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O Teleférico do Jardim Botânico localiza-se no Funchal, Madeira, Portugal. Inaugurado em 2005, faz a ligação do Jardim Botânico ao Monte, em aproximadamente nove minutos, tendo uma vista panorâmica do vale da Ribeira de João Gomes e sobre a cidade do Funchal. É composto por 12 cabines de 8 lugares cada, movimentadas por um sistema tipo monocabo-telecabina; é explorado pela empresa MTA - Transportes Alternativos da Madeira.

A estação de base situa-se no Jardim Botânico da Madeira, estando o topo, no Monte, situado no Largo das Babosas e os Jardins do Monte . Neste local tem correspondência pedonal com o terminal topo do Teleférico da Cidade do Funchal e não fica longe da estação Monte da ferrovia em cremalheira do Comboio do Monte, extinta em 1943.

Ligações externas

Funchal
Jardim Botânico Madeira
Fundações em Portugal em 2005


Blume Forte provides individuals and families in Chatham with effective legal representation in personal injury, medical malpractice and wrongful death cases. Our knowledgeable and skilled attorneys, who have a strong record of success on such matters, are devoted to the satisfactory resolution of our client's cases. If you or someone you love has been injured due to the negligence of others, contact us for a free case consultation. We handle auto accidents, premises liability, pedestrian accidents, medical malpractice, product liability and other types of accident and personal injury cases for New Jersey residents in the Chatham area and throughout the State.
Take Exit 37 to Route 24 East. Take 24 East 6.4 miles to Exit 7 (Route 124 East). Stay right to Route 124 East following the signs for The Short Hills Mall. Stay right again and take the ramp on the right for JFK Parkway/Livingston, again following the signs for The Short Hills Mall. Make a right turn at the traffic light and stay in your right lane. Take your first right onto the ramp back up toward Route 24 West/Chatham. Take your second right at exit 7A/Chatham. Stay RIGHT at the bottom of that exit ramp to Route 124 Chatham/Madison. Blume Forte is less than 1/10 of a mile off of the Route 124 ramp, in the white 3 story office building on your left, One Main Street.
Take Route 280 West to Exit 5A, Route 527 Livingston. Take 527 South a/k/a Livingston Ave. It will turn into JFK Parkway. You will see the Short Hills Mall on your left side. Look for signs for 124 (Chatham/Madison) and follow them. Bear right, sign will say 124 Madison. The office is the first building on your left, One Main Street.
Take Route 78 West Local. Continue on Route 78 West to Route 24 West. Take Rt. 24 West to exit 7A-7B (Summit, Chatham). Take exit for Chatham. Continue off exit, bear right onto Main Street. Our office is the first building on your left.
Take Route 78 East to Route 24 West. Take Rt. 24 West to exit 7A-7B (Summit, Chatham). Take exit for Chatham. Continue off exit, bear right onto Main Street. Our office is the first building on your left.
Take Turnpike to Exit 14 (Newark Airport). After toll follow signs for Route 78 West Local. Continue on Route 78 West to Route 24 West. Take Rt. 24 West to exit 7A-7B ( Summit, Chatham). Take exit for Chatham. Continue off exit, bear right onto Main Street. Our office is the first building on your left.
Take Parkway North to Exit 142B (Route 78 West). Continue on Route 78 West to Route 24 West. Take Rt. 24 West to exit 7A-7B ( Summit, Chatham). Take exit for Chatham. Continue off exit, bear right onto Main Street. Our office is the first building on your left.
Take Parkway South to exit 142B (Route 78 East). Continue on Route 78 West to Route 24 West. Take Rt. 24 West to exit 7A-7B ( Summit, Chatham). Take exit for Chatham. Continue off exit, bear right onto Main Street. Our office is the first building on your left.
After tunnel/bridge follow signs to NJ Turnpike South. Take Turnpike South to Exit 14 (Newark Airport). After toll follow signs for Route 78 West Local. Continue on Route 78 West to Route 24 West. Take Rt. 24 West to exit 7A-7B ( Summit, Chatham). Take exit for Chatham. Continue off exit, bear right onto Main Street. Our office is the first building on your left.
As you exit the parking lot at One Main Street, make a left. Go up approximately 10-12 blocks to Fairmont Ave. Make a left. Train station is ½ block in on Fairmont.


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Just For Fun Concerts EP 2017-19 (Episode 73) Hüsker Dü
Posted on April 28, 2017 by Just For Fun Concerts
Tales From The Drop Box Episode 73 is Part 3 in the occasional series of bands from my past that were influential in more than just a blast of good sounding music. Hüsker Dü represented both a discernible change in the shape of punk to come and a soundtrack to an important transition period in my life from college student to adult.
While it would be fair to say that I was enamored with the first wave of punk rock emerging from England, I was equally interested in the offerings of the New York original variant highlighted by the Ramones, Television, Richard Hell & The Voidoids, etc. However, as the punk movement was dead by the end of '76 in the U.K and post-punk had collapsed on its own weight by the end '81, the aftermath of punk's alleged demise was producing exciting music in Canada and the U.S.. Variants of punk rock were thriving and a new virulent strain of punk rock was taking hold on the west coast and moving towards middle America. Hardcore.
Living in Vancouver B.C. during this period exposed me to all types of new music and I recall going to tons of shows in various shit holes such as the Smilin' Buddha, Teamster Local 31 Hall, and a number of other less than attractive rooms around town. I was also lucky to catch glimpses of videos played on Nite Dreems and Soundproof (such as D.O.A.'s "The Prisoner" and the Young Canadians (formerly the K-Tels) "Hawaii") which provided a glimpse of the chaos experienced at the live shows. During this period, the Vancouver punk rock scene was attracting a number of U.S. punk bands to play in town and these bands had started drifting north of the border. With that drift there was a cross-over of the traditional punk rock/pop punk of the Vancouver scene and an increase in the number of bands playing the harder, faster punk rock variant where "loud fast rules" i.e. where speed was the guiding principle.
While D.O.A. (whose album Hardcore '81 is the first to name the variant and really is the Rosetta stone for Hardcore), the Subhumans, Stiff Little Fingers and the Dead Kennedys all played a role in my musical education and experience, there were a number of bands from the U.S. including the Minutemen, Germs, The Fartz, The Plugz, The Dils, X, Black Flag and the Avengers, that all played an important role in keeping punk rock from stagnating and dying. These bands were revolutionary.
Where does Hüsker Dü's fit in? Hüsker Dü's importance is measured by the band's impact on the punk rock musical form at a point in the evolution of punk rock where, if a dramatic change in the musical form did not occur, that punk rock's existence was threatened. This is a pretty dramatic statement. However, looking at the state of punk rock at the time, with a huge number of bands just bashing it out as fast as could be played (including Hüsker Dü), the music was no longer connecting with the core listeners. That is, the mindless commitment of many bands on the scene to "loud fast rules" threatened not only Hüsker Dü's relevance, but the punk rock scene's relevance as well. Bands just couldn't play faster. They also all could not be political. Not all bands could conform to Maximumrocknroll's (aka MMR) strict guidelines as what it meant to be punk and their self pro-claimed sole arbiter of what it meant to be punk rock. Hüsker Dü's change in scope and direction with the release of Zen Arcade was a critical and defining moment in punk rock history.
How did it all start for me? I spotted a record by this band with a weird ass name on the wall at Odyssey Imports (although it may have been Collector's RPM as my memory has dimmed a little with age) and the cover was compelling: U.S. flags draped on top of several coffins. I also noted that it was on Mike Watt of the Minutemen's label, New Alliance. Land Speed Record has 17 songs and clocks in at 26:35! If you eliminate the last song "Data Control" which clocks in at just over 5 minutes that 16 songs in 21 minutes. Whew!
What the @% was Hüsker Dü? What mattered to me at the time was that the music was loud, fast and ruled because that's where my interest lay. Buried under layers of noise were Bob Mould and Grant Hart's wry observations of life and relationships and the human condition. The lyric sheet helped. However, what struck me on Land Speed Record were the brief melodic "pop" moments along the way. There were standout songs, but it wasn't until I saw Hüsker Dü live at the Smilin' Buddha in July 1981 that I was hooked. I bought everything I could get my hands on, and as the Dü evolved into a hardcore pop amalgam I was still there. As new bands arrived on the scene and my musical interests began to evolve, I was looking for new sounds in the punk landscape. Then as George Orwell predicted 1984 was politically a charged year but this year also marked a revolution in punk rock. In 1984 there were 3 records that altered the punk rock landscape for me: The Replacements released Let It Be (October 2, 1984), the Minutemen released Double Nickels on a Dime (July 1984) and Hüsker Dü released Zen Arcade (July 1984).
Zen Arcade was magical in its alteration of not only the Hüsker Dü sound but of what it meant to be punk rock. Here was an anti-punk record played by a band that previously was billed as one of the fastest punk rock bands – ever. Zen Arcade literally destroyed all punk rock barriers. It was clear by this third record that Hüsker Dü was seeking new territory and escaping punk conventions, and like the minutemen were incorporating not only their influences into their work but creating a new sonic force. Zen Arcade is genius only in context of what came before it in the punk rock pantheon. Sure, Hüsker Dü's records have flaws. Zen Arcade is not a perfect album. However, as a piece of art it is revolutionary.
Bob Mould (g/v), Grant Hart (d/v), and Greg Norton (b), like the Jam, were a three piece band who played with such force and wrote about things that were not part of the punk norm. They wrote about feelings, about people who died, about life. And they, at least on the surface, appeared to be normal. They wore the same clothes I did and had regular haircuts. They were a garage band that had found the sonic switch in Mould's guitar manipulations and awkward vocals and Hart and Norton were perfect foils in their roles in anchoring the sonic experiments.
As a fan, it was sad to see the breakup of the band on December 11, 1987 following a show at the Blue Note in Columbia, MO. The sixth record, the much maligned Warehouse: Songs And Stories, however was a double length patchwork of good and some terrible songs, but their manager David Savoy's suicide on the eve of beginning the tour to support the record was according to both Hart and Mould the beginning of the end.
Apparently, Mould & Hart were not getting along….
I saw Hüsker Dü for a second time at the New York Theater in October 1985 with Nomeansno as the opener. That show was as loud as any show I'd ever experienced, it was ragged, and it was awesome. They were at the peak of their power and they player a number of the songs on the list below. They had played Europe for most of the summer and the set list was pretty locked in and the band was tight even though the sound in the New York Theater was terrible.
In keeping with the format of the prior special episodes of Tales From The Dropbox, this episode is not a "best of" list. I have no idea what that list would look like. This episode is truly a compilation of my favorite tracks and, I hope, a good introduction for those of you who didn't get to experience Hüsker Dü when they were among the best bands in the nation, and for those of you who still do remember, hopefully a chance to revisit those memories anew.
Some of the information below came from a very complete Hüsker Dü discography compiled and curated by Paul. You should really check it out! http://www.thirdav.com/hd_discog/00_intro.html
Finally, I have included some goodies in this episode including some demos, outtakes, and live performances to spice things up a bit. Of all of the podcasts I've put out over the past couple of years you really should play this one loud, at full volume, because I think that was how the band intended all of these songs to be heard. They certainly played them loud when they played live.
Here is what you'll find in Episode #73: (N.B. I put these in order from my favorite to my most favorite!) :
15 "Sorry Somehow" – From Candy Apple Grey, Hüsker Dü's fifth album (and 4th in two years) released on March 17, 1986. Although Hüsker Dü's major label debut, it is uncompromising and reveals the continued change in both song writing, structure, and sound that the band first hinted at on Zen Arcade. It is easy to tell that this is a Grant Hart track, because it truly a pop song. It was also released as a single in early November 1986.
14 "Turn It Around" – From Warehouse Songs and Stories released January 19, 1987 on Warner Brothers Records and Hüsker Dü's 6th and final record. "Turn It Around" is the first track on side 4 and not only reveals the importance of Hüsker Dü's members record collections to their songwriting but also that Bob Mould was truly transparent in expressing his feelings in the songs he wrote. "Turn It Around" is Mould's lament about a failing relationship (I wonder which one?):
I may not be anything
And you might be the biggest thing
But the biggest thing to me
Is making this thing work for life
We gotta turn it around
Before it goes into the ground
Apparently, Hart was not listening. This track also reminds me of Stiff Little Fingers in both production and song structure.
13 "Diane (Live)" – Originally on the Metal Circus EP released in October 1983 on SST Records. When I first heard "Diane" I was a little bit overwhelmed by how creepy this track was. The opening lyrics:
Hey little girl, do you need a ride?
Well, I've got room in my wagon why don't you hop inside
We could cruise down Robert Street all night long
But I think I'll just rape you and kill you instead
Diane, Diane, Diane
This song was compelling. I later found out that the song concerns the abduction, rape and murder of West St. Paul waitress Diane Edwards by Joseph Ture in 1980. This version is from a live performance at the Euphoria Tavern Portland Oregon July 13, 1981.
12 "Can't See You Anymore (Demo)" – From the Northern Lights Demos recorded in late 1979, recorded by Paul Mansfield. This is a studio demo and has not been officially released. There is a vinyl version bootleg of these demos including the additional Paul Mansfield demos containing the same material in a different running order called "Savage Young Du."
11 "Charity, Chastity, Prudence and Hope (Live)" – On Warehouse, Songs and Stories released January 19, 1987 on Warner Brothers Records. This version is from a bootleg entitled "Up In The Air: Studio Outtakes (1984-1987)" released in 1996 which appears to collect several bootleg with tracks from New Day Rising, Zen Arcade and Warehouse into a single compilation including the "Warehouse Rehearsal" bootleg (which was an audience recording of a rehearsal) and "Warehouse Rough Mixes" onto a single CD.
10 "Do You Remember? (Demo)" – From the Northern Lights Demos, this track also appeared on the reissue of Everything Falls Apart (originally released on Reflex Records in January 1983 and Hüsker Dü's 1st album) entitled "Everything Falls Apart and More" released in 1993 on Rhino Records.
9 "Terms of Psychic Warfare" – Written by Hart, From New Day Rising released on January 22, 1985 on SST Records and Hüsker Dü's 3rd studio album. Written by Grant Hart. Now this is not your typical punk rock lyric:
Now all the silver you can steal
Can't buy a piece of what I feel
It's sad, but the means, they just don't justify the ends
To be forever haunted by the ghosts of all your friends
Painful, yeah, that's the way you've chosen it to be
C'mon, babe, can't you think of anyone besides me?
8 "Statues" – written by Hüsker Dü. This is the full length version running 8:45. The 7" single "Statues" bw "Amusement" was originally released in January 1981 on Reflex Records and is Hüsker Dü's first official release. The single version was 4:14 in length. 2500 copies were made and originals are selling for over $150.00. It is widely bootlegged. This long version was released "officially" on the Everything Falls Apart and More compilation released on Rhino in 1993.
7 "Don't Want To Know If You Are Lonely" – written by Hart, the original version of this track appeared on Candy Apple Grey released on March 17, 1986 on Warner Brothers Records and Hüsker Dü's 5th album. This version is from a live performance at the Messepalast Vienna Austria on June 14, 1987.
6 "Turn on The News" – written by Hart this track is from Zen Arcade released in July 1984 on SST records and Hüsker Dü's 3rd album. This is the second to last track on the record and portends the end of the Zen Arcade story. The next track is a 13:45 jam entitled "Recurring Dreams."
5 "Eight Miles High" – released as a single on January 21, 1984 this was recorded during the Zen Arcade sessions. This cover of The Byrds 1966 classic thrust Hüsker Dü into the spotlight as they re-wrote this tune into their own image. This was released in advance of Zen Arcade in July, and the recognition the Husker Du was evolving as a band.
4 "Makes No Sense At All" – written by Mould, this is Track 3 on Flip Your Wig released on September 14, 1985 on SST. Hüsker Dü's 4th record and the first album produced by the band. Flip Your Wig was also SST's best selling record of all time at time of release selling approximately 50,000 copies in 4 months.
3 "Real World" – written by Mould the track is from the Metal Circus EP released in October 1983 on SST Records. This also appears on SST's promo of bands The Blasting Concept released in late 1983.
2 "The Girl Who Lives on Heaven Hill" – written by Hart appears on New Day Rising. Some people hate this track because of its conventional and somewhat clichéd lyrics, but that's not why I like it. I love the guitar and the big hooks that give the song an immediacy and likeability that is instantly recognizable – pure pop disguised as punk. This version is from a show at the Fillmore in San Francisco on April 29, 1987.
1 "Pink Turns To Blue" – Track 17 on Zen Arcade, this is also written by Hart about a young woman who becomes addicted to drugs, overdoses and dies. For me, this track captures Hüsker Dü's genius in one song – emotional, compelling, blending perfectly hardcore and pop. It captures the Buzzcocks blueprint and spins it into a new orbit. It is my favorite Hüsker Dü song.
There's a girl who lives on heaven hill I go up to her cabin still she keeps a lantern lit for me and a bottle up on her mantelpiece . . . No more rope and too much dope, she's lying on the bed angels pacing, gently placing roses 'round her head and I don't know what to do now that pink has turned to blue.
2 thoughts on "Just For Fun Concerts EP 2017-19 (Episode 73) Hüsker Dü"
russellhollinhurst on April 29, 2017 at 1:43 am said:
Simply so cool!!!
Just For Fun Concerts on April 29, 2017 at 7:46 pm said:
Thanks for the listen!

redpajama_set_name: RedPajamaCommonCrawl


Melatonin (below) helps regulate our circadian rhythm (day/night cycles). As melatonin levels rise we become sleepy. Interestingly, the nightly release of melatonin is typically delayed as children become teenagers, leading to later sleeping and waking times. Melatonin is also a powerful antioxidant.
A structural molecular model of the hormone Melatonin. It is an antioxidant and a regulator of circadian rhythms.


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Greetings from Tucson, Arizona—my home base for the next little while.
A few days ago, I pulled into Tucson, Arizona—my home base for the next few weeks as I focus on immigration/detention center based work for the next couple months. The last detention center I worked in was up in Tacoma, Washington—where I have been told by a number of people that it is a "resort" compared to the detention facilities down along the US/Mexico border. I'll be spending the next handful of weeks learning as much as possible about immigration in Arizona, New Mexico, and Texas. I'll be spending time at the Florence/Eloy detention facilities in southern Arizona; working with the Santa Fe Dreamers Project; and then hopefully wrapping up in Dilley, Texas at one of the largest detention facilities in the country. It should be quite a next couple of months.
In addition to spending time working at different detention facilities/legal orgs, I will be laying the groundwork of building the Virtual Law Office I will be opening later this spring. The average day for me may look like spending the morning/afternoon doing pro bono work, and the remainder of the day working on the VLO/other work related to the new law office. I'm hopeful that my time along the border the next couple months will help inform not only the types of services that will be offered through the VLO, but also hopefully connect me with the communities here that are working on these issues so I may continue to help lend a hand in my future work. I'm excited for this new phase of Attorney on the Move, and as always, am super grateful for all your support!
In Mesa Verde National Park—where amazing structures from the Ancestral Puebloan people are located—from 500-1200 AD. It was incredible.
As for what I've been up to since the holidays—let's just first say that I primarily took a much needed break. Holy moly. Confession: the last 6 months on the road have been a bit of a struggle for me in terms of work/life balance. Especially the last couple months when I was in Montana through Window Rock, Arizona. After a conversation w/a good friend last night, perhaps a reason I threw myself into my work extra hard the last couple months was because I was living in some areas that didn't have much of a progressive community. So, I think I partly rationalized the extra work as a way to somehow stay "connected" during some tougher times.
Indeed. It was really easy to shrug off the self-care aspect at times: "Oh, I don't have time for that." "Ehhhh, I'll get to it later." But here's the deal: no one else is going to prioritize you, but well, you.
So, I made an effort to unplug as much as possible during the holidays. I spent time roaming around canyons that are half the age of the earth; exploring and learning about Ancestral Puebloan ruins—and there are literally thousands of them—all over the Four Corners area; I saw Arizonian mining towns from the turn of the last century; and drove into modern day Tucson—another growing metropolis in this country. The decades of history were a solid backdrop for me to do more introspection about my current work: how has history affected these communities today? I feel that immersing myself in this history can hopefully only make me a stronger social justice advocate and attorney—it is important for me to know the journey of a community.
Me and a petrified log from 217 million years ago (!!!). Holy crap, I touched something that is 217 million years old. Woaaahhh!
I will be working generally from 8 am - 6 pm during the week wherever I am—with evenings only on special work functions/meetings.
I will also be taking quarterly breaks from work to decompress/recharge for the journey ahead—same thing goes for taking advantage of long holiday weekends (after all, I am in this for the long haul!).
Some of the work that I am doing has me a bit isolated (ahem, e.g. the last couple months in Montana through Northern Arizona). I care very much about my connections/relationships and would love/need to connect even more! (ps: you can always hit "reply" on this—I'd love to hear from you!).
Those are a few of my major commitments moving forward. Self-care = very important.
And on that note—I hope these first few days of the New Year find you well. I am excited at all that lies ahead—here's to moving forward! How are these first few days of 2016 going???


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Not far removed from releasing his Philip Glass-inspired LP Monument Builders, Vancouver electro-acoustic veteran Loscil (a.k.a. Scott Morgan) has announced that his next project will be a collaborative one.
Morgan has teamed up with classically-trained Wisconsin cellist Mark Bridges to form High Plains, and the duo will release their first LP Cinderland next year through Kranky. The album art was created by London-based artist Peter Liversidge, which you can see above.
Nine tracks in length, Cinderland was recorded in a refurbished school house in Saratoga, WY. Inspired by their surroundings and Schubert's Die Winterreise, the record is said to evoke "a shadowy, introspective and dizzying winter journey" through cello, piano and field recordings.
Cinderland's "mix of analog and digital, neoclassical and modern electronic sounds" can be heard in the album's title track, which can be heard in the player below. The record will arrive on March 10 and is available for pre-order through Bandcamp here.
Along with the High Plains album, Morgan will also be treating his 2004 Loscil album First Narrows to its first-ever vinyl release. That's out on February 17 via Kranky, and you can pre-order it here.


text:
Home / People
Ty Hedrick – Professor/Lab PI – Curriculum Vitae – Google Scholar Profile
Ty Hedrick began studying biomechanics and animal locomotion as a undergraduate at Brown University in 1997 where he worked in Dr. Sharon Swartz's laboratory. After a two year detour in the software industry, he began a Ph.D. in Biology at Harvard University where he worked under Dr. Andrew Biewener at the Concord Field Station. After completing his thesis, Aerodynamics, biomechanics and neuromuscular control of avian flight, he received a Ph.D. in June of 2004. He then worked as a postdoctoral research assistant with Dr. Thomas Daniel at the University of Washington with funding from the National Science Foundation and DARPA. Ty started his latest job as an Assistant Professor in the University of North Carolina Department of Biology in July, 2007.
Sonja Friman – Postdoctoral researcher
Jonathan Rader – Graduate student
Jonathan joined the lab after completing an M.Sc. at the University of Wyoming on the morphology and ecology of Cinclodes ovenbirds. He is broadly interested in the mechanics, physiology and ecological consequences of animal movement, and in the evolutionary forces that have shaped them. He is especially interested in form-function relationships, and major evolutionary transitions in vertebrate locomotion and hopes to study these in the context of the flight apparatus.
Pranav Khandelwal – Graduate student
With a major in Physics and minor in Biology, my interests lie at the interface of the two. Understanding animal behavior along with deconstructing the physical basis of motion are the areas I would like to delve in to. Currently, I am exploring various projects in the lab dealing with flight stability in hawkmoths to group behavior in Chimney Swifts.
Laura Mendez – Graduate student
Experiencing the challenges of moving in water as a swimmer shaped my interest in biomechanics and the effects of the environment on animal locomotion and behavior. This journey has taken me to study the muscle form-function relationship in wasps, and humans. After completing an M.Sc. at Penn State and working on spinal cord injury research at the University of Louisville, I joined the lab to continue with my original interests. Currently, I am working on understanding the mechanical power required for aquatic takeoff in birds and the effects of flying close to the water surface.
Current undergraduate researchers and technicians:
Eli Bradley, Matthew Byrd, Raghuvara Padma, Rae Maszer
Lab Alumni:
Alaowei Amanah, Evan Bluhm, Pavel Chtcheprov, Aaron Corcoran, Nick Deluga, Brad Dickerson, Ellis Driver, Dennis Evangelista, María José Fernández, Hanna Gardner, Mariah Goodman, Jeremy Greeter, Ming Guo, Lucy Herrero, Jaime Isetts, Shannon Jones, Brandon Jackson, Amanda Lohmann, Alisha McGriff, Thuy Nguyen, Almir Omerspahic, Victor Ortega, Laura Pianowski, Sathish K. Raja, Shanthi Ravi, Dylan Ray, Alice Robinson, Alva Ronn, Colton Sanders, Rikki Schroeder, Ryan Shelton, Katherine Sholtis, Dwight Springthorpe, TJ Tkacik, Nathan Roach, Laura Vollenweider, Sarah Wright, Sarah Yaghoubi, Stephanie Yu


Paula Mooney founded Infinity Room because of her own health journey.
Eight years ago Paula was diagnosed with breast cancer. The treatment was intense and led to Paula experiencing extreme side effects. Knowing she would be on long-term medication she knew she would have to find a way to deal the side effects. In the quest to manage these side effects, reflexology was recommended to her but the cost was prohibitive. As a result, Paula decided to train herself. She found a school that would take instalments and worked her way through to achieve a diploma in reflexology.
From there Paula developed an interest in Aromatherapy and completed her clinical practitioners' diploma course and advanced aromatherapy in pregnancy cancer care. She went on to study other holistic treatments and can now offer a range of treatments that can be tailored to each individual client something that makes her offering very unique. Soon she'll be adding sound healing therapy to her repertoire of treatments.
Paula is very conscious that the reason she got into reflexology originally was because the cost of getting treatment was so high. Now Paula offers a range of treatments at an affordable rate in the Infinity Room in Ballymun and in her clients own homes.
Paula also blends her own balms that are available to her clients – one a gorgeously moisturising lip balm and the other a sports balm. These are blended and handmade by Paula.
If there was one thing Paula would advise another business owner, it's that networking is vital. In particular, being part of B4b has helped Paula network for her business, she's also jumped on opportunities to pitch her business at B4b events that gave her business a great boost.
Paula is offering all B4b members a 10% discount on your first treatment. Just reach out to her on Facebook or on 085 140 6550 and tell her we sent you!


text:
Nelli's Last Supper restored
by Alexandra Korey
Thu 17 Oct 2019 1:42 PM
After four years in the conservation studio, the Last Supper by Suor Plautilla Nelli (1524-1588) returns to the complex of Santa Maria Novella for permanent public exhibition at the museum. The restoration, carried out by Rossella Lari, was funded by the Advancing Women Artists Foundation, who raised the monies first through a crowdfunding campaign with donors from 19 countries, and then through their "adopt an apostle" program.
At a time when women could not practise art professionally, self-taught convent painter Plautilla Nelli established an all-woman workshop within the walls of her convent. Through the sale of private devotional works to Florentine nobility, the nuns became economically self-sufficient. Giorgio Vasari, reputedly Italy's first art historian, wrote about her in the second edition of his Lives (1568), saying "she would have done wonderful things if she had only studied as men do."
The only known Last Supper by a female artist in the modern age, Nelli's 21-foot canvas one of the largest works by an early woman artist in the world—and one of the most challenging compositionally. Although women were banned from the study of anatomy, Nelli defied social convention by authoring 13 life-size male figures and confronting a theme usually reserved for male artists at the height of their career.
Installing the painting at Santa Maria Novella
The restoration of Nelli's Last Supper has been a collective effort whose main players include Advancing Women Artists (AWA), the Municipality of Florence, Florentine Civic Museums, the Superintendent's Office for Archeology, Fine Arts and Landscape of Florence, Pistoia and Prato and the Dominican friars of the Monastery of Santa Maria Novella. It has now been installed in the museum of Santa Maria Novella.
Nelli's Last Supper amongst the museum's treasures | ph. Alexandra Korey
In line with AWA's dedication to informing the public about women artists and the restoration of their works, a dual-language publication, Visible: Plautilla Nelli and her Last Supper Restored has been published by The Florentine Press. The book includes conservation and diagnostic highlights and the history of the painting in its multiple venues. A conference will be held on November 12 at 5pm at Santa Maria Novella (infopoint), and, in Spring 2020, art aficionados can expect the world premiere of a full-feature documentary by the same name in Florence, produced for American public television by Bunker Film and WFYI productions.
Alexandra Korey
Alexandra Korey is Head of Digital at The Florentine's sister company, Flod. She specializes in social media & digital strategy for tourism, culture and wine. In a past life, she was an art history professor with a PhD from the University of Chicago. For fun, she writes her blog www.arttrav.com, where she's been reporting on art, culture and life in Italy since 2004.
Humana Vintage charity shop opens in Florence
A new ethical vintage shop, called Humana Vintage, has opened on via delle Belle Donne.
Cassandra Kane: recycling leather
New Yorker Cassandra Kane has opened Zer0lab in Scandicci in the heart of the leather accessories industrial area on the fringe of Florence.
Coworking space for sustainable leather designers opens in Scandicci
On the fringes of Florence, Zer0lab is the first co-working space for sustainable and circular fashion.


Otaku Magazine is a First for South Africa, it is a magazine focused on the growing international Anime Subculture, this includes people who are interested in Japanese Animation and Comics, as well as Japanese Movies, Music, Console / PC Games, Toys and Merchandise.
The Magazine features articles and reviews of various locally and internationally available Anime (Animation) and Manga (Comic) titles, related Movies as well as Sound Tracks, Music CD, PC/Console games, Gadgets and Accessories. The magazine also includes local event coverage as well as special feature articles relating to the otaku (Anime fan) scene, we also have competitions and prizes every issue.


text:
\section{Introduction}
The main goal of ultra-relativistic heavy-ion collisions is the study of very hot
and dense nuclear matter. This kind of matter is believed to have existed shortly after
the {\it Big Bang}. Lattice QCD calculations \cite{lattice} have predicted a transition
from ordinary hadronic matter to a plasma of quarks and gluons at high energy densities.
At the same time Chiral symmetry is restored. Dileptons that carry information of the
entire fireball evolution are very suitable probes because of their negligible final state
interactions.

Medium modifications of the $\phi$ meson properties (mass and width) or of the kaons
that might result in a change  of the branching fraction of $\phi$ decaying to K$^+$K$^-$ or
to $e^+e^-$ when $\phi$ decays in medium, may be related to the expected chiral phase
transition \cite{koc2}. However as the $\phi$ lifetime (44 fm/c) is longer than the
expected lifetime of the coupled collision system, only a fraction may decay in the hot
fireball. Final state interactions of kaons from $\phi$ meson decays may lower
the measured branching ratio into the kaon channel \cite{joh}. Indeed, the NA50 experiment
measuring the $\phi$ meson in the $\mu^+\mu^-$ decay channel and NA49 measuring in
the K$^+$K$^-$ channel, obtain yields that differ by factors between 2 and 4 in the common
$m_t$ range \cite{puzzle}. Further, the $m_t$ spectra exhibit a different inverse
slope parameter, 305~$\pm$~15 MeV in NA49 and 218~$\pm$~6 MeV in NA50,
fitted in their $m_t$ acceptance regions.

The CERES experiment at the CERN SPS is an experiment dedicated to the study of
low mass dilepton pairs. CERES has measured an enhanced dilepton production in the
invariant mass region $m_{e^+e^-}>$~0.2~GeV/c$^2$ in S+Au at 200~AGeV \cite{exp} and
in Pb+Au at 158~AGeV \cite{eleletter9596}. The enhancement is
absent in p-induced reactions \cite{pp}. Pion annihilation has been taken into
account as an additional mechanism for e$^+$e$^-$ production but the
experimental spectra cannot be explained without introducing medium modifications of
vector mesons, particularly of the $\rho$. The two main theoretical choices for this
modification are the dropping mass scenario \cite{theo2} and the broadening scenario \cite{theo1},
but the experimental precision did not allow to distinguish between them.

In order to further investigate the enhancement and possibly discriminate between the different
theoretical approaches, the CERES spectrometer was upgraded during 1998 by the addition of
a Time Projection Chamber (TPC) with radial electric drift field \cite{up2,up1,qm99,qm04,qm05,tpcnim}
which improves the mass resolution and the electron identification.
In order to investigate the role of baryons, during 1999, CERES took data with the TPC
(although with partial readout) at a bombarding energy of 40~AGeV \cite{eleletter1999}
where the baryon density is approximately 30\% larger than at 158~AGeV \cite{na49protons}.
During the year 2000 CERES took a large data sample consisting of
30$\cdot10^6$ and 3$\cdot10^6$ events of Pb on Au collisions at 158 AGeV triggered on the
7\% and 20\% most central collisions \cite{qm05}, respectively.
Moreover, the upgrade of the CERES experiment makes possible for the first time
in high energy heavy-ion collisions to study simultaneously the leptonic and the
charged kaon decay modes of the $\phi$ meson at the SPS, thus shedding light
onto the $\phi$ puzzle.

In this paper, we present an overview of the most relevant dilepton results of the CERES
experiment since the upgrade with the TPC. All these results have been previously published
in \cite{eleletter1999,eleletter2000,philetter}.

\section{Experimental setup}

\begin{figure}
\includegraphics[width=0.6\textwidth,angle=-90]{tpc_setup.eps}
\caption{Cross section through the upgraded setup of the CERES
spectrometer. The apparatus has a cylindrical symmetry.}
\label{fig:setup}
\end{figure}
The CERES experiment (Fig.~\ref{fig:setup}) is optimized to measure
low mass electron pairs close to mid-rapidity (2.1$<\eta<$2.6) with
full azimuthal coverage. A vertex telescope, composed of two Silicon
Drift Detectors (SDD) positioned at 10.4 cm and 14.3 cm downstream of a
segmented Au target, provides a precise vertex reconstruction,
angle measurement for charged particles and rejection of close pairs
from $\gamma$ conversions and $\pi^0$ Dalitz decays. Two Ring Imaging
CHerenkov (RICH) detectors, operated at a high threshold ($\gamma_{th}$=32),
 are used for electron identification in a large hadronic background.
In the configuration with the TPC, the magnetic field between the
two RICH detectors is switched off, allowing to use them in a combined
mode resulting in an increased electron efficiency. The new radial-drift TPC,
positioned downstream of the original spectrometer, has an active length of 2 m
and a diameter of 2.6~m. A gas mixture of Ne (80\%) and CO$_2$ (20\%)
is used. It is operated inside a magnetic field (indicated
by the dashed field lines inside the TPC in Fig.~\ref{fig:setup})
with a maximal radial component of 0.5 T and provides up to 20
space points for each charged particle track. This
is sufficient for the momentum determination with a resolution
$\Delta p/p\sim((2\%)^2+(1\%\cdot p$(GeV/c))$^2)^{1/2}$
 and for additional electron identification by using the d$E$/d$x$ signal in the TPC.

\section{Di-electron analysis}
Charged particles from the target are reconstructed by matching track
segments in the SDD and in the TPC using a momentum-dependent matching window.
Tracks in the TPC are required to contain more than 12 hits out of a maximum
20 possible, to ensure good momentum resolution. Cherenkov rings with asymptotic
radii are identified in the RICH using a Hough transformation (see sect. 3.2.4
in ref. \cite{eleletter9596}). The TPC electron selection is done based on the
d$E$/d$x$ signal and its resolution. To select electrons among all charged
hadrons both a TPC d$E$/dx signal in the electron region and a matching to a
RICH ring are required. The combined pion rejection factor varies
from 4$\times$10$^4$ to 1.8$\times$10$^4$ for momenta between 1~GeV/c
and 2.5~GeV/c for total electron efficiencies of 68\% and 66\% \cite{serguei},
respectively, with the quality cuts applied in the analysis \cite{busch,serguei,alex}.

The main difficulties of the electron analysis are the low probability of electromagnetic
decays and the large amount of combinatorial background from $\gamma$ conversions
and Dalitz decays. Very good electron identification is not enough. Electron pairs
from $\gamma$ conversions and $\pi^0$ Dalitz decays, characterized by their small
opening angle and low momentum, need to be identified by their topology and removed
from the sample in order to reduce the combinatorial background. As the detectors have a
finite two-track resolution the most effective way of rejecting
conversions in the target and close Dalitz pairs is
by rejecting tracks with an energy loss signal significatively larger than
the minimum ionizing energy loss signal in both SDD's where all
hit amplitudes have been re-summed around each SDD track
segment. Low-amplitude tails in the SDD d$E$/dx distribution are also removed.
Late conversions (mostly in SDD1) are removed by a cut in the distance to
another TPC track of opposite sign and with electron d$E$/dx.
To reduce $\pi^0$ Dalitz decay contributions only electron tracks
with no opposite charge electron track within 35 mrad are taken for
analysis. Finally, only electron tracks in the geometrical
acceptance 0.141~rad~$< \theta< $~0.243 rad and with
a $p_t>$~0.2~GeV/c are selected.

\begin{figure}[hbt]
\begin{center}
\includegraphics[width=0.5\textwidth]{sig_bgd.eps}
\label{fig:fullrejectmix}
\caption{ Invariant-mass distribution of unlike-sign pairs (histogram),
and mixed-event background (dashed line) normalized
to like-sign pairs background after full rejection and corrected
for pair reconstruction efficiency event by event.}
\label{fig:sigback}
\end{center}
\end{figure}

The invariant-mass distributions of unlike-sign pairs and of the combinatorial
background after full rejection and corrected for pair reconstruction efficiency
event by event are shown in Fig.~\ref{fig:sigback}.
In order to reduce the statistical errors an unlike-sign combinatorial background
using the mixed-event technique has been evaluated. The mixed-event background is
normalized to the like-sign pair background in the mass region m$_{e^+e^-}>$~0.2~GeV/c$^2$.
For masses below 0.2~GeV/c$^2$, the like-sign background is used.
The physics signal is obtained by subtracting the like-sign pairs or
the mixed event background from the unlike-sign pairs.

\section{Low-mass e$^+$e$^-$ results}

\begin{figure}
\includegraphics[width=0.5\textwidth]{invariant_mass_sys.eps}
\includegraphics[width=0.5\textwidth]{invariant_mass_models_sys.eps}

\caption{(a) Invariant-mass spectrum of $e^+e^-$-pairs
compared to the expectation from the hadron decay
cocktail. (b) The expectations from model calculations assuming
a dropping of the $\rho$ meson mass (blue) or a spread of the
$\rho$ width in the medium (red) are also shown.}
\label{fig:fullreject}
\end{figure}

The e$^+$e$^-$ invariant-mass spectrum corrected event-by-event for the
pair reconstruction efficiency and normalized to the number of events and
to the average charged particle multiplicity $<N_{ch}>$ in the
acceptance \cite{qm05} is shown in Fig.~\ref{fig:fullreject}(a) \cite{eleletter2000}
compared to the expectations from the hadronic decay cocktail. The hadron decay cocktail
\cite{cocktail} has been folded with the experimental momentum resolution
and energy loss due to bremsstrahlung. Acceptance, opening-angle, and
transverse-momentum cuts are applied. An excess of pairs for
m$_{e^+e^-}>$ 0.2~GeV/$c^2$ is clearly visible. The number of pairs
in the Dalitz region (m$_{e^+e^-}<$~0.2~GeV/c$^2$) is 6114~$\pm$~176 with a signal
to background ratio (S/B) of 1/2. The number of open pairs
(m$_{e^+e^-}>$~0.2~GeV/c$^2$) is 3115~$\pm$~376 with a S/B of 1/22.
The enhancement factor for 0.2~GeV/c$^2$$<$ m$_{e^+e^-}$$<$1.1~GeV/c$^2$
compared to the hadron decay cocktail
is 2.56 $\pm$ 0.22 (stat) $\pm$ 0.31 (syst) $\pm$ 0.83 (decays)
\footnote[1]{The change on the branching ratio of the proccess $\omega\rightarrow \pi^0e^+e^-$
and the improvement in its error in PDG 2006 have not been considered yet.}.
The total data systematic uncertainty of 12\% includes the combinatorial
background subtraction and the electron efficiency correction.
The systematic error of the charged particle multiplicity determination of 12\% has been included
on the systematic error of the cocktail.

The experimental results are compared to theoretical
models \ref{fig:fullreject}(b) based on hadronic decays and $\pi^+\pi^-$ annihilation.
The $\rho$-propagator is treated \cite{rapp} in 3 ways: vacuum $\rho$ (not shown),
modifications following Brown-Rho scaling \cite{theo2}, and modifications
via $\rho$-hadron interactions \cite{theo1}.
In the region between the $\omega$ and the $\phi$, measured now with
better resolution, the data favor the many-body approach over Brown-Rho scaling.

\section{The in-medium $\rho$}

\begin{figure}
\begin{center}
\includegraphics[width=0.5\textwidth]{subtracted_models_sys1.eps}
\end{center}
\caption{(a) Dilepton yield after subtraction of the hadronic cocktail
(without the $\rho$). The systematic errors of the data (horizontal ticks)
and  the systematic uncertainty of the subtracted cocktail (shaded boxes) are
also shown. The data are compared to expectations of the models assuming a shift
of the in-medium $\rho$ mass (blue) and a broadening scenario (red).
}
\label{fig:subspec}
\end{figure}

In order to further investigate the excess dilepton yield the contribution from the
hadronic cocktail (except the $\rho$) is subtracted from the data and from the
calculations (Fig. \ref{fig:subspec}a). No rescaling of theory to data is used.
It can be observed that the contribution of the
cocktail $\rho$ is totally negligible. The in-medium $\rho$ contribution dominates
by more than one order of magnitude (enhancement factor of 16.4$\pm$1.8
for 0.12 GeV/c$^2<$m$_{e^+e^-}<$ 1.1 GeV/c$^2$) in central Pb on Au collisions. The shape and
the yield are well described by the in-medium hadronic contribution. A detailed study
of the spectrum width including systematic and statistical errors excludes the
dropping $\rho$ mass scenario \cite{eleletter2000}.

\section{The $\phi$ meson}

The $\phi$ meson yield in the e$^+$e$^-$ channel is determined by integrating the
invariant mass spectra in the mass region between 0.9 and 1.1 GeV/c$^2$
in three transverse momentum bins \cite{philetter}. The integrated yield in the mass range
between 0.9 and 1.1 GeV/c$^2$ is 229$\pm$53 with a signal to background
ratio of 1/12 and needs to be corrected for acceptance, reconstruction efficiency
and physics background under the $\phi$ peak.
The $\rho$ meson could extend into this mass range if
its spectral function is modified in the medium.
Dileptons from the QGP phase also contribute to the physics background in this mass range.
The sum of these two contributions is estimated to be 35\%
of the total yield in this mass region by inspecting theoretical models
that include in-medium spreading of the $\rho$ width due to 2$\pi$ processes and
the dilepton yield from the QGP phase \cite{theo1}.
The measured $\phi$ yield has been scaled by this factor to correct for the physics background.
The charm contribution that is smaller than 3\% \cite{charm} has been neglected.

As mentioned before, CERES can also study the $\phi$ meson in the charged
kaon (K$^+$K$^-$) decay mode. In order to do so, all charged
particles get assigned the kaon mass (no particle identification is used).
Only a conservative upper cut in the d$E$/d$x$ signal (corresponding to 90\% of the
Fermi plateau value) for momenta between 1.25 GeV/c and 4 GeV/c, suppressing 83\% of the
electrons, is applied to enhance the kaon content of the sample.
Tracks in the geometrical acceptance 0.13~rad
$<\theta<$~0.24~rad with a transverse momentum $p_t$ larger than 0.25~GeV/c are selected.
To reduce the contamination from other particle species, cuts in the Podolanski-Armenteros
parameter \cite{armen} and in the opening angle between the kaons are applied.
The $\phi$ meson in the kaon decay mode is studied in the rapidity
interval 2.0~$<y^\phi<$~2.4 for $p_t^\phi>0.75$~GeV/c.

\begin{figure}
\begin{center}
\includegraphics[width=0.5\textwidth]{fig_phi_invm_ceres.eps}
\caption{Invariant-mass spectra of $K^+K^-$ pairs after background
subtraction for the ($p_t^\phi$,$y^\phi$) bin 1.5 GeV/c $<$ $p_t^\phi$ $<$ 1.75 GeV/c
and 2.2 $<$ $y^\phi$ $<$ 2.4.}
\label{fig:phi_ka}
\end{center}
\end{figure}

The invariant mass distributions of K$^+$K$^-$ pairs were
accumulated in ($p_t^\phi$,$y^\phi$) bins to obtain the $\phi$
transverse momentum spectrum. The combinatorial background invariant
mass distributions are calculated using the mixed-event technique for
each ($p_t^\phi$,$y^\phi$) bin. An example of invariant mass spectrum after background subtraction
is presented in Fig.~\ref{fig:phi_ka}.
The yield of the $\phi$ mesons is determined by fitting a relativistic
Breit-Wigner distribution with parameters taken from the Particle Data Group compilation \cite{pdg}
(convoluted with the experimental resolution function obtained by a Monte Carlo simulation)
superimposed on a linear background to account for a residual background in the low $p_t^\phi$ bins,
to the measured line shape.
 The signal to background ratios vary from 1/2000 to 1/180 with increasing $p^\phi_t$.
The signal is integrated in the mass range between 1.0 GeV/c$^2$ and 1.05 GeV/c$^2$.
The resulting $\phi$ yields were corrected for acceptance and efficiency.

The efficiency- and acceptance-corrected $\phi$ meson yield is shown in
Fig.~\ref{fig:mtcomp} (left) for both decay modes as a function of transverse momentum.
The inverse slope parameter of $T$~=~273~$\pm$ 9(stat)~$\pm$ 10(sys) MeV and a rapidity density
$dN/dy$ of 2.05~$\pm$~0.14(stat) $\pm$~0.25(sys) in the K$^+$K$^-$ decay mode
and $T$~=~306~$\pm$~82(stat)~$\pm$~40(syst) MeV and
$dN/dy$~= 2.04~$\pm$~0.49(stat)~$\pm$~{0.32}(syst) in the dilepton decay
mode are in good agreement within the errors.
A $\phi$ meson yield in the e$^+$e$^-$ decay mode larger
than 1.6 times the yield on the K$^+$K$^-$ decay mode is excluded at 95\% CL
(statistical and systematic errors in both decay channels added in quadrature).

\begin{figure}[hbt]
\includegraphics[width=0.5\textwidth]{fig_phi_pt_eekk.eps}
\includegraphics[width=0.42\textwidth]{fig_phi_mt_eept.eps}
\caption{Left: Transverse momentum spectrum of $\phi$ mesons corrected for
acceptance and efficiency reconstructed in the e$^+$e$^-$ decay
mode (circles) and in the K$^+$ K$^-$ decay channels (triangles).
Systematic errors in the kaon decay channel are shown as boxes. The systematic errors in the dilepton analysis
(not shown) are $\pm$16\%.
Right: Transverse mass distribution of $\phi$ mesons measured in the
charged kaon (triangles) and in the dilepton (circles) decay mode
after scaling (see text) compared to the results from NA49 (squares) and NA50 (diamonds).}

\label{fig:mtcomp}
\vspace*{0.5cm}
\end{figure}

Moreover, the CERES results can be compared to the existing Pb-Pb systematics \cite{puzzle}
after accounting for the different measurement conditions.
 The NA49 measurement was done at 4\% centrality and covered a rapidity range from 3 to 3.8
units \cite{Friese}.
A global scaling factor of $1.17 \pm 0.12$ obtained experimentally
is applied to the combined CERES data of Fig.~\ref{fig:mtcomp} (left) to make the comparison
to the systematics of \cite{puzzle}.
In Fig.~\ref{fig:mtcomp} (right) the scaled CERES $\phi$ transverse mass spectrum
is plotted together with the NA49 and NA50 data.
The $\phi$ meson yields agree within the errors with the NA49 results. So does
the yield in the K$^+$K$^-$ extrapolated down to $p_t$=0 using the measured inverse
slope parameter.
On the other hand, CERES data in the K$^+$K$^-$ channel do not agree with NA50 results in
the common $p_t$ region. This experiment however measures the leptonic channel.
The extrapolation of NA50 results down to the region where CERES measures the
dilepton channel does not agree either. As stated above, in the CERES measurement the
two decay modes agree. Possible differences of maximum 40-50\% as expected by models including
only rescattering of the kaons \cite{joh} or of maximum 70\% at the
lowest $p_t$ ($p_t < 0.3$ GeV/c) expected by
models including medium modifications of the $\phi$ mesons and kaons like the
AMPT model \cite{pal02} cannot be ruled out by the CERES results.

\section{Conclusions}
To conclude, CERES has measured the low invariant mass spectrum of dilepton pairs with improved mass
resolution. An enhancement of 2.56 $\pm$ 0.22 (stat) $\pm$ 0.43 (syst) $\pm$ 0.76 (decays) over
the expectations of the hadronic decay cocktail is measured.
The excess dilepton yield clearly favors models including a strong broadening of the
$\rho$ spectral function and it rules out models including a mass shift of the $\rho$ meson.

At 40~AGeV, the observed pair yield is enhanced over the expectation from neutral meson decays by a
factor of 5.9 $\pm$ 1.5(stat) $\pm$ 1.2(syst) $\pm$ 1.8(decays). Compared to
158~AGeV it is somewhat larger, with a significance of 1.8 $\sigma$. The fact that the enhancement
is somewhat larger and that the only quantity rising is the baryon density while the temperature
decreases shows the importance of the baryon density for the in medium modifications of the $\rho$ meson.

Moreover, $\phi$ meson production has been measured simultaneously in both decay channels
for the first time in relativistic heavy-ion collisions. The yield and the inverse slope parameter in both
decay modes agree within the errors.
Our results are in agreement with the results from NA49 measured in the kaon channel.
A yield in the e$^+$e$^-$ decay mode larger
than 1.6 times the yield on the K$^+$K$^-$ is excluded at 95\% CL, therefore the large discrepancy
observed previously is not observed in the CERES data.
The theoretical predictions in \cite{joh,pal02} are consistent with our data.

\section{Acknowledgments}
The CERES collaboration acknowledges the good performance of the CERN
PS and SPS accelerators as well as the support from the EST
division. We would like to thank R.~Campagnolo, L.~Musa, A.~Przybyla, W.~Seipp
and B.~Windelband for their contribution during construction and commissioning
of the TPC and during data taking. We are grateful for excellent support by the
CERN IT division for the central data recording and data proccesing. This work was
supported by GSI, Darmstadt, the German BMBF, the German VH-VI 146, the US DoE,
the Israeli Science Foundation, and the MINERVA Foundation.

redpajama_set_name: RedPajamaArXiv


text:
Google, battling Amazon, tries ecommerce overhaul to win back advertisers
By Chanel J. Ramsey on	 September 29, 2021 Shopify
Google, an unlikely outsider, struggles to keep pace with Amazon.
AMZN 0.31%
com Inc. in the battle for billions of dollars in e-commerce ads.
In its latest change of strategy, the Alphabet Inc.
GOOG -0.68%
The unit said on Wednesday it was updating the look and format of product search pages to feature images of clothing, accessories and other items to look better like a digital store rather than to a long list of links and text.
The change is part of a larger overhaul that Google undertook during the pandemic to liven up its fledgling ecommerce operation. Over the past year, Google has stopped requiring merchants to advertise their products to be listed in shopping searches. He also stopped collecting commissions on purchases and joined Shopify. Inc.
to simplify search listings for 1.7 million merchants.
Google Seeks To Protect Its Core Search And Advertising Business From Continuing Amazon Encroachment And Walmart Ambitions Inc.,
Target Corp.
and others who have started selling advertisements as part of e-commerce operations.
Google is updating the look and format of product search pages to look more like a digital store, rather than a list of links and text.
GoogleF
While Google largely dominates digital search and advertising, Amazon's dominant lead in e-commerce has made it the starting point for about 53% of U.S. consumer goods searches. Continuing those clicks, advertisers shifted spending, bringing Amazon's share of search ad sales to one-fifth of the market and reducing Google's share to 57% from 61% in 2019, according to the company. eMarketer market research.
In the first half of this year, Amazon reported $ 14.82 billion in ad sales, an 82% increase from the same period a year ago. Google's total ad revenue is over six times greater, but has grown just under 50% over the same period.
Amazon's acceleration in advertising activity has sounded alarm bells within Google, prompting CEO Sundar Pichai to assure Alphabet's board that rejuvenating its declining e-commerce efforts is a priority, according to former Google executives. He needs to fix a mess of Google's own making. The company has restarted its digital purchasing strategy at least four times in two decades and has had five executives of its e-commerce operations in 10 years, the former executives said.
"Google is almost like a living dead" in e-commerce, said Guru Hariharan, managing director of CommerceIQ, an online retail service provider. "Nobody goes there to shop."
Google's current strategy reflects its approach to the smartphone market, according to executives and industry watchers. Just as the company built Android's open source operating system as an alternative to Apple's "walled garden" Inc.
Developed around its iPhone ecosystem, Google executives want to become the search solution for direct-to-consumer businesses looking for a life outside of Amazon's buying and ordering system.
"It's a pretty uninteresting world if you wake up in a few years and there's only one place to buy things," said Bill Ready, chairman of Google commerce.
Mr. Pichai recruited Mr. Ready from PayPal Holdings Inc.
in 2019 to lead Google's Come-from-behind initiative. Despite being an outsider, he was well acquainted with the twisty history of the tech firm's e-commerce.
In 2002, she launched her first online shopping site, Froogle, to categorize products. This evolved a decade later into the Google Shopping tab. To avoid listing out-of-stock inventory, merchants purchased product listing ads to make their products appear in purchase searches. This boosted Google's revenue, but hampered its ability to attract small business ads, former industry executives and watchers said. Fewer ads made it less attractive to consumers, contributing to less searches.
""It's a pretty uninteresting world if you wake up in a few years and there's only one place to buy things.""
– Bill Ready, Google Chief Commercial Officer
Meanwhile, Amazon has persuaded more clothing and consumer goods companies to shift their advertising budgets from Google, said Mudit Jaju, global ecommerce manager at Wavemaker, a media agency. "Google was no longer the gateway to the consumer," he said.
Mr. Ready sought to reverse these trends by dividing the Shopping team into two groups: one focused on consumers and one focused on merchants. It also shortened the development cycle for new features from nine months to six weeks, former executives said.
Last year, it eliminated the paid advertising requirement and made product listings free. He also negotiated the partnership with Shopify, which became a counterweight to Amazon by helping businesses start and run online stores. Google introduced a turnkey system on Shopify that allows its customers to list products in purchase searches and develop Google ad campaigns for those listings.
Direct-to-consumer watchmaker Talley & Twine Watch Co. struggled for years to list products on Google Shopping through Shopify because it had to manually enter the 200 watches it sold, said Randy Williams, founder of the company. Virginia Beach, Virginia. The Shopify-Google partnership introduced technology that automatically imports product information from Shopify and made it possible to quickly create Google ads.
"It used to be really awkward," said Williams. He said the improvements led Talley & Twine to shift their advertising budget from Facebook Inc.
to Google. This year, he spent $ 100,000 on Google ads and made over $ 400,000 in sales from those promotions.
A weekly roundup of tech reviews, headlines, columns, and your questions the personal tech gurus at the WSJ answer.
In the three months ended in June, Google reported that ad revenue increased 69% to $ 50.44 billion, with retail being the biggest contributor.
The sales growth coincided with the pandemic store closures and retailers going online. It also happened as Apple's new privacy restrictions on iPhones led advertisers to push budgets away from Facebook.
"Google was lucky," said Mr. Jaju of Wavemaker, who recently saw customers transfer ads to the company.
Google's next changes are consumer-centric. Mr Ready said the new visual search experience would direct users typing in "cropped jackets" to a landing page that looks more like an Amazon shopping search (showing rows of images of jackets) than it does. to Google's current text link offering. Google said its tests of the format found that users liked being able to see brands and styles faster.
In the future, he wants to integrate e-commerce with all of Google's range of offerings, from search to maps to YouTube. Mr. Ready imagines that people are watching a YouTube video of someone unpacking new clothes and viewers can click nearby to purchase the items, or receive an ad on Google search if they later search for the clothes.
Google's work so far has done little to ease Amazon's dominance. In the past year, the e-commerce giant has increased its share of product searches by 1 percentage point to 54%, according to ChannelAdvisor Corp.
, an e-commerce consulting company.
"It is clearly a very competitive space," said Mr. Ready.
Write to Tripp Mickle at [email protected]
Copyright © 2021 Dow Jones & Company, Inc. All rights reserved. 87990cbe856818d5eddac44c7b1cdeb8


Click the button below to add the 7 SOULS IN THE SKULL CASTLE to your wish list.
An action-packed live stage performance that has to be seen to be believed!
Filmed live on stage, Japan's top theatrical troupe "Gekidan Shinkansen" brings a new kind of entertainment complete with some of the most spectacular swordplay ever performed in a stunning story set in 1590, just as Toyotomi Hideyoshi is about to unify Japan. Resistance is mounted by a man named Tenmaoh who leads the Skull Clan of Kanto. While they hide-out in pitch-black Skull Castle, a group of 7 souls led by Sutenosuke and Sagiri learn of Tenmaoh's dark ambition and mount an attack on the 20,000 warriors hiding in the castle! This is spectacular entertainment that has taken Japan by storm.
A Thrilling 3 Hour Slash-fest!
After enduring almost 6 hours of brutal torture watching the extremely mediocre live stage performances of Miyamoto Musashi and Zatoichi, I was very hesitant to pop this disc into the DVD player. I couldn't endure any more pain.
I'm happy to say that 7 Souls in the Skull Castle was three hours of pure entertainment and was an absolute pleasure from start to finish. The first disc (70 minutes) was over in what seemed like no time at all. This is a briskly paced action-adventure show that never slows down. It is presented in a way that is very similar to many Japanese animations - some of the characters are truly bizzarre, but they fit perfectly into this particular story. The whole cast did a superb job overall, and were particularly impressive in the many well-choreographed and exciting fight scenes. There was also plotting, betrayal, love interests, and a few other twists but the director never let them lead the main story astray. They were mostly relief from the almost non-stop action.
If you're a fan of solid, well-choreographed action, I can't think of any other live stage performance that comes close to this one. This is a superb effort by all of those involved and a definite keeper for any fan of Japanese stage, film or anime. This is a very solid 5 stars!


text:
Home News PDP crisis: We Are In Talks With Wike To Join Our Party...
PDP crisis: We Are In Talks With Wike To Join Our Party – APC Chieftain
The All Progressives Congress, APC, has commenced talks with Governor Nyesom Wike of Rivers State ahead of the 2023 elections, Njenje Media News reports.
An APC chieftain, Farouk Aliyu, said the party wants Wike's backing during the next general elections.
Wike and his camp have been at loggerheads with the Peoples Democratic Party (PDP) leadership since the party's presidential primaries.
The governor had lost the PDP's presidential ticket to Atiku Abubakar and has been calling for the removal of Iyorchia Ayu as the party's National Chairman.
However, Aliyu said the APC was ready to receive Wike as a new member ahead of the next general election.
Aliyu disclosed this on Channels Television's Politics Today last night.
He said: "We are talking to Wike. We are talking to so many of them. Of course, it is politics. So, we are not enemies of Wike, and he is a very important person in this country – a governor for that matter – and you cannot ignore Rivers State. So, if Wike decides to come to us, we would gladly welcome him, and I can confirm to you that we are talking to him."
Meanwhile, Wike endorsed Governor Babajide Sanwo-Olu of Lagos State for a second term on Tuesday.
Sanwo-Olu is a member of the APC, a move that has further deepened the PDP crisis.
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text:
Роуз Мари (, 15 августа 1923 — 28 декабря 2017) — американская актриса и певица, трижды за свою карьеру номинировавшаяся на премию «Эмми».

Биография
Роуз Мари Мазетта родилась в Нью-Йорке в семье  итало-американского актёра водевиделей Фрэнка Мазетты, известного под псевдонимом Фрэнк Карли, и его супруги, польки Стеллы Глужчак.  Она начала свою карьеру в трёхлетнем возрасте под псевдонимом Малышка Роуз Мари (). Пик её славы в качестве певицы пришёлся на период 1929—1934 годов, когда она регулярно выступала в водевилях, вела собственное шоу на радио и появилась во многих кинофильмах студии Paramount. Вплоть до конца тридцатых она успешно выступала и записала к тому моменту семнадцать альбомов, но в начале сороковых, когда Роуз Мари перестала быть ребёнком, её карьера завершилась, и она обучалась актёрской профессии.

В начале пятидесятых Роуз Мари начала карьеру актрисы и в 1954 году сыграла главную роль в музыкальном кинофильме Top Banana, после чего также начала появляться на телевидении в таких сериалах, как «Дымок из ствола». В 1960—1961 годах она снялась с Элейн Стритч в ситкоме «Моя сестра Эйлин», после чего на протяжении пяти сезонов снималась в «Шоу Дика Вана Дайка» (1961—1966), за участие в котором трижды номинировалась на премию «Эмми». Также она снималась в ситкоме «Шоу Дорис Дэй» с 1969 по 1971 год, а в последующие десятилетия работала менее регулярно и была заметна в основном в сериалах «Лодка любви», «Кегни и Лейси», «Ремингтон Стил» и «Мерфи Браун».

Начиная с семидесятых Роуз Мари много выступала на театральной сцене, а также появлялась на экране с камео-ролями в фильмах «Колдовская доска», «Психоз» и «Ну очень страшное кино». В 2001 году она получила собственную звезду на Голливудской «Аллее славы».

Умерла 28 декабря 2017 года в своем доме в Ван-Найсе, штат Калифорния, от естественных причин в возрасте 94 лет.

Примечания

Ссылки
 An interview with Rose Marie, March 2011
 Rose Marie on RadioGoldIndex

Артисты водевилей
Дети-актёры США
Женщины-комедианты
Голливудская «Аллея славы»
Актрисы мюзиклов США
Киноактрисы США

redpajama_set_name: RedPajamaWikipedia


Spiderman is Beat 'em up video game developed by Gray Matter Interactive and published by Activision.This is free version, easily available in our web store.Is this game is free and for PC? Yes this game is free video game and for Computer.It was released for Microsoft Windows, GameCube, PS2 and Xbox on April 2002.Please see below screenshots and system requirements to understand you, Can you able to play this game on pc? so after check out download , Install, play and Enjoy!.Now Check Out Below Download link ,download game and enjoy!.According to me Download >>Install>>Play>>Enjoy!.


text:
Plant a Tree for Jeanne
Jeanne (Doshin) Rossi
Jeanne Rossi, 86, passed away on Tuesday, January 5, 2021 at Beth Israel Hospital, Needham after a short illness. She was born in Newton, MA to her beloved father Maksim and Mary Doshin (Daker), and raised in Newton Upper Falls along with her late sister Rose Doshin Roberti. As a young woman she worked for Eastern Airlines and as a telephone operator for American Telephone & Telegraph in Boston. She retired from NYNEX in 1997 with more than 25 years of service.
On April 26, 1958 she wed Richard "Dick" Rossi from Needham, and they were married for more than 50 years until his passing in December of 2008. They made a happy life in Needham, raising two children, Pamela and Richard. She was a fun and loving "Nana" to her grandsons, Matthew and Jack, two of the greatest joys of her life. She spent five years living in Williamsville, NY where she enjoyed precious time with her grandsons and met many wonderful friends before moving back to Needham in early 2020.
Jeanne or "Jeannie" had a great artistic flair which she nurtured during her life through drawing, painting, sewing, and knitting. She had a green thumb and lovingly cared for her plants both throughout the house and in her many gardens around the yard. You could often find her pruning, watering and even talking to her plants. She especially loved sitting in the sun while admiring the blooming flowers and their beauty. Her love for music and singing flourished in her later years where she had fun singing old songs with her friends or even just by herself! Her quest for fun was contagious, her smile and happy demeanor lit up a room and she had a special way of truly listening and sharing her positive outlook on life. You always felt better after a chat with Auntie Jeanne.
Jeanne will be dearly missed by her daughter Pamela Rossi Chrzanowski, her son Richard Rossi of Needham; grandsons Matthew and Jack Chrzanowski of Williamsville, NY; a loving extended family and a countless number of friends she gathered throughout her long life.
A celebration of Jeanne's life will be planned for the spring/summer of 2021.
86, passed away on Tuesday, January 5, 2021 at Beth Israel Hospital, Needham after a short illness. She was born in Newton, MA to her beloved father Maksim and Mary Doshin (Daker), and raised in Newton Upper Falls along with her late sister Rose Doshin Roberti.
On April 26, 1958 she wed Richard "Dick" Rossi from Needham, and they were married for more than 50 years until his passing in December of 2008. They made a happy life in Needham, raising a daughter and a son. She was a fun and loving "Nana" to her grandsons, two of the greatest joys of her life. She spent five years living in Williamsville, NY where she enjoyed precious time with her grandsons and met many wonderful friends before moving back to Needham in early 2020.
Jeanne will be dearly missed by her daughter Pamela Rossi Chrzanowski of Williamsville, NY; her son Richard Rossi of Needham; grandsons Matthew and Jack Chrzanowski; a loving extended family and a countless number of friends she gathered throughout her long life. She lived by the saying "love and live life to the fullest."
A celebration of Jeanne's life will be planned for the spring/summer of 2021. FeedMore WNY, 100 James E Casey Dr, Buffalo, NY 14206. www.feedmorewny.org/donate
To send flowers to the family or plant a tree in memory of Jeanne (Doshin) Rossi, please visit our floral store.
A memorial service will be held at a later date


Please note: The Financial Conduct Authority does not regulate cashflow planning.
This entry was posted on Thursday, March 14th, 2019 at 3:29 pm	by Peter and is filed under News. You can follow any responses to this entry through the RSS 2.0 feed.


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Our Digital Collections give you 24 hour access to hundreds of eBooks, eAudiobooks and online magazines from the comfort of your home or on the move.
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The POI Factory includes a rating system determined by popularity, also it lists these categories. These employees can finally keep their own health condition private and continue using jobs whenever they use pharmacy finder. Many independent pharmacies offer home overall health care aids, such as walkers and bathroom basic safety units.
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