text:
Bird of the Year
By Keith Michael
We're gathered here on New Year's Day at the selfie-magnet intersection of West 4th and West 12th Streets to announce the anxiously awaited 10th Annual Birds of the Year Awards: the "Millies!" "We" includes me and the Honorable Miss Millie (the award's namesake) as "The Envelope Please" Corgi, at my side—uh, at my ankles. This year's location commemorates where my West Village bird listing began ten years ago with a jolly pink House Finch chortling from a corner tree. Contenders for these prestigious honors are preferably birds seen within the rigorous boundaries of how far Millie will walk in the West Village, but can include birds spotted within New York's five boroughs while Millie is napping. Let's get started!
The People's Choice Award unanimously goes to the charmer of a Painted Bunting that graced the LeFrak Center in Brooklyn's Prospect Park for weeks this fall, garnering unprecedented media attention and enlisting countless new birding fans. A firecracker red, blue, and green fellow like this, native to the far south, hasn't wandered north to Prospect Park since 1927. Thanks for the show!
Best New West Village Bird. This one was easy: a stately pair of Mute Swans stroking their great wings high above the Hudson River. I watched them fade into the harbor mist of a January dawn's early light. The selection for this award was easy because this was (sadly) my only new West Village Bird for the year: WVB #104. Millie wants you to know that she cast her weighted vote for this duo (mainly because she was there).
Best Revival. The Couch's Kingbird, last year's mega-rarity Bird of the Year, a first for New York State, appeared all of the way from the southwest. After debuting on Christmas Eve, this celebrity was still encoring into January, regularly flaunting his brilliant yellow physique and flycatcher aerodynamics from a balcony rail at Jane and Washington to the delight of avian aficionados from all over the country.
The Regional Day Trip Award goes to the Bald Eagles of Croton Point Park, Westchester County. January and February bring dozens of eagles to winter along the frozen Hudson River, spreading out across the Tappan Zee. In one afternoon I was able to see more than 30 of these regal raptors soaring, styling, brunching, or "catchin' an ice floe." By the way, it's a less-than-an-hour Metro-North trip to Croton-Harmon for the show.
The Ho Hum "One More New Bird" Award goes to a Chuck-will's-widow (my North American Bird #331) slumbering on a high branch in Bryant Park in April. Barely discernible from its equally cryptic cousin nightjar, the Whip-poor-will, this was one of those birds (though with a short-story-worthy onomatopoetic name) that one birder was lucky enough to spot during daylight (it's a nocturnal bird) and post the sighting to the "birding underground." You go to the spot where the bird has been seen, look for the crowd of birders looking up with binoculars and long-lens cameras and 'scopes, look where they're looking, and, "There's the bird!" You see it and now you've seen your first Chuck-will's-widow. Would I recognize one if it came up and rang my doorbell? Probably not.
The Birding Spectacle Award (disqualifying the circus of rubber-neckers elbowing their way to a glimpse of the Prospect Park Painted Bunting) goes to the massive spring convention of 15,000-plus Greater Scaup in Brooklyn's Dead Horse Bay before their communal flight to stake out nesting territories in northern Canada. This annual display by a black and white duck, replicated thousands of times, bobbling among the waves in ever-changing patterns, is mesmerizing.
The Newcomer of the Year Award is a contentious tie between the Bald Eagle pair that nested on Staten Island (the first eagles to nest within the city in over 100 years) and the Raven pair who raised a trio of "ravenettes" in Chelsea this summer (the first Ravens on record to nest in Manhattan—"so there!" to "nevermore.") Ravens also receive my Most-Sought-After-Sighting-in-the-Neighborhood special citation.
Two wayfarers on Washington Street unwittingly tied for Heartbreaker of the Year: the escaped green and yellow parakeet which I later learned was heroically captured but died the next day from unknown causes, and a Black-billed Cuckoo with its lovely white-spotted tail jackknifed on the sidewalk—the casualty from a window strike. Our sympathies go out to their loved ones.
To counterbalance the previous tear-jerker, the Bluebird of Happiness "Millie" alights on, well, a five-some of Bluebirds which spread February cheer across a Staten Island stubble field.
And finally, the coveted Bird of the Year Award goes to, "Millie, the envelope please. (Millie, the envelope PLEASE!)" Uh, Millie's distracted by a squirrel climbing my House Finch tree. Painting the scene for the Bird of the Year: It's a perfect Saturday afternoon in May. I'm lollygagging through the Jefferson Market garden, startled at every turn by the extravagant Matisse cut-out swathes of tulips. A Lilliputian Black-and-white Warbler lands at my feet, no really, AT my feet, looks around, then hops BETWEEN my feet, and pecks at a shoelace. Yes, my camera was around my neck, but I didn't dare to breathe. This diminutive fellow wins the "Millie" statuette for his mantelpiece!
I usually say that to see birds, "Just look up!" But, sometimes, looking down works too. Happy New Year!
For more information about birding outings, photographs or his NEW book Let's Go Out! visit www.keithmichaelnyc.com.
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1 Which of the following best expresses the essential information in the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information.
But while we often call it a "revolution," it would be a mistake to believe that agriculture was a sudden and complete development, an all or nothing proposition that societies adopted wholesale at the first opportunity.
The word "revolution" is somewhat misleading because agriculture was not adopted all at once.
Agriculture was an opportunity for sudden and rapid development, which is why we call it a "revolution."
Although agriculture is called a "revolution," it turned out to be a mistake for those societies that adopted it quickly and completely.
Traditional beliefs about the adoption of agriculture have been recently transformed in what is known as a "revolution."
Early farming came about as people observed and experimented with plant reproduction.
Neolithic farmers collected and planted seeds that they learned would produce palatable grains, selectively breeding plants that were deemed healthy and delicious, and avoiding those that were not. █ [A] Early agriculture was restricted to a limited number of plants, namely Emmer wheat, Einkorn wheat, and barley. █ [B] Later, people learned to cultivate pulses, including lentils, peas, chickpeas, and bitter vetch, as well as the multi-purpose flax plant. █ [C] Together, these eight plant species are known as the Neolithic founder crops or primary domesticates. █ [D] .
3 The word 'them' in paragraph 4 refers to:
food surpluses.
techniques.
4 Which of the following can be inferred from the information in paragraph 4?
Pre-agricultural societies tended to have less division of labor than farming peoples.
Food surpluses led to considerable conflict both within and between agricultural societies.
Success in farming was dependent on materials and knowledge obtained from outside one's own region.
Granaries were owned and controlled by the farmers themselves, despite social stratification.
5 According to the author, which of the following was most critical in the development of intensive agriculture?
the adze
the sickle
6 According to paragraph 6, which of the following is true about domesticated animals?
They served a variety of purposes for Neolithic farmers.
They were limited to animals which could produce milk, leather, wool, or fertilizer.
Their domestication predates the domestication of plant species.
They consumed much of the food surpluses generated through the cultivation of plants.
7 The primary purpose of paragraph 7 is to
summarize previously mentioned benefits of the Neolithic revolution.
introduce the negative impacts of the advent of agriculture.
provide examples of other important developments that rivalled the Neolithic revolution in importance.
outline the necessary preconditions for the development of agriculture.
8 The word 'heralded' in paragraph 7 is closest in meaning to:
criticized.
dismissed.
celebrated.
9 All of the following are mentioned as negative impacts of the Neolithic revolution EXCEPT that
people suffered from more illness as a result of poor sanitation.
farming required harder work than previous modes of food production.
there was more competition in society for certain types of resources.
people lacked diversity in the foods they ate.
In the Neolithic period of the stone age, agriculture was an important development for human societies.
A.People learned to cultivate a number of different plants, using innovative tools and techniques.
B.Agriculture appeared in different parts of the world at different times, beginning with the Levant and finally in Europe.
C.The food surpluses that agriculture enabled other developments but had an overall negative impact on human health.
D.Not all hunter-gatherer groups in the Neolithic period adopted an agricultural lifestyle, as some peoples found it advantageous to maintain their traditional ways.
E.Neolithic farmers domesticated a variety of animals, which provided additional food sources as well as labor and protection.
F.Besides agricultural tools, people devised implements that helped them build a variety of structures.
[1] While the use of stone tools began 2.5 million years ago, it wasn't until about 10,000 BCE that Homo sapiens applied these tools to the deliberate cultivation of plants and animals. The adoption of sustained agriculture – what anthropologists call the "Neolithic revolution" – signifies...
keyboard_arrow_left reading Practice 21

redpajama_set_name: RedPajamaCommonCrawl


Could you upload the parts in seperat stl-files? Having trouble getting the printer to understand the non-connected placements.
Done. Just remember to print 2 pins and 2 gate arms. Make sure to post pictures of the finished product.


text:
Q: How to delete a file for sure under windows (problem with file locks)? is there a way to delete a file under windows xp, ntfs filesystem even if there is a lock on that file?
Having issues with other processes like e.g. virus scan locking files I want to move/delete.
Thanks for any hints!

A: MoveFileEx allows you to pass the MOVEFILE_DELAY_UNTIL_REBOOT which will cause the file to be moved/deleted when you next reboot. Other than that, you'd have to find/kill whichever other process(es) currently have the file locked, which may not be possible, and is almost certainly not desirable behaviour for most programs.

A: If the file is locked when you try to delete it then the deletion will fail. If you need the file to be deleted, then you need whatever is locking it to release the lock.
That's really all there is to it. There are no shortcuts here.

A: If I recall right, there's a Microsoft program called Open Handles that you can download which will tell you what process is locking a particular file. Then you just kill that process and it unlocks the file so that you can delete it. Doesn't work if the file is locked by a core operating system process, but should work fine if it's locked by a virus scanner.
I guess if you're trying to do this programmatically rather than manually, you'll need to get your program to invoke oh.exe and process its output accordingly. Then kill the relevant process using the Windows API (to the best of my knowledge, TerminateProcess is the appropriate function) and try deleting the file again.

A: If you absolutely need to delete the file before proceeding, you may do following:
#include <stdio.h>
...
while(remove("myfile.txt" ) != 0)
   // Error deleting file. Wait a little before trying again.
   Sleep(100);

After the loop you absolutely sure that file is successfully deleted.
You may use some "attempts counter" to exit the loop to not wait forever ;)

redpajama_set_name: RedPajamaStackExchange


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text:
You can't claim family values if you don't value families
The U.S. separation of immigration children from their families is symptomatic of global failure to safeguard children's rights.
In Ford's Ontario, keep an eye on public schools
The sex ed curriculum will be an overt omen, but there's a bigger picture. Ford's staff has a reputation for undermining the public education system with tax breaks and standardized tests.
Our populist zeitgeist
This happens to be a populist moment politically but ours won't be a particularly Trumpian one, not because Ontarians are smarter than Americans but because there's a populist alternative.
Remembering Roth
Philip Roth, an American novelist who was a pre-eminent figure in 20th-century literature, died at age 85 last week.
The poison in Doug Ford's Kool-Aid
The only reason for panic is our retrograde, undemocratic electoral system. It would give Doug over 70 per cent of seats with his 40 per cent of the vote.
Trudeau contradicts his own promise never to let history repeat itself
This must have been a week of cognitive dissonance for Trudeau. He apologized emotionally for Canada's turning away of Holocaust refugees, while slamming the door Nigerian asylum seekers from the U.S.
Our chaotic political blender
What I like about the blender model is it still leaves room for change and for wide swings between options, versus being stuck in a static politics of us versus them.
The aftermath of Toronto's van attack tested Toronto
Toronto's van attack tested all of us. And not everyone gets a passing grade.
Starbucks, like Hillary Clinton, will never get What Happened
Starbucks is a really irritating corporate juggernaut. They want moral vindication, not just profit margins.
On surviving Trumptime
Lenin said there are decades when nothing happens and weeks when decades happen. Then there's Trumptime, when every day seems to last a century of cataclysmic moments and tomorrow is another century.


Considering how much I love beauty, especially natural beauty, I'm surprised I've managed to wait this long to introduce you to a US based natural beauty brand that I've been working with for that past while; Maple Holistics. It's all about pure, natural, effective hair care and beauty. I've been trying out some haircare and skincare products from their vast range of choices, I definitely recommend taking a look at whats on offer. What's also rather exciting is that we'll be giving away some of their best selling Argan Oil Shampoo* and Conditioner* set for a lucky winner in the US! If you're not in the US I still recommend you have a look at their site, there's tons of things to get your hands on, including the products I've been trailing, featured in this post.
The Argan oil conditioner*, a personal favourite of mine, has been a god send for my hair over the past few weeks. Instead of using my usual Tresamme conditioner with added Argan oil, using Maple Holistic's unique blend of natural, extremely beneficial ingredients, my hair has been softer than ever. This time of year my hair is particularly dry and brittle so the added Argan Oil, Keratin, Jojoba Oil and Green Tea has done me no end of good. My hair is healthier, softer and smells great; I'm definitely hooked on this stuff right now! What are your main hair concerns?
If you're a regular reader here on my blog then you'll know I'm quite fond of serums, especially those that are oil based with lots of nourishing vitamins. The Vitamin C Anti-Aging Serum* came as quite a surprise to me because not only was my skin softer and more nourished, it was considerably brighter and had a lovely fresh glow. This serum fits perfectly into my skincare routine after a spritz of toner and before moisturising morning or night. The results are not only noticeable quite early on into use, but they're also long lasting. Highly recommended!
Lastly, if you're looking for a fun, different kind of mask that delivers amazing results, I'd recommend the Ancient Clay Facial Mask*. I'm quite familiar with clay masks; my previous two, the Origins Active Charcoal Clear Improvement and Boots Botanics Shine Away Iconic Clay Masks have been fanatastic to use and my skin definitely benefits from deeply penetrating clay masks like these. What's different with Maple Holistics' clay mask is that you mix the formula to suit you. The tub contains a loose powder which you mix with two scoops of water per one scoop of powder. However, if you prefer a looser or tighter mask, its versatile enough to allow you to tweak it to suit your skin. I like to use this twice a week to brighten my skin, unclog pores, and reduce black heads and blemishes. It's active ingredients dramatically improve the skin and provide a smooth, purified surface for easy makeup and skincare application.
As for the giveaway, its US entrants only and you'll have a chance to win Maple Holistics' best selling Argan Oil Shampoo and Conditioner Set which you can check out here and here! Good Luck everyone!
What do you think of Maple Holistics? Ever shopped their before? What are you favourite natural beauty brands?


Flowers like having dead things plunged down with their roots. Most people don't know, but we do. They like little bits of rotting parts, like weasel toes and bird feet and the inner soft pieces of insects that fill their bulbs with the necessary flavors. Then the stalk flits up, sometimes over a matter of hours, and the petals unfurl like numb limbs. Remember how it felt to breathe? Everywhere we went we could inhale the float, exhale something that was somehow less than the nothing we started with. Before, when we could run as far as we wanted, until the last time when we could not run fast enough.
The festival banners that line the dusty roads are caught in breezes we cannot feel. Stretching words out into the trees, returning them full of branch-ends until they become so weighed down they hang there like dead fish. It's hot. We can't feel it, but we know from the way the horizon quivers. They hire pickers to gather the fields, arms full of rigid stalks, labial sprouts at the end promising—something. You can't know until they bloom, but of course you already know what's inside. Still, you can't wait to see.
We were little girls with skinny legs and round bellies. We had lungs like parachutes crammed into backpacks. We could yell louder and longer than they told us we could. We would scrape our knees ten times over in the same spot until the skin stopped trying to heal, but stayed oozing for months. Our somebodies reapplied gauze each night to the yellow ick. Gauze that would get pulled away in our sheets as we slept. We hope our somebodies pass that care on to others, that it doesn't just dissipate in the air as we have done.
Did we say how large these fields are? Acres of tulips. Acres on acres. When the yellows sprout, or the purples, or the whites with the red tips that pucker so delicately—when a field sprouts—it is the one color everywhere. You can't see far enough not to see it. People don't know what to make of that, of all that color, and they never think about the dead things that make it happen. They just see those big, bright teacups swaying in open air. But what we see is a bell being rung by something small down below.
Once we walked a mile out into the sea of the not-yet-blooming sprouts that looked like carrot toppers. We wanted to see what was in that tree grove. The trees were oaks the size of bedrooms. We found a cow skull in the dirt by the roots. It was clean and white as pearls. The eye sockets didn't look empty to us. Yes, there was nothing there. But also, yes, there certainly was. We were not afraid of the skull, but we were afraid when we saw the trail of red that ended in a furry dead thing. We were afraid when it quivered and we had to decide if it was only the wind, or if we had a job to do.
You liked when we wore little pink dresses with skirts as wide as bedside tables. You liked our little bodies and our tangled curls and when we were allowed to wear lipstick on Halloween. You left little dead things in the fields to make the flowers bloom brighter and prettier than the last season.
Did you know tulips bend toward the light? No matter how they are placed, they find what they need. We were your pretty girls. With your help, we dove down deep into the earth, swallowing dirt, filling ourselves with what we needed to become. The roots of the bulbs found us, used us. We could hear the tourists walking above, admiring what we had done. We could hear the sound of the stalks being cut, the flowers being taken away to enter a vase or to join a seven-dollar bouquet. At the end of the season when we came up for air, the world was beautiful and you were more than pleased.
Bailey Cunningham is the managing editor of the Bellingham Review and is currently pursuing an MFA at Western Washington University. She lives in coastal Washington, where she works as a promotional writer and editor.


2. It has no accelerometer, you've got to buy one.
I had the same problem, could you try to use the IP Address instead of the name?
I didn't search for a library but I skimmed through the code of the Arduino Lib. Looks like easy I2C communication which you can easily port to Micropython if needed. Sp even without a library this is a simple task!


Growing up in rural Wisconsin, the county agricultural fair every year wasn't just a week-long influx of mini donuts and Tilt-a-Whirl rides. It was a celebration of the many talents of the communities many farmers, homemakers, and 4-Hers.
Canned tomatoes, hand stitched quilts, and a pig so perfect you half expect a spider to write a superlative above its pen. All signs of the quintessential county fair. Yet over the years, and despite the popularity of homesteading and urban farming, county fair participation in rural areas is dwindling.
I started The County Fair Project to document the people and the traditions that are so essential to the fabric of rural America.


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Chase Suite Hotels are an outstanding option for all of your business travel. Start your work day off right with a hot breakfast buffet before you leave for the office. After a long day, come back to your suite to relax with drinks and dinner before you head back to your spacious suite stretch out, maybe even put some leftovers in the fridge before falling asleep!
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text:
sport, local-sport, Goulding, Spirit, Tall Ferns, New Zealand, Mary, Asia, Cup, Jordan
WHILE COVID-19 has meant a shortage of competitive basketball for most WNBL players, especially in Victoria and New Wales, expect Mary Goulding to be better prepared than most when the 2020-21 season rolls around later this year. The second-year Bendigo Spirit import has just completed a stunning season in the NBL1 West competition with East Perth Eagles, highlighted by her runner-up finish in the league's MVP voting. Despite the Eagles' season coming to an end short of an appearance in this Friday night's grand final following a one-point loss in last weekend's semi-final against Warwick Senators, Goulding still has plenty of exciting basketball to look forward to ahead of the WNBL pre-season. The Christchurch-born 25-year-old was this week named in a 14-player New Zealand Tall Ferns squad for the 2021 FIBA Women's Asia Cup in Jordan. To be staged from September 27 to October 3, the Cup tournament has been moved from India to Amman in Jordan. It marks a return to the international stage for the Tall Ferns, who have not played since November 2019. Bendigo Spirit coach Tracy York could not be happier to see Goulding get another opportunity with the national team. "She has had a great NBL1 West season, runner-up in the MVP, a member of the All-Star Five and the league's leading rebounder," she said. "It's been good that they have been able to keep playing and earning a Talls Fern spot has been a great reward for her. "Mary was just Mary (in the NBL1), doing all the hard stuff. She looks fitter and faster, which is awesome, and is shooting the ball really well and attacking the basket. "But she also does the all the little things as well. "She was great last season for her first time in the WNBL because she just brings effort all the time. "She's a great defender and good on offence too. I think for her, having a full NBL1 season and then heading off internationally will place her well for her time back with the Spirit." An NBL1 season full of brilliant performances continued to the very end for Goulding, who led the Eagles with 32-points and 15-rebounds in their narrow semi-final defeat. She averaged 24-points per game, 13.63 rebounds and 3.05 assists for the season. Goulding, who earned First Team All-Conference honours during her senior year at Fordham University (New York) in 2018-19, first represented the Tall Ferns at the 2019 William Jones Cup in Taiwan. The national squad includes seven players currently on WNBL rosters, including former Bendigo Spirit star Ash Karaitiana, who is signed with Melbourne Boomers. 24-points per game Season high: 35-points v Willetton Tigers (June 12) 3.05 assists per game 13.63-rebounds per game Season high: 23-rebounds per game v Warwick Senators (August 5) 46.77 field goal percentage 2.94-steals per game Our journalists work hard to provide local, up-to-date news to the community. This is how you can access our trusted content:
/images/transform/v1/crop/frm/j98Hh85wiUB5yeTBh2fLTR/6a91a6ef-4999-42c5-aa69-7848b9557f38.jpg/r0_49_612_395_w1200_h678_fmax.jpg
September 1 2021 - 1:49PM
Mary Goulding grasps Tall Ferns chance
KIERAN ILES
IN-FORM: New Zealander Mary Goulding will be aiming to back up a convincing first season in the WNBL when she returns to the Bendigo Spirit later this year. Picture: GETTY IMAGES
WHILE COVID-19 has meant a shortage of competitive basketball for most WNBL players, especially in Victoria and New Wales, expect Mary Goulding to be better prepared than most when the 2020-21 season rolls around later this year.
The second-year Bendigo Spirit import has just completed a stunning season in the NBL1 West competition with East Perth Eagles, highlighted by her runner-up finish in the league's MVP voting.
Despite the Eagles' season coming to an end short of an appearance in this Friday night's grand final following a one-point loss in last weekend's semi-final against Warwick Senators, Goulding still has plenty of exciting basketball to look forward to ahead of the WNBL pre-season.
The Christchurch-born 25-year-old was this week named in a 14-player New Zealand Tall Ferns squad for the 2021 FIBA Women's Asia Cup in Jordan.
To be staged from September 27 to October 3, the Cup tournament has been moved from India to Amman in Jordan.
It marks a return to the international stage for the Tall Ferns, who have not played since November 2019.
Bendigo Spirit coach Tracy York could not be happier to see Goulding get another opportunity with the national team.
"She has had a great NBL1 West season, runner-up in the MVP, a member of the All-Star Five and the league's leading rebounder," she said.
"It's been good that they have been able to keep playing and earning a Talls Fern spot has been a great reward for her.
"Mary was just Mary (in the NBL1), doing all the hard stuff. She looks fitter and faster, which is awesome, and is shooting the ball really well and attacking the basket.
Mary Goulding
"But she also does the all the little things as well.
"She was great last season for her first time in the WNBL because she just brings effort all the time.
"She's a great defender and good on offence too. I think for her, having a full NBL1 season and then heading off internationally will place her well for her time back with the Spirit."
An NBL1 season full of brilliant performances continued to the very end for Goulding, who led the Eagles with 32-points and 15-rebounds in their narrow semi-final defeat.
She averaged 24-points per game, 13.63 rebounds and 3.05 assists for the season.
Goulding, who earned First Team All-Conference honours during her senior year at Fordham University (New York) in 2018-19, first represented the Tall Ferns at the 2019 William Jones Cup in Taiwan.
The national squad includes seven players currently on WNBL rosters, including former Bendigo Spirit star Ash Karaitiana, who is signed with Melbourne Boomers.
Mary Goulding's NBL1 West season
24-points per game
Season high: 35-points v Willetton Tigers (June 12)
3.05 assists per game
13.63-rebounds per game
Season high: 23-rebounds per game v Warwick Senators (August 5)
46.77 field goal percentage
2.94-steals per game


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PLoS Genet. 2014 Nov 13;10(11):e1004784. doi: 10.1371/journal.pgen.1004784. eCollection 2014 Nov.
Phylogenetically driven sequencing of extremely halophilic archaea reveals strategies for static and dynamic osmo-response.
Becker EA1, Seitzer PM2, Tritt A3, Larsen D4, Krusor M5, Yao AI6, Wu D3, Madern D7, Eisen JA1, Darling AE8, Facciotti MT9.
Microbiology Graduate Group, University of California, Davis, Davis, California, United States of America; Genome Center, University of California, Davis, Davis, California, United States of America.
Genome Center, University of California, Davis, Davis, California, United States of America; Department of Biomedical Engineering, University of California, Davis, Davis, California, United States of America; Proteome Software, Portland, Oregon, United States of America.
Department of Energy Joint Genomes Institute, Walnut Creek, California, United States of America.
Genome Center, University of California, Davis, Davis, California, United States of America.
Microbiology Graduate Group, University of California, Davis, Davis, California, United States of America; Department of Earth and Planetary Sciences, University of California, Davis, Davis, California, United States of America.
Genome Center, University of California, Davis, Davis, California, United States of America; Department of Biomedical Engineering, University of California, Davis, Davis, California, United States of America.
Université Grenoble Alpes, Institut de Biologie Structurale, Grenoble, France; Centre National de la Recherche Scientifique, Institut de Biologie Structurale, Grenoble, France; Commissariat à l'énergie Atomique et aux Énergies Alternatives, Département du Science du Vivant, Institut de Biologie Structurale, Grenoble, France.
Microbiology Graduate Group, University of California, Davis, Davis, California, United States of America; Genome Center, University of California, Davis, Davis, California, United States of America; Department of Biomedical Engineering, University of California, Davis, Davis, California, United States of America.
Organisms across the tree of life use a variety of mechanisms to respond to stress-inducing fluctuations in osmotic conditions. Cellular response mechanisms and phenotypes associated with osmoadaptation also play important roles in bacterial virulence, human health, agricultural production and many other biological systems. To improve understanding of osmoadaptive strategies, we have generated 59 high-quality draft genomes for the haloarchaea (a euryarchaeal clade whose members thrive in hypersaline environments and routinely experience drastic changes in environmental salinity) and analyzed these new genomes in combination with those from 21 previously sequenced haloarchaeal isolates. We propose a generalized model for haloarchaeal management of cytoplasmic osmolarity in response to osmotic shifts, where potassium accumulation and sodium expulsion during osmotic upshock are accomplished via secondary transport using the proton gradient as an energy source, and potassium loss during downshock is via a combination of secondary transport and non-specific ion loss through mechanosensitive channels. We also propose new mechanisms for magnesium and chloride accumulation. We describe the expansion and differentiation of haloarchaeal general transcription factor families, including two novel expansions of the TATA-binding protein family, and discuss their potential for enabling rapid adaptation to environmental fluxes. We challenge a recent high-profile proposal regarding the evolutionary origins of the haloarchaea by showing that inclusion of additional genomes significantly reduces support for a proposed large-scale horizontal gene transfer into the ancestral haloarchaeon from the bacterial domain. The combination of broad (17 genera) and deep (≥5 species in four genera) sampling of a phenotypically unified clade has enabled us to uncover both highly conserved and specialized features of osmoadaptation. Finally, we demonstrate the broad utility of such datasets, for metagenomics, improvements to automated gene annotation and investigations of evolutionary processes.
Sequencing depth of newly sequenced haloarchaeal genomes.
Histogram showing distribution of mean per base coverage for the 59 newly-sequenced and seven previously published draft genomes included in this study.
Multi-marker concatenated phylogeny of the 80 genomes included in this study and other haloarchaeal genomes gathered from IMG. The unrooted tree was built from a concatenated alignment of 40 PhyEco markers using PHYML. Branch support values for top-level branches have been removed for ease of visualization. The full tree file can be accessed through . Grey boxes represent haloarchaeal clades as described in , expanded as described in text. Tree roots in the Methanocella (not shown).
Rarefaction analysis of sampled haloarchaeal protein space.
A rarefaction curve of protein diversity was created for the 80 haloarchaea included in this study using three alternative methods to define protein families: COG number (green), TRIBE-MCL clusters removing singletons (red), and TRIBE-MCL clusters without removing singletons (blue). The COG database is expected to represent an under-estimate of the true diversity. Similarly, using TRIBE-MCL clusters with all singleton genes excluded underestimates true diversity. The true diversity of the set is likely located between the blue and red curves.
(A) Generalized model for osmoadaptation in the haloarchaea. During osmotic upshock, potassium is imported through Trk H+/K+ symporters and Na+ is expelled using a combination of NhaC H+/Na+ antiporters and/or YrbG Ca2+/Na+ antiporters. During osmotic downshock, excess potassium is removed through a combination of Kef H+/K+ antiporters and the non-specific mechanosensitive channel MscS. (B) Ion transport strategies not generally encoded by the haloarchaea. Sodium export and potassium import using ABC transporters (NatABC and KdpABC) may be less energetically efficient than secondary transport systems. Use of Ktr K+/Na+ symporters for potassium uptake would result in over-accumulation of sodium. (C) Compatible solute transport systems. Na+/proline symporters (OpuE and MM_2305) are ubiquitous in the haloarchaea. Glycine betaine uptake is mediated by OpuD through symport with sodium or, rarely, through the ABC transporter OpuC. The ectoine/sodium symporter EctP is also widespread. For transport systems with multiple substrates, a representative compound is shown. (D) Magnesium uptake is mediated by primary active transport (MgtA/B) or, rarely, by facilitated diffusion (MgtE/CorA). (E) Potassium accumulation is possible in all 80 haloarchaea via both secondary active transport (Tribe63) and facilitated diffusion (Tribe105). Some species also possess ATP-dependent potassium transporters (Cog3639/PhnD). Numbers in parenthesis represent the number of haloarchaeal species possessing the transporter gene. BR – bacteriorhodopsin, HR – halorhodopsin, GB – glycine betaine, Pro - proline, Ect – ectoine. Kef, Ktr and Trk each represent a class of transporters, rather than a single homolog. Tribe63 and Tribe105 refer to protein families defined in this study.
Histograms of computed pI values for (A) Haloferax mediterranei, (B) Halorubrum litoreum, (C) Haloarcula argentinensis, and (D) Natrialba aegyptia. Each of these four species is a representative from the four most populous genera in the set, which collectively contain 66% of the organisms in the study. For all sequenced haloarchaea, the pI histograms exhibited a bimodal distribution with a major mode at about 4.5 and much smaller minor mode around 10. For all isoelectric point plots see Data Dryad package .
Structural mappings of the large and small ribosomal subunits, showing protein monomers with predicted low (red) and high (blue) pI. Subunits are oriented according to (A) complex formation, (B) cytoplasmic view of each subunit, and (C) internal view of each subunit. Subunits exposed to the cytoplasm tend to be acidified (red subunits, visible in B), while subunits buried within the ribosome tend to have an alkaline isoelectric point (blue subunits, visible in C). Structural models used were those for Thermus thermophilus (1FKA) and Haloarcula marismortui (1QVG) .
Representative G+C content plots for (A) Haloferax mediterranei, (B) Halorubrum litoreum, (C) Haloarcula argentinensis, and (D) Natrialba aegyptia. Each of these four species is a representative from the four most populous genera in the set, which collectively contain 66% of the organisms in the study. Black line represents calculated G+C percent for each 100 bp window. Contig boundaries are represented as vertical red lines, contig mean G+C as horizontal blue lines, and genome mean G+C as a horizontal green line. The horizontal axis displays the number of 20 bp steps taken along the genome. For all G+C plots see Data Dryad package .
Genera-level comparisons of genomic features.
Assembled genome size (Mbp) (A), number of predicted protein coding sequences (B), %G+C (C), and mean protein isoelectric point (D) were extracted from each genome, organized by genus, and boxplots calculated using MATLAB's Statistics toolbox. Boxplots were generated using 25th and 75th percentile as box edges, with median demarcated with horizontal line within box. Genera are ordered by descending number of species sequenced, with the number of species shown in parentheses. Genera with only a single sequenced member are shown as horizontal lines.
Haloarchaeal transcription factor B phylogeny.
Unrooted phylogenetic tree of haloarchaeal transcription factor B (TFB) homologs. Green - TfbC/G, magenta - TfbB/D/F, blue - TfbE, red - TfbA, black - unassigned. Number of sequences and species represented in each clade are shown in parenthesis. Bootstrap support values over 30% are shown for major clades. Branch marked with asterisk is truncated. See for tree file.
Unrooted phylogenetic tree of haloarchaeal TATA-binding protein (TBP) homologs. Dark green - TbpC, light green - TbpD/B/F, magenta - TbpE/A, salmon - TbpW, dark purple - TbpX, blue – TbpY, light purple – TbpZ, black - unassigned. Number of sequences and species represented in each clade is shown in parenthesis. Bootstrap support values over 30% are shown for major clades. See for tree file.


text:
2013 Speeches & Testimony
Remarks Delivered by CIA Director John Brennan at the OSS Society Awards Dinner
Remarks by Central Intelligence Agency Director John O. Brennan as prepared for delivery at the OSS Society Donovan Award Dinner in Honor of William McRaven
Good evening. Thank you, Ambassador Montgomery, for that introduction and for your many decades of distinguished service to our Nation. I am deeply honored to be here tonight to salute this year's recipient of the William J. Donovan Award, Admiral Bill McRaven. This is a particular privilege for me because Admiral McRaven is not only a most deserving honoree—he is also a fellow Longhorn from the University of Texas, and a good friend.
Before I begin, let me say how flattered I am to share the stage this evening with such an outstanding group of public servants. And of course it is a thrill to stand before the many eminent guests in the audience who have also served our Nation with great distinction over the years.
Well tonight marks a truly wonderful occasion. We come together to celebrate not only an exceptional American but also a very special organization, the OSS, which as you all know was a forerunner of both the CIA and the US Special Operations Command.
After the OSS was dissolved in 1945, intelligence and special operations diverged, each taking a separate path that occasionally overlapped with the other but that more often moved forward independent of the other. But recent history has reversed that divergence, as this Nation's response to the attacks of 9/11 brought the two main branches of the OSS back together. Intelligence officers and special operators are once again working hand-in-hand to take the fight to our adversaries.
This makes the history of the OSS more relevant than ever to the women and men charged with protecting our Nation. And it is one of the reasons that we are so indebted to the organizer of this evening's ceremony, Charles Pinck [President of the OSS Society]. Charles has done yeoman's work in preserving the memory of the OSS and in educating the American people about its vital contributions to our Nation's security. Even more importantly, Charles has reminded us that the story of the OSS is much more than a fascinating tale from decades past. It is also a trove of lessons for the present and the future, one that all of us in the national security professions would do well to study.
For me, a central lesson of the OSS can be found in its very makeup. The OSS recruited from all backgrounds and every walk of life. It reached into academia, journalism, Wall Street, the arts, and, of course, the military. And it prized officers with a range of skills rather than star performers in a single pursuit. Intellect alone was not enough, nor was physical prowess. The OSS wanted a blend of the two. As one observer memorably put it, the perfect recruit was a "Ph.D who can win a bar fight."
At CIA, we value people who stand out for the very same reasons—minus the bar fights. We know that solving intelligence problems means bringing to bear a variety of viewpoints and skills, and that is a philosophy we can trace directly to the wonderful assortment of personalities in the OSS, the group that Wild Bill Donovan lovingly called his "glorious amateurs."
Another crucial lesson passed down to us by the OSS is that successful organizations must be willing to take risks. For OSS officers, mistakes were not the enemy. Mistakes were the natural byproduct of bold and decisive action, a signal that you were stretching yourself to the limit. An officer who never faltered was an officer with a bias for caution. And what the OSS needed was precisely the opposite: intrepid spirits who loved to experiment, improvise, and roll the dice.
William Casey, one of my distinguished predecessors in the Director's office at CIA, described his service in the OSS this way: "You didn't wait six months for a feasibility study to prove that an idea could work. You gambled that it might work."
Risk taking is essential to good intelligence, and no one knows that better than the OSS veterans who are with us tonight. Through your courage and enterprise, you showed what rewards there are in breaking free from convention and taking a shot at something new, even when the odds are stacked against you. In doing so, you established a tradition of risk taking that continues to guide intelligence officers and special operators to this very day.
For this and for so much more, CIA owes you a tremendous debt of gratitude. And so tonight, I would like to take the opportunity to tell you directly just how much I appreciate your extraordinary service. Your contributions to our Agency, and to our Nation, have been immeasurable. And it is my great privilege to say thank you. [Applaud]
It is hard to think of a more worthy heir to the legacy of the OSS than the man we honor tonight: Admiral William Harry McRaven. He may not have a Ph.D, but he is blessed with a razor-sharp mind, and I think we all recognize that he could handle himself pretty well in a bar fight.
And he understands—as well as anyone I know—the importance of taking risks. In his line of work, there is no such thing as a sure thing. Risk is a fact of life in special operations, but with an added and very serious twist. If things break the other way, lives are lost.
Yet, despite the high stakes, Admiral McRaven has never allowed himself to play it safe. In looking back over his career, he once made the following observation: "One thing I have learned over time is that you have to learn to fail. It is a natural course in combat that we will make mistakes….If you internalize that too much or let that burden become so large, then as a leader you can't make the next right decision."
As many here can attest, making the right decision is something that has always come naturally to Admiral McRaven. Well, almost always.
I think it is fair to say that he made a few false steps early on. Like many of us, it took Bill a while to figure out what he wanted to do with his life.
Here is how he recounted his first semesters at the University of Texas. The direct, unsparingly honest descriptions are vintage McRaven: "I started off in pre-med. Did not do well there. Then I went to business. Oh, I was worse in business."
As he meandered through his undergraduate years, he dabbled in an array of subjects. In fact, I am pretty sure that Admiral McRaven is the only special operations commander who thought seriously about becoming an accountant.
But accounting was not his thing either. So Admiral McRaven, in a sign of the infinite wisdom and foresight that we have come to know him by, decided to enter a field with an ironclad future: newspapers.
In the end, Admiral Mcraven opted for a career that was a little less stressful than all of those, choosing a life of comfort and ease that can only be found in the Navy SEALs.
And it is a good thing for all of us—and for Americans everywhere—that he did. For there can be no question that our country is safer today because of the service of Admiral McRaven. He has been one of the bedrock figures of our Nation's response to 9/11.
Now I know that he would resist that description. The fight against al Qa'ida and its allies, he would say, has involved all instruments of national power, and no single person or organization deserves special acclaim. And in a way he would be right. Dedicated Americans from organizations across the government have made major contributions to the effort.
But it is also true that in some respects this has been the age of the "silent warrior"—or to use Admiral McRaven's term, the "quiet professionals" who operate under his command.
Over the past dozen years, our special operators have taken a somewhat counterintuitive idea and proved its worth beyond any reasonable doubt—the idea that small, agile forces can gain decisive advantage over larger ones and help turn the tide of broad conflicts.
And as much as anyone, Admiral McRaven has been the driving force behind this achievement. He was both the thinker who helped promote the idea, and the warrior who helped carry it out.
As a graduate student in the early 1990s, Admiral McRaven wrote a thesis that explained how effective special operations are conducted. In a masterful display of clear and concise writing, he used fourteen words to describe what special operators must have to succeed: "a simple plan, carefully concealed, realistically rehearsed and executed with surprise, speed and purpose."
Of course, it took him another 600 pages to fully explain what he meant. Some ideas are so complex they defy even Admiral McRaven's gifts for brevity.
Drawing on the ideas in his thesis, he later helped advocate an approach to combating terrorism that has been a cornerstone of our campaigns of the past 12 years—the notion that to effectively counter the terrorist threat, you must take the fight to the enemy.
These and many other ideas that have influenced the post-9/11 era bear the stamp of Admiral McRaven. And in the long, hard fight since those terrible attacks, the merits of his ideas—as well as the merits of US special operations forces as a whole—have been more than borne out.
The ultimate proof of this, of course, came in May 2011, during the raid that brought justice to Usama bin Ladin.
Much has been said about that operation, and many factors account for its success. It was the result of years of painstaking work by people across the government, including, of course, the outstanding women and men I am privileged to lead at CIA.
But we were not aboard those helicopters that night as they lifted off for Abbottabad. Nor did we command the men who were. Though many people helped prepare for the raid, there was only one person directing it once President Obama gave the order to proceed. And that was Admiral McRaven.
Ever humble, he will tell you that his contribution was minor. He will stress that the operation itself was less of an achievement than the intelligence and policy work that led up to it. In fact, when asked to describe the operation, he once chose an adjective that demonstrates both his modesty and his keen talent for understatement. He called it…"sporty."
As anyone who was privy to the details of the mission can tell you, this was a dangerous and exceedingly complex operation. The deliberations over whether to undertake it were difficult and fraught with uncertainty.
But as Vice President Biden has said, there was a key moment in those deliberations—a moment when President Obama seemed to move a step closer to his final decision. It was when Admiral McRaven looked at the President and said: "Sir, we can get this job done."
What made that such an important moment was not just the meaning of those words, but the integrity of the man who said them. Everyone in that room, from the President on down, had enormous faith in Admiral McRaven. Our trust in him was bone deep.
He had built that trust over time, by virtue of his intellect, his sincerity, his character, his ingenuity, his resolve, his composure, and his sheer common sense.
Those of you who know Admiral McRaven personally would surely affirm that he has all those qualities and more. He is the consummate man of arms.
And if we are going to make this an honest tribute, there is one more thing that must be said. Admiral McRaven is as decent a person as you will ever come across, not just a hero but a full-on good guy.
I am honored to call him a colleague and a friend. And I am deeply grateful for the opportunity on behalf of the women and men of the CIA to introduce to all of you tonight one of this nation's finest patriots, Admiral William Harry McCraven.
Admiral McRaven, on behalf of the women and men of CIA, thank you and congratulations.
Posted: Nov 21, 2013 12:30 PM
Last Updated: Nov 21, 2013 12:46 PM
Speeches & Testimony Archive


So what about a week you'll notice patterns can also benefit from using these amino acids certain of which was the earth-friendly products by giving them from drying up subject matter. These chemical studies in recent years coloring to meet them at a motorway service station a lay-by or any outcome or damaged hair but in some who are confidence and self-esteem. It also allows your spine to hold its position seems so wrong or out of rapport. When you recognized Birkin bag.
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My name is Stein Jürgen and I have tested and evaluated the Samsung Galaxy S8 64 GB on March 30, 2017.
Besides ratings the table also shows the current price level of Samsung Galaxy S8 64 GB which is; 660 USD or 560 EUR.
I have rated Samsung Galaxy S8 64 GB on ten different quality parameters; Design & materials, user-friendliness, battery, antenna, camera, display, user interface, data speed, gaming experience and conversation quality.
For each quality parameter, I have awarded a rating between 0 and 10, 10 being the best. The overall evaluation of the Samsung Galaxy S8 64 GB is calculated to an overall evaluation of 80 /100.
In addition to my evaluations of the various quality parameters, you can also read the phone's SAR Value and the current price level.
Compare prices on Samsung Galaxy S8 64 GB and find the best offer currently available on the market. Check out the following international price comparison services and find todays best price on Samsung Galaxy S8 64 GB.
Samsung Galaxy S8 64 GB has a price tag of appriximately USD 660 or EUR 560 and is ranked among the best phones on the market. See current Top 30 best cell phones on the market.
If you are looking for a phone that gives you most value for money, please check our Top 30 cell phones with best quality/price ratio. Just seeking a phone with basic functionality? See Top 30 budget smartphones on the market.
My review of Samsung Galaxy S8 64 GB is based on criteria that I follow as objective as possible. Learn more about me and my evaluation criteria.
In general, the Samsung Galaxy S8 64 GB does not offer very much quality for the price. See phones with most value for money for better alternatives.
Compare cell phones based on your own quality criteria.
The EU's recommended upper limit is 2W/kg.
The SAR value for Samsung Galaxy S8 64 GB is 0.32W/kg, which is lower than the EU's upper limit.
Mobile phones for children: The lower the SAR Value, the better according to the World Health Organisation (WHO). For children we only recommend phones with SAR Values that are less than 0.75W/kg.
See also: Mobile phones with low SAR values.


The world's first brick-and-mortar bitcoin deposit and financial services portal, Neo, opened the doors to its flagship branch in Cyprus at 10:30am local time today.
Neo is the 'bank-like' arm of bitcoin business twins Neo & Bee, with Bee serving as the payment processing network. Cypriot residents will have access to services "allowing them to interact with their money like they would with Euro deposits in any traditional bank", including deposit, savings, business and merchant accounts.


Students Lab Comittee had a few meetings with Rawat sir before he joined IIIT. A lot of things were discussed and things finally started moving when he joined IIIT.
Past week we had a meeting with Rawat sir where a lot of things were discussed. We finally decided to pick up problems one by one and kill them to restore the system health. We picked up proxy for this week. Our task was to analyze the hardware, software, load, performance and configuration files on the machine and suggest improvements. Well, I did that and have already submitted a report to Rawat sir. The details are beyond the scope of this post. Once approved, these improvements will be deployed this Sunday.
I am pretty much excited about the near future 🙂 Hope the system will be in good health soon.
The life of a computer science students revolves around emails, social networking, reading blogs, writing blogs, searching www, managing his/her domains and related things. Today, Google has provided all these facilities under one account namely GMail, Orkut, Google Reader, Blogspot, Google Search, Google Apps respectively.
Today, it was the second time that services provided by Google was not accessible inside IIIT campus. The reason may be system outage at Google or problem with our ISP. Other website were working fine.
I was working on something and thought of taking a break to check my mail. Openned Gmail. Err. Not working. Connection failed. Ok. No problem. Lemme check what others have written or shared in Google Reader. Err. Not working. Connection failed. Still not a problem. Lets go ahead and socialize a bit. Hit orkut.com. Err. Connection failed. My GOD. Relax. Lets read shiben new web comic. Err. Connection failed. A bit of frustration is occupying my mind.
I am wondering that its not we who governs our lives. Its google who is governing the entire universe now. We are too much dependent on Google 🙁 Are we doomed? Do we have any alternatives?
After a struggle of months if not years, I can see things moving finally. A big big credit goes to Rishabh Mukherjee, who was always there to offer his help whenever I had a problem with administration ( specific to IT infrastructure at IIIT). Yesterday, there was a meeting in which a test plan was worked out for the newly arrived access points for the OBH extension block. For a few weeks, they'll be tested in one of the OBH wings and the performance will be logged. Also, a lot of changes will be seen in IT infrastructure at IIIT in near future. Now plans are coming out of meeting rooms and they are not limited to papers and emails anymore. A big thanks for Shatrunjay Sir for this.


text:
Lerch column draws reaction
The readers always write....
Dolson:
You must have been drunk when you wrote that column (defending Randy Lerch's right to be eligible for the playoffs and World Series).
Name Unreadable
Unreadable:
Thash the most ridic... ridic... Thash crazy. I never touch the stuff.
Dear Mr. Dolson:
A Mexican colleague, who recently visited Philadelphia, gave me a copy of The Philadelphia Inquirer wherein there appeared your very powerful article regarding the Randy Lerch and Nino Espinosa case.
... I have published some of your very valuable opinions in our newspaper, El Diario-La Prensa. I have also sent something similar to the newspapers in the Dominican Republic.
Tirso A. Valdez
Dear Mr. Valdez:
I can't tell you how much I appreciate getting that column translated into Spanish. Judging by the flood of mail it prompted from local readers, the biggest mistake I made was writing it in English in the first place.
Oh, your poor, bleeding heart. So it pains you to see what the Phillies are doing to Randy Lerch and Espinosa? It is guys like you that make the fans of Philadelphia throw' up....
This is not my first complaint with you. I should have written several times in the past year to you about columns that in themselves were ridiculous and showed a lack of brain power on your part.
Why don't you try for another job?
Robert G.
G.:
I'm trying, but there's a hiring freeze in the Dominican.
I appreciated your two-part series on the mystique of Howard Cosell and would like to add my two cents worth to the discussion. Howard Cosell at one time was an outstanding sports reporter. However, he seems to have abandoned that role in favor of compulsive name-dropping and irrelevant comments....
Norman Kaner
Dear Mr. Kaner:
I know just what you mean. Only last week I ran into Larry Bowa and Tug McGraw and they, too, had some interesting things to say about Cosell. And, by a strange coincidence, while having lunch with Mike Schmidt in New York the other day I mentioned to him how much I enjoyed Cosell's work and he said – or was it Dick Vermeil who said it? – anyway, somebody said that he thought Howard's name-dropping was getting out of hand. Next time I see Roone Arledge I'll be sure to bring it up.
With just over a minute to go in the game, Colgate was leading Princeton, 107. From their 20-yard line the Tigers ran and passed to a touchdown in the last six seconds.... All that this drama (received) in The Inquirer is recorded in the enclosed clips. (Editor's note: They were very small clips.)
Despite the large number of colleges and universities in and around Philadelphia, Princeton graduates have held a disproportionate share of leadership positions in the professions, business and civic affairs. We have great pride in the record and traditions of our great university, so we are sensitive to slights!
Henderson Supplee Jr.
Dear Mr. Supplee:
Rest assured, all of us on The Inquirer sports staff hold Princeton, its football team and its graduates in the highest regard. Any university that can produce a Bowie Kuhn surely rates a special place on anybody's sports page.
Dear Frank: Who is Dick Young and where is The New York Daily News published – some place up in the Bronx, where the Yankees used to play baseball?
He cannot be labeled a sportswriter. A sport is a guy who is fair minded.... Young even started picking on Philadelphia because he saw a few empty cans someone had thrown in the street....
R. K. (Dick) Allen
East Stroudsburg, Pa.
Dear Dick: Try to be understanding. Dick Young is working under a terrible handicap. He has to watch the Mets, the Jets and the Giants in the same year.
Phillies' sportscasters finally do Game 6
By Gerald Etter, Inquirer Staff Writer
There is good news for all Phillies fans who missed having Harry Kalas, Richie Ashburn and Andy Musser present the play-by-play and color commentary for the 1980 World Series when the three men were preempted by NBC's sole rights to the series coverage.
You will be given an opportunity to see the deciding championship game all over again, from Steve Carlton's first pitch to Tug McGraw's final swisher – and the three local sports-casters will be on hand to describe it all.
This delightful deja vu will all be made possible by Channel 17, which will he rebroadcasting game six of the Phillies vs. Kansas City, with the three announcers calling the action.
The game will be pre-produced in WPHL's studios – with Kalas, Ashburn and Musser – and then aired at 8 p.m., Friday, Nov. 21.
According to a spokesman at Channel 17, the game action will be called in the present tense, and each play will be described as it unfolds, recreating that World Series clincher as if Kalas, Ashburn and Musser had originally announced it. The trio handled all Phillies games but the series.
Channel 17 also will rebroadcast the Oct. 3 and 4 games with the Montreal Expos (Nov. 17 and 18 at 8 p.m.) and the Oct. 11 and 12 playoff games with the Houston Astros (Nov. 19 and 20 at 8 p.m.)
You'll also get to see the locker, room celebrations following the three deciding games and the highlights of the Philadelphia Phillies celebration parade (Sat. Nov. 22 at 7 p.m.).
There are a lot of people who remember Chief Halftown but for some reason refuse to believe that he is still going strong. Let the nonbelievers note that the Chief still has an early-morning children's amateur show Saturdays on Channel 6, and will be headlining the Trenton Thanksgiving Day Parade next month for the 24th consecutive year.
Former President Gerald R. Ford will guest on the 33d anniversary edition of NBC's "Meet the Press," at noon Sunday (Channel 3).
Ford was the first president to be a guest on a network news interview program when he appeared on the 28th anniversary edition of "Meet the Press" in November 1975.
In Philadelphia and its suburbs
By Clark DeLeon, Inquirer Staff Writer
People: The bomb squad checked it just in case
Tug McGraw headed out to Las Vegas this week to appear on Hollywood Squares, one of the many post-World Series TV shows on which you can expect to see Tug and other Phillies during the next several months. McGraw headed west with the five changes of clothing he would need, since all five shows are taped the same day and the producers want the celebrities to look different each time. The trouble was that when Tug arrived in Las Vegas Monday night, his bag labeled "Tug's Locker" and his clothing were missing. Immediately a nationwide search was launched by the airline (it's amazing the service you get when you're a World Series hero), but by the time the taping began on Tuesday morning for the shows to be broadcast Thanksgiving week, the bag still hadn't been found.
Tug taped two shows, wearing a Phillies jacket for one and removing it for the other, and he was just about to borrow a sweater for the third when his bag turned up. The bag, covered with Phillies stickers, had been found in Kansas City.


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Shippensburg University earns spot in top 100 best colleges ranking
Staff report Shippensburg University is again listed among the top 100 universities in the northeastern United States in U.S. News
In the 2016 edition of "Best Colleges," Shippensburg is tied for 92nd in the regional university category among all institutions in the North, which encompasses 11 states and the District of Columbia.
Shippensburg is tied for 27th among just public regional universities in the North. It is also the fourth highest among the 14 universities in the Pennsylvania State System of Higher Education.
It also is tied for 66th among all regional universities in the North for "best colleges for veterans," the category that ranks schools participating in federal initiatives that help veterans and active-duty service members pay for their degrees.
The John L. Grove College of Business graduate program was recognized nationally, with its online MBA program tied for 97th and its part-time MBA program tied for 130th.
Grove College is ranked 337th nationally among nearly 500 undergraduate business schools accredited by the Association to Advance Collegiate Schools of Business. That ranking is based on surveys of college deans, according to U.S. News.
Shippensburg President Jody Harpster said the university is proud to again be included for its academic quality. "The university has a long history of providing high-quality academic programs and this ranking reinforces that we are offering students an opportunity for an education of excellence," Harpster said. "In addition to our academic programs,
"We are pleased that Shippensburg University is recognized again for its ability to provide high-quality academic programs," said SU President Jody Harpster. "We also provide students with numerous other experiential learning opportunities designed to provide a strong foundation for a successful future. This honor is a testament to the quality of our students and faculty, and to all members of the campus community who support what we do."
U.S. News said its 2016 edition of "Best Colleges" includes data on nearly 1,800 colleges and universities, including statistics on borrowing, costs and graduation rates. The rankings measure the strength of the academic programs at undergraduate institutions, with eligible schools ranked on up to 16 measures of academic excellence, including graduation rates, selectivity and freshmen retention.


text:
ON MEMORIES, LOSS, TRANSFORMATION AND WHAT COMES NEXT: AN INTERVIEW WITH DANA FUNARO
September 6, 2021 September 18, 2021 Claudia Pretelin
Dana Funaro in her Los Angeles studio, 2021. Portrait by Gina Clyne.
All photos courtesy of the artist unless otherwise noted.
Dana Funaro is an artist living and working in Los Angeles, California. She has established her practice as an artist along with a career in art management and administration. Born in the Bronx and raised in South Florida, Funaro moved to California in 2012 where she has worked for a variety of art museums and organizations. For six years she was the managing director of the studio of artist and activist, Tanya Aguiñiga. This is where we met back in 2019.
As an artist, her practice is rooted in printmaking. But she incorporates a diverse mix of media and techniques related to time capturing, creating devices that allow the viewer to find a place of common refuge in a body of work that acts as an interlude between loss, growth, and transformation. Last year, at the beginning of the pandemic, the artist found refuge in her art studio in Chinatown near downtown Los Angeles. In this historic neighborhood also impacted by the health crisis, Funaro created a beautiful, peaceful, and calm space that she now shares with her partner and that allowed her to focus more fully on her practice and cope with the craziness of the outside world.
Back in April of 2021, I spoke to Funaro for the first time about this interview via Zoom. We continued our conversation via email and as soon as we felt it was safe I visited her studio in July. This is a conversation about her memories, her life before LA, how she transforms her experiences into art, and what comes next.
Claudia Pretelin: I'd like to start mapping a memory lane of Dana Funaro. I read in a previous interview that your childhood memories have been documented in home videos by your mother. I wonder if you could share some of the favorite ones with us and who are the people that inhabit those memories with you?
Dana Funaro: I'm so grateful to my mom for those videos. She captured really wonderful times, beautiful moments. "1985" is the family favorite for sure. I think it's because there is so much candid joy shared in them. We were such a young little happy family during that time. It's the memories from the 1985 era I think back on when I want to remember the good times of my childhood…a house full of loud Italian American parents, grandparents, aunts and uncles, siblings and cousins, all surrounded by lots of laughter, love, and yelling.
Christmas dinner circa 1987/88.
It's only natural that as time passes memories fade and this makes me appreciate those home videos that much more. After losing my sister, Toni, to suicide in 2013 it's become bittersweet to watch our home movies and so I don't revisit them as often as I once used to. Having access to that much of my past in video; seeing, hearing and reliving moments I probably otherwise never would have remembered and ones that I don't ever want to forget, takes me on a nostalgic journey that ignites a range of emotions that I'm not always prepared to go on. When it's been some time since I've watched them I struggle to remember and I often wonder how many memories have faded over the years that were not captured on video and how many more will vanish with time.
For fear of my memories fading forever and as a way to cope and connect with Toni's death, I created a memory palace of personal mnemonics using the layout of our childhood home to revisit the past. A memory palace is a strategy of memory enhancement that uses visualizations of familiar spatial environments to help recall information. I use these visual cues to transport me to the spaces and times of my past.
CP: Through your work you have explored your own experiences with personal loss and grief. Has your practice provided you an opportunity to develop a new relationship with the people you've lost?
DF: Most definitely. Since the death of my sister my practice has become a form of catharsis. I have unspoken methodologies that reference or honor my sister and family as a way to both honor and connect to my past. My work helps me gain perspective to better navigate the human experience.
Studio view, Los Angeles, CA, 2021
CP: Tell me about the process of becoming an artist. What were some of your expectations when you entered art school and do you think your idea of what an artist is has changed throughout your life?
DF: I've always been involved in the creative arts. As a kid I drew, I painted, I made sculptures, jewelry, played music, watched movies, wrote poems, performed in plays, made homecoming floats. I was very much influenced by my grandpa "Mimie" Angelo who was a musician, a painter, a hair stylist, a dance instructor in his younger years, and a man of style his entire life. Like him, I earnestly wanted to explore the world through art and surround myself with other creatives. I was open, non-judgemental, and appreciative of all kinds of artists and their work. It was only natural that I would continue my education studying art.
In my formative years at art school, like most, I was learning about different mediums and techniques in search of my visual language. It was important for me to find my voice as an artist. I was young and felt inadequate in my concepts and cohesiveness, and because I'm an artist who works in series, I often felt unfocused. I've now learned to embrace this way of working and use it as a way to compartmentalize the themes of the human condition that I respond to in my work.
There was a period of time for a number of years during and after school, and especially when I worked at a gallery, when I thought that the only way to be a "real artist" was to aspire to be a career artist. I placed a lot of worth on where an artist was showing, what collections they were in,and how much their work sold for. I do believe these are accomplishments artists should be proud of, but I would easily dismiss other artists and works, even my own, that didn't fit into these made-up, pretentious parameters. After 15+ years spent working in the art world, and after a lot of reflection on myself as an artist, I would say that my idea of what a successful artist is has expanded. For me, the focus has significantly shifted away from looking at my practice and art in general through the lens of elitism or capitalism. I am much more focused on the commitment to my practice, personal fulfillment, and being able to share my work with the hope of resonance and connection. While always aspiring to learn and grow, I'm currently feeling that I'm in a healthy place of contentment with my work/studio balance. This is now where I hold space for my self worth as an artist.
CP: In our previous conversation you talked about working with a collective of artists while in school in Florida. Can you share more about this experience and some of the projects that you did together?
DF: Awww yeah, Thread! Thread was an artist collective started in 2005 by myself and a group of artists living and working in Orlando, FL. We had all just finished school and were eager to show our work. Orlando was a really fun and vibrant place full of creatives. Despite there being a lack of galleries and venues there, we always found ways to put on events. Thread curated and produced exhibitions at alternative spaces throughout the Orlando area from 2005-2007. Our first, and probably my favorite, exhibition took place in a Uhaul truck that we made into a gallery and drove to 12 locations in 12 hours. Collectively working with artists in Thread sparked my interest in curating exhibitions and taught me the importance of artist advocacy. I learned the value of community and how much that kind of support can build the self confidence to allow yourself to grow and be seen.
CP: After school your career path slowed down on your own studio production and accelerated on art management and administration. Some of your experiences included working for a contemporary art fair and later on as a director of a gallery in Florida. Could you describe what were some of the most valuable lessons you learned from this period?
DF: In 2006, shortly after finishing school, I worked for NADA, a contemporary art fair that takes place in Miami. I then became a Director of a contemporary gallery for five years where I had the opportunity to work with artists such as Sheila Hicks, Marilyn Minter, Jack Pierson, Pae White, Aleksandra Mir, Jose Alvarez (D.O.P.A.), among many others. I organized exhibitions for the gallery and worked with prominent art institutions, collectors, and consultants on acquisitions. I viewed private collections I never would have had access to, met art historical figures and traveled. However, there was another side of the industry that I was learning so much about. Working at the gallery opened my eyes to how badly artists are taken advantage of. They are constantly asked to do projects and make work without funding and are expected to simply be grateful for the opportunity. They are usually the last to be paid for their work and not enough. Artists now have to be business people. Most of their time is not spent making work, but rather answering emails, managing staff, navigating contracts, hosting studio visits, and all other aspects of running a business. My time at the gallery further instilled in me the importance of artist advocacy and it set me on my path to becoming the studio manager for Tanya Aguiñiga after moving to Los Angeles in 2012. Seeing this reality also showed me the kind of artist I did and did not want to be.
CP: As a studio, you all worked hard on empowering women and people of color through many different projects and initiatives. Could you talk about your specific contributions to these initiatives and what are some of the most cherished moments during your time working with Tanya?
DF: I started managing Tanya's studio in 2014 and it didn't take long for us to hit it off. I finally felt aligned with others who value accessibility, diversity, community, fun and kindness in art. Working at the studio gave me the opportunity to amass my 15+ year experience in arts administration and management, making me an integral part in the growth and success of the studio. I managed and maintained all studio correspondence, spearheaded small and large scale commissions for private and corporate clients, worked with Tanya and Sovanchan, our Production Manager, on the development of all exhibitions and projects, grant writing and applications, fundraising and activism events.
One of many projects we worked on in my time at the studio was AMBOS Project (Art Made Between Opposite Sides, founded by Tanya in 2016) and the 2018 exhibition, Craft & Care, at the Museum of Arts and Design in New York which showcased the project along with a selection of works highlighting Tanya's career. AMBOS is an ongoing series of artist interventions and commuter collaborations that address bi-national transition and identity in the US/Mexico border regions. I feel fortunate and proud to have spent my days working with incredible women at the studio, listening and learning how I can best support these social justice initiatives to raise the voices of marginalized communities so that we can obtain equity and equality.
Another piece I am honored to have been witness to, Metabolizing the Border, was one of our last projects together as a studio team. Through performative wearables made of blown glass embedded with border fence remnants, Metabolizing the Border explores how the body confronts the border fence through sight, sound, smell, taste, and tactility. It was an extremely emotional and physical performance for Tanya, and it meant so much to be one of the few there to support her on such an intimate journey.
After six years, the 2020 pandemic forced us to part ways as a studio. The amazing team of women, Tanya, Sovanchan, Diana, Lydia, Karla, Marissa, Natalie, Jackie, Ceci, Gina, Aneesa, and so many others over the years have given me community, a family, and have inspired me as an artist and a person. I was only living in Los Angeles for about a year when we lost my sister to suicide. These wonderful women continue to be one of my most cherished support systems in coping with the most painful and difficult experience of my life.
CP: Last year allowed you to resume your own practice and go back to your own studio to produce and continue your work. How did it feel and how did you come about creating time schedules for your own studio practice? Could you share with us what you've been working on in the last months?
DF: I've always maintained a studio practice despite having a full time professional career. Slow and steady, but never really having the opportunity to focus on my own work. Just about when we went into lockdown last March, I began renting a studio space in Chinatown in downtown LA. Having just been laid off, I was nervous about keeping the space with the state of the world in a pandemic and my own financial uncertainty, but luckily I've been able to make it work. I was so grateful to have a place to go outside of our home to explore and create. I was in the studio 5-6 days a week as a way of managing my stress, anxiety, depression, and to cope with not being able to see my family and friends. Last year demanded a lot of reflection. Reflection of the world, reflection of this country, reflection of myself and my relationships. I made works on paper, plaster paintings, and sculptures about isolation, healing, transformation, interdependency, and the large fibroids growing in and on my uterus…. basically I had an outpouring! It was a difficult year in so many ways, but the time allowed me the opportunity to make work, think about the kind of artist and person I want to be, and the quality of life that I want.
In the last months I've been focused on expanding my oxidation paintings and sculptures. I've been bouncing between making earthy mountainous landscapes with reflective peaks and valleys and wild cosmic explosions of wonder. They're beautifully layered with lots of texture and depth. Because the materials I use essentially change as they react to one another, I'm forever searching for that balance between control and chance while pushing the materials as far as I can. I've learned to trust and respect the process, as it teaches me about time, patience, change and acceptance.
I was recently invited to create sculptures for the debut of Story of the Stone, a film by Kendra Adler and a weekend celebration of the Earth, specifically the Tongva land we occupied on those nights in April. This multidisciplinary exhibition also included conversations with geologist Nicole E. Moore and Indigenous Chumash wisdom keeper, Carmen Sandoval, along with a musical performance by Phoenix and video/sound piece by Francesca Heart. Undying Lineage, a family of monolithic sculptures made of brushed copper, natural patina and rock salt is a series of ephemeral works that lived in different stages of their oxidation processes, revealing patinas indicative of a colorful life. The copper pillars acted as a grounding force surrounding and supporting us in this sacred space.
Undying Lineage, Story of the Stone installation, 2021
Undying Lineage 2, 2021
brushed copper with natural patina and rock salt crystals
size variable
CP: You are interested in challenging traditional ideas of printmaking and have been working with materials that allow you to explore ideas of loss, growth, and transformation. Could you talk about the process of creating one of your pieces? I'm particularly interested in your Encapsulation series.
DF: It wasn't until I started working with rust in 2003 that I felt connected to a material in such a powerful way. It was then that I learned my visual language. I studied printmaking and painting and the rust pieces were initially born out of my desire to explore other methods of making impressions. Over time I became fascinated with the inherent qualities of rust and oxidation and started using these materials as metaphors to explore themes of time, memory, growth, transformation, acceptance and healing. Through their natural processes, these materials can emote so much.
After working with natural patinas on metals for years and recording the life cycle of my materials with works on paper, I wanted to expand my knowledge through applied chemical patinas. I was working on my Encapsulation series around this time. Encapsulation is a series of sculptural maquettes made of naturally patinated copper and brass pillars with plaster anchors that represent relational support systems. They live atop intricate universes of patinated copper and brass. After the pillars are anchored, they are naturally oxidized by accelerants and encapsulated under glass. The containment [under glass] can be read as preservation, when in fact encasing the pieces like this causes the materials to react and over time suffocate and fail.
Encapsulation (Isolation Separation), 2018-2020
applied patina on brass, plaster, glass and natural patina on copper
6 x 6 10 inches
Encapsulation (Isolation Preservation), 2018-2020
applied patina on brass, glass and natural patina on copper
3.5 x 8 x 4.5 inches
CP: Regarding the tools in your studio, what are some of your favorites? Or, which are your most essential? And, why?
DF: I use a variety of natural fiber brushes, such as sheep hair, horse hair, and straw, for a range of things. Some allow me to control saturation, some give me certain effects when used for painting and others are for cleaning. Each one has a specific purpose. I also rely on my eye dropper for accurate and delicate saturation control.
CP: What's your favorite instrument of memory?
DF: Music has been a prominent force throughout my life. Most of my memories have songs associated with them and can bring me back to a loved one or take me back to a place. When I want to remember someone or something I listen to music. I also listen to music while practicing body scanning meditation, as well as to travel through the memory palaces in my mind that I spoke of earlier.
Thank you Dana!
Dana Funaro is an artist living and working in Los Angeles. Her work is a meditation on the human experience and an attempt to understand our relationships to one another within the cosmos. In search of balance between control and chance, she uses materials as metaphors to explore themes of time, memory, grief, acceptance and healing. Loss, growth and transformation all leave behind memories that are powerfully symbolic. Materials with these inherent qualities are intrinsic in her work.
If you are interested in learning more about Dana Funaro's work, check out her website http://www.danafunaro.com and follow her on Instagram @dana_funaro
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