text:
Local Girls Selected As Girls Inc. National Scholars
Two Girls Inc. of Omaha members have been chosen as a 2021 Girls Inc. National Scholars and awarded a Girls Inc. Lucile Miller Wright scholarships. Jayleesha Cooper, a student at Duschene Academy, and Taylor McKesson, a student at Omaha North High Magnet School, were selected for outstanding academic achievements, community service work, and dedication to the Girls Inc. mission of inspiring all girls to be strong, smart, and bold. The Omaha girls are two of thirty Girls Inc. National Scholars selected in 2021 from across the United States and Canada.
"I have had the privilege of knowing both of these young women since they were in kindergarten," stated Roberta Wilhelm, Girls Inc. executive director. "They have both immersed themselves in the Girls Inc. Experience and taken full advantage of so many opportunities at Girls Inc. – STEM (Science, Technology, Engineering, and Math) programs, literacy, career and college prep, travel, mentors, and more. The national scholarship committee has certainly selected two very deserving girls."
Jayleesha Cooper stated, "I am extremely grateful and honored to have received this scholarship. Girls Inc has always been a major part of my life and being the recipient of this scholarship has shown me that hard work and dedication is key to success. Without Girls Inc. I would not be as well rounded as I am today." She noted, "I became a leader because Girls Inc. enabled me to find my voice within a society where, many times, the voices of girls are silenced.
"Winning this scholarship will help me pursue my dream career as a surgeon. Girls Inc. has helped me value how much hands-on learning makes a difference and supported my journey in trying new things," Taylor McKesson observed. "When I started at Girls Inc., I saw the words Strong, Smart, and Bold for the very first time. Through the years I have grown up with those words on my back and each time I accomplished something in the program, I contributed to those words. Because of Girls Inc., I have learned how to have a voice, to be strong, and to speak up for what I believe – especially that
girls can do anything! This is forever a part of my childhood. They always say it takes a village to raise a child, and I gladly say that Girls Inc is a part of mine."
The Girls Inc. Lucile Miller Wright Scholarship program was created in 1992, when the female pilot and long-time supporter gave a bequest for scholarships for young women. Over $6.5 million in Girls Inc. scholarships have made post-secondary education more accessible to high school women and has inspired them to succeed in school and consider a broad range of career possibilities.
Girls Inc. of Omaha,
a 501(c) 3 not-for-
profit organization dedicated to inspiring all girls to be strong, smart and bold, provides educational, cultural and recreational opportunities for girls ages 5 to 18. Girls Inc. of Omaha is a national affiliate of Girls Incorporated with two centers in Omaha – the Katherine Fletcher Center in North Omaha with an on-site Nebraska Medicine Clinic, and the Emma Lozier Center in South Omaha. Additionally, Girls Inc. of Omaha operates two transitional housing programs, The Barker Avenue House and Protégé House.
For more information please contact Roberta Wilhelm at rwilhelm@girlsincomaha.org or (402) 457-4676 ext. 1223.
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The Ardour project is pleased to announce the release of 4.2. This is primarily a bug fix release, but the list of fixes is long, and we've also replaced the audio/MIDI IO backend for Windows with completely new code which we think will address some of the issues faced on that platform. This release also sees the return of downloads for Apple PowerPC platforms.
There are other exciting changes waiting in the wings for 4.3, but we're already slightly off our monthly release schedule, and this long list of fixes merits a release of its own.
Indicate port-connections of non-track type on the mixer strip output button.
(Previously a MIDI track with synth showed "—" for the output even if the audio output ports were connected, because only MIDI connections were displayed on the button).
Stationary playhead implies follow playhead, so make it so.
Use power of 2 log-scale for logarithmic controls/parameters.
Fix auditioning on systems with larger disk read chunk sizes.
Fix loss of variable amounts of final audio when importing from files with different sample rate than Ardour is using.
For AU and VST plugins, differentiate between "scanning" for plugins (which checks that known plugins are still installed), and "discovery" (which potentially finds new plugins on the computer).
Make automation line / gain line cursors consistent.
Clicking an automation track line without a move adds a point on the line.
On OS X, ignore .DS_Store files created by operating system when doing "Save As"
Partial workaround for lack of thread-safety in OS X implementation of loadlocale(). This is a serious crashing bug in Apple's code that affects other applications on OS X, but it is unpredictable, both in terms of its effect and when it might occur. This workaround deals with the most common case that we've seen so far.
Fix ability to connect to Harvid on systems lacking "localhost" (even though this is specified as part of IPv4 and IPv6). Examples: Chromebooks and some OS X systems.
Allow to select video-files regardless of file ext.
Add a midimap for using a WiiMote via midikb.
Allow any one midi event to control only one thing.
Make program change message turn toggle controls on/off, and set other controls to 1.
Add support for 4 common types of encoders. Encoders are devices which use MIDI messages to send incremental rather than absolute position.
Make Mackie Control MasterPosition match MIDI port number.


What some people might not realize, however, is that owners in some circumstances also have an obligation to keep their property reasonably safe from criminals who may intentionally hurt one of the owner's visitors or customers.
This is not to say that the owner of an apartment complex, hotel or business is responsible to prevent every criminal act that happens on its property, as oftentimes, a business owner is just as disturbed and hurt by the criminal activity as the next person. What New York law does require, however, is that a business put in at some security measures once they have good reasons to believe that crime is possible on the business property. In short, if a business owner could have reasonably seen criminal activity, they have some obligation to try to prevent it from happening on the property.
The consequences of a business owner's simply choosing to ignore crime can be quite serious. Obviously, getting robbed or otherwise assaulted while at a hotel, coming home to one's apartment or even while out doing business is traumatic. Moreover, as New Yorkers know, criminal activity often does end someone getting physically hurt or even killed.
When a New York landowner does not take reasonable security precautions, innocent people can get hurt. The landowner should expect then to pay these victims compensation for their losses.


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text:
Executive Mosaic Points to Innovative Stewardship of Critical R&D for Al Grasso's Election to Wash100
Apr 4, 2014 | 0 comments
Soon after the start of the 2014 year, Executive Mosaic's leadership elected 100 executives and officials from across the GovCon landscape as the 2013 class of the Wash100, the premier group of leaders on both sides of the intersection of the private and public sectors.
Near the top of the inductees stood Al Grasso, president and CEO of MITRE Corp., an organization he joined in 1986 and has helped drive the performance and establishment of new FFRDCs in a variety of elevating senior positions.
Grasso also currently serves on the board of trustees at MITRE, and has overseen its reception of the National Aeronautic Association's Collier Trophy, the Air Force Association's Theodore von Karman Award and the Secretary of Defense Medal for Outstanding Public Service.
Grasso has been an outsize proponent of supporting missions critical to the health and safety of the U.S. and those that put their lives on the line to do the same. He has helped drive the company's support of a NVTC program to find employment for veterans.
"In providing an opportunity for veterans to explore different career paths, they need flexibility, particularly as they continue physical therapy during the transition period," Grasso said about the program.
"Whether it means increasing their learning capacity or delivering their experience in a number of different ways, they will do what it takes to make it happen," he added.
The Wash100 is a group of private and public sectors officially elected by Executive Mosaic's organizational and editorial leadership for demonstrating a consistent commitment to organizational excellence, and driving above-average value to the American public through strategic vision, innovation and achievement.
Executive Mosaic inducts new leaders each year, but the recognition is earned over a career of work.
Tysons Corner, Va.-based Executive Mosaic is the only cross-platform media company that captures leading GovCon Executives' perspectives on the latest developments and significant activity across government and industry.
Its media properties GovCon Wire, ExecutiveBiz, ExecutiveGov, and GovCon Executive serve as the most comprehensive source of original executive content in the industry.

redpajama_set_name: RedPajamaCommonCrawl


text:
Delta-T Devices Ltd
Established in 1971, Cambridge based Delta-T Devices specialises in instruments for environmental science, in particular: agronomy, plant physiology, eco-physiology, data logging, meteorology, soil...
CO2Meter, Inc.
Our goal is to make high-quality gas detection products and expert solutions available to you. CO2Meter.com is the website for CO2Meter, Inc., an engineering firm located in Ormond Beach,...
Merit Sensor
One size does not fit all. Whether it is design assistance, custom products or smaller volumes, clients need flexible solutions instead of rigid excuses. In addition to our standard products, we...
International Gas Detectors Ltd
International Gas Detectors (IGD) develops, manufacture and market a complete range of gas detection products to protect people and plant against gas hazards in industry, research and commercial...
VEGA Grieshaber KG
Production processes are becoming ever more complex. So it's really important that the measurement technology used to control and monitor the processes is all the more understandable and...
Panasonic Introduces Dual Sensor Air-Conditioners
News - 25 Apr 2011
Panasonic has introduced a wide array of air-conditioning systems with dual sensor control. The Middle East markets will significantly benefit from the dual sensor air-conditioning systems, which are...
Palmer Instruments Launches J-2000 Series Pressure Gauges
News - 24 Mar 2011
Palmer Instruments have come up with a new series of J-2000 Aero Type Differential Pressure Gauges. These gauges have a warranty period of 2 years and are available with authorised dealers of Palmer....
New Mobile Gas Monitors from Bacharach
News - 29 Dec 2010
Bacharach, global USA manufacturer providing HVAC/R solutions for over 100 years, declares the launch of two innovative versions of mobile Gas Monitors called the Comfort Chek 500 and the IEQ Chek...
Alnor's New IAQ Meters to Monitor Indoor Air Quality
News - 14 Oct 2010
Alnor, a leader in manufacturing test and measurement devices utilized for pneumatic parameters such as barometric pressure, moisture content, dew point, air velocity, air balancing, air velocity ,...
CETCI Offers Economical PET BACnet Gas Sensors with CEF Functionality
Critical Environment Technologies Canada (CETCI) declares the release of its PET BACnet gas sensing transmitter. The PET is an innovative cost-effective Parkade Emissions Transmitter that transmits...


text:
/* Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *      http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package org.flowable.idm.engine.impl.persistence.entity.data;

import java.util.List;
import java.util.Map;

import org.flowable.engine.common.impl.Page;
import org.flowable.engine.common.impl.persistence.entity.data.DataManager;
import org.flowable.idm.api.Token;
import org.flowable.idm.engine.impl.TokenQueryImpl;
import org.flowable.idm.engine.impl.persistence.entity.TokenEntity;

/**
 * @author Tijs Rademakers
 */
public interface TokenDataManager extends DataManager<TokenEntity> {

  List<Token> findTokenByQueryCriteria(TokenQueryImpl query, Page page);

  long findTokenCountByQueryCriteria(TokenQueryImpl query);

  List<Token> findTokensByNativeQuery(Map<String, Object> parameterMap, int firstResult, int maxResults);

  long findTokenCountByNativeQuery(Map<String, Object> parameterMap);
}

redpajama_set_name: RedPajamaGithub


text:
← NBC News: Update With John Dancy- December, 1979
NFL Films: 1966 Atlanta Falcons →
NBC News: 'Huntley Brinkley Report- Outtakes From An Interview With President John F. Kennedy'
Posted on April 15, 2013 by Erik Schneider
Source:NBC News– President John F. Kennedy (Democrat, Massachusetts) being interviewed by Chet Huntley and David Brinkley, of NBC News in 1963.
Source:The Daily Press
"Outtakes with President John F. Kennedy during an NBC-TV interview on September 9, 1963, two months before JFK's assassination. Chet Huntley and David Brinkley of NBC News conducted the interview from the Oval Office in the White House."
From David Von Pein
President Kennedy, getting a rare opportunity at a retake of an interview that he had before. David Brinkley and Chet Huntley, interviewing President Kennedy about Vietnam which of course in 1963 was going through a civil war between Communists in the North and Democrats in the South.
The Eisenhower Administration decided to back the Democratic North in Vietnam in a limited way through aid and other resources that the Kennedy Administration decided to continue when they came into office in 1961. Almost three years later in late 1963 President Kennedy was in a position where he needed to decide how much should America help the Democratic South after they sent advisers into Vietnam to assist the South. But I think it was clear that he wasn't in favor of sending American troops in to fight the Vietnam Civil War.
The second question being about the Kennedy tax cuts of 1963 that President Lyndon Johnson finally got through a Democratic Congress in 1963 after the assassination of President Kennedy in November of 63.
The American economy of 1963 wasn't that different from the American economy of 2011-12 as far as economic and job growth. The economy in both periods was growing and creating jobs, but not very rapidly and slowly recovering from previous recessions.
What President Kennedy wanted to do was put through an across the board tax cut and pay for it by cutting loopholes to drive consumer spending and economic growth. There were concerns in Congress about how a tax cut that size would affect the deficit. And that is what the President was dealing with then.
Jack Kennedy, was a true Liberal Democrat, because he believed that liberty was worth defending here at home. That America had to be strong at home first economically before we try to show strength abroad. And the we way we should try to show strength abroad was not to try to police the world by ourselves, but work with our allies to preserve peace and expand freedom to people who were looking for it, but didn't have it because they were being held down by an authoritarian dictatorial regime. Where they have very little if any say on what goes on in their own country.
These were the reasons that the President wanted to help Democratic Vietnam, get the Senate to pass the Test Ban Treaty and to pass a large tax cut. Because he wanted to defend freedom at home and abroad and strengthen the American economy so more Americans could live in freedom.
This entry was posted in JFK Presidency, The Daily Press and tagged 1963, America, Asia, Center Right, Chet Huntley, Classical Liberalism, Classical Liberals, David Brinkley, David Von Pein, Democratic Party, Economic Freedom, Huntley Brinkley Report, Individual Freedom, Jane Pauley, John F. Kennedy, John F. Kennedy Administration, John F. Kennedy Presidency, Liberalism, Liberals, Massachusetts, MSNBC, NBC News, NBC Nightly News, Tax Cuts, The 1960s, The White House, United States, Vietnam, Vietnam War, Washington, Washington DC. Bookmark the permalink.


text:
Human sexual response cycle
The human sexual response cycle is a four-stage model of physiological responses during sexual stimulation.[1] These phases, in order of their occurrence, are the excitement phase, plateau phase, orgasmic phase, and resolution phase.[2] The term was coined by William H. Masters and Virginia E. Johnson in their 1966 book Human Sexual Response.[3]
1 Excitement phase
1.1 Excitement in both sexes
1.2 Excitement in males
1.3 Excitement in females
2 Plateau phase
2.1 Plateau in Males
2.2 Plateau in Females
3 Orgasmic phase
3.1 Orgasm in Males
3.2 Orgasm in Females
4 Resolution phase
Excitement phase
The excitement phase (also known as the arousal phase or initial excitement phase) is the first stage of the human sexual response cycle. It occurs as the result of any erotic physical or mental stimulation, such as kissing, petting, or viewing erotic images, that lead to sexual arousal. During the excitement stage, the body prepares for coitus, or sexual intercourse, in the plateau phase.
Excitement in both sexes
See also: Flushing (physiology)
Among both sexes, the excitement phase results in an increase in heart rate, an increase in breathing rate, and a rise in blood pressure. An erection of the nipples, especially upon direct stimulation, occurred in nearly all females and approximately 60% of males.[4] Vasocongestion of the skin, commonly referred to as the sex flush, will occur in approximately 50-75% of females and 25% of males. The sex flush tends to occur more often under warmer conditions and may not appear at all under cooler temperatures.
During the female sex flush, pinkish spots develop under the breasts, then spread to the breasts, torso, face, hands, soles of the feet, and possibly over the entire body. Vasocongestion is also responsible for the darkening of the clitoris and the walls of the vagina during sexual arousal. During the male sex flush, the coloration of the skin develops less consistently than in the female, but typically starts with the epigastrium (upper abdomen), spreads across the chest, then continues to the neck, face, forehead, back, and sometimes, shoulders and forearms.
The sex flush typically disappears soon after orgasm occurs, but this may take up to two hours or so, and sometimes, intense sweating will occur simultaneously. The flush usually diminishes in reverse of which it appeared.
An increase in muscle tone (myotonia) of certain muscle groups, occurring voluntarily and involuntarily, begins during this phase among both sexes. Also, the external anal sphincter may contract randomly upon contact (or later during orgasm without contact).
Sexual excitement in both sexes can be strongly modified by subjective psychological factors. Neuro-psychoanalyst Mark Blechner calls this "the Lady Chatterley phenomenon"[5] based on the passage in the D. H. Lawrence novel Lady Chatterley's Lover[6] in which Lady Chatterley is first completely unexcited during intercourse and ridicules the sex act, and then, shortly thereafter, becomes intensely sexually excited.
Excitement in males
In males, the beginning of the excitement phase is observed when the penis becomes partially erect, often after only a few seconds of erotic stimulation. The erection may be partially lost and regained repeatedly during an extended excitement phase. Both testicles become drawn upward toward the perineum, notably in circumcised males where less skin is available to accommodate the erection. Also, the scrotum can tense and thicken during the erection process.
Excitement in females
In females, venous patterns across the breasts become more visible and the breasts slightly increase in size, which becomes more observable if lying on the back. The labia majora become flatter, thinner, and rise upwards and outwards in nulliparous women (those who have not given birth).[7] In parous women (those who have given birth), they may increase two or threefold in size.[citation needed] The labia minora may increase in size and may protrude from the labia majora, depending on the size they are in a relaxed state. The clitoral glans becomes tumescent, or swollen, like the glans of the penis and vaginal lubrication is produced by the vasocongestion of the vaginal walls. They darken in color and become smoother than normal. Also, the uterus elevates, more vertically as time passes, and the inner two-thirds of the vagina expand, usually a total of 7 to 10 cm.[7][8]
Plateau phase
The plateau phase is the period of sexual excitement prior to orgasm. The phase is characterised by an increased circulation and heart rate in both sexes, increased sexual pleasure with increased stimulation, and further increased muscle tension. Also, respiration continues at an elevated level.
Plateau in Males
During this phase, the male urethral sphincter contracts (so as to prevent urine from mixing with semen, and guard against retrograde ejaculation) and muscles at the base of the penis begin a steady rhythmic contraction. Males may start to secrete seminal fluid or pre-ejaculatory fluid and the testicles rise closer to the body.
Plateau in Females
At this stage females show a number of effects. The areola and labia further increase in size, the clitoris withdraws slightly and the Bartholin glands produce further lubrication. The tissues of the outer third of the vagina swell considerably, and the pubococcygeus muscle tightens, reducing the diameter of the opening of the vagina and creating what Masters and Johnson refer to as the orgasmic platform. For those who never achieve orgasm, this is the peak of sexual excitement. Both men and women may also begin to vocalize involuntarily at this stage.
Prolonged time in the plateau phase without progression to the orgasmic phase may result in frustration if continued for too long (see orgasm control).
Orgasmic phase
Main article: Orgasm
Orgasm is the conclusion of the plateau phase of the sexual response cycle and is experienced by both males and females. It is accompanied by quick cycles of muscle contraction in the lower pelvic muscles, which surround both the anus and the primary sexual organs. Women also experience uterine and vaginal contractions. Orgasms are often associated with other involuntary actions, including vocalizations and muscular spasms in other areas of the body, and a generally euphoric sensation. Heart rate is increased even further.
Orgasm in Males
In men, orgasm is usually associated with ejaculation. Each ejection is associated with a wave of sexual pleasure, especially in the penis and loins. Other sensations may be felt strongly among the lower spine, or lower back. The first and second convulsions are usually the most intense in sensation, and produce the greatest quantity of semen. Thereafter, each contraction is associated with a diminishing volume of semen and a milder wave of pleasure.
Orgasm in Females
Orgasms in females may also play a role in fertilization. The muscular spasms are theorized to aid in the locomotion of sperm up the vaginal walls into the uterus.[citation needed]
Resolution phase
Main article: Refractory period (sex)
The resolution phase occurs after orgasm and allows the muscles to relax, blood pressure to drop and the body to slow down from its excited state.
Men and women may or may not experience a refractory period, and further stimulation may cause a return to the plateau stage. This allows the possibility of multiple orgasms in both sexes. However, typically men enter this refractory period and some may find continued stimulation to be painful after the orgasmic phase. Women may not have a similar refractory period and may be able to repeat the cycle almost immediately. Many women experience clitoral hypersensitivity after orgasm, which is essentially similar to the effect of the male's refractory period. These women may be capable of additional orgasms, but the pain involved makes the prospect undesirable.[9]
In addition, refractory periods range from human to human, with some being immediate (no refractory) and some being as long as 12 to 24 hours.
Erogenous zone
Estrous cycle
^ "The Sexual Response Cycle". http://www.soc.ucsb.edu/sexinfo/article/the-sexual-response-cycle.
^ "Human Sexual Response Cycle". http://www.csupomona.edu/~gdbrum/bio301/sexualresponsecycle.html.
^ Masters & Johnson Human Sexual Response, Bantam, 1981 ISBN 978-0553204292; 1st ed. 1966
^ The Journal of Sexual Medicine
^ Blechner, M. J. (2009) 'Sex Changes: Transformations in Society and Psychoanalysis.' New York and London: Taylor & Francis.
^ Lawrence, D. H. (1928/2003) 'Lady Chatterley's Lover.' New York: Signet.
^ a b "Does size matter". TheSite.org. http://www.thesite.org/sexandrelationships/havingsex/performanceproblems/doessizematter. Retrieved 2006-08-12.
^ "do big penises hurt?". AskMen.com. http://www.askmen.com/love/dzimmer/17_love_answers.html. Retrieved 2006-08-14.
^ Rathus, Spencer A.; Nevid, Jeffrey S.; Fichner-Rathus, Lois; Herold, Edward S.; McKenzie, Sue Wicks (2005), Human sexuality in a world of diversity (Second ed.), New Jersey, USA: Pearson Education, ISBN 1-205-46013-5
Human sexual response on Discovery health
Human Sexual Response Cycles by Dr. Mitchell Tepper on SexualHealth.com
Kalapana
Human sexual behavior — or different human sexual practices encompass a wide range of activities such as strategies to find or attract partners (mating and display behaviour), interactions between individuals, physical or emotional intimacy, and sexual contact. Some… … Wikipedia
Sexual arousal — is the process and state of an animal being ready for sexual activity and feeling an urge for sexual contact. Human sexual arousal Sexual arousal for a man results in an increased blood flow to the penis, to produce an erection. In a woman, the… … Wikipedia
Sexual intercourse — Intromission redirects here. For other uses, see Intromission (disambiguation). Making love redirects here. For other uses, see Making love (disambiguation) … Wikipedia
Human male sexuality — The shield and spear of the Roman god Mars represents the male sex. Human male sexuality covers physiological, psychological, social, cultural, and political aspects of the human male sexual response and related phenomenon. It encompasses a broad … Wikipedia
sexual behaviour, human — Introduction any activity solitary, between two persons, or in a group that induces sexual arousal. There are two major determinants of human sexual behaviour: the inherited sexual response patterns that have evolved as a means of ensuring… … Universalium
Sexual addiction — is a controversial term to describe sexual behaviour that is characterized at least by two key features: recurrent failure to control the behavior and continuation of the behaviour despite harmful consequences. While this condition is not… … Wikipedia
Human — Homo sapiens redirects here. For other uses, see Homo sapiens (disambiguation). This article is about modern humans. For other human species, see Homo. For other uses, see Human (disambiguation). Holozoa Human … Wikipedia
Sexual dimorphism — Female (left) and male Common Pheasant, illustrating the dramatic difference in both color and size between sexes Sexual dimorphism is a phenotypic difference between males and females of the same species. Examples of such differences include… … Wikipedia
Sexual differentiation — This article is about the development of sexual dimorphisms in humans. For sex differences for all animals, see Sexual dimorphism. Sexual differentiation is the process of development of the differences between males and females from an… … Wikipedia
Sexual reproduction — is the creation of a new organism by combining the genetic material of two organisms. The two main processes are: meiosis, involving the halving of the number of chromosomes; and fertilization, involving the fusion of two gametes and the… … Wikipedia


The Genesis Hova-Bator is pre-set for bird eggs. Simply plug it in, then add water and eggs. Nothing to set up or adjust. This circulated air Hova-Bator comes with a thermometer, plastic bottom liner, and is pre-set to 99. F (38 C). Like all incubators, the 1588 requires a stable room temperature and should not be used in areas like sheds or barns. Being pre-set, this incubator delivers consistently good hatches.
-Excellent for classrooms, novices, and experts. 12 Volt system is safe and CUL listed.
-Although it is pre-set to 99 F, the thermostat can be adjusted. The 1588 can be set as low as 80 F. for use with reptiles.
-Soft-Air fan technology provides needed oxygen and refreshes air without forcing air directly on the eggs.
Dimensions 18' x 18' x 9 1/2' Without an automatic turner in place, the incubator will hold 50 large duck or chicken eggs or 140 quail eggs. 12 Volt DC power supply (included) plugs into 110 Volt outlet.


text:
Ђурђица Чилић је хрватска књижевница рођена 1975 у Ливну, БиХ.

Лични живот
Ђурђица Чилић је рођена 1975. у Ливну, у БиХ, а одрасла је у Витезу. Од 1994. године живи у Загребу. Тренутно ради на Катедри за пољски језик и књижевност Филозофског факултета у Загребу. Од 2022. године предаје и на универзитету у пољским Катовицама.

Књижевна каријера
Ђурђица Чилић пише стручне радове о пољској књижевности 19. и 20. века, књижевне рецензије, а бави се и превођењем савремене пољске поезије.

Њена прва књига која представља колекцију аутофикцијских цртица је Фафарикул објављена 2020. године. Књига је постала убрзо регионални књижевни хит. Њена друга књига је Нови крај објављена 2022. године и такође је аутофикцијска проза.

Преводи
Ђурђица Чилић преводи пољску књижевност, углавном поезију коју објављује на Facebooku.

Неки од пољских аутора и књига које је превела су:
 Збирке прича Ормар и Најружнија жена на свијету Олге Токарчук,
 Збирку поезије Адама Загајевског Невидљива рука,
 Млађе ауторе поезије - Krystynu Dąbrowsku, Barbaru Klicku и Justynu Bargielsku,
 Избор из поезије Виславе Шимборске који је насловила Свијет који није од овога свијета.

Библиографија
 Фафарикул - приче, 2020.
 Нови крај - роман, 2022.

Референце

Спољашње везе
 Đurđica Čilić: Književnost, ako je dobra, puno je veća od onog tko je piše
 Đurđica Čilić povodom izlaska knjige "Novi kraj": 'U književnosti ima samo uvjerljivo i neuvjerljivo'

Биографије живих особа
Хрватски књижевници
Рођени 1975.
Ливњаци
Хрвати у Босни и Херцеговини

redpajama_set_name: RedPajamaWikipedia


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I think many violin makers have a mixed relationship with science. In the abstract we're fine with it, but when science turns her all-knowing eye towards us and our instruments we get a bit squeamish. Don't get me wrong, of course it's wonderful to gain new insights into our favorite subject. And there are makers who are super into acoustics and other areas of scientific inquiry. On the whole, however, there tends to be a hefty dose of skepticism and aloofness mixed in with all that fascination.
Every time a new scientific study about violins comes out, there are two critiques that tend to pop-up again and again. First, there are the makers who ask "But how do I apply this to my making?", often with the not-so-subtle implication that if it doesn't help them make a better violin the study is basically worthless. To be honest, I don't have a lot of sympathy for this line of criticism. I understand it though. I too am busy and don't really have time to learn a bunch of specialized scientific jargon in order to parse some academic paper just to glean an abstract truth about the physical object already on my workbench. But I also know that that's not science's problem. I'm not the intended audience for these papers, and Science isn't actually in the business of producing actionable intelligence anyway, just Knowledge1With heavy caveats.. At the end of the day I don't actually care all that much if this or that bit of research helps me make a better violin. I think violins are cool so I am happy to enjoy any insight—however abstract—into them.
Second, there are the complaints about how the researchers didn't take into consideration or failed to understand this or that aspect of violins or of making. These complaints chide the scientists for telling us something that we already knew, for overgeneralizing or hyper-focusing on details. A lot of this comes down to Science failing to face and grapple with the materiality of violin making. Science is a powerful tool, but so are the cumulative experiences and craft knowledge of makers and musicians. It's with that in mind that I want to talk about three recent-ish scientific papers. I have a few thoughts on their scientific merit, but mostly I want to try to put their scientist episteme in conversation with the techne of making.
Evolution of the outline
I'm going to start with one of my favorite recent-ish papers: Imitation, Genetic Lineages, and Time Influenced the Morphological Evolution of the Violin by Daniel H. Chitwood. The idea of this study was to see how much can be learned about instruments by looking only at the shape of their outlines2Note that this purposefully ignores their size. The technique Chitwood employed is one he usually uses to analyze leaves and draw conclusions about their evolutionary relationship to each other. The basic approach is to learn about the relationship between shapes by asking "What is that distinguishes one from the other?" Here, instead of trying to differentiate leaves by species, he looked at instruments first by type—violin, viola, cello, or bass—and then by maker—Magini, Lupot, Degani etc.
To do this he needed a large database of instrument outlines. Luckily the Cozio archive has photos of thousands of instruments, which he was able to take and then turn them into machine readable mathematical formulas. Next those formulas were analyzed using a technique called linear discriminant analysis, which tries to find mathematical characterizations of difference (which are called linear discriminants) that can be used to categorize objects into classes. Because all of this is happening mathematically the result is very different from how we humans would go about the same task. So instead of say "the ratio between the width of the upper and lower bout" or "the squareness of the shoulders" we end up with something that is complex, abstract, and can't really be put into words.
He first does this for instrument type—i.e. violin, viola, cello, or bass—and comes up with three linear discriminants: LD1, LD2, and LD3. LD1 captures the difference between basses and everything else, and does so very well. LD2 does an admirable job of capturing the difference between cellos and violin/violas. Lastly, LD3 sort of captures the difference between some violas and violins, but it will come as no surprise that many violas seem to basically be scaled up violin shapes.
None of this is new or surprising: many violas look like violins and basses look different from everything else. But it's a good warm up act to show that the technique can work for instrument outlines. Also, as a maker it is somewhat interesting to think about the differences between the instruments purely in terms of outline and how they might relate to necessary differences in construction, acoustics, playability, or aesthetics, especially as we scale between different instrument types and even within instrument types, as we so often have to do with violas.
I also have three follow up questions that I wish Chitwood had addressed, specifically with regard to the violas whose LD3 values are within the violin range versus those that are different. First, one hypothesis worth looking into is whether this is driven primarily by a greater representation of Brecian instruments—which are maybe less similar to the violin average—in the set of violas vs. the set of violins he examined, or is something else going on? Second, it would be interesting to see whether there is is any sort of correlation between a viola's size and LD3. For example, perhaps larger violas are more violin like, while smaller violas require greater alteration to get them to work. And third, I would be curious to plot out where the more common models that makers tend to copy and consider "successful" fall along the LD3 scale.
The second part of the study applies the same approach to categorizing violins by maker. The idea here was not to see whether it was possible to train a computer algorithm to identify instruments from their outline—Philip Kaas' job is safe—, but what can be learned about the relationship between makers from how a computer algorithm identifies instruments. Specifically they tried to (1) tease out where direct copying versus evolutionary influence or drift was responsible for similarities, if there were any, between makers and (2) they wanted to see if it was possible to build a sort of genealogical map of instrument styles based on their outline.
To answer the first question they looked for correlations between makers' styles and when they worked. They found that one particular linear discriminant, which they called LD13Note: this is not the same LD1 from the first part of the study., had a relatively strong correlation with when the instrument was made. The reason for this appears to be mostly because of Stradivari. A low LD1 number is indicative of a Strad shaped violin. Because of this, before Stradivari all instruments had high LD1 values. During Stradivari's life a few instruments, i.e. his, had low LD1s and then as time went on makers began copying Stradivari so more and more violins had low LD1s. It is important to note that this appears to be primarily because of direct copying, and not a general trend or convergence in making towards instrument outlines that have lower LD1 values. This is mostly clearly evidenced, first, by how sharp the rise in the number of instruments with lower LD1 values around 1800 is, and, second, by how the computer algorithm—when using all 85 linear discriminants—will often erroneously attribute violins made by later makers, such as Lupot or Bisiach, to Stradivari, i.e. while LD1 is the most pronounced characteristic of Strad it looks like later makers were copying all of his characteristics and not just happening to emulate one of them.
For us makers there is nothing particularly surprising about any of this4Perhaps the tidbit that the Deganis are a notable exception to the overall trend, is worth following up on, but I don't know what to make of it in isolation.. Overall this just confirms the common understanding of the history of making. What it does not do, however, is offer much insight into why Stradivari copies became increasingly popular after about 1800. But it does give us a tool to start exploring that question more systematically. It would be interesting to look more closely at instruments with high LD1s, especially those made between the time of Stradivari and Lupot, to try to understand why those design elements have been largely abandoned and whether any are worth bringing back. I am particular curious what kind of correlation, if any, there may be between makers who employed baroque vs. modern neck sets and the LD1 values of their instrument designs, or if there are any other similar changes (string design, concert hall size, repertoire, etc.) whose time-line corresponds with changes in LD1 values. Of course it's possible that the change in design preference was largely extrinsic to acoustic or other design needs, e.g. a shift in cultural preferences and attitudes towards the Italian baroque or Strad himself. Chitwood's work on its own doesn't answer these questions, and there is no Big Data approach that will. It would be wrong of us to collapse everything we know about Strad's style into LD1. But this can give new approaches with which to examine the historical record that might bring out new insight that we would otherwise miss.
To answer the second question Chitwood analyzed the violins using an additional 84 linear discriminants and treated the makers as though they were species who might be related to each other by evolution. I have reproduced the tree he came up with below for easy reference. For Chitwood the main takeaway was that this evolutionary tree of instruments corresponds fairly closely with the family tree of the makers, i.e. makers from the same family tend to use similar looking models. This again reinforces the notion that instrument design is transmitted primarily by direct copying and not evolutionary adaptation or drift. As a maker what jumps out at me most are the exceptions. Perhaps most notably the split in the Guarneris between more Amati-like and more Stainer-like. Furthermore, as a maker, I would have liked to rerun the analysis but with some makers—such as Guadagnini and del Gesu—split by period, i.e. treating early and late del Gesu as two different makers. And lastly, while the tree seems like a useful tool to help conceptualize the relationship between makers, it also left me with a number of follow up questions that I'm not entirely sure how to go about answering such as: What exactly are these Stainer like instruments, and how should I understand them in the broader context of violin making history? Is there actually a Stainer school or are makers arriving at those shapes for different reasons/routes? At the end of the day Chitwood's family tree is really more of a forest level view, which is useful but only meaningful when you understand the histories and place of the individual members that are in it.
Hierarchical clustering of violin shape.
Ff-hole acoustics
The second study I will look at is The evolution of air resonance power efficiency in the violin and its ancestors which looked at the impact of sound hole shape on the acoustics of the violin. The bulk of this article is dedicated to building a very technical mathematical model that can describe "the acoustic conductance of arbitrarily shaped sound holes". That is, they want to be able to calculate how good differently shaped sound holes, and thus ff-holes, are at transmitting sound. This should roughly correspond with how loud an instrument can be, all other things being equal. The big take away from their model is that it's the perimeter, not the area, of the sound hole correlates with output. So, broadly speaking, a crinkly shape like an ff-hole will be better at transmitting sound than a circle with the same area. This key insight drives much of the rest of the study.
They then go on to verify their theoretical model experimentally, checking it both against a sound hole set in an idealized rigid body—which is not a violin—and an elastic body—like a violin whose top and back move. The study is careful to point out that their model only accurately describes the case of a rigid body. It gets close for an elastic body, so it's still useful for a general comparison between instruments with different sound holes, but might be slightly off, which might be important for the fine tuning of a violin's acoustic behavior. This is a good example of a case where the simplification necessary for a robust scientific model doesn't quite line up with the specificity needed for making. But, as makers, while we need to keep such caveats in mind, they shouldn't distract us from the broader points.
Having established both the theoretical and experimental validity of their model the authors then use it to address two questions. First, they look at changes in sound hole design over the course of pre-violin instruments and, second, at changes in ff-hole design in the violins of Cremonese makers.
The authors begin by pointing out that from the 10th century to the violin in the 16th century instruments display sound holes with increasing perimeter to area ratios and they calculate the corresponding increase in air resonance power. They then speculate the evolution of instruments is being driven, at least in part, by a desire to maximize projection culminating with the claim that:
The lute in fact became effectively extinct, perhaps partly due to its relatively low radiated power. This occurred as the violin's prominence rose, at least partially because its greater radiated power enabled it to project sound more effectively as instrument ensembles and venue sizes historically increased.
Increased power as sound holes evolved.
The overall trend in sound hole shape towards designs that correspond with increased power is very convincing. However, I wish that they had provided more historical evidence to backup their evolutionary claims. For example, if their claim is true why wouldn't viola da gambas with violin like ff-holes instead of the more traditional cc-holes have become popular? But instead each step in sound hole evolution seems to come only with an entirely new instrument. And while volume may be part of the lute's decline, this was also a time of changing musical styles from polyphonic madrigals to the monody of the figured bass. If anything, I would frame their findings the other way around, namely that the historical changes in sound hole design lends weight—though not proof—to the notion that the instrument builders of the past cared about increasing the ability of their instruments to project and carry, which is relevant to how we think about making copies of those instruments today.
Before we follow that thread into the world of Cremonese violins there are three side issues the paper brings up in passing that I think are worth highlighting. First, they point that the fact that output correlates with sound hole perimeter and not area complicates linear scaling of instruments. As noted above, this is an issue that we makers often encounter. Digging into this study may help us better match our ff-hole choices to the air volume of our instruments, especially when attempting new viola models. Second, they note that the output of two ff-holes is less than their sum, especially as they get closer to each other. I am curious how sensitive this affect is and whether the range of variation commonly seen on instruments is big enough to make a difference. And third, they explain that rosettes, such as those seen on some lutes and baroque guitars, end up acting essentially the same as undecorated circular sound holes, which while not useful information is interesting.
After looking at different instruments the authors turn their attention to the violins from three generations of Amati, from Stradivari, and from Guarneri del Gesu. The approach here is the same as before. They begin by noting that there is a trend of increased ff-hole size over time, which in principle corresponds to an increase in power output. The authors, however, are quick to acknowledge that violins are complex so they check to see whether changes in back plate thickness, top plate thickness, thickness near the ff-holes, mean air cavity height, or air volume might be having a greater affect than the changes in ff-hole size. Their conclusion is that the combined effect of all six parameters is an increase in power output over time and that the increased ff-hole size is by far the single largest contributor to this. The other very interesting, and somewhat stunning, conclusion from this additional step is that while larger ff-holes would in principle have led to a rise in the frequency of the A₀ mode, other changes—especially increases in cavity air volume—balanced this out to keep the A₀ mode relatively constant over time 5With the notable exception of late del Gesu violins, which are outliers in so many way.. What part of the process classical makers were paying attention to I don't know, but to me this clearly suggests that they cared about the acoustical properties of their instruments and knew how to manipulate them.
Having established the historical trend of increased ff-hole size and increased power the authors offer a theory to explain how this may have happened. Their "… key assumption is that the instrument makers select instruments for replication from a current pool within their workshop." From this they speculate that an evolutionary model may be at play, where small variations in making means that some instruments are more successful than others and that makers then pick those successful instruments as the templates for their next instrument. While this idea is certainly consistent with the available evidence I have two reasons to be unconvinced. First, given the number of paper templates that have been preserved from Stradivari's shop I am not sure that their key assumption can be granted. Why would makers copy existing instruments instead of continue to use their ready made templates? As with the changes in sound hole shape from instrument type to instrument type, looking at the graph of ff-hole size over time it looks to me that much of the change is driven by moving from one maker to the next, with late del Gesu as a clear outlier. Second, while perhaps the overall trend of increased ff-hole size yields a louder instrument by the time we move from Andrea Amati to del Gesu, I feel that the paper could have benefited from some psychoacoustic backing to show that the smaller variations from one instrument to the next by the same maker are enough to be noticed and acted upon. Expanding the study to more makers and a broader time span may help illuminate what's going on. None of which invalidates, or even diminishes the importance of, their findings with regards to how ff-holes function acoustically. On the one hand, one could see this as an example of how looking at "the numbers" alone can be misleading, and more generally a lesson on the limitations of hard-science to the violin world. On the other hand, I like how a study focused on "pure" acoustics can point towards insights into our understanding of historical making, in this case by adding to our picture of what historical makers might have known and cared about when it comes to sound.
The Paris Experiments
The last paper I will discuss is probably the best known and most controversial: Soloist evaluations of six Old Italian and six new violins, better known as "The Paris Experiments". This study arose out of a desire to address the commonly held belief that old (i.e. 17th & 18th century Italian instruments) possess a "fundemental […] tonal superiority" over contemporary instruments and claims that its findings "present a striking challenge to near canonical beliefs about Old Italian violins". Let me first briefly summarize their process before examining whether their results support that conclusion.
The authors chose to approach the question of instrument preference from the perspective of the player because "it is violinists who choose their instruments, and whose judgments are therefore most consequential." They therefore set about mimicking, to the extent practical, a typical setting and scenario in which a soloist would go about choosing an instrument for themselves, while also maintaining the double-blind standards needed to make it a valid scientific test. There were 6 "old" and 6 "new" instruments for a total of 12. Each of the 10 soloists were first given 50 minutes to try all 12 of the violins in a practice room, as they might while first trying instruments at a shop. They were then later asked to try the same instruments in a large concert hall. After each session they were asked a number of questions both about general preference and about specific qualities such as loudness, playability, etc. And lastly, they were asked to play a subset of the instruments again for no more than 30 seconds each and asked what kind of instrument they thought it was, to ascertain whether they could differentiate old from new. The double-blind standard was maintained throughout by having everyone wear welder's goggles and keeping the ambient lighting low.
While criticism of the study's methodology could easily be found in blogs, on Maestronet, and presumably around both orchestra and violin shop water coolers following its publication, I actually think their approach was basically sound. I doubt that any change to the set up, short of doing an entirely different experiment, would have produced a significantly different outcome. It is rather in the framing of the question and interpretation of the data that I think the study's main weaknesses lie.
The pervasive problem of this paper is that it keeps slipping into treating qualitative data as though it were quantitative. This lack of conceptual clarity makes it difficult to draw clear conclusions, which ultimately weakens the impact of this important study. On the one hand the authors openly acknowledge that no conclusion can be drawn that goes beyond the specific instruments and soloists studied. But the use of language such as: "A surprising result is that while old and new violins have similar ratings for overall quality, the old are on average lower for the other five criteria," makes it sound like they might be trying to make a broader claim. Something like "A surprising result is that while the set of old and new violins have similar ratings for overall quality, the old instruments in the study are on average lower for the other five criteria." would have been clearer and made discussing and analyzing the results easier.
This problem is especially acute when they attempt to generate preference "scores" for each instrument. Even if we grant their somewhat arbitrary approach of assigning 4 points for being chosen first, 3 for second and so on, and then subtracting a point for each time it was rejected, to then sum the scores of the old and of the new instruments respectively in order to compare them crosses the line into statistical analysis that just isn't very meaningful. After going through a few permutations of this the authors conclude, "We can find no plausible scoring system by which the old fare any better than this." However, removing just the highest and lowest "rated" instruments—which could very well be outliers—yields a "score" of 25 to 27, instead of 4 to 37, and a radically different picture where old and new instruments are preferred essentially equally.
The problem here is not that they tallied the scores in a flawed manner, but that tallying scores isn't a fair way to analyze or convey the type of data they collected. A qualitative description of each soloists interaction with each instrument, a sort of anthropological ethnography, would have been more honest while pointing, I believe, to essentially the same conclusion.
I do understand that the authors' desire to bring together all of the data in a manageable form. I have re-graphed the preference generated "scores" in a way that I think somewhat more accurately portrays the data. I have chosen to remove dimension markings from the y-axis because while the relative ordering of all the instruments might be meaningful the relative distance between them cannot be taken as particularly meaningful. I also believe that this graph suggests a more fruitful framing of the question than "Do musicians prefer old or new instruments?" Namely: is there any correlation between musician preference and instrument age.
My regraphing of the preference "scores"
While one might be able to see a weak correlation in favor of new over old—a correlation that only grows weaker once outliers are removed—one would be hard pressed to pronounce a clear preference for one set over the other. But even here it is important to remember that this type of conclusion cannot be generalized beyond these specific instruments and soloists. Making suggestions in that direction only confuses the matter. This is not because of fundamentally flawed methodology, as some have suggested, but because of the type of data the study was set up to collect.
All of this might seem like mere semantics. But, since this study, by its own admission, is motivated more by the desire to combat myths than to generate new insight it is precisely on this semantic level that we should care about how the results are portrayed. I believe the impact of the study would have been more powerful if it had been more careful in how it presented its findings. For all of its shortcomings I do think that the Paris Experiments were very valuable in lending strong credence to the notion that musicians should stop caring so much about whether instruments are old or new, which is almost—but not quite—the same as saying that no clear preference between the two can be found.
Taking a slight tangent from the main thrust of the paper, the sentence that most caught my eye was:
Individual violins may or may not have been recognized or remembered across the sessions, so the extent to which Session 2 ratings are affected by those made in Session 1 is not known."
As a maker the question of how self consistent musicians are when trying instruments sounds far more interesting than average preference between old and new instruments. In fact, I wish I could have been in the room with the soloists while they tried the various instruments to see what types of things they paid attention to and cared about. I realize it's silly to wish that a study focused on one question had asked something entirely different, but in this case it feels like a missed opportunity. And actually, I don't think it's that different of a question. Describing how top musicians go about evaluating an instrument and what they pay attention to when they do—i.e. the type of thick description the study was well set up for—would have revealed how little musicians care about old versus new, while also avoiding the shortcoming of trying to get qualitative data to speak with quantitative rigor.
I think part of the frustration and difficulty of responding to this study—which is also reflected in the mess of widely varying responses that came out after its publication—is that it was constructed in response to a pervasive but not entirely well defined myth. Any attempt to grapple with vagueries ultimately leaves one sounding a bit vague oneself. To my mind the strangest aspect of the entire old vs. new instrument debate is that so very few musicians will ever be able to play, let alone afford to buy, a classic Italian instrument that for most people it really doesn't matter if a Strad is "objectively" "better" because it's not a realistic option anyway. And at the same time, even those of us who advocate most strongly for modern instruments, continue to make instruments that are close copies of historical instruments. So hopefully this study can allow us all to collectively move on and start using science to address new, and more interesting, violin related questions in the future.
The original two new sciences.
1. ↑ With heavy caveats.
2. ↑ Note that this purposefully ignores their size
3. ↑ Note: this is not the same LD1 from the first part of the study.
4. ↑ Perhaps the tidbit that the Deganis are a notable exception to the overall trend, is worth following up on, but I don't know what to make of it in isolation.
5. ↑ With the notable exception of late del Gesu violins, which are outliers in so many way.
Tags: acoustics, design, ff-holes, history, science, violin making
Posted in Research Notes | No Comments »


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Steve Kashul and Dr. Chuck Bush-Joseph from Midwest Orthopaedics at Rush talk with Matt Gauthier about Fitness tips that are Doing More Harm than Good. Matt Gauthier is a Board-certified sports physical therapy specialist at Athletico's Niles/Northwest Chicago clinic.
This entry was posted in 670TheScore, Athletico Physical Therapy, Fitness, Injury, Interviews, PodcastSegments, Prevention, Therapy, Training by sportsmedicineweekly. Bookmark the permalink.


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Director's Cut - never released in North America!


text:
Q: Nginx 502 bad gateway runing django in uwsgi I tryed to restart a project in production and it stoped working. This is a django==1.5.1 and django-cms==2.4.1 project. I restarted because I've updated the project from django==1.4.1 to django==1.5.1, but as long as I know it doesn't change anything in wsgi.ini.
When I first reload the project it was raising a 500 error. Then I decided to remove my /tmp/zecaffe.sock to recreate it, then I restarted the project again, and now when I looked inside my error_zecaffe.log it is showing this error:
2013/05/03 16:16:35 [crit] 32378#0: *207 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET / HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 16:16:36 [crit] 32378#0: *207 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"

It seems that the emperor is not recreating another .sock file. Well this is my uwsgi.ini:
[uwsgi]

# caminho para o virtualenv no qual o projeto ira rodar
home = /home/infalms/.virtualenvs/zecaffe

# socket gerado no momento da inicializacao do uwsgi. Pode ser um servidor ou arquivo.sock.
# o socket estabelece a ponte de comunicacao entre as requisicoes que chegam no nginx/apache
# e as trasnfere para o projeto django especificado o projeto especificado no chdir
# neste caso esta sendo usado socket em arquivo
#socket = 127.0.0.1:8000
socket  = /tmp/zecaffe.sock

# define a que usuario o socket pertence. deve ser o mesmo usuario de execucao do
# Nginx definido no arquivo de configuracao do nginx. /etc/nginx/nginx.conf
uid = [user-name]
gid = [user-name]
chmod-socket = 777
chown-socket = [user-name]

# Esta a pasta do projeto
chdir = /home/infalms/webapps/zecaffe

logto = /var/log/uwsgi/zecaffe.com.br.log

# Carrega o arquivo de inicializacao do projeto, onde "meuprojeto" é a pasta e "wsgi"
# e o nome do arquivo wsgi.py contido dentro da pasta "meuprojeto".
module = zecaffe.wsgi

This is my uwsgi log file:
*** has_emperor mode detected (fd: 11) ***
[uWSGI] getting INI configuration from zecaffe.com.br.ini
*** Starting uWSGI 1.4.4 (64bit) on [Fri May  3 15:54:02 2013] ***
compiled with version: 4.6.3 on 20 January 2013 20:27:33
os: Linux-3.7.10-x86_64-linode30 #1 SMP Wed Feb 27 14:29:31 EST 2013
nodename: infalms
machine: x86_64
clock source: unix
detected number of CPU cores: 8
current working directory: /etc/uwsgi/vassals/enabled
detected binary path: /usr/local/bin/uwsgi
your processes number limit is 3870
your memory page size is 4096 bytes
detected max file descriptor number: 1024
lock engine: pthread robust mutexes
uwsgi socket 0 inherited UNIX address /tmp/zecaffe.sock fd 3
Python version: 2.7.3 (default, Aug  1 2012, 05:25:23)  [GCC 4.6.3]
Set PythonHome to /home/infalms/.virtualenvs/zecaffe
*** Python threads support is disabled. You can enable it with --enable-threads ***
Python main interpreter initialized at 0xf05d20
your server socket listen backlog is limited to 100 connections
mapped 144784 bytes (141 KB) for 1 cores
*** Operational MODE: single process ***
WSGI app 0 (mountpoint='') ready in 1 seconds on interpreter 0xf05d20 pid: 19117 (default app)
*** uWSGI is running in multiple interpreter mode ***
gracefully (RE)spawned uWSGI master process (pid: 19117)
spawned uWSGI worker 1 (pid: 32430, cores: 1)
Fri May  3 16:16:15 2013 - received message 1 from emperor
...gracefully killing workers...
Gracefully killing worker 1 (pid: 32430)...
binary reloading uWSGI...
chdir() to /etc/uwsgi/vassals/enabled
closing all non-uwsgi socket fds > 2 (max_fd = 1024)...
found fd 3 mapped to socket 0 (/tmp/zecaffe.sock)
running /usr/local/bin/uwsgi
*** has_emperor mode detected (fd: 11) ***
[uWSGI] getting INI configuration from zecaffe.com.br.ini
*** Starting uWSGI 1.4.4 (64bit) on [Fri May  3 16:16:16 2013] ***
compiled with version: 4.6.3 on 20 January 2013 20:27:33
os: Linux-3.7.10-x86_64-linode30 #1 SMP Wed Feb 27 14:29:31 EST 2013
nodename: infalms
machine: x86_64
clock source: unix
detected number of CPU cores: 8
current working directory: /etc/uwsgi/vassals/enabled
detected binary path: /usr/local/bin/uwsgi
your processes number limit is 3870
your memory page size is 4096 bytes
detected max file descriptor number: 1024
lock engine: pthread robust mutexes
uwsgi socket 0 inherited UNIX address /tmp/zecaffe.sock fd 3
Python version: 2.7.3 (default, Aug  1 2012, 05:25:23)  [GCC 4.6.3]
Set PythonHome to /home/infalms/.virtualenvs/zecaffe
*** Python threads support is disabled. You can enable it with --enable-threads ***
Python main interpreter initialized at 0x6bbd20
your server socket listen backlog is limited to 100 connections
mapped 144784 bytes (141 KB) for 1 cores
*** Operational MODE: single process ***
WSGI app 0 (mountpoint='') ready in 0 seconds on interpreter 0x6bbd20 pid: 19117 (default app)
*** uWSGI is running in multiple interpreter mode ***
gracefully (RE)spawned uWSGI master process (pid: 19117)
spawned uWSGI worker 1 (pid: 357, cores: 1)

This is my nginx config:
upstream zecaffe {
     #server 127.0.0.1:8000;
     server unix:///tmp/zecaffe.sock;
}

server {
    listen 80;
    server_name zecaffe.infalms.com.br; # dominio do projeto. Se for local, seta como localhost

    #client_body_in_file_only clean;
    #client_body_buffer_size 32K;
    client_max_body_size 20M;
    #sendfile on;
    #send_timeout 0s;

    error_log /var/log/nginx/error_zecaffe;
    access_log /var/log/nginx/access_zecaffe;

    location /media {
        autoindex    on;
        alias /home/infalms/webapps/zecaffe/zecaffe/media;      # your Django project's media files
    }

    location /static {
        autoindex    on;
        alias /home/infalms/webapps/zecaffe/zecaffe/static;     # your Django project's static files
    }

    # Finally, send all non-media requests to the Django server.
    location / {
        uwsgi_pass  zecaffe;
        include     /etc/nginx/uwsgi_params; # or the uwsgi_params you installed manually
    }

}

This my nginx error log (error_zecaffe):
2013/05/01 13:02:30 [error] 19146#0: *16798 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:02:36 [error] 19146#0: *16798 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:02:39 [error] 19146#0: *16800 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:02:42 [error] 19146#0: *16806 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:02:50 [error] 19146#0: *16809 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:03:29 [error] 19146#0: *16818 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:03:35 [error] 19146#0: *16812 open() "/home/infalms/webapps/zecaffe/zecaffe/static/ckeditor/ckeditor/skins/moono/skin.js" failed (2: No such file or directory), client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /static/ckeditor/ckeditor/skins/moono/skin.js?t=B8DJ5M3 HTTP/1.1", host: "zecaffe.infalms.com.br", referrer: "http://zecaffe.infalms.com.br/admin/core/noticia/add/"
2013/05/01 13:03:35 [error] 19146#0: *16812 open() "/home/infalms/webapps/zecaffe/zecaffe/static/ckeditor/ckeditor/skins/moono/skin.js" failed (2: No such file or directory), client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /static/ckeditor/ckeditor/skins/moono/skin.js?t=B8DJ5M3 HTTP/1.1", host: "zecaffe.infalms.com.br", referrer: "http://zecaffe.infalms.com.br/admin/core/noticia/add/"
2013/05/01 13:03:35 [error] 19146#0: *16819 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:04:23 [error] 19146#0: *16812 open() "/home/infalms/webapps/zecaffe/zecaffe/static/ckeditor/ckeditor/skins/moono/skin.js" failed (2: No such file or directory), client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /static/ckeditor/ckeditor/skins/moono/skin.js?t=B8DJ5M3 HTTP/1.1", host: "zecaffe.infalms.com.br", referrer: "http://zecaffe.infalms.com.br/admin/core/noticia/add/"
2013/05/01 13:04:24 [error] 19146#0: *16812 open() "/home/infalms/webapps/zecaffe/zecaffe/static/ckeditor/ckeditor/skins/moono/skin.js" failed (2: No such file or directory), client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /static/ckeditor/ckeditor/skins/moono/skin.js?t=B8DJ5M3 HTTP/1.1", host: "zecaffe.infalms.com.br", referrer: "http://zecaffe.infalms.com.br/admin/core/noticia/add/"
2013/05/01 13:04:24 [error] 19146#0: *16812 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:04:26 [error] 19146#0: *16812 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:13:11 [error] 19144#0: *16928 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:16:20 [error] 19147#0: *16965 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/01 13:19:16 [error] 19147#0: *16976 upstream prematurely closed connection while reading response header from upstream, client: 187.7.60.53, server: zecaffe.infalms.com.br, request: "GET /favicon.ico/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:16:18 [crit] 19146#0: *32344 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /admin/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:16:19 [crit] 19146#0: *32344 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:16:49 [crit] 30969#0: *3 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /admin/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:16:49 [crit] 30969#0: *3 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:17:07 [crit] 30969#0: *3 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /admin/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:17:07 [crit] 30969#0: *3 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:20:11 [crit] 30969#0: *21 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /admin/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:20:11 [crit] 30969#0: *21 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:20:12 [crit] 30969#0: *21 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /admin/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:20:13 [crit] 30969#0: *21 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:20:51 [crit] 30969#0: *21 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /admin/ HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:20:52 [crit] 30969#0: *21 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:20:56 [crit] 30969#0: *21 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET / HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:20:56 [crit] 30969#0: *21 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:28:21 [crit] 30969#0: *73 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET / HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:28:21 [crit] 30969#0: *73 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:38:29 [crit] 30972#0: *107 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET / HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:38:29 [crit] 30972#0: *107 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:54:28 [crit] 32378#0: *57 connect() to unix:///tmp/zecaffe.sock failed (13: Permission denied) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET / HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 15:54:29 [crit] 32378#0: *57 connect() to unix:///tmp/zecaffe.sock failed (13: Permission denied) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 16:13:16 [crit] 32378#0: *175 connect() to unix:///tmp/zecaffe.sock failed (13: Permission denied) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET / HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 16:13:17 [crit] 32378#0: *175 connect() to unix:///tmp/zecaffe.sock failed (13: Permission denied) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 16:16:23 [crit] 32378#0: *207 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET / HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 16:16:23 [crit] 32378#0: *207 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 16:16:35 [crit] 32378#0: *207 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET / HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"
2013/05/03 16:16:36 [crit] 32378#0: *207 connect() to unix:///tmp/zecaffe.sock failed (2: No such file or directory) while connecting to upstream, client: 189.75.17.67, server: zecaffe.infalms.com.br, request: "GET /favicon.ico HTTP/1.1", upstream: "uwsgi://unix:///tmp/zecaffe.sock:", host: "zecaffe.infalms.com.br"

Now, I'm geting a 502 (Bad Gateway) error :(

A: You need check permissions for creation .sock-file in /tmp/ dir. I recommend make different directory for .pid and .sock files:
cd /var/run/
makedir django
chown www-data:www-data django

Then change your settings to:
socket=/var/run/zecaffe.sock

Or use gunicorn (recommended):
workon zecaffe
pip install gunicorn

Make file gucicorn.conf.py for run application in /var/www/zecaffe/conf directory:
#! coding: utf-8
import os
import multiprocessing

os.environ['DJANGO_SETTINGS_MODULE'] = 'zecaffe.settings'
short_name = "zecaffe"

bind      = "unix:/var/run/django/%s.sock" % short_name
proc_name = "/var/run/django/%s" % short_name
workers = multiprocessing.cpu_count() * 2 + 1

user      = "www-data"
group     = "www-data"
loglevel  = "warn"
timeout   = 600
keepalive = 5

Install supervisor and add this to /etc/supervisor/conf.d/zecaffe.conf:
[program:zecaffe]
directory = /var/www/zecaffe
user="www-data"
group="www-data"
environment=DJANGO_SETTINGS_MODULE="zecaffe.settings",PYTHONIOENCODING="UTF-8",LANG="en_US.UTF-8",LC_ALL="en_US.UTF-8",LC_LANG="en_US.UTF-8"
command=/var/www/.virtualenvs/zencafe/bin/gunicorn_django -c /var/www/zecaffe/conf/gunicorn.conf.py
stderr_logfile = /var/www/zecaffe/log/supervisor_error.log

Don't forget change mode for gunicorn.conf.py:
chmod u+x /var/www/zecaffe/conf/gunicorn.conf.py

Run supervisorctl update and enjoy!

A: I had the same error.
There was a missing required setting in settings.py:
# Hosts/domain names that are valid for this site; required if DEBUG is False
ALLOWED_HOSTS = ['.my-domain.com']

See https://docs.djangoproject.com/en/1.5/ref/settings/#allowed-hosts

redpajama_set_name: RedPajamaStackExchange


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Category: Collin Sexton Jersey
July 8, 2019 admin	No Comments
You can expect Corey to be out there Game 1.So as we approach Tortorella reaching the Blue Jackets' record for wins, we look back and see his hiring was a huge turning point in franchise history.The Seahawks beat the Bears 30.I'm around, Miles said, but I'm not going to be a distraction.
In 2016, the team finished 68.It was their second stop of the day, having earlier presented canes at Independence Court, also in Monroeville, for patients' and residents' http://www.cavaliersproshop.com/Collin_Sexton_Jersey use.For some in the business, there is a cautionary tale in http://www.49ersofficialauthenticonline.com/9-robbie-gould-super-bowl-jersey.html the 2018 bankruptcy of Rivertowne Brewing Co., which had a brewery and taproom in Murrysville, a microbrewery in Monroeville and taverns in Verona, North Huntingdon and on Pittsburgh's North Shore.Norris was averaging 2 points and 1 assists for Houston this season.Twentyman: Loewen signed with the Saints as an undrafted free agent in 2016.Karl Malone won't return to action any time soon Dec 31 8 PM EL SEGUNDO, Calif.
Bobrovsky is the favorite at the moment considering his numbers and lack of support in recent games.After foregoing his final year Womens Collin Sexton Jersey of college eligibility, Copp joined the Jets for the final game of their 2014 season and immediately showed himself to be more than just hype.Victor envisions having a Prohibition-era speakeasy in the basement, where the brewing will occur, and a that will hold about 70 patrons upstairs.Whether you are in a hypercompetitive league or just trying to have some casual fun, Robbie Gould Jersey you want to be a responsible fantasy baseball manager.
But, I think it just continues to demonstrate the type of character that he and when you've got people like him in those leadership positions with the way that they can affect and influence the rest of the team, you feel like your team is in good hands that's what we've got with guys like Johnny and a handful of other players.Barzal is contributing despite not having a top-six winger and, at 21 years old, he has plenty of time to hone his game.COLLEGE �?Finished his college career with 152 receptions for 1 yards with nine touchdown grabs at Idaho State after transferring from Boise State, where he redshirted in 2008…Earned third-team All-American and second-team All-Big Sky in 2012 as he caught 70 passes for 630 yards and five TDs…In 2011, he played in 11 games with ten starts, and finished ranked second on team in receiving, collecting 48 passes for 407 yards and earning All-Big Sky honorable mention honors…Played in all 11 games in 2010 and totaled 25 grabs for 233 yards with three TDs…Graduated with bachelor's degree in sports management.More of that this season please!Fowler, 25, had arguably his best NHL season, but his mediocre possession numbers still leave something to be desired.
Lomberg finished the season with 29 points in 68 games played, he also had a plus-15 on the year.This fight quickly became a fight between all skaters on the ice and then finally all the Soviet players left their bench, followed by Team Canada.- Carson Wentz December 11 The Wildcats are following the path of Ohio State and Stanford, which hired coaches from the FCS to run their programs."We're not there yet," Silas said.
The Wildcats shot just 31 percent including 5 of 21 from 3-point range.Following his career very closely, his teams are statistically very sound on both sides of the football.To find all players born within a certain month and year, for example all players born in December of 1985, choose the month and year with the drop down boxes and then choose the 'Month and Year Search' option."The conversation in the airport on the way here was a little bit about how this would mean more," DeCuire said.A pleasant surprise as a rookie and a considerable disappointment in his sophomore campaign, Clement is now recovering from a December knee injury, with the Eagles declining to provide any details.
From being called out publicly to awkward handshakes, it was inevitable that Pacioretty would get shipped out of Quebec's biggest city.For a league that both reveres and wraps itself in its history, the NFL's decision to open the 2019 season with the latest renewal of the storied Packers-Bears rivalry on Thursday, Sept.Now, it's time to regroup, reconsider and regrade.You've got to be focused.It is driven by statistical calculations that consider a variety of factors, including opposing hitters and pitchers, bullpens, ballparks, weather, and more.
He went from barely being able to stand on skates to playing his first game in six months with the HK Junior Tigers youth league.Even if he doesn't reach that level, I believe the Jackets are looking for him to prove his worth as a top-four defenseman.He might sign that deal, given how high on the Devils' priority list keeping him in town is, but with the direction the Devils are headed, I'd be surprised if Hall doesn't test the free-agency waters.All in all, Lehner's consistency should be enough to convince all but his most unhinged detractors that he is capable of leading this Sabres team into the postseason.
Islanders: They produce enough offensively.
Categories:	Collin Sexton Jersey
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