This paper has more than 516,165 circulations in the United States of America. Presently the publisher of this Newspaper is Mortimer Benjamin "Mort" Zuckerman and the editor in chief is Colin Mylar. This Newspaper was started its journey in 1919 and in these ninety four years, the Newspaper has completely changed and formatted link network to the society. This is a most popular paper published in the tabloid format and provides detailed News about the current events, informative articles, diverse features, editorials, and advertising. All Rights Reserved.New York Daily News Contact Phone Number is : +1-21, +1-21 and Address is 4 New York Plaza, New York, NY-10004, USA The Daily News is a front running largest circulated Newspaper of the New York City. All content of the Dow Jones branded indices © S&P Dow Jones Indices LLC 2019 and/or its affiliates. Standard & Poor's and S&P are registered trademarks of Standard & Poor's Financial Services LLC and Dow Jones is a registered trademark of Dow Jones Trademark Holdings LLC. Dow Jones: The Dow Jones branded indices are proprietary to and are calculated, distributed and marketed by DJI Opco, a subsidiary of S&P Dow Jones Indices LLC and have been licensed for use to S&P Opco, LLC and CNN. Chicago Mercantile Association: Certain market data is the property of Chicago Mercantile Exchange Inc. Factset: FactSet Research Systems Inc.2019. Market indices are shown in real time, except for the DJIA, which is delayed by two minutes. Whitmore did not respond to a request for comment. The Daily News employee who attended Tuesday's meeting said that Whitmore took responsibility for the reductions, but he didn't elaborate when he was pressed on who he consulted before making the decision. York did not respond to a request for comment.Įarly Monday morning, hours before the layoffs became official, Rich fired off a cryptic tweet: "If you hate democracy and think local governments should operate unchecked and in the dark, then today is a good day for you." His Twitter bio is just as scathing: "Just a guy sitting at home watching journalism being choked into extinction." Rich did not respond to CNN's multiple request for comment amid Monday's layoffs.Īn internal document that briefed senior Daily News staffers on how to communicate with employees about the layoffs said that Rich, along with managing editor Kristen Lee, "decided it was the right time to move on to a new challenge." The document, which was obtained by CNN, also indicated that the reductions were driven by Whitmore "in consultation with others at the Daily News and tronc." He steps in to replace Jim Rich, who appears to have stepped down as Daily News editor-in-chief under acrimonious circumstances. Related: Tronc will make cuts at other papers after NYDN layoffs Before that, York served for 20 years at the San Diego Union-Tribune, another Tronc newspaper, which the company recently sold to investor Patrick Soon-Shiong along with the Los Angeles Times. York was most recently the publisher and editor-in-chief of The Morning Call, a Tronc-owned daily newspaper in Allentown, Pennsylvania, where he worked since 2016. Those who did attend made for a "deeply skeptical audience," according to the source who was there.Ī Tronc spokeswoman did not respond to a request for comment. Multiple Daily News sources told CNN that staff wasn't informed of Tuesday's meeting until a half-hour before it began, meaning that several employees were unable to attend. "That is not the way we did it."īut Whitmore assured one staffer that there will be no more layoffs for the foreseeable future, and that he is not aware of any plans for Tronc to sell the Daily News. "That's a very reasonable question," Whitmore said, according to an audio recording of the meeting, a portion of which was reviewed by CNN. The source said that many employees were upset, and that there was "widespread confusion about why the layoffs happened before a strategic plan was developed."Īt one point, Whitmore was asked why a strategy wasn't developed before the reductions were made. They both encountered anger and frustration when they addressed the Daily News staff on Tuesday, according to an employee who was there.
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For USB 2.0, use of a Y-cable connected to two USB 2.0 ports is required to properly power the HD-CONV-USB-300. Off indicates that the source is not using HDCP. Blue indicates that the source is using HDCP 2.2. Red indicates that the source is using HDCP 1.x. Green indicates that the software on the connected PC is actively receiving video from the unit via USB. Red indicates that there is no HDMI source. Green indicates that there is an HDMI source. USB 3.0 Type‑B male to Type‑A male cable included HDMI or analog audio input (selectable in configuration software) HDMI: 4K UHD 60 fps 4:4:4 with support for 12‑bit HDR HDMI 2.0 (DVI 1.0 compatible) loop out port with support for HDCP 2.2/1.xĤK UHD 60 fps 4:4:4 with support for 12‑bit HDR Specifications are subject to change without notice. Crestron is not responsible for errors in typography or photography. Crestron disclaims any proprietary interest in the marks and names of others. Other trademarks, registered trademarks, and trade names may be used in this document to refer to either the entities claiming the marks and names or their products. in the United States and/or other countries. UL is either a trademark or registered trademark of Underwriters Laboratories, Inc. HDMI and the HDMI logo are either trademarks or registered trademarks of HDMI Licensing LLC in the United States and/or other countries. For specific information, please visit Crestron and the Crestron logo are either trademarks or registered trademarks of Crestron Electronics, Inc. The specific patents that cover Crestron products are listed online at .Ĭertain Crestron products contain open source software. This product is covered under the Crestron standard limited warranty. A list of sales representatives is available online at or by calling 855‑263‑8754. To find a dealer or distributor, please contact the Crestron sales representative for your area. This product may be purchased from select authorized Crestron dealers and distributors. HDCP content can be displayed on the HDMI output only. HDCP encrypted sources cannot be converted to USB.Note that a Y‑cable (not included) is required when connected via USB 2.0 to deliver the necessary power. Compatible with USB 2.0 capture, but minimal MJPEG compression is applied.Simply connect the room’s microphone and HDMI camera to the HD-CONV-USB-300 and connect via USB to the user’s laptop to start the meeting from a soft codec while using the room’s superior camera and microphone, You can also install this device in an existing video conferencing room to add BYOM (Bring Your Own Meeting) capability. The HDMI output can connect the camera signal back to the existing UC codec while the captured USB stream feeds into the new UC codec. For example, if you need to install a secondary UC codec to an existing installation, you can share the microphone and HDMI camera devices by feeding these signals into the HD-CONV-USB-300. The HD-CONV-USB-300 can be used for stand‑alone video conversion or as part of an integrated UC (unified communications) solution. By using the HDMI output and analog audio input, you can leverage existing video conferencing equipment in the room. Video timing stabilization helps to ensure a reliable and stable USB capture stream. Input resolutions larger than Full HD and up to 4K UHD are automatically scaled to 1080p for USB capture. USB capture is accomplished using the USB Video Class (UVC) and USB Audio Class (UAC) standards, which are compatible with the most common video capture or streaming software applications. The device captures uncompressed 1080p60 video with stereo digital or analog audio. The Crestron HD-CONV-USB-300 converts an HDMI® signal to USB 3.0. 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Instead of using a web to catch insects, they prefer to envenom and feast on other spiders. Secondly, always prefer to wear gloves and shoes while farming and gardening. White-tail spiders are vagrant hunters that usually roam at night. First of all, not to mess with them, because sometimes they bite to protect themselves. There also have some other spiders that have concerning bites which include ground, sac, whistling, orb, trapdoor, huntsman and funnel-web spiders.Īustralian health experts gave some useful tips to stay away from the bites of White-tailed spiders and other harmful spiders. If no action is taken within an hour, then it could damage limbs or lead to death. Infamous Redback spider aka Latrodectus hasselti whose venom can create unbearable pains in muscles. They usually don’t harm humans but they are active hunters, other small types of spiders and insects are their main diet.īut, there also have some spider species which are really venomous compared to White-tailed Spider and their bites can cause serious health damages. Their natural habitat is spread from eastern Australia to Southern New Zealand and they prefer to stay in warmer weather. And analysis of the spiders' venom has found no properties that would cause. They have a cylindrical shaped body with a white or gray spot at the end of the abdomen. A 2003 study of 130 confirmed white-tailed spider bites found 'no necrotic lesions or ulcers' developed from the bites. People who experienced the bites from White-tailed spiders only felt mild local pains and headaches.Most of the cases peoples got recovered without any treatment.Īccording to Phys, White-tailed spiders are scientifically known as Lampona sp. However, no medical tests have been discovered yet to determine whether it is a bite from a spider or another insect. The Conversation reported that no cases of necrotic ulcers and necrotising arachnidism (skin blisters) have been shown from the bites of the spider which could result in amputations. Those injuries were actually caused by infectious bacteria and the White-tailed spider venoms were considered as non-lethal. However, experts said that no evidence of amputations has been recorded to blame this spider. A recent news reported that a man had to amputate his both legs as he was bitten by a White-tailed spider. But sometimes it causes problems for the humans. Australia is famous for its diverse number of worm, insect and reptile species. It’s the perfect segue into the group’s ‘surprise’ cover of Coldplay’s timeless classic “Fix You”– easily the most outstanding segment of the episode, the surprise slightly spoiled by MTV’s premature announcement of the same. The members enter one by one for their parts, now dressed in suits that mimic school uniforms–perhaps symbolic of the year of youth we all lost in 2020. The set design on this section is particularly breathtaking wild flowers and tall, swaying grass fill an empty corridor with the lighting imitating a gloomy day, right before it rains. V’s vocals are absolutely stand-out on “Blue & Grey,” the emotions conveyed powerfully on every delicate note he hits. The pop ballad’s minimalistic melody allows the members to show off their individual styles as vocalists and rappers, helping listeners feel the underlying emotion of sadness and uncertainty that acted as the source of inspiration for V while writing the song. After a short break to discuss the writing process behind “Telepathy,” in true Unplugged tradition, the mood shifts to a slightly more sombre note with “Blue & Grey.”Īlso See 10 Manhwa Series That Can be Turned into Excellent K-Dramas The members keep it bright and playful as they perform the track in a colorful lounge, engaging various indoor activities like arcade games and keeping each other entertained, symbolic of time spent in quarantine. The episode opens with BTS’ first-ever performance of their 1980-inspired, disco-funk track, “Telepathy.” Written and composed by rapper SUGA, who revealed in the episode that the track came into existence after he took inspiration from older demos, “Telepathy” is an upbeat offering about finding an escape from monotony. With a NPR Tiny Desk performance already under their belt, BTS now make their debut on MTV’s Unplugged series–previously stage to artists like Paul Mcartney, Mariah Carey and of course most famously Nirvana– walking us through the emotions and art behind their latest record BE, as well as offering an unexpected cover of Coldplay’s iconic 2005 soft rock ballad “Fix You.” The episode was aired worldwide earlier this morning, with Vh1 India and Voot Select bringing it to local screens. Regardless of the timeline and scale of their success however, this septet has proved they understand what it means to use their art to innovate, evolve, break barriers and win hearts on the way. Perhaps, it was moment their 2016 album, The Most Beautiful Moment in Life: Young Forever won a Daesang– the highest form of achievement a group or a solo artist is awarded within South Korea– or perhaps, it was the time they became the first South Korean act to debut at Number One on the Billboard Hot 100 charts with their English single “Dynamite.” Maybe it was earlier this year when they became the first South Korean group to become nominated for a Grammy. It’s difficult to pinpoint the exact moment when BTS shattered the glass ceiling. The game works with You can use any USB microphone, and since there are drivers available for most console mics, you could use them, too. LicenseShopPortsUltraStar DeluxePerformousSinging gameBand gameDance. txt file made for the Song (optional) an. After years of development, we are proud to present the new stable version 2020.4.0 of UltraStar Deluxe. To add a song toUltraStar, afile with notes and lyrics is required, together with. All you have to do is select an mp3 file along with an optional video or image background, and a text file that contains the lyrics. Song Creation For a song to work it needs two main components: an. A program made for easy managing Ultrastar Deluxe files, file manager, manage and download songs, mp3s, covers. UltraStar Deluxe is a free open source karaoke game for your PC. The start screen will look something like this: 1) Sing what it says on the tin. You can add you own songs, and edit them to work with the game. Sunday, UltraStar Deluxe - Understanding the Text File Welcome to my tutorial on understanding the UltraStar Deluxe text file. This tool will help you to create songs for your favourite karaoke game from scratch just having the audio file. Karaoke program that evaluates your performance. Once it’s downloaded and installed, run UltraStar Deluxe. Ultrastar Deluxe’s gameplay is exactly the same as Singstar’s: Keep the pitch, score points. The classic battle and party modes are available, and you can play with up to six players. You can also select skins that look just like Singstar, or create your own theme. If you own a Singstar game, you can also convert the songs. The game comes bundled with a few songs, though a quick Google search will let you find hundreds more. One such game is Ultrastar Deluxe, is an open source clone of Singstar for Windows, Linux and Mac. The changes in this version are: support for recent FFmpeg and OpenCV versions new pitch detection algorithm new shortcuts (f.ex. We’ve covered how to play user-generated games on PC, and while user-generated content is very much in demand, another popular avenue for gamers is that of open source clones. After years of development, we are proud to present the new stable version 2020.4.0 of UltraStar Deluxe. Significant differences the in conversion rate were not observed between patients with type II and III fractures. Conversion from external immobilization alone to subsequent open surgical fixation was performed in 10% of patients. In the multivariate analysis, the following parameters were significantly associated with surgery as the primary treatment: independent living, less serious comorbidities prior to the injury, type II OFx and major sagittal translation of the odontoid fragment. The primary fracture treatment was rigid collar alone in 79% of patients and open surgical fixation in 21%. According to the Anderson and D’Alonzo classification, the OFx were type II in 199 patients (59%) and type III in 137 patients (41%). The median age of the patients was 80 years, and 45% were females. Three hundred thirty-six patients with an OFx were diagnosed, resulting in an overall incidence of 2.8/100000 persons/year. We present a prospective observational cohort study of all patients in the southeastern Norwegian population (3.0 million) diagnosed with a traumatic OFx in the period from 2015 to 2018. We suspect that this discrepancy might be due to the older age and comorbidities among patients with OFx. The level of compliance with this recommendation is unknown, and our hypothesis is that open surgical fixation is less frequently performed than recommended. Surgical fixation is recommended for type II and III odontoid fractures (OFx) with major translation of the odontoid fragment, regardless of the patient’s age, and for all type II OFx in patients aged ≥50 years. 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SDL Trados Studio 2022 is a handy and effective application which allows you to easily and quickly edit, review and manage translation projects. It is full offline installer standalone setup of SDL Trados Studio 2022. SDL Trados Studio 2022 Free Download Latest Version for Windows. You will hear the same song played two different ways. These etudes, along with a brief questionnaire were then distributed to flutists to understand the merit of the created etudes.Listen to the examples in the audio players below. To realize this goal, I have provided a series of etudes that provide solutions to technical challenges. The study suggests that etudes specifically directed at orchestral passages are useful for overcoming the technical challenges within the orchestral repertoire. In addition, this chapter compares the various strategies used by each author. This chapter provides each author's pedagogical approach to orchestral excerpts. Through their flute orchestral excerpt books, these pedagogues have greatly influenced the study of orchestral excerpts. The final chapter discusses the teaching strategies of Jeanne Baxtresser, Walfrid Kujala, and Trevor Wye. During the twentieth century the use of orchestral repertoire as a teaching tool changed radically rather than simply using orchestral repertoire as a pedagogical device, flute players have begun incorporating pedagogical strategies to address specific passages in the orchestral repertoire. It also covers Nancy Toff's The Flute Book, a substantial resource that comments on the subjects of music history, the development of the flute, and performance suggestions. Flutists like Boehm also began to incorporate vocal music to educate students on phrasing.Ĭhapter three documents advances during the twentieth century, discussing the influence of Marcel Moyse and William Kincaid on the development of flute pedagogy. The use of orchestral repertoire as musical examples flourished during this century. Eighteenth-century authors like Jacques-Martin Hotteterre, Johann Joachim Quantz, and Johann George Tromlitz used the existing flute repertoire to address pedagogical issues including musicality, dynamics, ornamentation and technique.Ĭhapter two examines the evolution of flute pedagogy in the nineteenth century, reviewing the books by Jean-Louis Tulou, Theobald Boehm, and Paul Taffanel. While this development helped flutists succeed at tryouts, audition selections became standardized, making auditions challenging during the 1900s.Ĭhapter one studies the earliest flute treatises to understand the methods used by flute pedagogues to incorporate orchestral examples in their teaching. These educators focused on relatively short fragments of music and provided performance suggestions for the excerpts. In the twentieth century, flute pedagogues began incorporating orchestral excerpts into their books to help flute players win auditions. Flutists from the early nineteenth century incorporated the works of Gluck, Beethoven, and Donizetti into their writings to address awkward flute fingerings, poor musicality, and improper articulation. The use of orchestral repertoire as a practice tool is found throughout the flute pedagogical library. The innovations of the 1800s, as shown in the writings of Jean-Louis Tulou and Paul Taffanel, represent early musical and technological advancements in flute pedagogy. Methods of performing the flute orchestral repertoire have developed with the improvement of flute pedagogy. It also considers the ways in which orchestral excerpts have gained importance during the twentieth century and describes the important role of etudes specifically designed to address the challenges of orchestral excerpts. This paper examines the relationship between flute pedagogy and orchestral excerpts through a historical examination of flute pedagogy books from the early eighteenth through the twenty-first century. (The inexplicable use of the non-existent word “choicey” in the very first line is a bit jarring – perhaps it was intentional, or perhaps there wasn’t time for a vocal retake on a very busy day. So, we have a first half-minute of quite heartbreaking beauty, rivalling anything Smokey has yet turned his hand to, vibes and cymbals chiming like a broken carriage clock in another room before getting swept up in a blend of gorgeous Miracles harmonies and swirling strings, and over the top of it all a vintage Robinson melody, an unexpected second-line chord change winning the listener over straight away. The problem, I suppose – in so far as there is one, which is debatable when you’re dealing with beauty of this calibre – is that Ooo Baby Baby is a vastly better record than either My Girl Has Gone or Don’t Look Back, and with the shining example of The Tracks Of My Tears showing how successful the marriage of those two different strands of Smokey-sounds could be, it’s hard to escape the nagging feeling that all the very best ideas went into that one, and all the slightly less good ones ended up here. We get the dreamlike, otherworldly fuzz and burr of Ooo Baby Baby (a Miracles trademark going back as far as 1959 and You Can Depend On Me), and we also get the vestigial dance hook foundations of My Girl Has Gone (or the Temptations’ Don’t Look Back, another Smokey co-write), the floaty, feather-light soap bubbles of the former tethered to the earth by Marv Tarplin’s guitar and the need to write an anthemic, memorable chorus. So, Choosey Beggar is a prototype or a contemporary, rather than a deliberate attempt to reference past glories. In fact, it’s one of the year’s oldest – Smokey and the Miracles finished recording it on the same day as The Tracks Of My Tears back in February, and that song must have been on the group’s minds: their DNA is intermingled at some fundamental level. So, confusingly, chronologically, as we finally round the final bend and catch sight of the finish line for 1965 (just ten more sides to go after this one!), Choosey Beggar looks to be the last in a line of beautiful Smokey ballads this year. Such is the danger of a project like this.Īnother one is mistaking release schedules for a linear archaeological record Motown were not geared up to work that way, and it was not unknown for Motown singles to spend months, or perhaps years, on the shelf before being released, leapfrogged in the meantime by older-newer recordings which darted through closing windows to grab a precious release slot. I just think it’s lovely, which is likely both not enough and too much. (Although I have played it on the radio!) In my mind, this always feels softer, wispier, more featherlike than it is, something akin to A Fork In The Road, but when I actually come to listen to it, it’s really the light of the introductory half-minute which steers me wrong the rest of the record is a more obvious stablemate of My Girl Has Gone and – especially – The Tracks Of My Tears, heavier and more forceful, anchored more firmly to the floor than I remembered.Īll of the Miracles’ great songs of 1965 have their ardent adherents each of them will be a surefire 10 in at least one reader’s book, while leaving someone else relatively unimpressed, and so I’m bound to be annoying all sorts of different people here by being neither completely entranced, nor remotely repelled. Choosey Beggar doesn’t feel quite cut out for radio, either by comparison to the energetic A-side or the Miracles’ preceding run of slower numbers. Attention might have been paid to the risk of the ’65-model Miracles, as seen through their 45s, becoming a one trick pony (although Motown didn’t have similar concerns about, say, the Supremes or Stevie Wonder).īut it’s not a great loss that this wasn’t a plug side. Perhaps this is why a superb song like Choosey Beggar ended up on the flip of an energetic dancer, as though the main purpose of Going To A Go-Go appearing on 45 was shaking away some cobwebs. It’s a Miracles slowie, and (of course) it’s lovely: by this point, Smokey Robinson was the undisputed king of Motown ballads, and he kept back many of his loveliest songwriting efforts for himself. The Miracles produced so many outstanding downtempo numbers in the mid-Sixties, and in 1965 in particular, that it’s hard not to become acclimatised – almost take it for granted – when another one rolls along. (Released in the UK under license through EMI/Tamla Motown) (Written by Pete Moore and Smokey Robinson) Tamla Motown TMG 547 (B), February 1966 B-side of Going To A Go-Go Tamla T 54127 (B), December 1965 B-side of Going To A Go-Go |
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