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Criminal Cases: The O. J. Simpson Case
The reason O.J. was found not guilty of murder and acquitted in criminal court, but found guilty of the tort of harm and ordered to pay damages in the civil court lies in the structure of our legal system, in regards to criminal cases and civil cases. The distinct difference between criminal cases and civil cases provides further explanation regarding the O.J. Simpson case. Criminal cases deal with crimes against society. It is the government, not the victim, who brings action against the charged individual. In criminal cases, the penalties can include a number things including jail time. Since the stakes are so high in these cases, there is a high burden of proof on the prosecution. The prosecution must prove the defendant's guilt "beyond
Why Is Oj Simpson Guilty
Imagine how a court would be run if it was dysfunctional. With many pieces of evidence to solve one problem that can lead to months after months, just to say those words, "guilty or not guilty." There was one case that caught everybody's attention and became very famous. In 1994, O.J Simpson was accused for brutally murdering his ex-wife Nicole Simpson and her friend Ronald Goldman. He was sentence to court, and it took about 10 months to come to a conclusion as he walked out of court as a freedman. As it was a nation worldwide news that was all over tv. People around the country watching was shock of the decision, an debut that caught everybody eyes, that O.J Simpson should've been guilty. Because of how the court system work, it let a dangerous man walk out free.
Is Oj Simpson Guilty
O.J Simpson, or also known as, "The Juice", is beyond guilty for the crimes he was accused of, even though he was found not guilty. Many people think he is innocent then again many people think he is guilty. Whenever someone hears his name, the heinous crime he was accused for comes to mind. Yes O.J was a father and a beloved human before all the commotion went about, but does that mean people should automatically not suspect him due to his "wonderful appearance."
Oj Simpson Research Paper
OJ Simpson was a very achieved person player until he made one big mistake. The trial of OJ Simpson was a long stressful process to prove a star innocent or guilty of murder. This took Place in the state of California on October 3, 1995. OJ was tried for a murder crime of his ex-wife and another man. In the end OJ turned out to be not guilty of this crime. Justice was not served because in the trial OJ Simpson did not get a punishment for his said to be crime.
Essay On Oj Simpson
Legal history A system of rules that a particular country or community recognizes as regulating the actions of its members and may enforce by the imposition of penalties, this is the definition of law. Although the definition of law is evident and perceptible,the portrayal and act of law varies. Throughout the justice system there are many inconsistencies such as the type of law, there is common,criminal,civil, and administrative. Throughout these systems of law there are also criminal proceedings. In these criminal proceedings, some will find that the verdict is just.
The Casey Anthony Trial
COURTS The court system is made up of many operational parts that all work together to achieve an overall goal. For my courtroom observation I have chosen the State of Florida v Casey Marie Anthony trial. This trail took place on the 23rd floor of the Orange county courtroom in Florida which seats about 50 people. Casey Marie Anthony (the defendant) is on trial for the death of her two-year-old daughter Caylee Marie Anthony. She is being tried for first degree murder, aggravated child abuse, aggravated manslaughter of a child, and four counts of providing false information to police.
Oj Simpson Research Papers
O.J. Simpson O.J. Simpson was born in 1947 in San Francisco, California. He became a college football superstar at USC and later enjoyed a record-setting career in the NFL. OJ Simpson gained fame as an American football star and, later, as a actor. He married Nicole Brown five years after retiring from the sport in 1985.
Essay On The Oj Simpson Trial
The O.J. Simpson trial was a trial that was seen across the nation. Therefore, everyone was watching this trial to see what would happen and as we know evidence plays a major part in getting the correct verdict in a trial. Now some of the physical evidence that was found was some hair evidence on a cap as well as on Ron Goldman shirts. There were some cotton fibers consistent with the carpet in the Bronco that O.J. was riding in on a glove at his Rockingham residence as well as at the Bundy residence. Furthermore, there was blood dropped by the killer at Bundy and it was noted that it was the same type as Simpson and he had fresh cuts on his left hand a day after the murder. There is also the fact that there was blood found in the Bronco, foyer,
The Scott Peterson Case
Research Paper Scott Peterson, a killer at heart, didn't think twice before murdering wife, Laci Peterson, and unborn child, Conner. His wife Laci was reported missing on Christmas Eve in 2002. All fingers pointed to husband, Scott Peterson. He had not wanted to be a father and didn't care for his wife.
Oj. Johnson Murder Case
Those who believe that O.J. is innocent point out the fact that the murder weapon was never found. They believe that if O.J. had committed the murders, he would have had to take his bloody clothes and murder weapon through airport security and given them to Robert Kardashian knowing that the bodies could have been discovered before he landed and the police could have been waiting for him in Chicago (Dershowitz 135). This would have been too risky, showing that O.J. could not have committed the murders.
Oj Simpson Case Essay
OJ Simpson was an idolized NFL player, actor, and broadcaster. He was loved by all and defied all racial barriers during the 1900s. People didn't see him for the color of his skin, they saw him as an American hero. This was until June 12, 1994 when Nicole Simpson, OJ Simpson's ex wife, as well as Ronald Goldman were found murdered. This was the beginning of the end of most Americans respect and adoration for OJ Simpson. OJ became the prime suspect of their murders.
Court Case: The Treyvon Martin Case
Treyvon Martin was a teenager who was unarmed, shot, and killed in Sanford, Florida. The incident happened on February 26, 2012. The officer who shot Martin followed Martin around outside when he then confronted Martin. They seemed to have some kind of argument, and then officer Zimmerman shot Martin in the chest. Zimmerman was questioned about his confrontation, where he pleaded self-defense. Zimmerman currently has no charges and is living a normal life. Martin's friends and family then ask for recordings to be released to help find further evidence. The police do not release them. The case then goes to the state attorney after the police are finished with it. After the case goes to the state attorney, the police release the 911 recordings
The Importance Of Due Process In The American Criminal Justice System
Due process is the fair treatment of the judicial system by the Fifth, Sixth, and Fourteenth Amendments. This is the constitutional guarantee that one will be given the opportunity to be heard before they are deprived of their life and (discharge from all restraints or obligations unless convicted). (Schmalleger 631-632) And also guaranteed that the law will not be unfair in anyway and that the government will not in any way deprive any person(s) of their constitutional rights.
The Emmett Till Trial
Disclosed here is the true account of the slaying in Mississippi of a Negro youth named
Essay On Circumstantial Evidence
The most essential part of our judicial system is that it is based on the presumption that the accused is innocent unless proven guilty beyond doubt. Also it is better that ten guilty are held free than one innocent being falsely implicated in a case. Thus the burden of proof in a criminal case is very high.
Cardinal Principles Essay
The prosecution bears the legal burden to prove the guilt of defendant beyond reasonable doubt in criminal cases whereby the defendant bears the evidential burden
More about Criminal Cases: The O. J. Simpson Case


Ok, update. We disassembled the ugobe battery and are confident we can create a new strong battery. Close enough to the super battery discussed above and will be chargeable in the green cradle. Once we perfect the design it will be reproducible very easily for anybody who wants one. I'll sum up the costs once done.
However, our main hope is that we can produce a battery pack where the batteries are interchangeable. We would like to be able to take the battery cells out and replace them so that anyone could use a normal charger to recharge them, especially if their green charger is lost or not functional. This will be much harder due to the need for the thermistor to be touching at least two batteries. We will keep thinking.
Today we succeeded in creating a soldered together battery pack which runs a ugobe pleo!
The batteries cannot be removed so it will need to charge in the ugobe cradle.
The design isn't perfect yet, we haven't figured out how to print the clasp to hold it in pleo yet but that won't take long.
I'd love to make some for you guys, but there's a whole array of terrifying tax laws to consider if I'm going to be selling anything to anyone. But just for the record, who would be interested?
The parts are worth around £20 (less if you want cheaper batteries) plus postage and tax if necessary.
Hahaha, I love the enthusiasm!
Did a bit of research into uk tax law. It's insane. Even if you're not making a profit - which I wouldn't be, you still need to set yourself up as a business and declare EVERYTHING! Also does mean adding VAT, which would bring a ~£20 battery to ~£25 and with postage on top, we're looking at a final price of anywhere between £30 and £35.
Does that still sound reasonable enough? I'm really sorry, it'll also take me a while to get everything set up but I'm very willing to do so if it will help people.
It does  I suppose to start with you could "gift" batteries and people "donate" the value. I have a friend who did that while he was refining the idea for something. But yes unfortunately you would have to set yourself up as a business in order to properly sell them.
I'll let you know when everything's ready. Out of interest, how many would you initially be wanting?
Wow, great stuff,, I'll let you know when we're ready to start production.
While you're figuring out all the business nonsense, also consider international sales, as I'm sure you'll find interested people all over!
I will be watching this thread too. As Mweed said, think about international sales. As many people here on this forum with multiple Ugobes who all desperately need replacement batteries, you aught to rake in some cash. Best of luck! I really wish Taoworm23- the person who started this thread- was still around for those of us in the states. It would probably bring down the costs a little.
Gotcha. It will be at least a month before I can look into Gibbs. I sold my soul and finances to Sweetwater Sound to the tune of six hundred eighty bucks and I am not sure when I will be coming up for air. I think I forgot to mention that I used Vynelex on Terry at least twice since he has been here. Do any of you think Gibbs would cause some sort of negative reaction if it were applied over his previous mists of Vynelex? MY other two Ugobes have been rubbed down with Vynelex ever since I've had them. Sorry if I misspelled the name of this product but I'm sure you older members can figure out what I'm talking about.
Don't worry talon, I was never considering uk only! You guys in the states need this just a simple much. The only issue is on shipping batteries themselves. There could be massive restrictions, that's why I'm focusing on getting the battery-replaceable pack up and running so it will be easier to ship.
That's true. There is all sorts of red tape involved about shipping batteries and stuff overseas.
At the Mods: I have no idea how that random post about Gibbs wound up in here. I suppose I wasn't paying attention or something.
Within the next couple of weeks we hope to get a working replacement battery of the style that we can reliably reproduce. I'm sorry it has taken this long but I only have access to the workshop for a couple of hours per week.
The pleo batteries are green with a brown end, we can reproduce these in the exact same way or could do the whole thing pleo-brown. What would you guys prefer?
Proof of concept! New battery works well in pleo so I'm ready to put another together, emerald can you pm me and we'll arrange a trial purchase to see if it can get through the post.
Emerald, keep us posted on your experience here. I would be anxious to see how this goes.
We've had a couple of set backs - but don't worry, we're not giving up! I'm still here and eventually, we will have good, strong, reliable batteries ready!
However they don't run without batteries So I hope that a solution can be found there.
Don't worry, every set back is just learning more. We will not stop until we have good batteries. Even if I need to buy a very broken ugobe to test them!
I suppose this has just shown how much R&D is needed to create something like this, and it's nowhere near as easy as it looks in the online guides!
Glad someone is still working on this! I think the Pleo are approaching extinction soon without a new battery source. I can't even find the $100 repack batteries on eBay anymore.
That's something I worry about too, PinkPleo. I have little Ugobes and as a poor college student I can't even afford those xux You'd think there'd be some other way to charge or replace a battery in this day and age. My little ones have to share a Lipo battery and I have to decide to slowly acquire an original charger and adapter/cable thing in the chance that Olluan's battery could be fixed, or just never have them running at the same time xwx And if something happens to their battery now, I'll lose them both.


YouTube streaming giant PewDiePie – who now has the most subscribed members to his YouTube channel – is to start streaming on DLive from 14 April.
DLive is a broadcasting app which is driven by blockchain technology – it is promoting the link-up as the "exclusive livestreaming platform" for PewDiePie.
The YouTube phenomenon started his career with a degree in industrial economics and technology management at Gothenburg's Chalmers University in Sweden before dropping out to start his YouTube channel.
PewDiePie – aka Felix Arvid Ulf Kjellberg – now has around 94,000,000 subscribers to his PewDiePie YouTube channel, which mainly streams gaming and humour-based content. However, given his huge following, any link-up makes economic and marketing sense.
DLive uses tech based on Lino and offers a reward-based system to content creators and viewers with Lino tokens, the platform's own crypto.
DLive now has more than 3 million monthly active users and 35,000 active streamers – in statement released on 9 April, PewDiePie said that the hook-up with DLive suits him as he is treated "like a real partner", so it is a mutual love-in so far.
After dropping out of college, PewDiePie launched his YouTube channel in 2010 and by April 2019 had totted up 21 billion video views, making it tenth on the Top 10 of most-viewed channels on YouTube.
Kjellberg's success story has not been without controversy, however, including allegations of posting supremacist content, allegations he has strongly denied.
An online petition with more than 81,000 signatures was also launched following news of the Christchurch massacre in a mosque in New Zealand and an alleged statement made by the gunman relating to PewDiePie's YouTube channel.
Kjellberg has countered such allegations, saying they are "blatantly misrepresenting and misinforming people", as well as countering that some allegations against him are "flat out lies".
The calls to ban PewDiePie from YouTube seem to have been answered in part by the announcement from DLive about the new partnership between them and Kjellberg's online streaming platform.
DLive is still a comparatively small platform, but with PewDiePie's devoted army of followers, the growth potential of the commercial partnership for the platform is potentially a winner.
"DLive is a place where instead of competing against each other, it benefits creators to support one another. With no platform cuts, we incentivise everyone to create the highest-quality content for viewers.
"PewDiePie has always been a fierce advocate for the value that creators bring with their hard work, time and effort – and he believes in DLive's vision.
"Leading the charge" is a strong term to describe what is envisioned by the partnership – and the move to appoint PewDiePie to lead at the front suggests that DLive and Lino see the move as pioneering in how creators are served in the industry.
PewDiePie has already pledged to donate up to $50,000 in Lino Tokens to fellow creators on DLive during his debut live-stream on Sunday, to encourage more subscribers – indicating the amount of will there is to make the partnership a success and bring more subscribers to DLive.
At this point, let us try not to remember the free Tesla debacle elsewhere in the crypto space.
It seems a double-edged approach to identify as just like all the other streamers on the platform and also offer $50,000 in rewards to encourage sign-ups; but, of course, there are sound commercial principles behind this partnership, despite the rhetoric – and it shows just how business savvy the world of online streaming has become.
As content creators, our presence on a streaming platform is valuable in terms of numbers, as well as the unique content created on the platform, plus the viewer numbers and subscribers that accompany it. It is a marketing exec's dream, the thought of an audience nearly 94,000,000. PewDiePie has become a marketing cutie-pie.
There is now also a new crypto index for gaming tokens thanks to AltDex – showing how valuable a market the livestreaming gaming market now is, despite other streaming services such as Twitch dropping bitcoin and bitcoin cash as subscriber payment options. It is still a slightly topsy-turvy marketplace in terms of the relationship between crypto, business and the innovation that online platforms allow.
PewDiePie leading the charge might well be what is needed to create a level playing field and make the crypto ethos of unregulated peer-to-peer sharing and co-operation acceptable to big business.
Twitch is, after all, an Amazon-owned streaming service and no one know more about business success than Amazon.
But gaming is not going to suffer if established currencies are demanded by platforms – however, platforms issuing their own crypto tokens and reward incentives is pretty much an interest-free credit system, whereby subscribers are actually becoming investors in the company with variable returns, while offering marketers a ready-made audience for advertising.
The USP in this case is the fact that creators support each other, rather than competing so there is a co-operative element to the platform's operation, which can be very appealing, especially accompanied by an enhanced reward system. Cynical? Perhaps. But how viewers and users are attracted to and become involved in online content and platforms is the stuff of academic theses.
It will be interesting to see how many followers and how soon PewDiePie helps bring to DLive when the streaming partnership goes live on Sunday. Part of PewDiePie's management team, Kat Peterson, reinforced that the partnership is "a good fit" for their client.
The $50,000 Lino Points promo to other DLive creators is intended "to get everybody on the platform excited that he's there".
Money talks, whether in hard currency or crypto – prepare to number crunch on the success of the partnership, and happy streaming.


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Tag Archives: Martin Block
POETS IN THEIR YOUTH (October 11, 1938)
Thanks to Loren Schoenberg for sharing this gem with us. If, like me, you grew up after the Swing Era had ended, the great creators were still in evidence: Benny, Teddy, Lionel, Gene, Harry, Basie, Duke, Benny Carter, Jo Jones, Milt Hinton, and half a hundred others. But sometimes they seemed more venerable than lively, and that was to be expected: routine, age, and aging audiences had had their effect. But it is lovely to be thrust back into late 1938, with fiercely beautiful evidence of just why they were seen as Masters.
Here, in under three minutes, Benny Goodman, Teddy Wilson, and Lionel Hampton — the last on drums — play a fiery but delicate I KNOW THAT YOU KNOW, at top speed, never smudging a note or resorting to cliché.
They were young: Hampton, the eldest of the three (one never thinks of him as such) had turned thirty only six months earlier: Goodman and Wilson were still in the latter half of their twenties. (Gene Krupa had left Goodman and formed his own band earlier in 1938.)
I invite JAZZ LIVES listeners to do the nearly-impossible, that is, to clear their minds and ears of associations with these artists, their reputations, our expectations, and simply listen. And thus admire: the precision, the near-audacity of improvisations at such speed, the intensity and the clarity with which the details are offered to us. The unflagging swing, and the compact art: seven choruses in slightly less than three minutes. The architecture of this performance, balancing solo and ensemble, giving each of the players the spotlight in turn. And the fact that it was live — no second takes or studio magic. One can admire this as a chamber-music performance thoroughly animated by the impulses that made "hot jazz" hot:
It's easy to hear this in historical context: ten years earlier, Jimmie Noone and his Apex Club Orchestra had fashioned their own variations (Cliff Edwards, a dozen years earlier, had sung it with his Hot Combination) and Goodman had played it as an orchestral piece from 1935 on — with special mention to the Martin Block jam session of early 1938 where Benny, Teddy, Lester Young, Roy Eldridge, Jo Jones, Benny Heller, and Sid Weiss had jammed on the Vincent Youmans song. And it comes out of a larger musical world: I hear late-Twenties and early-Thirties Louis and Benny Carter, Coleman Hawkins, Art Tatum, and Zutty Singleton standing behind this trio.
But I can also imagine the radio audience of 1938 — not only the children and adolescents who nagged their parents for drum sets, clarinets, pianos and piano lessons (some signing up for the Teddy Wilson School for Pianists) but also the youthful Charlie Parker, Bud Powell, and Max Roach hearing and studying, thinking of ways to emulate and then outdo. It would have been considered "popular music" or "entertainment," but now we can value it as it deserves.
It's a magnificent performance, with details that glisten all the more on subsequent listenings. Thanks to Benny, Teddy, Lionel, Loren, and the noble Sammut of Malta for art and insights into the art.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Irreplaceable, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Art Tatum, Benny Carter, Benny Goodman, Benny Heller, Bud Powell, Charlie Parker, Cliff Edwards, Coleman Hawkins, Earl Hines, Gene Krupa, I KNOW THAT YOU KNOW, Jazz Lives, Jimmie Noone, Jo Jones, Lester Young, Lionel Hampton, Loren Schoenberg, Louis Armstrong, Martin Block, Max Roach, Michael Steinman, Roy Eldridge, Sammut of Malta, Sid Weiss, Teddy Wilson, Vincent Youmans, Zutty Singleton
"THE SAVORY COLLECTION 1935-1940" (Mosaic Records MD6-266, 6 discs)
Along with many of the faithful, I have been waiting and hoping since 2010 that this set would become a reality. When it arrived, I turned immediately to the fifth disc — one of a pair containing thirty-nine live performances by the Count Basie band from May 1938 to February 1940, and I was open-mouthed and astonished three minutes into the first performance (one of four particularly extravagant frolics from the Randall's Island Carnival of Swing) — music that I thought I would never have the good fortune to hear.
Mosaic Records box sets usually have a similar effect on me, but this one is — as a character in a Sean O'Faolain story says — "beyond the beyonds." And, as a point of information, the box set contains substantially more music than was released through iTunes downloads.
You can learn more and hear something Savory here.
This set is more than a dream come true: it feels like a whole freight train of them. In a postscript below, I've copied Loren Schoenberg's list of the enlightened and generous people who this set possible. Full disclosures: one, I was asked to write a few hundred words for this set, and thus one of my dreams came true, and two, I bought mine — with my allowance.
A Savory Disc
I will write primarily about the Basie cornucopia, but it is true for the set.
Many listeners forget the distinction between music created and captured in a recording studio and the sounds played "live." Many of the performances in the Mosaic box explode with happy ebullience. Some of that is the freedom to play without being stopped at three minutes and twenty seconds (I hear John Hammond's voice saying "Too long, Basie!" at the end of a take that could not be issued at the time) — in fact, the freedom to play without any recording supervisor (Hammond, Oberstein, Stephens, Hanighen) or their disapproving presence (Jack Kapp's wooden Indian) in the room: the freedom to make a mistake and convert it into something remarkable by proceeding on. Often, the recording studio is all we have or will ever have, but its stated and unstated restrictions can make for a chilly environment.
Some of the joy comes from playing from dancers — the radio airshots from the Randall's Island festival are particularly frolicsome. And we can't discount the freedom to have a drink or something to inhale.
On the Basie sides, so much is both new and reassuring. Lester Young, Dicky Wells, and Jo Jones sound like schoolboys who've been told the school has burned down. Herschel Evans, so passionate, is in wonderful form (here and elsewhere in the set). I can't leave out Bennie Morton and Vic Dickenson, Buck Clayton, Sweets Edison, a particularly eloquent Jimmy Rushing, and Helen Humes' most tender singing the lyrics to BLUE AND SENTIMENTAL.
I hear the arrangements anew — often, the Basie band is perceived as a springboard for soloists, and there's much justification for that — but these airshots make it possible to hear the sections as if for the first time. (Also, it's evident how the arrangements become more complex.) And the rhythm section! Before hearing these recordings, I didn't take in that Jo Jones was still playing temple blocks in mid-1938, and it's a common assumption that Freddie Green and Walter Page were going along in a serious 4/4, four quarter notes to the bar, but their work is full of wonderful variations, accented notes and syncopations. Even when a soloist closely follows the version created in the recording studio (some audience members wanted to "hear it the way it was on the record") everything sounds joyous and free.
And since Bill Savory had professional equipment and the discs were splendidly restored by Doug Pomeroy, overall the recording quality is superb — far from the airshots we know recorded by a fan in the living room holding a microphone to the radio speaker to funnel sounds onto his Recordio disc. The sound is not only clear — one hears details and the gentle enthusiasm of the audience — but large. I can't explain what "hearing the sound of the room" actually means, but there is a spaciousness that is delightful.
The new repertoire — not just Basie — is also a treat, as if we had been offered an audio equivalent to Bob Inman's SWING ERA SCRAPBOOK . . . Basie performing RUSSIAN LULLABY (with Jimmy singing), ALEXANDER'S RAGTIME BAND, ROSETTA, LIMEHOUSE BLUES, and BUGLE CALL RAG.
To the other gems, some of which have already been well publicized: Coleman Hawkins' six-minute rhapsody on BODY AND SOUL; Fats Waller at the Yacht Club — so revealing of what he was like as pianist, singer, personality, and entertainer — with dance medleys of songs by J.Fred Coots (a close friend) and Sammy Fain; windows into his world that the Victor sides never provide. Five minutes of young Ella; the Martin Block Jam session with the painfully lovely STARDUST featuring an ailing Herschel Evans; another Block session featuring Eddie Condon, Pee Wee Russell, Bud Freeman, Zutty Singleton, Charlie and Jack Teagarden, and Fats; Mildred Bailey singing TRUCKIN' with the verse; Leo Watson taking on HONEYSUCKLE ROSE with the John Kirby Sextet and JEEPERS CREEPERS with Johnny Mercer; pearly Bobby Hackett, more from Joe and Marty Marsala, who didn't get to record enough; Stuff Smith; Ben Webster, Albert Ammons, Chick Webb, Albert Ammons, Carl Kress and Dick McDonough, Ernie and Emilio Caceres, Roy Eldridge, Stew Pletcher, Ram Ramirez, Red Norvo, Teddy Bunn, Kenneth Hollon, Vernon Brown, Milt Hinton; Lionel Hampton, Charlie Shavers, Cozy Cole, Buster Bailey, Joe Thomas, George Wettling, Ed Hall, Carmen Mastren (with several long solos!), Jonah Jones, new music from the here-and-gone Teddy Wilson big band, the wondrous Benny Carter ensemble, and Glenn Miller; a set of four solo piano improvisations by Joe Sullivan, one of them ten minutes long — a true picture of the artist as a barrelhouse Joyce, wandering brilliantly. And I am sure I've left someone out.
These six CDs are the Arabian Nights of swing, documents of a time and place where magic came out of your radio all the time.
I think it is obvious that I am urging listeners to purchase this set while they can. But I must modulate to another key — that is, to quietly comment on the culture of entitlement, which, sadly, also infects people who love this music. When some of the Savory material was issued on iTunes, some complained, "I don't do downloads." Now that it is all — plus more music — available on CD, I've heard some whinge, and yes, that is the right word, that they don't want to buy this box set for various reasons. Some think, incorrectly, that the six discs of the box have only what was released on iTunes, which is incorrect. Check the Mosaic discography.
I've even heard people being petulant, "Why doesn't this set include X or Y?" not understanding that the artists' estates were paid for the music — think of that! a legitimate reissue! — and that some estates wanted extravagant reimbursement.
Consider what this set offers — rarities never even dreamed of — and do some simple math, how much each prized track costs the purchaser. And, on another level, what you would pay to keep Mosaic Records afloat. I know that, say, ten years ago, if you'd told me I could have thirty-nine new Basie performances for slightly more than a hundred dollars, I would have leaped at the opportunity, and I am no plutocrat. Of course, one is free to ruminate and grumble . . . but this is a limited edition of 5000 sets. Expect to see Savory boxes on eBay for $500 in a few months. You've been warned.
And, by the way, visit here.
Loren's thank-you note!
The National Jazz Museum in Harlem's The Savory Collection Mosaic CD set has been issued after many years of planning. Many people were a part of the team who made it possible. Let's start with Sonny McGown, who led me to the late Gene Savory, Bill's son. Jonathan S. Scheuer, long-time board member of the National Jazz Museum in Harlem, purchased the collection and donated it to the museum. Frank Rich helped spread the word, as did Ken Burns, and within a few months, the Savory story graced the front page of the NYTimes. Fellow board member and attorney Daryl Libow stepped right in to handle all the myriad legal challenges. Doug Pomeroy rescued all that was salvageable from the discs. Dr. Susan Schmidt-Horning had interviewed and written about Bill and gave us lots of help from the academic/acoustic realms. Garrett Shelton was invaluable at iTunes for the initial releases, as was Ken Druker and the production team he assembled to make all of that happen. Samantha Samuels created first-class promo videos for us, and then Scott Wenzel, to whom the jazz world owes a huge debt for his unflagging production of the Mosaic catalogue (along with the rest of the Mosaic team, read: Michael Cuscuna and Fred Pustay) hopped back aboard to bring this collection to fruition; he had been there at the git-go, joining me and Kevin Cerovich in Malta, Ill., to catalogue and drive the discs to NYC.
The album is graced by essays of some of the finest writers out here, starting with Dan Morgenstern and Ricky Riccardi, Tom Piazza, David Fletcher, Michael Steinman, Vincent Pelote, Anthony Barnett, James Carter, Ethan Iverson, and Kenny Washington.
And none of the music would have been issuable without the cooperation of the artist's estates, and the dedication of the board and staff of The National Jazz Museum in Harlem. So it's been a long haul, well worth the wait; here's hoping Bill Savory would be pleased.
Posted in "Thanks A Million", Bliss!, Generosities, Irreplaceable, It's All True, Jazz Titans, Jazz Worth Reading, Mmmmmmmmmmmmm!, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Albert Ammons, Bennie Morton, Benny Carter, Bernie Hanighen, Bill Savory, Bob Stephens, Bobby Hackett, Buck Clayton, Bud Freeman, Buster Bailey, Carl Kress, Carmen Mastren, Charlie and Jack Teagarden, Charlie Shavers, Chick Webb, Coleman Hawkins, Count Basie, Cozy Cole, Dick McDonough, Dicky Wells, Doug Pomeroy, Ed Hall, Eddie Condon, Ella Fitzgerald, Emilio Caceres, Fats Waller, Freddie Green, George Wettling, Helen Humes, Herschel Evans, Jack Kapp, Jazz Lives, Jimmy Rushing, Jo Jones, Joe MArsala, Joe Sullivan, Joe Thomas, John Hammond, Jonah Jones, Leo Watson, Lester Young, Lionel Hampton, Loren Schoenberg, Martin Block, Marty Marsala, Michael Steinman, Mildred Bailey, Milt Hinton, Mosaic Records, Pee Wee Russell, Randall's Island Carnival of Swing, Red Norvo, Roy Eldridge, Stew Pletcher, Stuff Smith, Teddy Wilson, THE SAVORY COLLECTION 1935-40, Vernon Brown, Vic Dickenson, Walter Page, Zutty Singleton
"ALOHA."
RICH CONATY 1954-2016
In the history of jazz, people who do not play instruments do as much, in different ways, to sustain the art without getting equal credit. Think of Milt Gabler, George Avakian, Henry Sklow, Norman Granz, George Wein, Whitney Balliett, Nat Hentoff, and other catalysts. Then there are broadcasters. "Broadcasting" meant something even before radio and television: spreading something widely, effectively: a newsboy shouting the headlines or a farmer distributing seed over a field. Jazz radio broadcasters — in previous decades Martin Block, Art Ford, Fred Robbins, Sid Torin; in our time Ed Beach, John S. Wilson, Phil Schaap, Dan Morgenstern, Alisa Clancy, Linda Yohn and many others – do more than play records. They become our friends, teachers, and benefactors. We look forward to their voices, personalities, and insights. Before there was streaming radio, we arranged our schedules around them; we tape-recorded their programs, which became sweet swinging libraries, introducing us to new artists or rare records.
Rich Conaty, who died of cancer on December 30, 2016, gave his energy and ultimately his life in the reverent and delighted service of the music he loved: the pop and jazz of the teens, Twenties, and Thirties, roughly 1911-1939. For forty-four years, he shared that music on a Sunday-night broadcast on Fordham University's radio station, WFUV-FM (90.7). Rich's THE BIG BROADCAST, named in homage to the 1932 film with Bing Crosby, Eddie Lang, the Boswell Sisters, Arthur Tracy, Cab Calloway, and others, was a consistent pleasure.
Rich was enchanted by this music when he was thirteen or fourteen, began broadcasting as a high school student on New York's Hofstra College radio station. When he had to choose a college, he picked Fordham University because of its radio station, and beginning in January 1973, was on the air every Sunday night, live perhaps fifty weeks every year, taping shows in advance when he went away, perhaps to visit his mother in Florida.
Early on, Rich formed an alliance with Vince Giordano, leader of the Nighthawks, and these two did more to introduce this music to a wider, younger audience than perhaps anyone. Rich said that his program was "for the old and the old at heart," for his humor was sharply wry (occasionally painfully self-deprecating) but he was most happy to learn that some seventeen-year old was now collecting Chick Bullock 78s or had fallen in love with Lee Wiley. He had other interests – vintage Nash automobiles, cats, and other kinds of vintage pop culture – but was devoted to the music and musicians above all.
Listening to Rich for decades, I was able to trace the subtle development of a scholarly intelligence. Years ago, his library of recordings was small (as was mine) so he played the Mills Brothers' TIGER RAG frequently. As he became the person and the scholar he was meant to become, his awareness, knowledge, and collection deepened.
We've heard earnest but ignorant radio announcers – those who call the Ellington clarinetist "Barney Biggered," or the King of Jazz "Paul White Man," but Rich knew his music, his musicians, and his history. Every show, he created tributes to musicians, songwriters, and other figures whose birthday he would celebrate: not just Bix, Bing, Louis, Jolson, Annette; his enthusiasm for songwriters and figures, once renowned, now obscure, was astonishing. He had interviewed Bob Effros, Edward Eliscu, Ben Selvin, and Vet Boswell on the air; he was friends with Dolly Dawn, had gotten drunk with Cab Calloway. Connee Boswell sang HAPPY BIRTHDAY to him over the phone; Arthur Tracy performed at his wedding to Mary Hayes ("Manhattan Mary," who also died too young of cancer).
Rich expanded our knowledge and our joy by playing an astonishing range of music from his own collection of vintage records. Every Sunday that I heard the program, I would say several times, "What is that? I never heard that record before!" and this was true in 2015 and 2016, where it seems as if everything is accessible on CD, download, or YouTube. He spent his life surrounded by 78s – those he had acquired at auction, those he was selling at record shows. Because the idea of THE BIG BROADCAST was not just famous, documented recordings, he would often play a record about which little was known. But he could offer an educated guess about the true band behind the Crown label pseudonym, whether the singer was Irving or Jack Kaufman, when the song had been premiered – much more than statistics gleaned from books. He took requests from his devoted audience, gave away tickets to jazz concerts, and with Bryan Wright, created a series of BIG BROADCAST CDs — I have more than a few — which are wonderful cross-sections of the period.
I should say that his taste was admirable. He didn't play every 78 he had found — no sermons, no organ recitals of light classics, no comedy records — but within the "pop and jazz" area I could trust him to play the good stuff, the music that would otherwise be forgotten. He left IN THE MOOD to others, but he played Henry Burr, Bill Coleman, Jane Green, Johnny Marvin, Fred Rich, Ben Selvin, Annette Hanshaw, Lee Morse, Emmett Miller, Eddie Lang, Jack Purvis, Luis Russell, The Sunshine Boys, Kate Smith, Ted Weems, early Ellington, Jean Goldkette, and on and on.
And part of the pleasure of his expertise and of radio in general (at its best, when the programmer is subtle and wise) is not just the delighted shock of one record, but of the juxtapositions Rich created in three-sides-in-a-row. THE BIG BROADCAST was rather like being invited to an evening at Jeff Healey's house, where you knew the music would be embracing, uplifting, and educational in the best way. (I should also say that Rich did talk — digressing into his own brand of stand-up comedy, with little bits of slightly off-key a cappella singing — but music made up the bulk of the program. He wouldn't tell you the personnel of the thirteen-piece big band, by choice, I am sure, because it would mean he could play fewer recordings.)
On a personal note: I, like many others, made cassettes of the program and played them in the car. I fell asleep to the program on hundreds of Sunday nights. When I was young and diligent, I graded student essays to it. Although Rich and I had much of the same focused obsession with the music, we met in person only a few times (I think always at Sofia's when the Nighthawks were playing) and THE BIG BROADCAST was his world — and by extension the health and welfare of WFUV. So our conversations were brief, before the band started or in between sets. But my debt to him is immeasurable, and it would not have increased had our conversations been lengthy.
I do not know what will happen to Rich's recorded legacy – more than eight thousand hours of radio. Some shows have been archived and can be heard through wfuv.org, but whether the station will share others as a tribute is not yet decided. More information can be found on the Facebook page devoted to Fans of the WFUV Big Broadcast.
I think of Wild Bill Davison's puzzled question about Frank Teschemacher, dead in an auto accident in Bill's car, "Where are we going to get another sax player like Tesch?" Paraphrase the question to apply to Rich Conaty, and the answer is, "We never will." But his generosity will live on.
Aloha. And Mahalo.
Posted in "Thanks A Million", Awful Sad, Generosities, Irreplaceable, It's All True, Jazz Titans, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Alisa Clancy, Annette Hanshaw, Art Ford, Arthur Tracy, Barney Bigard, Ben Selvin, Bill Coleman, Bing Crosby, Bob Effros, Bryan Wright, Cab Calloway, Chick Bullock, Connee Boswell, Dan Morgenstern, Dolly Dawn, early Ellington, Eddie Lang, Edward Eliscu, Emmett Miller, Frank Teschemacher, Fred Rich, Fred Robbins, George Avakian, George Wein, Henry Burr, Henry Sklow, Jack Purvis, Jane Green, Jazz Lives, Jean Goldkette, Jeff Healey, John S. Wilson, Johnny Marvin, Kate Smith, Lee Morse, Lee Wiley, Linda Yohn, Luis Russell, Martin Block, Michael Steinman, Milt Gabler, Nash Rambler, Nat Hentoff, Norman Granz, Paul Whiteman, Phil Schaap, Rich Conaty, Sid Torin; in our time Ed Beach, Ted Weems, Tesch, The Big Broadcast, the Boswell Sisters, The Sunshine Boys, Vet Boswell, Vince Giordano, WFUV-FM, Whitney Balliett, Wild Bill Davison
IT'S SAVORY! (THE SWING TREASURE CHEST OPENS FOR US.)
JAZZ LIVES, like its creator, is a little eccentric (I write those words with pride): I don't always rush to cover what everyone else is covering. But in the past few days, I've met several people, one a brilliant young musician, unaware of the riches made available by the National Jazz Museum in Harlem, the Bill Savory Collection in two volumes with more to come . . . so I write these lines as a Swing Public Service.
Here's Loren Schoenberg, the guiding genius of all things Savory, on NPR, just a few days ago on November 6, 2016.
Let me backtrack a bit. Some years back, the "Savory collection" was mythic and tantalizing. Jazz fans had heard of Bill Savory, an audio engineer and Benny Goodman devotee, who had recorded hours of live material off the air in the late Thirties. The evidence existed tangibly in a collection of BG airshots issued by Columbia Records to follow up on the incredible success of the 1938 Carnegie Hall Jazz Concert. Some years back, the indefatigable Loren unearthed the collection. I knew, step by painstaking step, of the heroic work that the peerless sound engineer and disc restorer Doug Pomeroy was doing in his Brooklyn studio.
Collectors were anxious to hear the Savory treasures: some made the trek uptown to the National Jazz Museum in Harlem to do auditory research. Excerpts were shared in news stories. But we wondered about the legalities (dealing with the estates of the musicians) and the eventual price to us. Recently, we learned that at least part of the Savory material was to be issued digitally through iTunes.
Like many listeners of a certain age, I grew up with music being available tangibly. I went to Sam Goody or King Karol and bought discs. Others I borrowed and taped. So the notion of, say, a Coleman Hawkins performance that I could hear only through my computer was mildly eerie. But some of the downloaded music can be burned to homegrown CD — with a reasonably easy learning curve — and once downloaded, they won't go away even if your computer suddenly starts to emit purple smoke. If all of this is off-putting, one can buy a $25 iTunes gift card at the local supermarket or chain store; one can enlist someone under 30 to do the dance; one can hear treasures, most in gorgeous sound, never heard before. And the price is more than reasonable: each of the two volumes costs less than a CD.
On the subject of money: as always, enterprises like this stand or fall on our willingness to join in. I'm not saying that anyone should starve the children, but this music is terribly inexpensive. In speaking to some collectors, I found it wryly hilarious that more than one person said, "Oh, I only bought ____ tracks," when I, being an elder, stifled my response that this was self-defeating.
In 1976, if you had said to me, "Michael, would you like to hear a jam session with Herschel Evans, Lionel Hampton, Dave Matthews, Charlie Shavers, Milt Hinton, Cozy Cole, and Howard Smith? Give me six dollars," I would have been removing bills from my wallet even though I was earning a pittance in academia.
I also note that some jazz fans have commented on Facebook that they are enthusiastic in theory but waiting to purchase the volume that will contain their favorite band. If you don't find something to admire here and now, I wonder about you.
Doug Pomeroy's remastering of these precious discs is marvelous. The immediacy of the sound is both intense and immense, especially for those of us used to "airshots" recorded by some amateur Angel of Hot with the microphone up to the speaker of the radio console . . . then playing the disc a hundred times. Savory had an actual recording studio and could record the radio signal directly. On a few tracks, there is some gentle static, I believe caused by a lightning storm, but it's atmospheric rather than distracting.
Here's a detailed essay on Savory and his collection.
Having learned how to navigate iTunes, I have been listening to the first volume for the last few days. The second volume, sixty-two minutes of incredible live material in vibrant sound of the Count Basie Orchestra 1938-40 featuring Lester Young (also Herschel Evans, Buck Clayton, Jimmy Rushing) has proven too intense for me: I started to play the whole set and then found myself overcome, as if I'd tried to eat a whole chocolate cake in a sitting. I can see that I will spread out this disc over a week or more of intermittent listening, and then more weeks to come.
A very literate San Francisco guitarist, Nick Rossi (you should know him!) has written, at my request, a short appreciation of a Herschel Evans solo from the first volume — to be published here shortly.
The first volume starts off with a triumph — a monumental performance, tossed off casually by Coleman Hawkins. BODY AND SOUL, nearly six minutes (twice the length of the legendary Bluebird 78), followed by BASIN STREET BLUES, not something I'd associate with Hawkins, but it's spectacular — also a leisurely performance. Two Ella Fitzgerald performances remind us of how girlish she sounded at the start: irreplaceable and tenderly exuberant. Next, a series of Fats Waller effusions live from the Yacht Club on Fifty-Second Street (now probably obliterated to make space for a chain pharmacy) where Fats is wonderfully ebullient, although the standouts for me are I HAVEN'T CHANGED A THING and YOU MUST HAVE BEEN A BEAUTIFUL BABY — the latter a new song at the time. There's a spirited reading of HEAT WAVE by Carl Kress and Dick McDonough (amazing as a team) and one of CHINA BOY by the Emilio Caceres Trio featuring Emilio on violin and brother Ernie on reeds. And that jam session.
Jam sessions, when considered coolly decades later, tend to be lopsided affairs: someone rushes or drags, the tempo is too fast. But this jam session offers us the poignant evidence of one of our great lost heroes, Herschel Evans, not long before his death. He isn't at full power, but he sounds entirely like himself — and the choruses here expand his recorded discography by a substantial amount.
The second volume offers what I noted above, but it bears repeating in boldface — sixty-two minutes of Lester Young and the Count Basie band in glorious sound — with more unfettered leisurely improvisation (how happy the band sounds to be playing for dancers and to have escaped the constraints of the recording studio). I've only heard three tracks: a jam session on ROSETTA, a very fast I AIN'T GOT NOBODY with a Jimmy Rushing vocal, and one other.
Words fail me, and that is not my usual reaction. I don't think the rhythm section ever sounded so good, Freddie Green's guitar so luminous. My friends tell me that Lester is astonishing throughout (this I would not argue) but that there are also clarinet solos. And in a complete loss of self-control, I found the superb full chorus for Vic Dickenson on I NEVER KNEW. Let joy be unconfined.
Here is the most expansive description of both sets, with sound samples.
I'll stop now, because readers have already gotten the point or have stopped reading. But please do visit the Savory Collection sites. And I suggest that the perfect holiday gift for yourself is acquiring both volumes. I don't endorse a major corporation here, and I have been Apple-averse for as long as I can remember, but when the reward is Lester, Jimmy Rushing, Buck, Sweets, Jo Jones, Herschel, Hamp, Ella, Fats, Hawk, Vernon Brown, Milt, etc., I can conquer my innate distrust. And so can you.
Tagged Benny Goodman, Bill Savory, Buck Clayton, Carl Kress, Charlie Shavers, Coleman Hawkins, Count Basie, Cozy Cole, Dave Matthews, Dick McDonough, Doug Pomeroy, Ella Fitzgerald, Emilio Caceres, Ernie Caceres, Fats Waller, Freddie Green, Gene Sedric, Herschel Evans, Howard Smith, iTunes, Jazz Lives, Jimmy Rushing, Jo Jones, Johnny Gomez, Lester Young, Loren Schoenberg, Martin Block, Michael Steinman, Milt Hinton, National Jazz Museum in Harlem, Nick Rossi, Vernon Brown, VicDickenson, William Savory
WOW! MORE SAVORY SNIPPETS
Posted on September 10, 2010 | 1 comment
Last Tuesday night at the Jazz Museum in Harlem, Loren Schoenberg played us Teddy Wilson, Bob Zurke, Benny Goodman, and Count Basie recordings we had never heard before (and he's going to keep it up for three more Tuesday evenings in a row). And today he and Michael Cogswell, director of the Louis Armstrong Archive at Queens College (a most inviting and convivial place) did a radio show for NPR's WBUR. Click on the link below and hear these tantalizing excerpts —
a searing passionate blues chorus by Bunny Berigan which will astound you, followed by Slam Stewart creating the blues in his own image (this from a Martin Block radio program);
a version of SING SING SING by the 1939 Benny Goodman band;
almost all of a very famous and brief HONEYSUCKLE ROSE from another Block show, featuring Louis Armstrong, Fats Waller, Jack Teagarden, Bud Freeman, Al Casey, and George Wettling;
and a sweetly charging medium-tempo chorus of ROSETTA for Gene Krupa and an unknown clarinetist who might be Joe Marsala, again from 1938.
WOW! might be the only possible response. Visit http://www.onpointradio.org/2010/09/new-jazz-gems and you'll say it, too!
Posted in "Thanks A Million", Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Al Casey, Benny Goodman, Bill Savory, blues, Bob Zurke, Bud Freeman, Bunny Berigan, Fats Waller, Gene Krupa, George Wettling, Jack Teagarden, jam session, jazz blog, Jazz Lives, Joe MArsala, Loren Schoenberg, Louis Armstrong, Louis Armstrong Archives, Martin Block, Michael Cogswell, Michael Steinman, National Jazz Museum in Harlem, NPR, Queens College, Slam Stewart, Teddy Wilson, WBUR

redpajama_set_name: RedPajamaCommonCrawl


text:
Tissue engineering and its implications in dentistry
Parimala Tyagi, Manpreet Kaur Dhindsa
Department of Pedodontia, People's Dental Academy, Karond Bhanpur Bypass Road, Bhopal - 462010, India
Date of Decision 05-Oct-2007
Date of Acceptance 25-Nov-2008
Tissue engineering is a novel and highly exciting field of research. With tissue engineering techniques it may be possible to repair damaged tissues or even create replacement organs. This article reviews the principles underlying key tissue engineering strategies and the typical components used. Examples of tissue engineering include passive approaches, such as dental implants, and inductive approaches, in which specific molecular signals are used to activate cells.
Keywords: Tissue engineering, tissue induction, cell transplantation, gene therapy
Tyagi P, Dhindsa MK. Tissue engineering and its implications in dentistry. Indian J Dent Res 2009;20:222-6
Tyagi P, Dhindsa MK. Tissue engineering and its implications in dentistry. Indian J Dent Res [serial online] 2009 [cited 2022 Jan 20];20:222-6. Available from: https://www.ijdr.in/text.asp?2009/20/2/222/52895
Tissue engineering builds on the interface between material science and biocompatibility and integrates cells, natural or synthetic scaffolds, and specific signals to create new tissues.
Historically, some of the earliest attempts at tissue replacement, dating back to thousands of years, have involved teeth. [1] In modern times, dentistry continues to place considerable emphasis on, and be a leader in, the study and use of biocompatible materials. The purpose of this brief review is to provide the practicing dentist with a general perspective and background on tissue engineering, an overview of what has been accomplished in this field thus far, and a consideration of the likely impact of tissue engineering on the practice of dentistry over the next 25 years.
Tissue Engineering Takes Many Forms
Currently, the replacement of lost or deficient tissues involves the use of prosthetic materials, drug therapies, and tissue and organ transplantation. However, all of these have limitations; for example, the inability of synthetic prostheses to replace any but the simplest structural functions of a tissue. Such problems have driven the development of tissue engineering, which can be defined as a 'combination of the principles and methods of the life sciences with those of engineering to develop materials and methods to repair damaged or diseased tissues and to create entire tissue replacements. [2]
The basic hypothesis underlying this approach is that the local delivery of an appropriate factor, at the correct dose and for a defined period of time, will lead to the recruitment, proliferation, and differentiation of cells from adjacent sites, which will then participate in tissue repair and/or regeneration at the diseased site.
A second strategy in tissue engineering makes use of cells grown in the laboratory and placed in a matrix at the site where new tissue or organ formation is desired. These transplanted cells are usually derived from a small tissue biopsy specimen and have been expanded in the laboratory to allow a large organ or tissue mass to be engineered. Typically, the new tissue will be formed in part from these transplanted cells.
Most tissue engineering efforts use biomaterials already approved by the FDA. The most widely used synthetic materials are polymers of lactide and glycolide. [3] A natural polymer-type I collagen-is often used because of its relatively good biocompatibility and ability to be remodeled by cells. Other polymers familiar to dentistry, including alginate, are also in use.
Preclinical and Clinical Accomplishments
Conductive approaches
A dental implant is an example of a conductive (or passive) approach to tissue engineering. Today, implants are considered a standard treatment option, in conjunction with prosthetic rehabilitation, for replacing multiple and single teeth. Another, widely used and relatively simple example of a conductive approach to tissue engineering is guided tissue regeneration. It is used to regenerate the periodontal supporting structures and uses a material barrier to create a protected compartment for selective wound healing. [4],[5]
Tissue induction
The inductive approach uses activation of cells situated close to the damaged or deficient tissue with specific signals. New bone could be formed at a nonmineralizing site after implantation of powdered bone. This discovery led to the isolation of the active ingredients from the bone powder, the cloning of the genes encoding these proteins, and their now large scale production by a number of companies. [6],[7] These proteins, termed bone morphogenetic proteins or BMPS, have been used in many clinical trials, including in studies on nonhealing long bone fractures and periodontal tissue regeneration, and are presently in the early phase of FDA review.
The identification of proteins that promote new blood vessel formation, and their clinical application, followed closely the identification and use of the BMPS. Judah Folkman was the first to recognize that specific molecules regulate new blood vessel formation. Several such molecules are now known that either promote or inhibit this process. [8] These have found several applications, including in the induction of new vessel formation to bypass blocked arteries.
An alternative tissue-inductive approach involves placing specific extracellular matrix molecules on a scaffold support at the tissue site. These molecules will have the ability to direct the function of cells already present at that site and, therefore, to promote the formation of a desired tissue or structure. For example, a preparation of enamel proteins derived from pigs is used to promote new bone formation in periodontal defects. [9] The Forsyth researchers induced the growth of small, recognizable tooth crowns within a period of 30 weeks from cells obtained from immature teeth of 6-month-old pigs seeded onto biodegradable polymer scaffolds and placed in a rat host. [10]
For tissue induction to be successful clinically, it is critical to deliver the appropriate biologically active factors to the desired site at the appropriate dose and for the necessary time. Typically, many of these proteins have short half-lives in the body, yet they need to be present for an extended period to be effective. Up until now, clinicians and researchers have addressed these concerns by delivering extremely large doses of the protein at the sites of interest. More recently, the efforts have been to develop controlled-release systems. [11] A somewhat similar approach involves the delivery of a gene that encodes for the inductive factor, instead of delivering the protein itself.
An unresolved issue in tissue engineering is whether multiple protein signals, perhaps presented in a specific sequence, may be necessary to develop fully functional tissues.
Cell transplantation
Cell transplantation is an extremely attractive option when the inductive for a specific tissue factors are not known, when a large tissue mass or organ is needed, or when tissue replacement must be immediate.
The greatest success in this area has been the development of a tissue-engineered skin equivalent. For example, 250,000 ft 2 of skin tissue can be manufactured from a 1 in 2 sample of starting tissue. [12] A similar approach has also been developed for replacement of oral mucosa. [13],[14]
The designing of polymer scaffolds with the appropriate mechanical and degradative properties has allowed investigators to engineer new cartilaginous tissues in animal models with precisely defined sizes and shapes (e.g., nasal septum and ear), which makes this method potentially useful for craniofacial reconstruction. [15],[16]
Two approaches are currently being studied for the development of vasculature to support the metabolic needs of the organs and for the integration of the engineered organ with the host. The first involves transplantation of endothelial cells on the scaffold with the tissue cells typed of interest. Transplanted endothelial cells can increase the vasculature in polymer scaffolds and integrate with growing host capillaries. [17] The second approach uses localized delivery of inductive angiogenic factors at the site of the engineered tissue. [11] Experiments on mice show that tooth rudiments can be formed in in vitro cultures of nondental stem cells, and complete teeth and associated bone can be obtained when these rudiments are transferred to adult mice. [18]
Generally, gene therapy is not considered to be an example of tissue engineering. However, gene transfers to well-differentiated cells arguably can be viewed as one way of engineering a tissue. In the clinical setting, gene transfer has been used in the treatment of two children suffering from a severe combined immunodeficiency resulting from an inherited reduced production of the enzyme adenosine deaminase (ADA). [19] These patients were treated with a procedure termed ex vivo gene therapy. In this method, the ADA gene was transferred to their lymphocytes in the laboratory and these modified cells were then reinfused into the patients. Both patients are alive today. However, it is not possible to conclude that their survival was the result of gene transfer because conventional therapy was also administered along with the genetically modified cells.
Hundreds of clinical research protocols have been approved worldwide for gene transfer in a wide range of conditions, including cystic fibrosis, muscular dystrophy, and numerous malignancies. The principal problem is the lack of adequate gene transfer vectors to deliver foreign genes to host cells. Most often modified viruses are used, but all common viruses have their drawbacks. [20],[21] There is considerable research activity taking place in this field. New vectors, both nonviral and viral, are being developed and are likely to offer many advantages over current gene delivery systems. It is reasonable to expect that clinical gene transfer therapy will be routine, as both primary and adjunctive therapy, within the next 10-20 years.
Safety measures in gene therapy
There is unanimity among experts that gene therapy trials should only be carried out under certain safety rules. The nature and scope of these rules and their legislative basis are, however, matters of controversy. As far as the legal framework is concerned, one side argues that safety is adequately ensured through the network of existing regulations. The other side criticizes the current situation as a tangle of legal regulations and expresses grave doubts that this takes adequate account of the specific hazards of gene therapy techniques.
An overview of the international regulatory mechanisms shows clearly that, despite widely varying legislative approaches, the emphasis in (legislative) efforts everywhere is on patient safety and biological safety. [22] For example:
There are strict test criteria for pharmaceuticals (which also apply to gene therapy), and this is one way of limiting the risks associated with gene therapy. Thus, licensing of gene therapy projects is subject to demanding requirements.
There are ethics commissions present in all the countries; these commissions serve to ensure the maximum possible safety for the patient. In all the important countries (except Italy), the opinion (at least 'consultative') of the ethics commissions has to be obtained before approval is granted for conduct of gene therapy trials in humans.
Another important safeguard is the professional ethical regulations covering the clinical applications of gene therapy. In the overwhelming majority of regulatory systems these are concerned (inter alia) with:
•	Adequate clinical pre-trials
•	Risk-benefit reviews in the use of gene therapy techniques on humans
•	Prior patient education and consent
•	Consultation with an ethical commission
In addition to the specific statutory regulations there are also the general statutes on civil and criminal liability, which apply on a subsidiary basis.
Biological safety is ensured through various forms of legislation. All countries have a national (official) licensing authority. These are also the basis for establishing a common European licensing authority responsible for biological safety in member states.
Besides the common features indicated above, there are also differences in the ethics commissions of various countries, for example, in terms of the statutory basis of the ethics commissions, the commission's responsibilities, and the binding nature of their votes.
Under French law, there is a separate act (the 'Loi Huriet') covering the duties and responsibilities of the ethics commissions. In German law, the ethics commission's powers are covered by section 40 I of the Drugs Act and, in Austria, by sections 30 et seq. of the Genetic Engineering Act. In Italy, on the other hand, there is no special regulation covering the responsibilities of the ethics commissions.
In the USA, the responsibilities of the local ethics commissions are limited to projects promoted by the National Institutes of Health. The licensing procedure in the UK operates at two levels: Besides local ethics commissions, the central ethics commissions must also give its approval for every gene therapy project.
With respect to the binding nature of their votes, some national ethics commissions have a purely advisory status, as for example in France. In other countries (e.g., USA, Austria, UK, and Denmark) the commission's vote is more important and can result in refusal of approval.
A look into the future of dentistry
Engineered tissues will find many applications in dentistry within the next few years. However, reconstruction of complex tissue defects, which would require multiple cell types, has not yet been attempted in the craniofacial complex, even in preclinical trials. Such a goal will likely take about 10-15 years to realize.
Mineralized tissue defects
Considerable research activity is focused on applying the principles of tissue engineering to dental and craniofacial structures, probably because of the ease of access to these sites and the extent and nature of the clinical problems. As a departure from the reliance of current clinical practice on durable materials such as amalgam, composite, and metallic alloys, biological therapies utilize mesenchymal stem cells, delivered or internally recruited, to generate craniofacial structures in temporary scaffolding biomaterials. Craniofacial tissue engineering is likely to be realized in the foreseeable future and represents an opportunity that dentistry cannot afford to miss. [23]
BMPS and other growth factor-rich preparations are being applied with a variety of natural and synthetic scaffolds. There may be an advantage to be gained from using polymers that are allowed to flow into a defined site, rather than those that are fixed or implanted. [24],[25]
There are several examples of the use of gene therapy in the craniofacial area, e.g., in head and neck cancers. [26],[27],[28] In the next decade, clinicians will likely be able to use gene transfer technologies as part of the standard treatment of neoplasms.
Engineering salivary gland function
There are many circumstances involving tissue loss that are non-life threatening yet that markedly affect quality of life, e.g., the loss of salivary gland parenchyma and the consequent inability to make saliva; without saliva, these patients experience dysphasia, rampant caries, mucosal infections, etc. For such patients, a program has been developed to create a 'blind end' tube that would be suitable for engrafting in the buccal mucosa. [29] The lumen of these tubes would be lined with compatible epithelial cells and be physiologically capable of unidirectional water movement. This system should be ready for clinical testing within 10 years.
The major salivary glands are inviting targets for gene transfer, mainly because of the ease of access to the parenchymal cells. Gene transfer has been used to treat patients undergoing ionizing radiation and those with Sjogren syndrome who had some remaining nonsecretory, ductal epithelial cells. The initial aim was rather simplistic: To make the surviving ductal cells secretory in nature and, thus, capable of fluid movement. The major impediment to fluid flow from nonsecreting ductal cells was the absence of a pathway for water in their luminal membranes. So, the strategy was to transfer the gene coding for-the water channel aquaporin-1-into the radiation-surviving cells via a recombinant adenovirus. The virus, AdhAQP1, was tested in an irradiated rat model. Three days after being given AdhAQP1, these rats experienced an increase in fluid production to near normal levels. [30]
Ethical Concerns
There is a significant amount of debate among researchers in the biochemical community about at least two major ethical concerns related to tissue-engineered products. The first, tissue procurement, is also a manufacturing concern. For many tissue-engineered products (such as skin equivalents and bioartifical organs), visible cells are an essential component. If the patient's own cells cannot be amplified in an adequate and timely manner, enabling them to be used in the tissue-engineered device (i.e., a cell autograft), then cells must be derived from another tissue. This situation raises a number of significant ethical issues; for example, should the tissue source be another person or can animal tissue (i.e., a xenograft) be used? If the source is to be another person (i.e., a cell allograft), should the donor be paid for the tissue sample (such as skin or liver)? Such a policy may induce people in financial distress to 'donate' their tissues. Since fetal tissues often have more growth potential than adult tissues, should fetal tissues be used as a cell source? If, as with organs for transplantation, there are not enough cellular sources to meet the demand for any particular tissue-engineered device, how does one decide who will get the products-on the basis of need or ability to pay?
For several cell-based tissue engineering products, the use of animal cells has been explored. Perhaps the most significant effort has been in the development of an artificial pancreas through the use of porcine cells. Recently, researchers have called for a moratorium on research using cellular xengrafts, in large part, because of a hypothetical risk [31],[32],[33] that an animal (in this case, porcine) virus might cross the species barrier and perhaps mutate and result in serious human disease. Although this possibility, with respect to a porcine virus, is hypothetical and there is no evidence that such an event could occur, there is recognition in the research community that the AIDS virus apparently had its origin in primates and 'jumped species' though the human consumption of infected animals. The proposed moratorium on xenograft research recognizes such potential societal implications and would allow public and legislative discussion of xenograft use. Not surprisingly, there is no agreement on this issue, although the dialogue has generally focused attention on the ethical consideration in tissue engineering. [34]
Dental practice has always been affected by new technologies, be it the development of high-speed handpieces, the modern restorative materials, or tissue engineering.
Tissue engineering brings the power of modern biological, chemical, and physical science to solve real clinical problems. This should yield numerous clinical benefits in dentistry, e.g., improved treatment for intraosseus periodontal defects; enhanced maxillary and mandibular grafting procedures, possibly even allowing lost teeth to be regrown; use of devices such as an artificial salivary gland and muscle (tongue) or mucosal grafts to replace tissues lost through surgery or trauma.
1. Crag RG, Ward ML, editors. Restorative dental materials. St. Louis: Mosby-Year Book; 1996.
2. Nerem R, Sambanis A. Tissue engineering: From biology to biological substitutes. Tissue Engg 1995;1:3-13.
3. Kim BS, Nikolovski J, Bonadio J, Smiley J, Mooney DJ. Engineered smooth muscle tissues: Regulating cell phenotype with the scaffold. Exp Cell Res 1999;251:318-28.
4. Caudill RF. Guided bone regeneration and implants: History and case reports. In: Block MS, Kent JN, Guerra LR, editors. Implants in dentistry. Philadelphia: Saunders; 1997. p. 183-91.
5. Becker W. Guided tissue regeneration for periodontal defects. In: Polson AM, editor. Periodontal regeneration: Current status and directions. Chicago: Quinte4ssence Publishing; 1994. p. 137-50.
6. Uris Mr. Bone: Formation by auto induction. Science 1965;150:893-9.
7. Cochran DL, Wozney JM. Biological mediators for periodontal regeneration. Periodontal 2000 1999;19:40-58.
8. Polverini PJ. The pathophsiology of angiogenesis. Crit Rev Biol Med 1995;6:230-47.
9. Heiji L, Heden G, Svardstrom G, Ostgren A. Enamel matrix derivative (emdogain) in the treatment of intrabony periodontal defects. J Clin Periodontol 1997;24:705-14.
10. Available from: http//www.forsyth.org. [cited in 2002 Oct]. Journal of Dental Research.
11. Sheridan ME, Shea LD, Peters MC, Mooney DJ. Bioabsorbable polymer scaffolds for tissue engineering capable of sustained growth factor delivery. J Control Release 2000;64:91-102.
12. Morrison G. Advances in the skin trade. Mech Engg 1999;121:40-3.
13. Garlic JA, Fenjves ES. Keratinocyte gene transfer and gene therapy. Crit Rev Oral Bio Med 1996;7:204-21.
14. Mizuno H, Emi N, Abe A, Takahashi I, Kojima T, Saito H, et al . Successful culture and sustatinability in vivo of genemodified human oral mucosal epithelium. Hum Gene Ther 1999;10:825-30. [PUBMED] [FULLTEXT]
15. Puelacher WC, Money D, Palge KT, Upton J, Vacanti JP, Vacanti CA. Design of nasoseptal cartilage replacements synthesized form biodegradable polymers and chondrocytes. Biomaterials 1994;15:774-8.
16. Cao Y, Vacanti JP, Paige KT, Upton J, Vacanti CA. Transplantation of chondrocytes utilizing a polymer-cell construct to product to produce tissue-engineered cartiage in the shape of a human ear. Plast Reconstr Surg 1997;100:297-304. [PUBMED] [FULLTEXT]
17. Nor JE, Christensen J, Mooney DJ, Poleverini PJ. Vascular endothelial growth factor (VEGF)-mediated angiogenesis is associated with enhanced endothelial cell survival and induction of Bcl-2 expression. Am J Pathol 1999;154:375-84.
18. Biosed® - Oral Bone® : Feb. 2004.
19. Blaese RM, Culver KW, Miller AD, Carter CS, Fleisher T, Clerici M, et al . T lymphocytes -directed gene therapy for ADA -SCID: Initial trial results after 4 years. Science 1995;270:475-80. [PUBMED] [FULLTEXT]
20. Anderson WF. Human gene therapy. Nature 1998;392:25-30. [PUBMED] [FULLTEXT]
21. Nabel GJ. Development of optimized vectors for gene theraphy. Proc Nati Acad Sci USA 1999;96:326-6.
22. Testimony on 'gene therapy: Is there oversight for patient safety?'by Amypatterson,M.D. Dircctor,Office of biotechnology activities.National institute of health. U.S. department of health and human services.
23. Mao JJ, Giannobile WV, Helms JA, Hollister SJ, Krebsbach PH, Longaker MT, et al . Craniofacial tissue engineering by stems Cells. J Dent Res 2006;85:966-79. [PUBMED] [FULLTEXT]
24. Peter SJ, Miller ST, Zhu G, Yasko AW, Mikos AG. In vivo degradation of a poly(propylenefumarate) / b-tracalcium phosphate injectable composite scaffold. J Biomed Mater Res 1998;41:1-7. [PUBMED] [FULLTEXT]
25. Bouhadir KH, Haussman D, Mooney DJ. Synthesis and mechanical properties of crosslinked poly (aldehyde gulurante) hydrogels. Polymer 1999;40:3575-84.
26. Gleich LL, Gluckman JL, Armstrong S, Biddinger PW, Miller MA, Balakrishnan K, et al . Alloantigen gene theraphy for squamous cell carcinoma of the head and neck: Results of a phase -1trial. Arch Otolaryngol Head Neck Surg 1998;124:1097-104. [PUBMED] [FULLTEXT]
27. Wollenberg B, Kastenbauer, Mundl H, Schaumberg J, Mayer A, Andratschke M, et al . Gene theraphy--phase I trial for primary untreated head and neck squamous cell cancer (HNSCC) UICC stage II- IV with a single interumoral injection of hIL - 2 plasmids formulated in DOTMA/ Chol. Hum Gene Ther 1999;10:141-7. [PUBMED] [FULLTEXT]
28. Myers JN. The use of biological therapy in cancer of the headand neck. Curr Prob Cancer 1999;23:106-34.
29. Baum BJ, Wang S, Cukierman E, Delporte C, Kagami H, Marmary Y, et al . Re-engineering the functions of a terminally differentiated epitheial cell in vivo . Ann N Y Acad Sci 1999;875:294-300. [PUBMED] [FULLTEXT]
30. Delporte C, O'Connell BC, He X, Lancaster HE, O'Connell AC, Agre P, et al . Increased fluid secretion following adenoviral medicated transfer of the aquaporin -1 C DNA to irradiated rat salivary glands. Proc Natl Acad Sci U S A 1997;94:3268-73. [PUBMED] [FULLTEXT]
31. Bach FH, Fineberg HV. Call for a moratorium on xenotransplants. Nature 1998;391:326.
32. Hunkeler D. Bioatificial organs risks and requirements. Ann N Y Acad Sci 1999;875:1-6. [PUBMED] [FULLTEXT]
33. Weiss RA. Xenografts and retroviruses. Science 1999;285;12s21-2.
34. Stolberg SG. Could this pig save your life? N Y Times Magz 1999; 3:46-51.
Parimala Tyagi
Department of Pedodontia, People's Dental Academy, Karond Bhanpur Bypass Road, Bhopal - 462010
1 Morphological characteristics and identification of islet-like cells derived from rat adipose-derived stem cells cocultured with pancreas adult stem cells
Wang Hefei,Ren Yu,Wu Haiqing,Wang Xiao,Wang Jingyuan,Liu Dongjun
Cell Biology International. 2015; 39(3): 253
2 Gingival mucosa regeneration in athymic mice using in vitro engineered human oral mucosa
Mahmoud Rouabhia,Patricia Allaire
Biomaterials. 2010; 31(22): 5798
Rouabhia, M., Allaire, P.
Biomaterials. 2010; 31(22): 5798-5804
4 Isolation, cultivation and reproductive activity of human umbilical cord blood mesenchymal stem cells
Yan, M., Yang, Y.-Y., Qin, S.-J., Zheng, D.-Y.
Journal of Clinical Rehabilitative Tissue Engineering Research. 2010; 14(10): 1739-1742
Tyagi P
Dhindsa MK
Tissue Engineeri...
Preclinical and ...
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A pensioner who drowned at Barton Marina after going missing intended to take her own life, an inquest has found.
Mary McNamee, of Beach Road, Barton under Needwood, was seen to make her way to the beauty spot using her walking stick at 10.20pm on October 11, 2018, on CCTV before being found dead in the water the following day.
Her inquest, held at Burton Town Hall, heard how the 76-year-old was battling with osteoporosis and had been diagnosed with post traumatic stress disorder in 2006, her only history of mental health issues.
DC Joanne Kirkland, of Staffordshire Police, explained how Mrs McNamee had lost weight leading up to her death but had not been to see her doctor about it.
She had told her daughter, Helen Collins, that she was feeling anxious, the hearing was told.
Mrs McNamee also suffered from mobility issues and her family helped her with shopping and appointments. Her daughter saw her every day.
After sending a text to her daughter at 8.25pm on October 11, she was spotted on CCTV at Barton Marina at 10.20pm and the police could trace her movements around the lake, the hearing was told.
When her daughter texted her at 8am the next morning, October 12, she grew worried when she got no reply as she usually helped with the children.
When she did not get a response to a second message she went around to the house and phoned the police to tell them she was going to force her way in.
The house was empty but her daughter spotted she had left behind her keys, bag, walking stick and phone.
Mrs McNamee was reported missing and when questions were asked at Barton Marina a member of staff remembered a set of glasses and walking stick had been found that morning.
They collected the property and it was identified as belonging to Mrs McNamee.
As a result of a search of the lake, Mrs McNamee was found.
She was fully clothed with a scarf and coat and found on her were rosary beads and a money wallet as well as a note with her name and address.
South Staffordshire coroner Andrew Haigh recorded a verdict of suicide as a result of drowning.
He said: "Mary has gone there with a view to killing herself and has done so. I don't think there is any other realistic explanation."
He said to her family: "I am sorry that you came here in these circumstances. I would like to pass on my sincere sympathies for the circumstances of Mary's death."


We do not do very much online business. Mostly we get small donations from people - a few thousand per year. We have been using paypal for this but would like to change to a new system. We are hoping that the system will be very simple and secure for the user and not cost us a lot of money.
Why do you want to switch from paypal? Are you looking for a system that will take credit cards rather then requiring a paypal account?
http://www.moneybookers.com is pretty good (not that high fees either).
PayPal are good... but as you just said; they do have quite high fees (I used to pay £1GB to send even $20 into my bank ... as well as a rubbish exchange rate).
Paypal is an eBay company, and plays by the same abritrary rules eBay does when dealing with people.
They are not a bank any more, and any money in your "paypal account" is fair game for them to flat out steal.
Go fight them to get it back!
Electronic checks can be reversed by your bank for up to 60 days, for any reasons. Why paypal doesn't point this out, or make it clear that "checks" are not more secure, and actually pushes people to accept checks, is really unclear. Any bank account tied into the payment system is at risk. We have two accounts, one we accept electronic payments to, and one where any sort of electronic deposit/withdrawal is disabled. We manually transfer funds regularly.
Paypal is a 3rd-party intermediary in the credit card system, which technically is in violation of the rules. They are running a charge, on behalf of you. In short, any question to that charge, they immediately refund. The credit card holder no longer has a complaint, and you as the seller, didn't have an account with the credit card company in that transaction, so you can't complain either... Rigged system, huh?
PayPal started out as X.com, which had "bank" status. They lost that after about a year.
Micro transaction systems, like "tokens", are legal, in that with your credit card you purchase a token (or group of tokens) that you can spend on sites that accept tokens. One credit card transaction -- eg: purchase of tokens -- is made, and what you are buying is access to a service that lets you access other sites -- you are not doing individual transactions. This is legal, but has problems.
It's one-way, more or less.
It requires users to pre-purchase items, and amounts, and maybe the service or the site will go out of business.
We've tried to set up a micro-payment system under "TokenBooth.com" for about a decade. The technology has *NOT* been available to make it successful.
Maybe with the new Links SQL + Payment module, we'll reevaluate it.
It's *PERFECT* for adult sites. Why?
Once a user purchases "tokens" what that user spends them on is their business. It is not part of the credit card system, it's not public record, and it's covered by privacy issues.
No refunds of tokens are allowed, and charge-backs can be kept to a minimum by proper security software, and notices that all charges are non-refundable, and tokens may not be redeemed for cash or credit. Email, even "phone" verification of all charges can lower the costs even more. It depends on how paranoid you want to be.
It cuts down on the immediacy of the access, which is something most adult (and scam) sites live on. People want access *NOW* and "anonymously".
The advantages for a adult, or even chat network, is that only the Token dispenser knows who actually has tokens, and where they are spent. The individual sites only know they are getting tokens for the access. Individual sites can set up other entry requirements, or use the assigned token id.
In an automated system, the user deposits tokens, their account is debited, they confirm the debit, and they are granted access.
Once the charges are run, there are no "lost cash" problems on the transaction, and if tokens are refunded, it's a virtual loss, not a real one, and never hits the MC/Visa/etc system. Only the initial token purchase can be disputed, and if it's properly executed, risks are minimal.
Such a network would rely on a large amount of non-adult content, where adult content is just one option in a multitude of choices. If it was all for adult access, the credit card companies would have a legitimate issue with potentially providing access.
Such a token system would be great for people who need to take small amounts of money, especially if there were loads of places for people to spend their money.
The overhead for such a system is high for small charges. A $10 charge would have almost a 50% overhead, meaning only $5 from that would be disbursed to webmasters. A $25 charge could disburse closer to $18. There is some inequity built into this, unless tokens were discounted at different rates. eg: $10 gives you blue tokens, $25 gives you red tokens, etc. A service fee could be charged, but that causes credit card system problems. A "Fill Up" fee of $5 plus a percentage of each transaction might solve the problem, but it's not "friendly" to customers.
This is something I'm sure Andy and I could get together, and finally integrate into some of our [planned] OEM products, such as the Gallery. Developing this is a key to several of the larger projects I've wanted to do, and it works *much* better for a classifieds, sales, or gallery directory where users can make one larger purchase or charge, and then spend "tokens" or "credits" on smaller items as they want them. They don't need a "shopping cart" for virtual products, just credits.
Anyway, it's worth thinking about, and bringing up again, because the technology is here, or almost here, and it's something that is [eventually] going to be added into several of our products.
The issue of purchasing tokens, stamps, credits or whatever name you want to call it. Does your comments refer to the transaction taking place at the source, ie, paypal, then from that point on become tokens. Or does it equally apply to the purchase then at the website concerned, the dollar value split up and then get converted to tokens.
I ask this because the latter is what I do on one of my sites, it is a matchmaker and that scenario is actually very common as a means of exchange and currency on such sites.
I'm not sure what you are asking, but the person purchases "tokens" or whatever, from the shopping cart/ecommerce software.
Whomever processes the payments is a behind the scene issue.
The main point here, is the website(s) issuing the tokens (the token booth, if it were) runs the single charge, and gives you the "currency" to spend on-line, without going through the credit system more than once.


Do you need a Visa to go to Russia from UK?
Hi, I'm Anna, I am half British and half Russian.
I want to help those people who want to travel to Russia from the United Kingdom or Ireland on their own without having to go through an organized tour company: visa, booking hotels online, activities, etc.
Copyright © 2018 Hello Russia. All rights reserved.


Murphy Brown is adding a new character.
CBS' anticipated revival has cast Brockmire and The Fosters actor Adan Rocha as a new series regular, ET has learned.
Rocha will play Miguel, a Mexican DREAMer who came to the United States at the age of 1. Now he's a college student working at Phil's Bar alongside Phyllis (Tyne Daly) for extra money to put toward tuition. Quick with a quip, he's always making cracks about "the wall" and ICE. His first appearance will come in the second episode.
Murphy Brown, which ran for 10 seasons on CBS from 1988 to 1998, was known to have episodes and storylines inspired by current events, as well as its political satire. The show reached a new level of cultural notoriety in the 1992 presidential campaign, when Dan Quayle mentioned the show in a campaign speech. Star and executive producer Candice Bergen said in August that the series will continue to deliver thought-provoking content.
"The script for the first episode is so ambitious and so fearless," Bergen said. (The revival's premiere episode will also feature a famous guest star.) "This show has no fear of anyone, because we really stick our heads in the lion's mouth, and [creator Diane English] handled it so brilliantly, as you'll see."
With the 30th anniversary of its Nov. 14, 1988 debut approaching, Murphy Brown returns to TV in a world of cable news, social media, fake news and a very different political and cultural climate. The series will reunite Bergen with original cast members Faith Ford, Joe Regalbuto and Grant Shaud. New additions include Daly as Phil's sister, Nik Dodani as Murphy's social media director, Jake McDorman as Murphy's grown-up son, Avery, and Rocha.
Murphy Brown premieres Thursday, Sept. 27 at 9:30 p.m. ET/PT on CBS.


OMG, I am so madly in LOVE with that skirt! I tried it on but didn't look nearly as good on me as it does on you! I have those shoes too! I just love your style! We have so many of the same pieces!
Love love love this skirt! I've been looking at this little number, wondering whether I should make an impulse purchase. It's a little pricey for me, but it reminds me of Ariel, my favorite Disney princess who I've always wanted to be. So you can see why I'm so conflicted, haha.


These Kingdom Hearts Characters are embarking on a journey to find their friends. Show your support for Soku while he battles the Heartless and searches for his friends. Kingdom Hearts Characters are front and center on this tee ready for any mission. This Kingdom Hearts men's black shirt is made from 100% pre-shrunk soft spun cotton, offering the most comfort for any hero.


When making a master image for PVS 7.6 the capture process was way too slow, slower than I had ever experienced before.
With 4vCPUs the capture process lasted approximately an hour. With 2 vCPUs the capture process lasted approximately 15 minutes.
This bug is supposedly fixed in PVS Target Device 7.6 Cumulative Update 1. Although I can't find the fix stated in release notes (http://support.citrix.com/article/CTX142615).
Next Which Certificate is my Domain Controller using for LDAPS?


text:
Jenifer Lewis of "Black-ish" Talks About Her New Book, "The Mother of Black Hollywood"
PHOTO COURTESY OF HARPER COLLINS
I sat down for a one-on-one interview with Jenifer Lewis in her wonderful home to discuss her new book, The Mother of Black Hollywood. In her book, Jenifer discusses her acting career, including starring on "Black-ish," being sexually assaulted, how she dealt with a scam artist, being bipolar, advice to the millennials and many other things.
Growing up in Kinloch, MO, Jenifer knew that she was destined for fame. She headed to New York and pursued a career on Broadway, and since then, she has starred in a number of television shows and movies, including What's Love Got to Do With It, The Preacher's Wife, Jackie's Back, Meet the Browns and Disney's The Princess and the Frog. Definitely known as everybody's mother in movies, the title of her memoir is befitting. She's played everybody's mama from Whitney Houston in "The Preacher's Wife," Tina Turner's (Angela Bassett) mama in "What's Love Got to Do With it, to playing Tupac's mama in "Poetic Justice."
Quencie and Jenifer Lewis
Jenifer Lewis and Tam
Check out this wonderful and real interview with Jenifer. You'll also get a behind-the-scenes treat as Jenifer invites me and Tam (my Producer and best friend) to sing "In These Streets" with her at the piano. The initial song went viral and was sang by Jenifer, Brandy and Roz Ryan.
ORDER The Mother of Black Hollywood on Amazon by clicking here.
jenifer lewis, The Mother of Black Hollywood, memoir, book, Blackish, actor, Studio Q, Studio Q TV, interview, celebrity


text:
Journal of Agriculture and Sustainability
Journal Metric
Citations on Google Scholar
Home > Vol 13 (2020) >	Ahmed
Suitability of Treated Wastewater Produced in Sudan for Irrigation Plants
Author(s): Abdelazim M. A. Ahmed, Mahdi Haroun, Hajo E. Elhassan, Eiman E. Diab, Abdelkarim H. Awadelkarim, Gammaa A. M. Osman
Full Text: PDF
Abstract: The aim of this study was to characterize the quality of treated wastewater of Soba treatment plant, in Khartoum state, in term of its potential to be used in irrigation for different plant products, as well as to study the temporal variations of its physicochemical and biological parameters. Sampling of the treated wastewater was performed during Dec. 2014 and November 2015. The parameters indicating the suitability of such wastewater for irrigation were estimated, these include pH, Total Suspended Solids (TSS), Electrical Conductivity (EC), Total Dissolved Solids (TDS), Chemical Oxygen Demand (COD), Biochemical Oxygen Demand (BOD), Sulphate, Ammonia, Chloride as well as total count, coli from bacteria and parasites. Results showed that, significant variation in values of pH, EC. Chloride, sulphate, BOD, COD was observed throughout the months of year. In spite of variability throughout the year, the values of pH, EC, TDS chlorides and sulphate, in term of their suitability for use in irrigation, fall within the limits set by FAO for irrigation water. Concentration of total coliform and nematodes in treated wastewater, were more than the concentration limit set by WHO, for restricted irrigation, and less than the limit for unrestricted irrigation. The reuse of the treated wastewater in irrigation of non food crops could be carried out without restriction, however, regarding the use of restricted irrigation, it would be necessary to upgrade treatment processes for further reduction in some parameters, providing that, regular testing should be done regularly.
Copyright © 2020 Infinity Press. All rights reserved.


If you are 55 years of age or better and maintain $1,500.00 in any combined deposit accounts, you can be a member of our Diamond Passport Club.
Direct deposit of social security and retirement checks.
*First National Bank and Trust does not provide tax and legal counseling.


text:
Pre Press Supervisor
Ali Bin Ali Group
Ref: GP219-215
The purpose of this role is to provide general supervision and guidance in performing administrative, technical and functional duties of the line workers in pre-press department. Supervises and coordinates activities of line workers engaged in image assembly, plate making, and other prepress activities in preparation for offset lithographic printing: Examines work to ensure conformity to job specifications and company standards.
- Degree in Printing media, Technology, and relevant discipline is a must
- Must have technical certifications in Printing operations
- Minimum of 3-5 years total experience in related field with 2 years supervisory role on related field a must
- Knowledge of MS office package is a must
- English Language proficient (Can speak, write and read)
- Knowledge on basic safety rules and procedure in working with and near machinery and noxious materials
The Ali Bin Ali Group is a privately owned company with a heritage that dates back to 1945. Our roots began with a vision to provide quality international products and services to the people of Qatar. Today our Group is one of the largest retail and distribution companies in Qatar. We are also proud to say we have a long-standing reputation for building successful partnerships with the world's leading brands across a diverse range of business activities. This success is born out of our unwavering commitment to the long-term development and strategic growth of not just our Group but also that of our partners.
Our knowledge of the market is unrivaled. That is what keeps us ahead in an environment of phenomenal growth in Qatar. The Ali Bin Ali Group has evolved and grown in response to Qatar's diversifying requirements.
As a Group, we thrive on innovation, which is the key to our consistent market share results and achievement awards. The Ali Bin Ali Group operations are currently local but our standards are International. Our partners and competitors credit us with an impeccable reputation and with excellent public and private sector relationships. But from our perspective our most important affirmation comes from customer satisfaction across each of our Group's business divisions.
Learn more about Ali Bin Ali Group
Management Jobs in Doha
Ali Bin Ali Group Jobs


Lionel Messi has been playing through the pain barrier since December.
The five-time Ballon d'Or winner has an injury management plan in place for a groin injury which will alert Manchester United ahead of their huge Champions League tie with Barcelona in April.
Messi made the revelation in an interview with Argentinian radio station 94.7 while on international duty.
The 31-year-old played 90 minutes in Argentina's 3-1 defeat to Venezuela but returned to Barcelona early ahead of his country's victory against Morocco on Tuesday.
He said: "It has become the custom to say things about me.
He added: "The truth is I came back to the Argentina team with a pubis (groin) injury that I have been carrying since December and I have been training less and not playing all games.
"Pubis injuries are complicated; you cannot shake them off from one day to the next.
Responding to questions on why he did not play both Argentina games, Messi was clear.
He said: "I wanted to play both games with Argentina but after the first game I had some pain and I decided to rest so as not to aggravate the injury.
Ernesto Valverde backed up his star after he returned to the Nou Camp early.
Valverde said: "We think it's OK but he has been coping with these issues for a long time.
"We were taking care of it before Christmas and we have tried to make the pain subside and we will continue doing it now he has a few days of rest.
"We do everything naturally, we talk to him after suffering a little problem in training and we do everything together.
Despite the injury scare, Messi is back in full training and is expected to return to first-team action this weekend in Barca's local derby with Espanyol.