense of loss emerging not only from how crisply the filmmakers have captured that emotion, but also because you come to love these characters so much.
These days, Cummings seems to be invested in bringing such moments to the screen, soon rolling out a series with his partner Dustin Hahn on Fullscreen called “Minutes Collection,” which move in more ways than the signature one-take style he built on from “Thunder Road.” One of them, “The Robbery,” a fiendishly clever and devilishly funny look at a liquor store heist gone horribly awry, will premiere this week as part of the Sundance Film Festival’s Midnight Shorts program and despite an incredibly busy schedule ahead, Cummings and Bales graciously took the time to talk about making these short film delights, the unusual inspiration to get “Us Funny” into production and its stealth release, as well as acting together for the first time on film.
How did “Us Funny” come about?
Julia Bales: Well, I guess…we’re dating. [laughs] When we came together as a team, Jim [mentioned] we should make a short and we thought we should do it about us, but what exactly? He said, it should be something like a conversation and then I went away and wrote a script.
Jim Cummings: Yeah, it was a really organic process making it because it was just Julia and I talking together, like acting out the scenes in car rides back from San Francisco and then we would just do that [couch] conversation a couple times, like what would it actually look like to have a conversation where the girlfriend says that she’s pregnant?
Julia Bales: And this isn’t based on a true story. [laughs]
Jim Cummings: At least not with us. [laughs] But it was just very organic. We just did it a bunch of times [informally] and then when we thought it was good enough, we got Danny Madden, our buddy who’s a filmmaker himself to come out and shoot it. We had the camera, we had this great sound dude [Jose Gallo] and…
Julia Bales: Yeah, it was just the four of us running around L.A. and filming a bunch of stuff. The short was probably 20-25 minutes initially, but we had a lot of stuff that we just cut out — and it was all fun stuff, but not necessarily key to the story and we weeded through it to get to the core, which was this couch conversation. At one point, we [thought] this could be the short, but we liked the whole thing together.
The way that couch conversation is shot – the way you use different angles and focus – is really intriguing. Did you actually run through it many times?
Jim Cummings: The way we were doing it was so simple. We really wanted to do over the shoulders and get coverage like that, but on the day, Julia and I [rehearsed] on the couch and she kept sitting up in one spot, so it was a couple different [camera] set-ups within the same scene. It was like, we’ll go up to me finding out that she’s pregnant and then she sits up and it almost becomes its own scene in and of itself, so we shot it like that, and there is a lot going on in this one small set-up. That was the appeal to me – just getting something where you can make a really compelling short film in your living room, if you focus on the right stuff. And Julia had it in the script. It just worked.
How did the hat come in? it’s silly at first, but it becomes a really effective emotional prop.
Julia Bales: Yeah, no one has said anything, but we went through so many different ones and [Jim] actually had originally a whole other outfit that was almost too ridiculous.
Jim Cummings: We were looking at people for my character in Silver Lake and Echo Park — they’re guys that wear jean shorts. I was actually referencing Daniel Scheinert of the Daniels because he sometimes wears jean shorts and tie-dye shirts and it’s a very different style, but we thought for this, it’s going to be difficult for them to have this cute relationship where you’re thinking, “Oh my God, it’s this Silver Lake kid,” so I didn’t end up doing it. I put that on the night before like an idiot – I thought I don’t think anybody’s going to like this guy. But the hat — obviously, I would never be caught dead wearing it in real life, but we did that because when he finds out that she’s pregnant, he throws that down and it’s like him giving up [his immaturity].
Julia Bales: If you haven’t had kids, you get to be a lot more selfish, so I think that was him accepting it and being like okay, I’m going to step up and do this now.
Jim Cummings: Yeah, I can’t wear this stupid hat anymore! [laughs]
There’s a very entertaining video online of the two of you singing the “Cheers” theme song together, but had you actually acted together in something like this that’s more dramatic?
Julia Bales: “Cheers” is probably the only thing we’ve done. [laughs] Jim and I have worked together a bunch, but not necessarily acting together. I think in the future we will be, and we’ve always done bits, but just not on camera.
Jim Cummings: Yeah, being in this relationship, we’re always putting on voices…
Julia Bales: I am always acting. [laughs] In order to be happy, I need to be acting.
Jim Cummings: This was the first real thing that we’ve done and we had no real reason to do anything, but we [thought] we’re pretty good, we’re good enough, let’s try it.
Julia, was that interesting to write a script that retained the voices you knew but weren’t necessarily putting yourselves on screen?
Julia Bales: Yeah, it definitely was. Having not necessarily acted on camera a lot and writing for myself is cool [at first], but then I thought [as I was writing], “Wait, is this what I’m like?” It’s like no, no, it’s fine. I really enjoyed it and I feel like they are separate versions of ourselves, but there is stuff that’s similar. The fun part was bridging the gap between the two.
Jim Cummings: Yeah, like reading the scene of me at the sushi restaurant where I get distracted and I’m on the phone and not paying attention – I am certain that we’ve had that dinner and I feel really shitty about it. [both laugh] But it’s like okay, I’m going to play the shitty boyfriend in this scene.
Julia Bales: You’re not that bad.
Jim Cummings: I’m not that bad, but again, [it was important to] manifest that on screen because that’s compelling.
I’m curious about this longer version – how did you figure out what to show of this couple to make it a whole?
Julia Bales: There was a point in the short where we went our separate ways and we hung out with a friend and chatted about things. You learn a little bit more about each person and Jim’s a little bit more like, “I’m just here to have fun…” and then I go off with my friends and it’s a little bit more foreboding about what I have to tell him later. When we were editing it, it eventually felt like it’s taking forever on the couch and the [other] stuff wasn’t necessary.
Jim Cummings: A huge amount of it was stuff that was making us laugh when we were writing. Our buddy Tony, who’s the guy that picks me up at the end, is from Philadelphia and there’s a whole scene where he comes over to drop off something and we just make fun of him for four minutes [with] us doing Philadelphia accents — the Rocky impression and all of that stuff — and it was funny to us while writing it, but we realized, “No, this movie is about this person telling somebody the first time that she’s pregnant” and [that scene] took away from it. [There were] probably 10 or 15 moments [like that that] ended up on the cutting room floor.
Julia Bales: But it’s really funny thinking about it right now — doing that scene with Tony was a big reason that we got this short done because we were so excited to do it just to make fun of him. [laughs] He knows it and we love him, but it was a kick in the head [for us, like] “Okay, we’ve got to do this. We’ve got to make fun of Tony. Let’s do this! When do we get to make fun of Tony?”
Jim Cummings: One of the three days that we shot was just making fun of Tony.
Wow, three days? It seems like you get a lot of locations in.
Julia Bales: Echo Park Lake, [Jim’s] apartment, which ended up getting cut. My apartment. Our friend Tony’s back street, which is the street light stuff. The sushi restaurant was my back patio…
Jim Cummings: [It was a] very minimal amount of locations and it was really relaxed. It was like friends coming together to make something. It was the first time we’d ever really called in favors, like “Hey, you’ve got to dress up in a suit and pretend like you’re going to a funeral,” but that was great. It was like shooting a Derek Cianfrance film where everybody’s hanging out on set having fun.
Julia Bales: Yeah, and we still had a little budget to give everyone a little something, which was important to the both of us.
How did The National song “Racing Like a Pro” come in at the end?
Jim Cummings: It’s [on] one of my favorite albums of all time and I was listening to it in my car and thought this could be a really neat ending montage song. Julia and I were playing it and we were thinking these guys should have a song together and it should be the thing she’s just doing to distract [my character], so we came up with the lines of “Oh, you learned how to play that…don’t play that right now.” So this nice little thing that instantly says this song carries weight to the two of them and he’s uncomfortable because he can’t process it well enough, so he’s thrust into it. It’s like a metaphor for the entire experience. Julia plays the ukulele and it was a nightmare to get the chords for that. We thought maybe she should get the guitar, but then we thought that’s too cheesy. Then we talked to Dan Carr, who’s Julia’s friend…
Julia Bales: He’s a director and [director of photography], but he’s also a very talented musician. and he was like on the East Coast filming something and I [texted him asking], “Hey, can you help me transcribe these chords? I don’t know what I’m doing.” He took time off of working just to do it and sent me a bunch of voice memos, [saying] “You’ve got to go A, G, C…” The way that we played it isn’t necessarily word-for-word National, but we adapted it to Jim’s voice and how it worked [as] a tempo. It was really important to me [also] that we didn’t see me playing it because I felt like it made it a little bit too [twee]. Like oh, now I’m playing a song and I have a ukulele because of course I do. But having [the focus] just on Jim makes it a little bit different than something we’ve seen before.
Jim Cummings: And there’s footage that we had to cut, but I didn’t realize… I have a beautiful voice, Stephen. [laughs]
Julia Bales: Oh my God! I don’t know, if you go back to some of the “Thunder Road” stuff, it’s a little rough. [laughs]
The stealth release of this took me by surprise, given all the success “Thunder Road” had on the festival circuit. How did you decide to just make it available online so quickly?
Jim Cummings: It got to a point where the sound editing was done …
Julia Bales: Yeah, we were just editing and editing and then [there was a point where] we did it so many times that we thought it should just go online instead of just sitting on a file.
Jim Cummings: Yeah, so we were just like, we’ll just put it online and see what happens. It’s done very well for us. [As of this writing, it’s over 30,000 views in a week.]
Julia Bales: Everyone has been so nice. I’m shocked. [laughs] It’s been great. It’s been very low-key, like we should put it up on a Wednesday and let’s just do it.
Jim Cummings: So many people have reached out just to [say], “This is great,” and there’s something cool about that. A lot of influencers put up a video every day [that gets a lot of views] and it’s no big deal, but it is strange to just be filmmakers [where] we aren’t doing stuff like that – having surprise releases. I’m always surprised when I go to a film festival and people aren’t shooting. They’re just hanging out. We’re going to Sundance this year and we’re shooting another season of the Sundance documentary that we made last year and then Ben Wiessner, a filmmaker from North Carolina contacted the two of us to be in a feature after seeing “Us Funny” that we’re going to shoot part of at Sundance, so we’re going to be busy little bees in Park City.
You’ve got a movie to premiere there too with “The Robbery.” How did that come together?
Jim Cummings: Before Sundance last year, Fullscreen reached out to us and said, “What would it look like if you were going to do a web series of ‘Thunder Road’?” I had been working with Dustin Hahn, my co-creator [on “Thunder Road”] and we were talking about doing more single-takes, one for him and [others] for a couple actors that we really like. We said, “Let’s go to Full Screen and pitch this 10-episode season of a bunch of different single takes, following around people in the 10 to 20 most important minutes of their lives. They greenlit us and we started writing it right after Sundance. We wrote ten and they bought six from us, and “The Robbery” was one of them and it’s based off [the story that happened to] a kid that went to Dustin’s grammar school – he was on drugs, living in people’s backyards and he took a taxi to rob a liquor store and tried to use it as a getaway car. This is probably mid-to-late 2000s, and it obviously didn’t go very well.
I was talking to Dustin about it and I’m like, “What does that even look like if you take a cab to rob a store and you go back outside and think you’re not going to get caught?” We were just doing it like “Fargo,” where it’s very funny, but still very realistic. We always think about crime as this clean cut thing and it’s always just horrible. So we wrote a bunch of stuff [in the scenario], like the [cashier] behind the counter has a crossbow and all these complications in the main character’s life. Initially, I was going to act in it, playing this Michael Keaton-heroin addict [like character] and then our producer and the network said, “Why don’t we cast a woman for this?” That way if we’re doing six episodes, it’ll be three women and three men, and when it was this poor young girl who’s robbing a convenience store, instantly, the stakes are raised.
We brought in a bunch of people to play the part and then we got this one audition tape for this actress Rae Gray, who was phenomenal. She actually shot her audition tape in a single take and her background was in theater, so she was able to nail all of these marks emotionally, comedically and physically and it was incredible. It was like, “I think this is our girl.” We brought her in and we shot it in 10 hours, about an hour north of Los Angeles in this strip mall. It’s brutal, it’s very funny and very hard to watch at times. I like it.
“Us Funny” is now available online here. “The Robbery” premieres at the Sundance Film Festival as part of the Midnight Shorts program on January 20th at 11:30 pm at the Prospector Square Theater in Park City, January 21st at the Broadway Centre Cinema in Salt Lake City at 6 pm, January 23rd at the Prospector Square Theater at 11:30 pm and January 26th at 7 pm at the Holiday Village Cinema in Salt Lake City.
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domain: artistic


text:
STOCKTON — The 14th Amgen Tour of California will include Stockton.
On Wednesday, organizers of the largest cycling event outside the Tour de France announced its schedule for 2019, and Stockton was selected to host the start of Stage 3 on Tuesdsay, May 14.
Riders will start at Stockton Arena and make a loop of the downtown area before they head south and then west through the Diablo Range to the finish in Morgan Hill. In 2007, Stockton hosted the start to a stage that finished in San Jose and last year, Stockton hosted the start to a stage that ended in Elk Grove. Lodi hosted stages in 2015 and 2016.
“For us, it’s just another feather in the cap success because it’s about a sense of pride that it brings to our city,” said Wes Rhea with Visit Stockton, which attracted the event. “Of course, there’s an economic impact but that’s really not the core reason why we go after Amgen and really want them to do their event in town.
“It really revolves around what it does in the way of media exposure and also just as a destination that has a sports focus. Doing a world-class event like Amgen just adds to that resume of high-quality event production that we really pride ourselves in.”
The route in Stockton in 2019 will be similar to the route in 2007, where spectators will have an opportunity to see some of the most talented and accomplished cyclists in the world speed from the downtown waterfront area along surface streets near the cinema plaza and the San Joaquin County Courthouse. The race from May 12-18 will cover 750 miles through valleys, hills and along coastlines.
“The Amgen Tour of California continues to serve as an international postcard for the state, showcasing the beauty and diversity of California,” Kristin Klein, president of the Amgen Tour of California and executive vice president of AEG Sports, said in a statement, “and the 2019 host cities certainly reflect that.”
Rhea said there will be some brief street closures and rolling road blocks on the day of the race. Race organizers and support crews will occupy about 100 hotel rooms in Stockton the night prior to the start.
Contact reporter Bob Highfill at (209) 546-8277 or email@example.com. Follow him on Twitter @bobhighfill.

domain: sports


|Age||Commit message (Collapse)||Author||Files||Lines|
This renames common layers to meta-amd-bsp as it is going to hold all
the bsps in it in the following commits.
This also changes the layer title in layer.conf from "amd" to "amd-bsp"
Signed-off-by: Arsalan H. Awan <Arsalan_Awan@mentor.com>
Use LAYERDEPENDS to list the layer dependencies appropriately.
This way bitbake will error out if the dependencies are
not added correctly.
Signed-off-by: Awais Belal <firstname.lastname@example.org>
BSP layer for the AMD Opteron A1100-Series features AMDs
first 64-bit ARM-based processor, codenamed "Seattle".
This BSP is based on Yocto kernel 3.19 and 4.1.2. The former one is used
for booting with UEFI BigEndian support while the later is used for
LitleEndian(default on ARM) boot. There are two machines defined, one for each
BSP was tested on Seattle B0 version target.
Signed-off-by: Adrian Calianu <email@example.com>


text:
Friday, 12 September 2008
Heirlooms - Just look what I found!
Well, I popped into a charity shop just before school pick up today, and stumbled upon the most amazing piece of patchwork. Take a look:
and a little closer:
What is it, I hear you ask! Well it's a single bedspread, and absolutely beautifully worked by hand, with tiny pieces patched perfectly together. There's even little horses and riders on several of the fabric shapes, perfectly centred. I hesitated in buying it only because I was thinking, well, what would I do with it?
I was a little confused because of this...
Yep, there were two. And I felt so upset. And that's when I bought both. So why was I upset?
When I find something rather special like this, I begin to wonder about its history. I figured that somebody's nan has spent weeks cutting and stitching these for her grandchildren. What other history could there be in finding a pink one and a blue one? How sad that they've ended up in a charity shop - it suggests it was very much an unwanted gift. Or perhaps there's another reason. But they certainly weren't made for the charity shop to sell them for £5 a piece.
I have to confess in my initial thoughts, I'd pondered cutting them up to make bags! Well, no way. I brought them home and examined them, and the craftship is incredible. Even more importantly, my children have laid claim to them. They all love them. I'd thought to take off the skirts, and still may, to make them into more useful throws, but at the moment the children want them left as they are. So they will become heirlooms for us. It's just sad that we weren't the intended recipients. I feel sad the person who made them won't know they've ended up in a home they are truly appreciated.
I threw the pink one over a table, and it's also a fabulous tablecloth. Anybody seen the picture in the Kaffe Fossett book where he provides instructions for making a frothy tablecloth. Well, I have my own one now, and it's made me think perhaps I won't cut the skirt off!
I then picked up two more rather special craft pieces: embroidery this time.
Both for £1. Again, beautifully handworked. It would be a boring world if we all loved the same things, but crafting like this is something else and I can't believe my luck.
As to the beautiful flowers. Well, funny thing that. Yesterday I posted about how I still loved my wonderful hubby after all these years. Now, hubby doesn't read my blog - he doesn't like the amount of time I spend online particularly. And I'm not sure he would have appreciated my being so publicly soppy about him! (I doubt he's in a minority there.) But out of the blue, these arrived yesterday!
For no particular reason at all. He just wanted to remind me he loves me. He does that sort of thing from time to time, and boy is it appreciated. I am definitely one of those girlies that loves romance and flowers and the whole soppy thing. He even remembered to ask them to include some of my favourites. And have you spotted the little butterfly the florist has popped into the arrangement? How cute is that!
I love my husband so much. Thank you, darling man. For ever x

domain: hobby


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The trial of two men who deny the murder of Lee Pettite began this week.
Eight months after the Bankfields man died, Teesside Crown Court has heard the opening of the case from the Crown Prosecution Service.
Two men are standing trial, but ahead of the hearing, another man admitted murder.
The Gazette looks at what we know so far.
Who is facing charges?
Luke Lovell, 21, of Wilton Way, Whale Hill, Eston, and Gordon Blue Smith, 32, of Laburnum Road, Teesville, are both charged with killing the 22-year-old.
The trial began on Thursday, after industrial action at Holme House Prison in Stockton delayed the start on Wednesday.
Christopher Stubbs, 20, of Tyne Street, South Bank admitted murder ahead of the trial.
What is said to have happened?
Mr Pettite died in hospital after suffering serious chest injuries in an incident in Bankfields, Eston, on Tuesday, March 1.
It is believed he sustained his fatal injuries near his home in Woodcock Close before he staggered to nearby Oakley Walk.
He was treated at nearby Flatts Lane by air ambulance crews and given a blood transfusion at the scene but later died from his injuries at James Cook University Hospital.
How did the three men end up meeting Mr Pettite?
The prosecution says Stubbs recruited Lovell and Smith to join him after arguing with Mr Pettite.
Prosecutor Nick Johnson QC said they were armed with a rifle and weapons variously described as sticks, a pole, club, cosh, crowbar, hammer or pickaxe.
He said Stubbs threatened Mr Pettite’s mother “I’m going to chop him up, I’m going to kill him, tell him” and Lovell told him over the phone he was a “dead man walking”.
He told how Mr Pettite agreed to fight with Stubbs on a field, and took a rusty machete.
What does the prosecution say happened next?
Opening the case, Mr Johnson said Lovell, Smith and Stubbs launched “a targeted, persistent and planned attack” on Mr Pettite - a man who “never really stood a chance”.
It ended with Stubbs shooting him through the back as he ran away in Bankfields, Eston at about 5pm on March 1, the court heard.
Already wounded by a shot to the foot, Mr Pettite ran “as if running for his life” from the armed trio, Mr Johnson told the jury.
A bang was heard and Mr Pettite was seen walking with a bloodied hand across his abdomen saying: “Help me. I’ve been shot.”
He fell on Oakley Walk, slumped against a lampost saying “I can’t breathe, it’s my lung” and was found with no pulse by paramedics.
A doctor carried out open chest surgery, pumping his heart manually in an ambulance at a roadside.
Crown say two men were ‘accomplices’
Mr Johnson, for the prosecution, said: “What the prosecution say is that these two before you were Stubbs’ accomplices.
“While Stubbs alone pulled the trigger, the prosecution say they’re all in it together and it’s a joint enterprise. They all intended that Lee Pettite came by at least serious harm.”
He said they fled the scene after the shooting, hid the weapons and ditched their phones.
He said the two men on trial claimed to be “observers or referees”.
They denied seeing the gun or making threats. Lovell said he went along only to ensure a fair fight. Smith said he was not really part of the chase.
What’s the next stage of the trial?
The trial is expected to last for three weeks.
Now that the prosecution has finished opening its case, evidence will be heard from potentially more than 20 witnesses. After the prosecution evidence is complete, the defence will open its case.


text:
The United States-China trade war saw the biggest round of tariffs yet on Monday, resulting in further escalation.
Namely, the Trump administration imposed another 10 percent tariffs on $200 billion of Chinese goods, including thousands of products ranging from food seasonings to industrial machinery parts. The latest batch of duties was immediately followed by retaliatory taxes of 5 to 10 percent on $60 billion of U.S. goods, including meat, clothes, and chemicals.
The moves only intensified the already serious trade conflict between the world’s two largest economies. According to Aninda Mitra, senior sovereign analyst at BNY Mellon Investment Management, this is the “’it’ll get worse before it gets better’ phase.”
The U.S. tariffs imposed so far apply to about half the amount of goods China sells to the United States, or $250 billion of goods. The latest batch of tariffs affects thousands of products U.S. consumers buy such as furniture and electronics.
The duties are meant by President Donald Trump to punish Beijing for what he believes are unfair trade practices, including intellectual property theft. China has denied such accusations, maintaining the U.S. was a bully. In response, the country has fired back with tariffs on American goods worth more than $110 billion.
On Monday, the Chinese government further accused the Trump administration of making “false accusations” and seeking to “impose its own interests on China through extreme pressure.”
The trade war is expected to intensify further with the increase in the latest tariffs from 10% to 25% at the end of 2018. Beijing has not yet disclosed how it would respond to that. President Trump has likewise threatened to impose tariffs on the rest of China’s annual exports to the U.S., which amount to roughly $506 billion.
China imports significantly fewer products from the United States but it may retaliate in other manners, experts warn. Beijing could charge higher tariffs, restrict Chinese citizens’ travel to the United States for study and tourism or reduce taxes for companies affected by the tariffs.


text:
I'm busy working on my blog posts. Watch this space!
Winterfell Revisited: "The lone wolf dies, but the pack survives"
July 14, 2017
Back in 2012, I made my first gingerbread castle. I chose to depict Winterfell, the northern seat of the Starks on Game of Thrones, because I love the books and series so much. I'm publishing it again on this new blog in honor of Season 7 premiering this Sunday. Most of the direwolves are gone now, but it looks like their humans are all converging on their ancestral home this season.


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SNEERINGLY giving the thumbs up, this thug leaves court with his freedom. Tanked up on 24 cans of lager. he launched a ferocious attack on a complete stranger.
Andrew Dalby needed 21 staple-stitches to repair the gash in his head, after he was assaulted twice by two men he had never seen before.
During the second attack he was pounded repeatedly over the head with a hammer.
And when asked why he had started the first attack, Scott Thompson, told police he was annoyed Newcastle United had been beaten that day.
Thompson, 24, of Bishop’s Road, Benwell, Newcastle, was given a suspended prison sentence by the city’s magistrates, after pleading guilty to assault by beating.
He admitted being involved in the incident on the grounds Andrew,40, had been the victim of two separate assaults and he had not played any role in the hammer attack, which followed, or the serious head injuries that resulted.
A second man has been charged with the more serious offence of wounding and is due to appear before Newcastle Crown Court.
Today, sports commentator Andrew, said: “I’m pleased that the first case has been dealt with and that Scott Thompson has been punished for what he’s done. I’m just trying to get things back to as normal as possible now but I have still got the memory of what happened to me to live with.”
Andrew, who works at Newcastle Greyhound Stadium, was on his way to the city’s bus station when his attackers struck at around 12.30am, on March 2, by the cemetery in Nuns Moor Road, Fenham.
The court heard how he was at first approached by a drunken Thompson, who shouted at him from across the street.
Tracy Plant, prosecuting said: “The defendant walked towards him swearing at him and then said ‘What are you looking at’. He began flaying his fists towards his head and he could feel blows on his head. He started backing away into the road and saw another male come towards him.”
Andrew fell to the ground and as he attempted to shield himself he felt several hard blows on the back of his head, the court heard.
“He shouted; ‘Please just leave me alone,’ five or six times,” Ms Plant continued. “This was a totally unprovoked attack on an innocent member of the public who just happened to be in the wrong place at the wrong time.”
Andrew remained conscious throughout his ordeal, but it was not until he got home he realised how badly injured he was, and called for help.
Police arrested the second attacker at the scene and a blood stained hammer was discovered in bushes nearby.
Thompson was arrested the next day.
In interview he said he had been out with his cousin and had downed 24 cans of lager.
He added he attacked Andrew because he was annoyed Newcastle United had lost that day.
Andrew O’Hanlon, defending, said Thompson had only been responsible for hitting Andrew and had nothing to do with the hammer attack.
“There were two separate attacks on this man,” he said. “What this man did in an extremely drunken state is he went up and punched a man and then ran away and that ended the incident and his involvement. The attack with the hammer is a separate attack, he played no part in that and the injuries are nothing to do with him. What he’s caused is bruising at the most.”
Mr O’Hanlon added Thompson had vowed to stop drinking since the attack.
“He doesn’t drink as a rule but he goes out and binges,” he continued. “His mum says he has not had a drink since this incident and he knows that drink has only ever got him into trouble.”
Thompson was sentenced to two months in prison suspended for 12 months, ordered to carry out 100 hours unpaid work and pay £100 in compensation.
In sentencing, the chair of the bench, said: “It is up to you now. You have to stay out of trouble.”
Andrew believes he is lucky to be alive, after being hit repeatedly on the head with a hammer. But he says the incident has made him wary about walking the streets alone.
“I’m back at work now but I’m a little bit more careful walking around Newcastle,” he said. “I take a more pessimistic view rather than an optimistic view . I have been trying to get on with my normal life and try not to let it affect me, but I have got the memory to deal with.
“As yet I have not felt terrified by it but it’s lurking there. In total the incident only lasted two or three minutes but it happened somewhere I walk in my normal day to day life six or eight times a week so I can’t get away from it.”


text:
Vincent Van Gogh | A Legacy of Light After Sadness
The short life of artist Vincent Willem van Gogh spun across the Netherlands, England, Belgium, and France in just 37 years. Sensitive, struggling with mental illness, rebellious, and declared dangerous to the public, he bounced from job to job, at last deciding to become an artist without any formal training when he reached 27.
Ten years later, he was dead. It’s a tale of a tragic life, with gritty details, and the ironic epilogue of his fame arriving after his death. Today, he’s associated with his brightly colored images of sunflowers, irises, and vibrating landscapes. There was sweetness at the heart of Van Gogh’s work, a desire to bring joy and comfort to the viewer that perhaps carried through from an early stint as a minister of the Church of Belgium. As we move into the season of sunflowers, let’s focus on the piercing beauty of his work, and how it still adds to the lives of those who enjoy it in everything from multi-media experiences to mosaic wall art.

domain: library


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Understanding the University constitutes the final volume in a trilogy – the first two books having been Being a University (2010) and Imagining the University (2012) – and represents the trilogy’s ultimate aims and endeavours. The three volumes together offer a unique attempt at a fairly systematic and exhaustive level to map out just what it might be seriously to understand the extraordinarily complex entity that is known across the world as ‘the university’.
Through examination of the conditions and possibilities underlying and affecting universities, this work offers an understanding of specific ideas of the university which can inform policies, strategies and practices in relation to the university.
This book is a must read for leaders and senior managers in universities , as well as those undertaking postgraduate studies in the policy and practice of higher education.
Table of Contents
Part 1: Planes of understanding
- Reading the university
- The great hole
- Three planes of understanding
- Seven forms of dialectic
- The possibility of possibilities
- An inevitable remainder
- The real thing
- Holding together
- Universals and particulars
- The university as agent
- Work for the visionaries
Part 2: The antagonistic university
Part 3: Glimpsing spaces
Part 4: Positive moments
Coda: On not living in the ruins
Ronald Barnett is Emeritus Professor of Higher Education, University College London Institute of Education.
"Ronald Barnett, the master scholar of the university, has produced a carefully researched and philosophically sophisticated reading of the role, status and possibilities of the university. Understanding the University is the last of the trilogy that included Being a University and Imagining the University. With this final volume Barnett revisits the Idea of the university to investigate its antagonistic nature and to ‘glimpse’ its possibilities and positive moments so that we are not destined to live in its ruins. It is a consummate work by a distinguished academic and a compelling read."
Professor Michael A. Peters
University of Waikato, New Zealand.
University of Illinois at Urbana-Champaign, USA.
"In this final volume of his trilogy on being, imagining and understanding the university, Ronald Barnett focuses on the meaning of the university: what does the university signify in a rapidly changing and increasingly globalised world? He argues that it is both a great and enduring idea and an institution capable of continual self-renewal and adaptation. Understanding the University is, as one would expect from its author, a beautifully conceived work that looks imaginatively to future possibilities while acknowledging the delicate and at times difficult balance that needs to be struck between idea and reality in any realisation of those possibilities."
Professor Jon Nixon
Hong Kong Institute of Education, Hong Kong.
"Finally a book to rescue the university from its ruins! Ronald Barnett’s latest book is compulsory reading for everyone trapped in the spiral of accelerating higher education change with deep concerns about the future of the university. Understanding the University invites us to pause to consider the fundamental task of what an enquiry into truly understanding the university might look like. Employing anti-binary devices such as creatively using critical theory while turning it on its head, he leads us simultaneously through three planes which move us downwards into the deep, generative structures of the university, across its empirical features and upwards, into a future ripe with potential. The supreme accomplishment of the book is its ability to hold together in delicate tension the antagonisms within these planes; as well as the criticism, optimism and utopia which is so necessary to help us navigate through the perniciousness of the contemporary university in order to understand the university by virtue of its possibilities."
Professor Rajani Naidoo
University of Bath, UK
"Understanding the University: Institution, Ideas, Possibilities is an intriguing, provocative and disruptive philosophical inquiry that summons its readers to understand the modern, turbulent 21st century university in terms of its forms (ideas, concepts) and their manifestation in empirical paraphernalia (institutions, buildings). The thrust of Ronald Barnett’s persuasive argument is that misunderstanding the notion of university could engender spurious and parochial dystopias of the university’s practices and in turn, ruin its potentialities, enlarged spaces and imaginative possibilities."
Professor Yusef Waghid,
Stellenbosch University, South Africa.
"Ronald Barnett’s book is a story of hope for the future of the university. It is a hope that is grounded in realism because it starts with the university as it is now. He shows how we can re-envision the university by imagining feasible possibilities through being clear about the values and concerns that matter."
Professor Leesa Wheelahan
University of Toronto, Canada.
"Understanding the University is a book of exemplary clarity in showing how to understand the university and showing, too, how it is often misunderstood. The university is both always more than it seems to be, and yet always less than the ideas held of it. Ronald Barnett offers no less than a convincing invitation to step outside the ruins of the old university while taking their abandonment as an incitation to engage in an imaginative effort to create the university anew."
Professor Jan Masschelein
University Leuven, Belgium


Australia asks BCCI to shift Kanpur Test due to inapt international facilities
Sydney: Australia has urged the Board of Cricket Control in India (BCCI) to shift a Test match from Kanpur to some other venue during their upcoming tour due to lack of international facilities.
According to the Sydney Morning Herald, an inspection team from Cricket Australia (CA) and the Australian Cricketer’s Association (ACA) concluded that the amenities at Green Park in Kanpur, which has not hosted a Test since 2009, were inapt.
The Test match is expected to be moved to Hyderabad, however, there are few political hindrances to be sorted out before this can happen.
ACA chief executive Paul Marsh said neither they nor the CA were interested in playing at Kanpur, and added that the BCCI has been informed but no definitive response has been achieved yet.
Marsh added that the change-room facilities are not up to international standard at Kanpur and there are various issues with the outfield and the pitch.
Marsh said the main hurdle is that there is a lack of certain facilities that they would expect to be in place for international cricket.
Green Park is the only Test venue in India owned by the state government rather than the cricket board, and the Uttar Pradesh Cricket Association is likely to be compensated with another match, probably a one-day fixture, if the Test is moved.
It`s understood the pre-tour assessment team was also unhappy with the only five-star hotel in Kanpur. The four-Test series in February and March, Australia`s last Test series before the Ashes, also includes Delhi, Mohali and Chennai.
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US 20040204042 A1
Personal audio relay apparatus includes a mobile telephone and a portable audio signal source device such as an MP3 player. Once a telephone call has been established a user can operate the control means causing the telephone to receive at telephone input audio programme material over line from the audio source. This allows the remote party at the other end of the telephone call to hear the audio programme. As well as allowing music to be shared the arrangement serves to provide music to the remote party when they are placed on ‘hold’ thereby allowing a party to know that the call has not been terminated. During this time, audio input from the normal telephone microphone may be muted.
1. Personal audio relay apparatus comprising:
a mobile telecommunications device for supporting a telecommunications link and having at least one input;
a portable audio signal source device having at least one output; and
wherein said mobile telecommunication device and said audio signal source are responsive to the control means to establish a signal path between the at least one output of the audio signal source and the at least one input of the telecommunications device to relay audio signals from the audio source device over a telecommunications link.
2. The apparatus of
3. The apparatus of
4. The apparatus of
5. The apparatus of
6. The apparatus of
7. The apparatus of
8. The apparatus of
9. The apparatus of
10. The apparatus of
11. A garment featuring the personal audio relay apparatus of
12. The garment of
 The present invention relates to portable audio equipment and particularly, but not exclusively to such equipment having telecommunications capability.
 Mobile telecommunications apparatus is now an everyday part of many people's lives. As the adoption of mobile telephones has become more widespread these devices are often being used to make social calls and not just for business communications. Some telecommunication service providers offer packages which include low cost or tariff free call time which further encourages the activity of making social calls.
 People who travel will often carry a mobile telephone and a portable audio device such as a cassette player or compact disc player. People often share a taste in music and the task of trying to describe a newly acquired sound recording to a friend can be difficult. It is much easier just to play the recording to them. However, when doing this over the telephone using conventional portable audio reproduction devices the requirement to hold the audio source (headphones or loudspeakers) against the telephone mouthpiece results in a catastrophic loss in sound quality. Because this approach necessitates the transmittal of audio over the air interface from the audio device speaker to the telephone pick-up transducer, loss of sound quality is even more severe if there is background environmental noise.
 It is an object of the present invention to provide an arrangement which allows the transmittal of audio over a telecommunications link while minimising the loss of sound quality while doing so.
 In accordance with the present invention there is provided a personal audio relay apparatus comprising:
 a mobile telecommunications device for supporting a telecommunications link and having at least one input;
 a portable audio signal source device having at least one output; and
 control means,
 wherein said mobile telecommunication device and said audio signal source are responsive to the control means to establish a signal path between the at least one output of the audio signal source and the at least one input of the telecommunications device to relay audio signals from the audio source device over a telecommunications link.
 Thus by directly connecting together the output of the audio signal source device with the input of the telecommunication device the sound quality of the audio programme material deteriorates to a lesser extent than would be the case using similar apparatus but not benefiting from the present invention.
 In one arrangement the at least one output of the audio signal source device provides audio signals in an analogue format and said at least one input of the telecommunications device receives said signals in the said analogue format. In another arrangement the at least one output of the audio signal source device provides audio signals in a digital format and said at least one input of the telecommunications device receives said signals in the said digital format.
 The mobile telecommunications device and portable audio signal source device may be integrated.
 Further features of the present invention are recited in the attached claims to which reference should now be made and the disclosure of which is incorporated herein by reference.
 The present invention will now be described by way of example only with reference to the Figures of the accompanying drawings in which:
FIG. 1 is a schematic representation of components of the present invention; and
FIG. 2 shows a garment incorporating the apparatus of the present invention.
 With reference to FIG. 1, personal audio relay apparatus 1 is provided in the form of a mobile telephone 2 having an antenna 3. The mobile telephone is provided with an audio output transducer 4 for the user to listen to when making a telephone call and an audio input transducer 5 for the user to speak into when making a telephone call, and the user voice input is represented by reference numeral 6. The mobile telephone is also provided with a further input 7 which is connected via line 8 to an audio output 9 of a portable audio signal source device 10. Control means 11 is connected to the mobile telephone 2 and audio reproduction means 10 by control lines 12 and 13 respectively to control the operation of the telephone 2 and signal source device 10.
 Once a user has established a telephone call using the telephone 2, the apparatus is configurable in response to the control means 11 at the command of the user to route the output of the audio signal source device 10 over the telecommunications network via the telephone 2. This is performed by the user operating the control means 11 which generates a command on control line 12 instructing the telephone 2 to accept audio programme material provided at input 7 via line 8 and to transmit the audio programme via antenna 3 over the telecommunication network to the destination. Thus the programme material may be reproduced at the remote end of the telecommunications link. Alternatively, once a user has established a telephone call using the telephone 2, activating the audio signal source 10 to cause reproduction of audio programme material causes a control signal to be sent over control line 13 to the control means which then instructs the telephone 2 over control line 12 to accept audio programme material provided at input 7 via line 8.
 While the telephone 2 is accepting audio programme material at input 7 via line 8, signals from the audio input transducer 5 of the telephone may be muted. Alternatively signals from the input 7 and the audio transducer 5 may be combined and relayed over the telecommunications network, as will be appreciated by the person skilled in the art.
 The control means 11 may be an integral part of the telecommunications apparatus 2 or the audio signal source device 10. Indeed the telecommunications apparatus 2 and audio signal source device 10 may be an integral device or system.
 The present arrangement allows people to share music over a telecommunications link. However, the arrangement also allows one party to the telephone conversion to put the other party on ‘hold’ and at the same time relay music to the latter party which has the advantage of indicating to the remote party that the call has not been terminated.
 The audio signal source device 10 can be one of a number of equipment types including a cassette player, radio receiver, compact disc player, mini-disc or so called MP3 player.
 Where the programme material is provided to the input 7 of the telecommunications apparatus 2 in an analogue format, it will be transmitted by the telecommunications apparatus as a normal voice call and therefore can be listened to at the remote end using a normal telephone receiving equipment.
 Where the programme material is stored in digital format, it may be provided to the input 7 of the telecommunications apparatus 2 in either an analogue or digital format. Where an analogue format is employed the situation will be as mentioned in the above paragraph. Where a digital format is employed there are further possibilities for operation as it will be possible in some arrangements to transmit the programme material over the telephone link digitally for instantaneous, near instantaneous or subsequent reproduction at the remote end of the link. Such an arrangement would require remote apparatus capable of decoding and reproducing such digital information, such as an MP3 decoder or the like. This arrangement has the potential to offer improved audio quality at the remote end of the telecommunications link.
 With reference to FIG. 2 the personal audio relay apparatus 1 may be integrated either wholly or partly with a garment 20. Garment 20 is provided with pockets, connectors or the like for receiving the audio relay apparatus 1 of the present invention. In the arrangement shown the apparatus is distributed with the telephone 2, audio signal source device 10 and control means 11 provided as separate components. The control means 11 is provided with a keypad for the user to operate the apparatus. The garment 20 is provided with integral wiring (not shown) and connectors (not shown) to connect the telephone 2, audio signal source device 10 and control means 11 together. Preferably the connectors allow the equipment to be attached and removed from the garment easily for cleaning of the garment, exchange of equipment components and use of the equipment components either separately or with other garments.
 From reading the present disclosure other modifications will be apparent to the person skilled in the art. Such modifications may involve other features which are already known in the design, manufacture and use of systems and devices and component parts thereof and which may be used instead of or in addition to features already described herein.


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Matt Goldish. Jewish Questions: Responsa on Sephardic Life in the Early Modern Period. Princeton: Princeton University Press, 2008. lxiii + 180 pp. $60.00 (cloth), ISBN 978-0-691-12264-9; $22.95 (paper), ISBN 978-0-691-12265-6. Reviewed by Matthias Lehmann (Indiana University) Published on H-German (June, 2009) Commissioned by Susan R. Boettcher Responsa for the Diaspora Sometime in the mid-sixteenth century, Simeon, a Jew from India, roamed the cities of the Ottoman Balkans in order to track down Jewish men from his homeland who had abandoned their wives in order to secure writs of divorce from them so that the women would be free or remarry according to the stipulations of Jewish law. Three months later, one of those Indian husbands, Levi, declared that he was in reality not called Levi at all, and that Simeon had first intoxicated him with wine and then tricked him into signing a divorce using the name of Levi, thus setting free a married woman he had never known. In response to this accusation Simeon claimed that he had surprised Levi when he stole money from another Jew and threatened to expose him, which had apparently caused Levi to take revenge and, in turn, accuse Simeon of arranging a fraudulent divorce. This is one of the intriguing cases from the early modern Sephardic diaspora collected in Matt Goldish's Jewish Questions. Goldish presents forty-three such rabbinic responsa in a lucid English translation, arranged thematically in five different parts and accompanied by brief introductory comments. Responsa--legal opinions that rabbis wrote in response to a problem of Jewish law posed to them--have long constituted an important source for the writing of Jewish social and cultural history. Often, as Goldish points out, rather than the resolutions, it is the questions posed that prove to be of most interest to the modern historian. Though typically edited and redacted, they preserve the details of cases that speak to everyday problems encountered by Jews in past centuries and provide information that would otherwise never have come down to us. Many of these cases, like the one cited above, involve the problem of abandoned wives, or "grass widows" (agunot, in Hebrew) who cannot remarry because the fate of their husbands cannot be established with certainty, or because the husband refuses to grant a divorce. The study of responsa literature opens a window on the daily lives of Jews in the past and they provide some insight into the experiences of ordinary men and women beyond the literate elites who typically dominate the historical record. What Goldish sets out to do in this book is not to write a historical study and analysis but rather to provide the texts of a sample of rabbinic responsa from Sephardic communities in the early modern period, something that will be welcomed by teachers and students of early modern Jewish history, but probably also by professional historians of European or Ottoman history who do not typically work with Hebrew source material. Goldish divides his selection into a number of thematic sections ("Life among Muslims and Christians," dealing with relations between Sephardic Jews and their non-Jewish neighbors; "Trade and Other Professions," speaking to the economic history of Sephardic Jews; "Life within the Sephardic Community," focusing on the internal workings of the Jewish community and the conflicts that arose; "Ritual Observance and Jewish Faith," among which a number of cases deal with former conversos, forced Jewish converts to Christianity from Spain and Portugal; and "Marriage, Family, and Private Life," providing insights into issues such as suspicious pregnancies and rather unorthodox sexual encounters). Sometimes topics overlap, of course, but overall the thematic organization of the material works well. Foregoing a chronological order, Goldish is able to focus the reader's attention on the longue durée of early modern Sephardic history, and not organizing the material geographically, for example into an eastern and a western Sephardic diaspora, he is able to emphasize the interconnection between the various parts of the Sephardic world throughout this period. Without making this a focal point of his discussion, Goldish also addresses a broader question about the scope and periodization of Sephardic history in his very useful introduction. The question of what "Sephardic" Jewry actually includes, as well as the idea that there is something like an "early modern" period in Sephardic history, are discussed quite controversially in the field. Goldish makes a convincing case when he defines "Sephardic," for the purpose of his book, in purely linguistic terms (any community in which Spanish/Judeo-Spanish or Portuguese in some form was used by the Jews), rather than trying to distill some kind of Iberian Jewish cultural essence or falling back on the approach, advocated most recently by the French scholar Shmuel Trigano, that defines "Sephardic" purely in terms of a specific Jewish legal tradition. Chronologically, it makes sense to begin with the summary expulsion of the Jews from Spain in 1492 (though the Sephardic diaspora certainly predates this year), and finish around 1750 when, as Goldish puts it, "a certain shift in the pattern of Sephardic life" occurred, marked by a decline in the economic standing of the Sephardim in West and East and by a decline in rabbinic authority (p. xiv). One could add that the coherence and interconnectedness of a Sephardic diaspora that emerges from the pages of Goldish's book also gives way in the mid-eighteenth century to a greater degree of cultural difference (and awareness of such differences) between Sephardim in the Atlantic world and those in the Ottoman Mediterranean and Morocco. Goldish's introduction is a very useful overview of the history of the Spanish and Portuguese Jews and their diaspora communities that emerged in response to the Inquisition and expulsion. There are a few oddities, to be sure: "the Jews [in the Middle Ages] were no less Spanish than the Christians and Muslims among whom they lived" (p. xix)--but it is by no means clear, of course, what "Spanish" meant in this medieval context, nor do historians of medieval "Spanish" Jewry today seem to believe that there was a pan-peninsular Jewish identity. Elsewhere, Goldish suggests that the Ottomans valued the Jews as settlers "because they had no nationalist agenda" (p. xxviii)--but nobody, of course, had a "nationalist" agenda in the Ottoman Empire of the late fifteenth or early sixteenth centuries. Also the map provided (of Europe and the Mediterranean, ca. 1700) is a bit quirky: it includes a "Holy Roman Empire" and a "Kingdom of Hungary," but students will try to find the confines of the "Habsburg Empire," which appears in the text, in vain. Overall, though, the introduction achieves what it sets out to do: to set the stage for a compelling collection of primary sources and to orient the non-specialist reader and student by providing just the right amount of general background knowledge. The strengths of the volume notwithstanding, it would have been useful had Goldish included a more thorough discussion of the reliability and possible pitfalls of the historical use of the responsa. Goldish briefly explains how the questions originally posed to rabbinic authorities would have been edited and abbreviated before being published in the printed collections of responsa he uses. He also acknowledges that sometimes the cases discussed by the rabbis would be entirely fictitious, and simply provide a starting point for the discussion of complex legal issues. I believe, however, that Goldish simplifies matters when he argues that such made-up cases are "easy to recognize ... it is usually clear when he [the author] is doing so anyway because the question lacks all specificity or extraneous detail that does not speak directly to the legal case" (p. iii). It seems to me that this claim is not necessarily true. Consider the following case presented by Goldish from Moses Hagiz's responsa collection Shete ha-Lehem, originally published in 1733 (pp. 139-142). It deals with an individual who commits adultery with the wife of the local cantor. He despoils the cantor of everything he possesses and the adulterous couple moves to Spain (which means that they would have to live as Catholics and thus commit the sin of apostasy, or idolatry). When they run out of money and get into trouble with the Inquisition, they relocate to London. There, the former husband divorces his wife, comes to depend on charity, and shortly thereafter dies out of sorrow and suffering (that is, the adulterer is eventually responsible for spilling blood, or murder, as well). The evildoer, however, eventually moves to another city and when confronted with his former misdeeds he convinces a rabbi to sign a statement--dated 1725--that he has repented in public, acknowledged his guilt, promised not to relapse into sin, and to grow a beard. On the face of it, we have here a rather dramatic example of social deviance, and the details provided (the references to Spain, the Inquisition, and London) point to communities of former conversos established in western Europe. The text even cites a document dated 1725 (and another one, dated 1728)--all details that, according to Goldish, should not be expected in a fictitious case. It so happens, however, that Hagiz had already described a template of this same case twenty years earlier in his Eleh ha-mitsvot (1713), where he spoke of someone who stole another man's money and wife and went to live in a foreign land while the husband died after losing both his wife and money. None of the details that would suggest a specific historical context in the later responsum (the reference to Spain and London, the year) appear in this earlier work. In fact, Eleh ha-mitsvot was published long before the years cited in the responsum, so that the case discussed in the responsum could not have been the basis for the general discussion of the laws of repentance in Eleh ha-mitsvot. Upon closer analysis, then, one has to wonder whether Hagiz made this case up for the sake of discussing when and under what conditions repentance was to be considered legally valid. It is certainly suspicious that the individual discussed happens to transgress all three of the major prohibitions for which rabbinic law suggests no act of repentance is sufficient (murder, adultery, and idolatry). I am not suggesting that Goldish should not have included this case, but it would have been useful to provide a more thorough discussion of the historicity of the problems described in the responsa. It seems to me that there are clearly more alternatives than that these cases are either "real" or "made up." The example from Hagiz's responsa collection could very well be a composite of various cases, to suggest just one alternative reading. Moreover, even if a case turns out to be fictitious, it may well be just as relevant for historical analysis as a "real" one, as it still indicates what values were seen as important and what practices were seen as requiring attention by the rabbis. Finally, it seems reasonable to assume that even the fictitious cases had to appear at least plausible to the contemporary rabbinic authors, and consequently, although they may not always "reflect" social reality, they indicate something about social reality nonetheless. Despite these considerations, Goldish's collection of texts is clearly an important and welcome contribution that will be a great resource for the teaching and study of early modern Jewish history and that will bring the importance of rabbinic responsa as a historical source to the attention not only of students, but also of professional historians in adjacent fields. If there is additional discussion of this review, you may access it through the list discussion logs at: http://h-net.msu.edu/cgi-bin/logbrowse.pl. Citation: Matthias Lehmann. Review of Goldish, Matt, Jewish Questions: Responsa on Sephardic Life in the Early Modern Period. H-German, H-Net Reviews. June, 2009. URL: http://www.h-net.org/reviews/showrev.php?id=24066


It Could Soon Be Easier For The Media To Expose Dark Money Donations By Government Contractors
In the years since the Supreme Court's 2010 Citizens United decision, political spending has skyrocketed, much of it in secret. The ruling has kept the media and public from knowing where this “dark money” comes from and what conflicts of interest exist. However, if President Obama decides to issue an executive order requiring contractors to disclose their political donations, as he is reportedly considering doing, journalists will soon be able to expose the hidden relationships between contractors and elected officials.
Citizens United opened the financial floodgates to dark money groups - organizations that raise unlimited money from donors to pay for political advertising and campaign organizing but are not obligated to disclose where the money came from. The decision has allowed corporations and wealthy individuals to have enormous influence over elections because it allows them to get around the legal direct donation limits to candidates and parties, creating what many view as a corrupting influence.
As a recent New York Times editorial noted, President Obama is considering issuing an executive order that would force federal contractors to disclose donations to dark money groups. The editorial, which advocated for an order “requiring federal contractors to disclose their donations to political candidates,” also noted that House Republicans are currently crafting legislation to further decrease transparency in political spending. Because of entrenched Republican opposition to campaign finance reform, the proposed executive order requiring disclosure on the part of federal contractors may be the only forthcoming measure to address the crisis of money in politics.
[Center for Responsive Politics, accessed 7/14/15]
Some of the larger implications of the Citizens United decision and the ability of federal contractors to skirt federal law have been the subject of investigative reporting by national media, who have looked into the origins of dark money groups. But federal contractors' political spending has received little coverage, mostly because so little reliable information is available, given the secretive nature of the donation process. That is slowly changing, thanks to a renewed push by media outlets and advocacy groups for executive action to force contractors to disclose donations. Their efforts could soon produce results and give media the power to report on how contractors try to gain influence by supporting candidates through dark money groups.
Citizens United gave federal contractors a huge incentive to contribute to these third-party groups as a way to curry favor with politicians who award lucrative government contracts. Washington hands out hundreds of billions of dollars annually in federal contracts and grants, and a vast majority go to large corporations. According to the Brennan Center, “Since 2000, the top 10 federal contractors have made $1.5 trillion from the government.” In some states, these federal contractors are an outsized influence on the local economy.
Though the law says 23 percent of federal contracts must go to small businesses, large defense contractors like Lockheed Martin and Raytheon have found ways to qualify as small businesses in certain circumstances. Nine of the top 10 contract winners so far this year have been defense contractors whose political action committees (PACs) were among the largest contributors to federal candidates in the first quarter of 2015:
Requiring contractors to disclose donations would not only affect companies that survive off of federal contracts, like many defense firms, it would also shed light on companies for whom contracts are only part of a larger business model, such as the billionaire Koch brothers-controlled Koch Industries, which has a history of winning federal contracts.
The potential conflict of interest inherent in allowing contractors to donate to politicians who decide which companies get government contracts was acknowledged as far back as 1940. As The Brennan Center for Justice's Ciara Torres-Spelliscy reported, the 1940 Hatch Act made it illegal for contractors to donate “directly or indirectly to make any contribution of money or other things of value, or to promise expressly or impliedly to make any such contribution to any political party, committee, or candidate for public office or to any person for any political purpose or use.” However, courts have decided that a contractor may set up its own super PAC as a separate entity to get around the Hatch Act. As the Brennen Center explained in a report on one of the legal challenges to the law:
In 2013, Public Citizen launched a complaint against Chevron for giving $2.5 million to a super PAC called the Congressional Leadership Fund (CLF). This expenditure was the largest one from a for-profit publicly traded company in the 2012 election cycle.
This should have be a slam dunk of a case since Chevron is a government contractor covered by the Hatch Act. But the FEC did not see it that way. As Mother Jones reported, “The FEC bought the company's argument, which is that Chevron Corporation (the organization that donated to CLF) and Chevron U.S.A. (the organization with government contracts) are entirely different entities.” It did not matter that Chevron U.S.A. is 100 percent owned by Chevron Corp. Now it is open season for government contractors to spend in federal elections since all they have to do is spend through a different subsidiary. The Hatch Act is now barely worth the paper it's written on if this is how the FEC is going to “enforce” it.
And while super PACs are transparent, listing publicly where they got their funds, the donors to super PACs can be dark money conduits like 501(c)(4)s or 501(c)(6)s. Consequently, federal contractors could be hiding among the donors of $600 million in dark money that has been spent in the past four years.
While an executive order would not eliminate contractors' ability to donate to dark money groups, as the Brennen Center points out, it would give journalists and citizens a clearer view into which organizations are supporting which candidates, and could go a long way toward deterring corrupt pay-to-play practices:
Such disclosure [of federal contractor's donations] would not bring all dark money to light, but it would expose a type of dark money that should be especially troubling: campaign contributions that could have been given to influence a contract awarded by the government.


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playing an amazing back to back DJ set. They also included some more techno music bangers.You can watch the full set, best moments and the track list below.
Charlotte de Witte (born 21 July 1992) is a Belgian DJ and record producer, best known for her "dark and stripped-back" brand of minimal techno and acid techno music. She has previously performed under the alias Raving George. She is the founder of the label KNTXT.
On February 5, 2021, she announced her engagement to Italian techno DJ and producer Enrico Sangiuliano via social media
Enrico Sanguliano is a name you will have noted if you have been anywhere in the electronic music scene for the last few years. Starting out as a sound engineer in Italy, he started to produce electronic music in the 90’s.The perfectionist he is, every improving his production skills, “Astral Projection” was a heady eurphoric style of techno to come from the Italian producer.
The Age of Love" is the 1990 self-titled track by Age of Love. It is notable as an early (but far from being the first) popular example of trance music.
Released as a single in 1990 on the Belgian label Diki Records, it was produced by Bruno Sanchioni and Giuseppe Chierchia from Italy, with vocals by Karen Mulder.
In 1992, the React label released Jam and Spoon's "Watch Out for Stella" remix, which gained more popularity than the original track and opened up opportunities for remixes by artists such as Paul Van Dyk,] and Garry Creen in 1997. 'Watch Out for Stella' was a reference to Jam and Spoon's own track "Stella" which was released around the same time on their 'Tales from a Danceographic Ocean EP' on the legendary Belgian label R&S Records. Stella is the name of Jam aka Jam El Mar's daughter.
To this day, the track continues to be remixed and featured on compilations.
01. [00:02:00] Luca Agnelli - Blow
02. [00:04:01] Other Form - Further Still
03. [00:08:45] Mattia Saviolo - ID [unreleased]
04. [00:13:17] Re:Axis - Beyond Illusion
05. [00:16:54] Enrico Sangiuliano - A Further Existence
06. [00:22:27] Charlotte de Witte - Waves [unreleased]
07. [00:27:00] Tømas Sinn - No Words
08. [00:30:45] Charlotte de Witte - RPM
09. [00:35:39] Ackermann ft. Raphael Dincsoy - Jack Dat
10. [00:38:17] Tin Man - Nanneo (Marco Faraone Floor Mix)
11. [00:41:48] Age Of Love - The Age Of Love (Charlotte de Witte & Enrico Sangiuliano Remix)
12. [00:47:43] Charlotte de Witte - ID [unreleased]
13. [00:55:16] ID - ID
14. [00:57:37] ID - ID
15. [01:02:29] Y-NØT - Crave (Mython Remix)
16. [01:06:20] ID - ID
Best moments and Age Of Love - The Age Of Love (Charlotte de Witte & Enrico Sangiuliano Remix)


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During her tenure at MLML, alumna Erin Loury ’11 researched the impacts of marine protected areas (MPAs) on the trophic ecology of gopher rockfish. In the decade since she graduated, Erin has conducted research on fisheries throughout the world and now works as the Communications Director & Fisheries Biologist at the environmental consulting company FISHBIO.
SJSU/MLML research faculty member and ghost shark expert Dr. David Ebert is featured in a new article from the New York Times about the race to study these mysterious deep-sea fishes before they disappear forever.
Nearly half of the ghost shark species known to science were discovered only during the past two decades. “We’re just now starting to figure out that there are a lot more of these things around than we realized previously,” said Dr. Ebert, whose lab, the Pacific Shark Research Center, has been credited with the discovery of over 20% of the known ghost shark species.
Read the NYT story by Annie Roth here.
Congratulations to SJSU/MLML research faculty member Dr. David Ebert of the Pacific Shark Research Center on the publication of his latest book, titled “Field Guide to Sharks, Rays & Chimaeras of Europe and the Mediterranean”.
The book was published this week by Princeton University Press and features comprehensive descriptions and illustrations of all 146 species of sharks, rays, and chimaeras found in the northeast Atlantic and Mediterranean Sea. Learn more and purchase the book here.
Get a crash course in shark science and conservation with a pair of talks by researchers from the Pacific Shark Research Center: Program Director Dr. Dave Ebert, who has made finding “lost” sharks his life’s work, and Shark Week’s Vicky Vásquez, who named the ninja lanternshark. Head to the planetarium at 6:30pm for a spin around the world and learn about some of the new shark discoveries over the past year with Dr. Dave Ebert. Then, travel to some of the Pacific Ocean’s most remote islands and marine national monuments during a special screening of Hidden Pacific, followed by a panel featuring its director, Ian Shive, and hosted by David McGuire, Shark Stewards founder and director. Elsewhere, rub elbows with other ocean conservationists who are working to protect threatened shark populations near home.
More info here.
Thursday, October 3rd 6:00 pm - 9:30 pm
October 30th is International Ghost Shark Day! How to Celebrate with MLML:
Read a Forbes article quoting MLML graduate student Amber Reichert of the Pacific Shark Research Center:
Visit PSRC at Sharktoberfest NightLife
MLML's Pacific Shark Research Center will be at the California Academy of Sciences on October 4th for their Sharktoberfest NightLife Event. Come ask all your shark questions, or attend one of their talks:
7pm: MLML Grad Student Vicky Vasquez will speak about being the first researcher to identify the elusive Ninja lanternshark.
9pm: MLML Faculty Dr. Dave Ebert has a talk titled “State of Emergency: Searching For Sri Lanka’s Lost Sharks”
MLML's Dr. Dave Ebert of the Pacific Shark Research Center has been featured on a number of news stories related to sharks in the Monterey Bay.
Read and watch the stories below:
- ABC Bay Area News: Criminal investigation into what killed great white shark that washed up on Santa Cruz Co. beach
- ABC Good Morning America: Great White Shark sightings in Monterey Bay
- KSBW: Shark warning issued in Santa Cruz County
- Live Science: A Dead Great White Shark on a Santa Cruz Beach Leads to a Criminal Investigation
- NBC Bay Area: Close Call: Shark Swims Within Feet of Kayaker in Monterey Bay
- SFGate: Kayaker paddles with a dozen great white sharks off coast near Santa Cruz
Friends of the Pacific Grove Public Library
Meet the Author: Dave Ebert
Date: February 22nd, 2018, 7:30pm - 9pm
Doors Open: 7:20pm
Admission: requested donation of $10


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Brooke Moore Biography
Brooke Moore is a famous American journalist serving at 2News in Dayton, Ohio, United States of America. As of now, Brooke is serving for WDTN-TV in Dayton as an evening anchor. Before, she served as a morning show reporter from 2011 to 2014 prior to being the co-anchor of 2 News TODAY in December 2014.
During her spare time, Brooke loves going to the movies, cooking, drinking coffee, reading, traveling to any place with a beach, and.
Brooke Moore Age
Brooke Moore was born on August 28 in Dayton, Ohio, United States of America. She is around 36 years old.
Brooke Moore Height
Brooke is a woman of medium stature and stands at a height of 5 feet 3 inches (approx. 1.5 m).
Brooke Moore Family
Brooke Moore was born and brought up in Dayton, Ohio, in the United States of America by her parents, Ron and Tina Moore of Oakwood.
Brooke Moore Education
She matriculated at Sinclair Community College and graduated with an Associate’s degree in Communication, General in 2008. Additionally, she graduated with a Bachelor of Arts degree in Mass Communications with a specialization track in Broadcasting from Wright State University in 2010.
Brooke Moore Husband
She is blissfully married to her beloved husband called Andrew A. Sedlak, a son of Joyce Sedlak and Alan Sedlak. The duo tied the knot on October 4, 2017, in Dayton. Nonetheless, there are no available details if the pair has children or not.
Brooke Moore Salary
She pockets a satisfactory salary of $ 78,523 per year. This is according to WDTN-TV anchors’ salaries.
Brooke Moore Net Worth
Brooke Moore has piled up a hefty fortune over the years she has worked and has an estimated net worth of $2 million.
Brooke Moore Career
Brooke is serving at 2 News, WDTN-TV as an evening co-anchor. She restored Katie Ussin who is among the lead anchor slots at the local NBC affiliate. Before becoming an evening anchor in 2017, Brooke served as a morning news anchor from December 2014 to 2017.
She joined 2 News in August 2010 as a morning reporter and an associate producer. While in that position, Brooke wrote content for the morning newscasts and brought extraordinary breaking news skills. Furthermore, she was responsible for up to eight live reports per morning, writing and booth a newscast when needed as well as turning a package to run in a later newscast.
Julia LeBlanc Bio, Age, Height, Husband, Salary, Net Worth, Fox61


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Suppresses Src-dependent tyrosine phosphorylation and activation of PDPK1 and its downstream signaling. Additionally we are shipping NPRL2 Proteins (4) and many more products for this protein.
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Human Polyclonal NPRL2 Primary Antibody for ELISA, WB - ABIN408699
Ueda, Kawashima, Ohtani, Deng, Ravoori, Bankson, Gao, Girard, Minna, Roth, Kundra, Ji: The 3p21.3 tumor suppressor NPRL2 plays an important role in cisplatin-induced resistance in human non-small-cell lung cancer cells. in Cancer research 2006
Cow (Bovine) Polyclonal NPRL2 Primary Antibody for WB - ABIN2784227
Ewing, Chu, Elisma, Li, Taylor, Climie, McBroom-Cerajewski, Robinson, OConnor, Li, Taylor, Dharsee, Ho, Heilbut, Moore, Zhang, Ornatsky, Bukhman, Ethier, Sheng, Vasilescu, Abu-Farha, Lambert, Duewel et al.: Large-scale mapping of human protein-protein interactions by mass spectrometry. ... in Molecular systems biology 2007
This study demonstrated that NPRL2 mutation in familial focal epilepsies and focal cortical dysplasia.
Data confirmed NPRL2 was downregulated in gliomas. More importantly, NPRL2 was able to inhibit cell proliferation in vitro and repress tumorigenicity in vivo, suggesting its role as a tumor suppressor.
The positive regulation of mTORC1 activity by NPRL2 is mediated through NPRL2 interaction with Raptor (show RPTOR Antibodies).
NPRL2 mutations are significant cause of focal epilepsy.
NPRL2 acts as a functional tumor suppressor in colorectal cancer cell lines.
NPRL2 enhances sensitivity to oxaliplatin in colon cancer cells.
Decreased expression of NPRL2 is associated with renal cancer.
NPRL2 mRNA blood levels could be a potentially useful marker for the detection of early stage adenomas and colorectal cancers.
Results provide a set of genetic and biologic proofs that TUSC4 functions as a bona fide tumor suppressor by regulating the protein stability and function of BRCA1 in breast cancer.
NPRL2 expression is negatively related with the survival of osteosarcoma patients, indicating its value as a prognosis factor of osteosarcoma.
Suppresses Src-dependent tyrosine phosphorylation and activation of PDPK1 and its downstream signaling. Down-regulates PDPK1 kinase activity by interfering with tyrosine phosphorylation at the Tyr-9 Tyr-373 and Tyr-376 residues. May act as a tumor suppressor. Suppresses cell growth and enhanced sensitivity to various anticancer drugs.
, gene 21 protein
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domain: literature


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Reconstructing the Geography of Speciation from Contemporary Biodiversity Data
Inferring the geographic mode of speciation could help reveal the evolutionary and ecological mechanisms that underlie the generation of biodiversity. Comparative methods have sought to reconstruct the geographic speciation history of clades, using data on phylogeny and species geographic ranges. However, inference from comparative methods has been limited by uncertainty over whether contemporary biodiversity data retain the historic signal of speciation. We constructed a process-based...[Show more]
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