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Fit indices. How is it possible!!!
Mplus Discussion
Categorical Data Modeling
Jaume Aguado
posted on Thursday, June 03, 2004 - 5:38 am
I'm comparing the fit of 12 different models fitted via WLSMV and confirmatory factor analysis for ordinal indicators. I have a sample of 380 women and 12 indicators. I'm very surprised at the results I'm getting. All of the models have CFI and TLI greater than 0.95 and SRMR lower than 0.08. But none of them have a RMSEA or WRMR in the recommended limits (<0.06 and <0.90 respectively). At the same time if I compare the unidimensional model with the rest via likelihood ratio test (they are nested), the diference is significant for every model except one.
Is that normal or I'm doing something wrong?
Linda K. Muthen
posted on Thursday, June 03, 2004 - 8:08 am
It is sometimes the case that fit measures differ in their assessment of model fit. I wonder how chi-square looks for this model. With a sample size of 380, it should be well-behaving. When you say the likelihood ratio difference tests are significant, I assume that at each step the model is significantly improved?? I don't think that this implies that the final model fits. Version 3 has difference testing for WLSMV.
Jaume Aguado
posted on Thursday, June 03, 2004 - 9:20 am
Yes I mean that every model is an improvement with respect to the unifactorial one. And you are right that doesn't imply that any of the multifactorial models fits the data well. But I'm trying to choose between all the models proposed which of them bests fit my data.
None of the chi-square of goodness of fit (WLSMV) indicates a good fit (p-value>0.05).
I have M-Plus version 2.14 so I can't take advantage of the WLSMV difference testing.
Linda K. Muthen
posted on Thursday, June 03, 2004 - 10:23 am
I would suggest starting with an EFA. Often if you start with a CFA based on theory, and your measures are not valid measures of the constructs intended, then trying to modify a CFA model is fraught with problems. An EFA is a good way to see if you have the number of dimensions intended and if items are behaving as expected.
posted on Friday, August 06, 2004 - 8:18 pm
Is there a reference for the theory behind the new WLSMV difference testing in V3? The technical appendices are not available yet on the link on the home page.
posted on Sunday, August 08, 2004 - 11:59 am
No. We have not yet finished writing up what is programmed here.
posted on Sunday, August 08, 2004 - 3:15 pm
Thanks for the quick reply re the difference testing. in the interim, how should this method be referenced?
posted on Sunday, August 08, 2004 - 3:19 pm
It is probably best to simply refer to the Version 3 User's Guide.
posted on Wednesday, November 03, 2004 - 2:56 pm
I have ran a CFA of categorical (ordinal) data with WLSMV estimator. The underlying factor has six indicators. Data are non-normally distributed and N is 628. Fit indices are:
Chi square: 98.369, P vale is significant
I have several questions:
(1) Which fit indices should I report?
(2) Why is RMSEA high? Should I even report it? I heard that RMSEA may NOT be a good fit index to use for categorical data.
(3) What is a good/acceptable range for WRMR? And finally,
(4) Why for a CFA the output gives SRMR result, but not for a full SEM model?
Thank you.
Linda K. Muthen
posted on Wednesday, November 03, 2004 - 3:47 pm
There is a dissertation on our website by Yu. See Mplus papers. Here she discusses fit measure cutoffs for models with categorical outcomes. I suggest that you read her recommendations. SRMR does not come out when there are independent variables in the model.
Martin Brunner
posted on Monday, November 08, 2004 - 2:09 am
could you help me with a chi2-difference question, please .
I ran a CFA (N=357) with four correlated factors (M1). Each factor was measured by 10 indicators and each indicator loaded on only one factor. Estimation method was WLSM.
I was interested wether one particular factor intercorrelation was significantly different from 1.0. Thus I ran a separate CFA imposing that restriction (M0).
I tried to calculate the chi2-difference according to the formula provided in the technical appendix (p.22, formula 120 and 121). Following are the results:
I wonder, wether the chi2-difference is not a bit too large.
Your help is highly appreciated.
Best wishes
posted on Sunday, November 14, 2004 - 12:56 pm
Do you get the same result using the Version 3 "DIFFTEST" option?
If that also gives unexpected results, please send your input, output and data to
I am not sure that a nested model that has a parameter value on the border of the admissible parameter space, such as a unit factor correlation, would allow good chi-square difference testing.
posted on Thursday, November 25, 2004 - 2:11 am
Dear Bength,
thanks a lot for your advice.
When I used the DIFFTEST with WLSMV the chi2 looked pretty "normal" compared to the WLSM results. The estimated correlation for the the unrestricted model M1 was .77 (chi2 = 288.331, df=191). By fixing this correlation to 1.0 (Model M0) the resulting chi2 was 307.199 (df=191). The chi2-difference as estimated by DIFFTEST was 36.737 (df=1).
Concerning the appropriateness of test. I believed that testing, wether a two factor model (M1) is a better approximation compared to a one-factor model (M0) implies to fix the factor correlation to 1.0 in M0. But I am definitely no expert on chi2-difference testing.
Best wishes
posted on Friday, November 26, 2004 - 6:42 am
Yes, fixing a factor correlation to 1 is a common approach to this. But that may cause the chi-square approximation to not be good. There is a general rule that 2 nested models do not give a proper chi-square distribution if the nested model has a parameter value on the border of the admissible parameter space, such as a unit factor correlation. How approximate it is in your case, I don't know (it calls for a monte carlo simulation study). If you want to report these results, you should mention this potential problem, and perhaps show the results as descriptive evidence not inferential evidence.
posted on Thursday, May 05, 2005 - 1:43 am
I'm interested in this "value on the border" issue. Is there any reference about it? And, is there a reference of a montecarlo simulation of that same issue? I mean how good is the chi-square difference test when a restriction has a value on the border...
Thank you
Linda K. Muthen
posted on Thursday, May 05, 2005 - 6:06 am
See the following reference for a discussion of parameters on the border:
Lo, Mendel, & Rubin (2001). Testing the number of components in a normal mixture. Biometrika, 88, 767-778.
Lange Gasse 20; 90403 nuremberg, Ge
posted on Friday, January 26, 2007 - 12:14 pm
Dear Madam or Sir,
I have a question concerning fit indices for CFA with categorical variables and 4 groups using WLS (20.000 subjects).
When I set factor loadings and thresholds free in each group, CFI increases as expected, but RMSEA increases and TLI decreases. Should I ignore the latter two or does this indicate something else?
sample in/output follows.
thank you very much
Hage Wolff
****INPUT full invariance
Data: ngroups = 4; ...
Variable: names are i2 t1 t3 i4 t5 o4 o5 i6 o8;
Categorical = all;
Analysis: Type = mgroup meanstructure;
Estimator = WLS;
para =delta;
Model: F1 by i2 i4 i6 t1 t3 t5 o4 o5 o8;
Chi-Square Model Fit
Value 5218.899/ df 210
Baseline Model
Value 89035.852/ df 144
**** INPUT free factor loadings & thresholds
Model: F1 by i2 i4 i6 t1 t3 t5 o4 o5 o8;
Model group2: F1 by i2 i4 i6 t1 t3 t5 o4 o5 o8;
F1 by i2@1;
[i2$3 i2$4];
[i4$2 i4$3 i4$4];
[i6$2 i6$3 i6$4];
[t1$2 t1$3 t1$4];
[t3$2 t3$3 t3$4];
[t5$2 t5$3 t5$4];
[o4$2 o4$3 o4$4];
[o5$2 o5$3 o5$4];
[o8$2 o8$3 o8$4];
[similar for groups 3 & 4]
Chi-Square Model Fit
Value 3720.447/ df 111
Baseline Model
Value 89035.852 / df 144
Bengt O. Muthen
posted on Friday, January 26, 2007 - 6:15 pm
The fit indices do not always change in tandem. This is clear in simulation studies such as Yu's 2002 dissertation which is on our web site under Papers. She found that CFI is often more dependable than other measures.
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subset: commoncrawl


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The screen on my Nexus 7 was shattered. Everything worked fine, except the touchscreen (the device was perfectly usable with an external mouse).
I am normally not clumsy, and it is the first time I have cracked a display. It happened when I tried to pick it up from a table with one hand. I lost the . . .


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On the Omnibus machines it is connected to the RX8E (M8357) interface board which transferred data under program control. The board is also called the RX28E when talking to a RX02 not in RX01 compatibility mode. The drive transfers data serially to the controller card using a single sector buffer so requires a 2:1 interleave for fastest data transfer.
Unlike modern floppy drives the disk is kept spinning all the time and the heads are only brought into contact with the disk (with a loud clunk) when it wants to access the disk. The drive always records data in 8 bit bytes, the PDP-8 controller can talk to it either as an 8 bit byte device or as a 12 bit word device. It the 12 bit mode it stores half the number of words per sector so the disk capacity is reduced by one third.
The RX01 mode is compatible with IBM 3740 series drives. The RX02 mode is not compatible with other standard drives since the headers are always in single density mode but the data is written in double density mode. Also in double density mode the standard MFM encoding was modified from the standard to prevent false header detection in data.
The disks recorded by these drives seem to be quite durable, I have read many disks 10-15 years old with very few read errors. I wish the floppies on the PC's at work were as reliable.
Reference material on the RX01/RX02 PDP-8 drive.
|RX02 double density
|Data Transfer Rate (12 bit)
|10k words/second, 5k/second interleaved
|20k words/second, 10k/second interleaved
|Average Access Time
|488 millisecond (1/2 stroke) 360 (1/3)
|262 millisecond (1/3 stroke)
|Track-to-track Move
|10 milliseconds
|6 milliseconds
|Data Tracks
|Sectors per track
|Words per sector
|64, 128 in byte mode
|128 , 256 in byte mode
|Words per disk
|128k words, 256k in byte mode
|256k words, 512k in byte mode
|Recording Method
|MFM, DEC version
|3200 bpi (inner track)
|Tracks per inch
|Recording Media
|Iron oxide disk, 8 inches in diameter
|Hard Error Rate
|1 in 10^12 bits
|1 in 10^12 bits
|Operating Environment
|Maximum: 59 to 90 F
Relative Humidity: 20 to 80 %
|100 watts (approximate)
|225 Btu/Hr (66 watts)
|Not specified
|55 pounds
|19"x10.5"x21.5" (approximate)
So far I have had to make four repairs to my various RX02's. The first was the drive was unreliable reading and writing disks. I found the felt pad in the arm that presses down on the disk over the head had worn flat with the plastic holder. I bought the closest felt I could at a craft store and replaced the existing felt with it. The second and third were power supply failures. In one the main pass transistor failed and in the othera zener diode failed. The last failure was another drive that was unreliable reading and writing. I traced it to the drive belt slipping so the disk was rotating below its intended speed. If you have the right equipment you can measure the rotation speed. It should be around 360 RPM. On a good drive the disk won't slow down much if you put a little drag on the big drive pulley with your finger. On this drive it would stop the disk rotation. I first cleaned the belt with some rubber rejuvenator which worked for a while. When it acted up again I cleaned it again and moved the drive motor to tighten the belt a little.
Documents related to RX01 and RX02
Current size large. Select Picture size for links below Small Medium Large
Drive Front ( 93K)
8 inch (RX02) and 5.25 inch (RX50) floppies (162K)


text:
Feeling Younger May Help Memory as We Age
Younger Self-Image May Help Preserve Cognitive Function as People Get Older
Feeling younger than one's real age could help to preserve memory and cognitive function as people get older, says a study in the November issue of the American Journal of Geriatric Psychiatry.
The study comes as recent research suggests aging is both a subjective and biological experience. A younger self-image was more common in physically active people with a lower body-mass index, the latest study found.
The study, conducted by researchers in France, analyzed data from 1,352 men and women, age 50 to 75 years old, who were enrolled in a larger U.S. study in the mid-1990s. Participants were asked how old they felt most of the time and how often they participated in moderate or vigorous exercise. Other information, such as the presence of chronic diseases, was recorded.
After about 10 years, cognitive function was assessed with tests of memory and executive function, the capacity to plan and carry out complex tasks. The study found that, on average, the participants felt 19% younger than their chronological age. Of the subjects, 89% felt younger and 11% felt older than their actual age. Those who felt older than their age scored 25% lower on memory and cognitive tests than those who felt younger.
The association between a younger subjective age and better memory and executive functioning was independent of gender, educational achievement, marital status and chronic diseases, the adjusted results showed. People who feel older than their age might require closer monitoring, as this may be an early marker of impaired cognition leading to dementia, the researchers said.
Caveat: The subjects' social networks, history of depression, medication use and cognitive-related leisure activities weren't considered.
Title: Subjective Age and Cognitive Functioning: A 10-Year Prospective Study


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Fly to Trondheim with KLM
Together with our global network, we as KLM Royal Dutch Airlines always offer convenient flights to Trondheim, serving Trondheim Airport, Værnes (TRD). We know you have a busy life and a never-ending to-do list, but rest assured, our flights won't get in the way. Our favourable flight times fit with your schedule so you can take a break from the madness of juggling your limited time.
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- Munkholmen: take a boat trip to Monks' Island to enjoy a picnic on the beach.
- Rockheim Museum: immerse yourself in Norwegian music of the 21st century.
Trondheim's peninsular location, traditional architecture, busy shopping centres and natural locations for hiking, skiing or swimming, make Trondheim a photogenic and irresistible destination.
What's the best way to get around Trondheim?
If you're planning on staying in the city centre and going to the nearby attractions, then walking is your best option. If you want to cover a larger area, the public transport system is efficient and covers most parts of the city. Buses and trams are popular options for local and tourists alike.
What's the weather in Trondheim?
It shouldn't be a surprise that this Norwegian city is mostly cool even though the sun shines for long periods. During the year, the temperature varies from an average low of -4°C (25°F) to an average high of 18°C (64°F). Temperatures get a bit warmer from June to September. However, it rarely goes above 25°C (77°F), so pack your bags accordingly.
Weather in Trondheim
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16 °CSaturday15/08/2020
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*All amounts are in NZD. Taxes and carrier surcharges included. No booking fee applicable (credit card surcharge may apply).


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The Smith's Modern
451 Atlantic Ave., East Rockaway
(516) 612-6231, www.smithsmodern.com
Over a year of hard work and major renovations have paid off, resulting in the lovely, intimate bar and restaurant, the Smith's Modern. Owner and restaurateur Eamon McGowan had built this place with passion — his many years in the industry, his love of fresh, creatively prepared natural foods, and most recently, his affinity to the East Rockaway community.
Manning the kitchen is Frank Jeannetti, a talented chef with decades of experience. From Brooklyn to Kingston, Montauk to Miami, he has cooked for fine restaurants and hotels, owned a catering company, and attended culinary school in Manhattan. He and McGowan are on the same page … each is intent on enticing clientele with unique cuisine.
The menu is concise and ever-changing, divided into Snacks (starters) and Substance (entrees). As Smith's is still new, fare is a work in progress with exciting ventures in the planning. Price-wise, appetizers are $7 to $12, and entrees, $15 to $28. Roughly a dozen wines are listed: $7 to $15 a glass; $26 to $50 a bottle. Unique cocktails and craft beers are also available. Most items are made from scratch. The chef will accommodate children with kid-friendly offerings.
Sipping Tavernello Pinot Grigio, we started our feast with Roasted Red Pepper Potato Bisque, creamy and steamy, with a spicy kick. Parmesan Polenta Fries — large rectangular ones — were offset with Jalapeno ketchup. Replacing their original "Battered Fish & Chips" is an impressive version — crisp homemade fish sticks molded with white fish and salmon drizzled with lemon-caper aioli, joined by cabbage slaw and a bowl of seasoned fries.
Smith's Cottage Pie (a variation of Shepherd's pie which is traditionally made with lamb), was beautifully presented — ground sirloin, carrots, peas and onions, topped with dollops of mashed potatoes gratine' that boasted four shredded cheeses and brown gravy. Pan Roasted Snapper dusted with rice flour was served on a bed of Beluga lentils, with garlic sautéed broccoli rabe and chili lime crème. Also remarkable was Free Range Boneless Crispy Chicken, served with zesty white and orange sweet potato hash, garnished with fresh rosemary, drizzled with apricot chicken jus. Best burger ever (!) was (so juicy and flavorful) Bleu Cheese and Truffle Burger made with Wagyu beef, topped with frizzled onions and homemade fig jam, sided with cherry tomatoes and fries.
The Smith's Modern opens at 4 p.m. every Wednesday through Sunday. Custom designed parties for up to 50 guests can be arranged. Parking is plentiful, on the street or in the Municipal lot next door. Reservations are suggested.
■ Parmesan Polenta Fries
■ Roasted Red Pepper Potato Bisque
■ Fish Sticks with Lemon-Caper
Aioli & Chips
■ Bleu Cheese & Truffle Burger
■ Crispy Skin Roasted Boneless Chicken
■ Smith's Cottage Pie
■ Pan Roasted Red Snapper


text:
Messaging (NATS)
This information was adapted from the NATS README. NATS is a lightweight publish-subscribe and distributed queueing messaging system written in Ruby.
Install NATS
$ gem install nats # or $ rake geminstall $ nats-sub foo & $ nats-pub foo 'Hello World!'
Basic Usage
require "nats/client"
NATS.start do
# Simple Subscriber
NATS.subscribe('foo') { |msg| puts "Msg received : '#{msg}'" }
# Simple Publisher
NATS.publish('foo.bar.baz', 'Hello World!')
# Unsubscribing
sid = NATS.subscribe('bar') { |msg| puts "Msg received : '#{msg}'" }
# Requests
NATS.request('help') { |response| puts "Got a response: '#{response}'" }
# Replies
NATS.subscribe('help') { |msg, reply| NATS.publish(reply, "I'll help!") }
# Stop using NATS.stop, exits EM loop if NATS.start started the loop
Wildcard Subscriptions
# "*" matches any token, at any level of the subject.
NATS.subscribe('foo.*.baz') { |msg, reply, sub| puts "Msg received on [#{sub}] : '#{msg}'" }
NATS.subscribe('foo.bar.*') { |msg, reply, sub| puts "Msg received on [#{sub}] : '#{msg}'" }
NATS.subscribe('*.bar.*') { |msg, reply, sub| puts "Msg received on [#{sub}] : '#{msg}'" }
# ">" matches any length of the tail of a subject and can only be the last token
# E.g. 'foo.>' will match 'foo.bar', 'foo.bar.baz', 'foo.foo.bar.bax.22'
NATS.subscribe('foo.>') { |msg, reply, sub| puts "Msg received on [#{sub}] : '#{msg}'" }
Queues Groups
# All subscriptions with the same queue name will form a queue group
# Each message will be delivered to only one subscriber per queue group, queuing semantics
# You can have as many queue groups as you want
# Normal subscribers will continue to work as expected.
NATS.subscribe(subject, :queue => 'job.workers') { |msg| puts "Received '#{msg}'" }
Advanced Usage
# Publish with closure, callback fires when server has processed the message
NATS.publish('foo', 'You done?') { puts 'msg processed!' }
# Timeouts for subscriptions
sid = NATS.subscribe('foo') { received += 1 }
NATS.timeout(sid, TIMEOUT_IN_SECS) { timeout_recvd = true }
# Timeout unless a certain number of messages have been received
NATS.timeout(sid, TIMEOUT_IN_SECS, :expected => 2) { timeout_recvd = true }
# Auto-unsubscribe after MAX_WANTED messages received
NATS.unsubscribe(sid, MAX_WANTED)
# Multiple connections
NATS.subscribe('test') do |msg|
puts "received msg"
# Form second connection to send message on
NATS.connect { NATS.publish('test', 'Hello World!') }


text:
San Pasqual school bids farewell, says hello
As Gary Wilson heads into retirement, he knows his special, one-school district in the San Pasqual Valley is in good hands with an award-winning educator from Valley Center.
This week, Shannon Hargrave will say farewell to Lilac Elementary in the Valley Center-Pauma Unified School District and take the reins at the 550-student, K-8 San Pasqual Union School. Hargrave succeeds Wilson as the principal- superintendent of the one-school district in the picturesque valley known for the San Diego Zoo Safari Park.
Wilson, 61, retires Thursday after a 37-year education career in North County. He announced his plans in November.
He began his career as a music teacher in Encinitas and was an administrator in Del Mar before coming to San Pasqual in 2009.
Wilson's base salary at San Pasqual was $140,000; Hargrave's will be $130,000.
"I'm ready to exercise. I'm ready to volunteer. I'm ready to do more music," said Wilson, adding that he's also looking forward to spending more time with his two granddaughters, who live in Vista.
Wilson, a Rancho Bernardo resident, will continue as choir director at Redeemer by the Sea Lutheran Church in Carlsbad.
He said he will miss the staff and children at the school, but he doesn't plan to be away for long.
"I'm glad Mrs. Hargrave is willing to let me come back and be part of the community," Wilson said, explaining that he plans to volunteer at the school and help with the music program, which has grown during his 3½ years in the district.
Hargrave wants to carry on those programs and "rich traditions, and support (San Pasqual's) family culture."
Hargrave, 55, joins the San Pasqual district after leading the K-5 Lilac Elementary for nine years. During that time, Lilac was named a California Distinguished School and received a Golden Bell Award from the California School Boards Association for its character-education program. Hargrave has received several awards as well, including being named administrator of the year by the California Association of Bilingual Educators.
"I'm a very lucky lady, but it wasn't me," she said. "The school team won all of these awards."
Hargrave said she will carry on her TEAM-based education leadership philosophy at San Pasqual: "Together, Everyone Achieves More."
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Get top headlines from the Union-Tribune in your inbox weekday mornings, including top news, local, sports, business, entertainment and opinion.
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text:
Foreclosure rate slows, but still at record high
In the five years since Kari Musil lost her own home, she and her 18-year-old daughter have moved three times.
A musician, composer and teacher, she bought her house in east St. Paul in 2004. But after her daughter's health problems required seven surgeries in one year, she ran up thousands of dollars in hospital bills and fell behind on her mortgage payments.
She applied for a loan modification to lower her approximately $1,700-a-month Wells Fargo home mortgage. But the application process was too lengthy for her to save her house from foreclosure. In 2006, Musil, a single mom, sold it in a short sale.
Many others who have suffered economic misfortunes during the housing crisis weren't so lucky. Since 2007, more than 100,000 Minnesota homes have been lost to foreclosure. It's a significant milestone. While the rate of foreclosure has slowed since its peak three years ago, it's still at a historic high.
The housing crisis continues to disrupt people's lives, including those of Musil, 50, and her daughter.
Since losing their home, they've criss-crossed St. Paul, moving from apartment to apartment. Their financial situation became so precarious that Musial feared they'd become homeless.
"We look back on that time as the worst time in our life: the first apartment, the first two years after the foreclosure," she said.
Though Musil's situation was painful, it was far from unique as the housing bust rippled across the state.
According to data compiled by affordable housing nonprofit Housing Link, more than 20,000 homes were lost to foreclosure in 2007. In 2008, the crisis peaked at more than 26,000 foreclosures.
The crisis is far from over. During the first quarter of 2011, more than 5,300 homes were foreclosed upon, down by more than 20 percent over the same period in 2010, but pushed the state total since 2007 over the 100,000 mark.
"One-hundred thousand is a tremendously large number of homes that have gone through foreclosure," said Ed Nelson, spokesman for the Minnesota Home Ownership Center. He said many families are still struggling to make ends meet.
"There is no part of the state of Minnesota that is unaffected by these foreclosures," he said."
The reason? The sluggish economy.
Unemployment and underemployment are the driving forces behind foreclosures in Minnesota today, Housing Link research manager Dan Hylton said.
"People that are a couple of paychecks from not being able to pay their mortgage, losing their job or not being able to find a job," he said. "They don't have the equity in their home, while the values are still so low to be able to work themselves out of a difficult situation."
Hylton expects it to take several more years before Minnesota's housing market turns around.
This month, Musil and her daughter are moving again — this time to a two-bedroom house on the west side of St. Paul. It's a rental house, but that doesn't bother her.
"You see commercials on TV about having this perfect credit score and having a savings account and all of that stuff," she said. "And I kind of laugh when I see that because I just know that I'll never be doing that, and it doesn't really bother me anymore."
Musil doubts she'll be able to buy a home again any time soon. Her phone continues to ring with calls from bill collectors. She said losing her home has changed her view of homeownership.
"You know, I've kind of lost that whole thing about having a house. Owning a house just didn't seem as great as everyone said it would be."


text:
How far along are you? Are you sure?
Maybe you've got twins in there, AAAAAAHAHAHA! *knee slap* But seriously, are you having twins?
You're so big, you're going to get huge. I mean, you won't even be able to drive, I bet.
You must be getting so uncomfortable. Wow. Poor thing.
Woah. Hide the food! She must be hungry!
You know...I am pretty hungry. Go away before I eat you with french fries and a side of ranch.
I wonder what it is about the business of making babies, and carrying babies kangaroo-style, that makes people lose their damn minds? Like, why do people think it is perfectly appropriate to comment on your sex life or your newly massive girth?
Is it ever OK to ask someone if the bothered to brush their hair this morning? Or if they brushed their teeth because HOLY HALITOSIS! I'd just like to know.
Here are my 22 and 23 week pictures. They are of terrible quality; I really need to step it up in the photography department. I'm going to skip my usual commentary so as to avoid the appearance of begging for complements, but will say that I've gone from about 15 nonmaternity top options, to about 4. This baby is growing, that's for sure!
22 Weeks:
23 Weeks:
I had my 24 week appointment today. It was blissfully boring. Just like I like it.
Someone asked if we liked our glider/rocker...YES! We love it! It is so comfortable and soft. Obviously, we haven't used it for nursing purposes yet, but it seems like it will be perfect.
Baxter and Milo give it 4 dewclaws up.


text:
From the time he was a young boy, Richard A. Sacra wanted to be a missionary doctor. The 51-year-old, who was developing a medical residency program in Liberia, was described by family and colleagues Wednesday as a devout Christian dedicated to serving others at home and abroad. Dr. Sacra, a Family Health Center of Worcester family physician, was working with a missionary group when he contracted the Ebola infection.
From the time he was a young boy, Richard A. Sacra wanted to be a missionary doctor.
The 51-year-old, who was developing a medical residency program in Liberia, was described by family and colleagues Wednesday as a devout Christian dedicated to serving others at home and abroad.
Dr. Sacra, a Family Health Center of Worcester family physician, was working with a missionary group when he contracted the Ebola infection. He is the third American to be infected while working in Liberia.
He graduated in 1989 from the University of Massachusetts Medical School and holds a faculty appointment at the medical school as an assistant professor of Family Medicine & Community Health.
Douglas Sacra of Wayland, Dr. Sacra's older brother, said in a phone interview Wednesday, "He knew since he was about 10 that he wanted to be a missionary doctor."
Dr. Sacra had been in Liberia periodically since 1995. His three children grew up there, according to Mr. Sacra. Whenever his brother was home from his missionary work, he worked with the Family Health Center of Worcester, Mr. Sacra said.
"He's always been a dedicated guy," he said.
In an interview Wednesday at Family Health Center's Queen Street health center, Dr. Gregory A. Culley, chief medical officer and Dr. Sacra's supervisor when he was working stateside, said that Dr. Sacra indicated in his latest email last week that the equipment to protect health care staff from the deadly virus had just arrived.
Dr. Sacra had left Worcester for Liberia in early August, pushing up his original late-August departure because of the exploding Ebola crisis, Dr. Culley said.
He was delivering babies at a hospital established by the Charlotte, N.C.-based Serving in Mission missionary group, and was developing a family medicine residency program there.
Bruce Johnson, president of SIM missionary group, said at a press conference Wednesday that Dr. Sacra is receiving treatment in Liberia. It is not known if Dr. Sacra will return to the U.S. for treatment. He is currently in isolation in Liberia, Mr. Johnson said.
"He is one of the bravest persons and the best Christian I've ever known," Dr. Culley said. "It's not rational; it's a calling. It's a giving up of self to serve others."
Dr. Culley said he heard about Dr. Sacra's illness around 2 p.m. Tuesday.
"I was devastated," he said. "I was not surprised. I half-expected it. But it's a serious emotional blow."
Calling Dr. Sacra the closest a person could be to a saint, Dr. Culley said, "He was needed there and he knew he was going to be in danger."
Frances M. Anthes, president/CEO of Family Health Center, said: "I knew he was going to dive in (to the crisis). He would put the patient first. It was very much a Rick Sacra response."
Ms. Anthes described Dr. Sacra as "a doctor's doc and a patient's doc."
She said that Dr. Sacra had worked with Family Health Center since 1992, interspersing stretches in Worcester with time in Liberia.
The family physician, who also helped establish the health center's practice in Southbridge, is "a very warm, very humorous, very human, human being," she said.
Patients of Dr. Sacra's Worcester practice were calling the center Wednesday to ask about him and offer their thoughts and prayers.
"I've heard he's in good spirits," Ms. Anthes said.
Dr. Sacra was very much committed to providing top quality medical care to anyone who needed it, Ms. Anthes said, whether delivering babies or caring for older adults as well as families in Worcester or in Africa.
Family Health Center serves a diverse population, with 37 different languages spoken, some of which are from African countries.
"Not everybody makes the connection that Rick did between his work in Liberia and his work in Worcester," Ms. Anthes said, "but he does."
She added that the Ebola virus has a lifespan from a couple of days to three weeks, and nobody in the Worcester practice was exposed.
At the Sacra family home on Chestnut Hill Road in Holden Wednesday afternoon, police officers kept watch on news crews.
Mark Johnson, a friend of the family who has known Dr. Sacra for 30 years, read a prepared statement from the doctor's wife, Deborah.
"Thank you for your concern about Dr. Sacra," the statement read. "As his wife, I am, of course, concerned about Rick's situation."
Dr. Sacra began experiencing a fever on Friday and isolated himself, according to the statement. Dr. Sacra and his wife were in contact through the weekend until his test on Monday showed that he had contracted Ebola virus disease.
Dr. Sacra was admitted to the Ebola case management center associated with the hospital where he has served for 15 years.
"While Rick is in this phase of the sickness, I am not going to make myself available for interviews," Mrs. Sacra said in her statement. "I am surrounded by friends and family and the body of Christ who are a great encouragement and who are praying fervently for Rick's recovery along with me. We are trusting in God to be with Rick and through this difficult circumstance.
"Rick would want me to urge you to remember that there are many people in Liberia who are suffering in this epidemic and others who are not receiving standard health care because clinics and hospitals have been forced to close," the statement continues. "West Africa is on the verge of a humanitarian crisis and the world needs to respond compassionately and generously."
Dr. Virginia Van Duyne, MD, assistant professor of Family Medicine & Community Health, has a professional and a personal connection with Dr. Sacra that goes back to her being an adolescent.
"I used to babysit his oldest son when he was a toddler; now, he's in college," Dr. Van Duyne said. "I've known his family for a long time."
Struggling to hold back tears, Dr. Van Duyne said Dr. Sacra has been a mentor to her as a medical student and in life and she credited him for the doctor she is today. She recounted how the two worked alongside each other for two months at an ELWA (Eternal Love Winning Africa) hospital in Liberia and praised him for his physical exam skills, bedside manner and his "eye for the unusual and figuring out what a diagnosis is."
"He (Dr. Sacra) has incredible skills as a physician," Dr. Van Duyne said. "At the bedside with patients, he shows them love no matter what stage they are and is accepting."
Dr. Van Duyne said Dr. Sacra has a heart for Liberia and, for most of his medical career, has spent time there.
"Recently, as we were saying goodbye to our graduating residents from Family Health Center, I was talking to him about the crisis of Ebola going on in Liberia and West Africa and he shared with me his suffering about how the people there suffer so much already and now they're suffering even more now under this crisis," Dr. Van Duyne said. "Even then, he was trying to get more people to be involved and send more resources and get the message out that there are things we can do. He really believes that one person can make a difference and he's shown that in the way he's living his life."
While she confessed that she is "scared" and "sad" for Dr. Sacra since hearing the news, Dr. Van Duyne said she is also trusting that he's in good care and she is "hopeful" that he will recover. She said she knows Dr. Sacra takes every precaution beforehand and is very careful.
Dr. Warren Ferguson,MD, professor of Family Medicine & Community Health, described Dr. Sacra as a gifted physician who is very unassuming and humble.
"He (Dr. Sacra) is the consummate family physician," Dr. Ferguson said. "Not only is he incredibly bright, incredibly skilled with his hands, able to perform a number of surgical procedures but is also just a wonderful human being who is committed not only to his passion around missionary work but also in his spiritual life. He is incredibly devoted to combining spirituality with medicine."
Dr. Ferguson said Dr. Sacra, in an email, used the analogy of a forest fire "burning out of control" to describe the Ebola outbreak in West Africa.
Deanne Weissflog, who lives across the street from the Sacras, said Dr. Sacra and his wife usually do missionary work in Liberia together. In the lobby of their church, Holden Chapel, is a picture of the couple, recognizing their missionary work.
"I didn't realize he went back. I know he wanted to because it has been so vicious. I know he had gone over earlier in the year with six suitcases of medicine," Ms. Weissflog said. "How much better a person can you be than to be a family man, to be a physician and to be religious and to take all that to an impoverished country so he could help?"
Representatives of the UMass Medical School and UMass Memorial Health Care issued statements expressing concern for Dr. Sacra.
Mr. Johnson, in a statement on the SIM website, said, "My heart was deeply saddened, but my faith was not shaken, when I learned another of our missionary doctors contracted Ebola. As a global mission, we are surrounding our missionary with prayer, as well as our Liberian SIM/ELWA colleagues, who continue fighting the Ebola epidemic in Liberia. We have gifted Liberian doctors, medical staff and support staff who are carrying on the fight."
The virus that has killed more than 1,500 people in West Africa is spread by direct contact with blood or bodily fluids, not through casual contact.
Dr. Sacra has been writing about his work in Liberia in a blog, last updated Aug. 30.
Mike Elfland of the Telegram & Gazette staff contributed to this report. Material from The Associated Press was used in this report.


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BMW has unveiled a plug-in diesel hybrid supercar concept that, if it performs as promised, could achieve speeds of 155 mph and a 0-60 time of 4.8 seconds.
The new BMW Vision Efficientdyanmics Concept comes with a unique 356 horsepower drivetrain, all wheel drive, and the ability to travel up to 31 miles without kicking in the diesel engine, according to Autopia.
The car is a 2+2 four-door (!) that BMW claims will get 62 miles per gallon and emit just 99 grams of CO2 per kilometer, which is similar to a Toyota Prius and especially impressive for a diesel engine. The report said that the lithium-polymer battery pack consists of 98 cells, doesn't need active cooling, and recharges in two and a half hours using 220 volts.
It's doubtful the car will see production at least in this guise. For now, consider it a rolling technology bed for future high-performance BMWs. Another photo after the break.
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Intuit Quicken Home & Business 2016 R4 18.104.22.168 160729
Intuit Quicken Home & Business 2016 R4 220.127.116.11 | 233.79 MB
Quicken Home & Business 2016 - Manage your business and personal finances all in one place. Categorizes your personal spending and your business expenses automatically. Saves you money by finding tax-deductible business expenses. See business profit and loss snapshots anytime.
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Showing 1 - 13 of 13
Report Economic Development
Managing Economic Development Programs in NYC: Lessons for the Next Mayor From the Past Decade
December 06, 2013This paper describes the economic development programs used in New York City and assesses the experience during the Bloomberg Administration in order to provide suggestions for further improvements by the next Mayor.
Report Capital Spending
Planning After PLANYC: A Framework for Developing New York City's Next Ten-Year Capital Strategy
December 06, 2013This report reviews capital planning and spending during Mayor Bloomberg's tenure in order to suggest principles that can guide the development of a new long-term capital plan and financing strategy.
Report Taxes
Tax Policy Choices and New York City's Competitive Position
December 06, 2013The purpose of this background paper is to help inform tax policy choices that the new mayoral administration may face. It examines levels of taxation in New York City compared to other cities, and it reviews research on how taxes affect the local economy and migration patterns.
Report Taxes
Options for Property Tax Reform: Equitable Revenue Raising Reforms for NYC's Property Tax
December 05, 2013The purpose of this report is to describe three options for increasing property tax revenues. The first of these options maintains status quo inequities; in contrast, the other two address some major problems with fairness and efficiency that characterize current policy.
Report Education
The Challenge of Making Universal Prekindergarten a Reality in New York State
October 23, 2013Is the expansion of pre-k programs to all three- and four-year-olds in New York worthwhile and cost effective?
Report Capital Spending
Three Key Steps for Improving New York State's New Statewide Capital Plan
September 25, 2013This brief assesses New York State's first-ever 10-year capital plan released in June 2013 by the New York Works Task Force. It offers steps to more effectively and strategically allocate State capital investment funding.
Report Public Workforce
7 Things New Yorkers Should Know About Municipal Labor Contracts
May 19, 2013This brief lists seven things New Yorkers should know about New York City collective bargaining and labor relations.
Report Economic Development
Competitiveness Scorecard
February 06, 2013This scorecard assesses the New York City metropolitan area's competitiveness in attracting, cultivating and retaining talent. The scorecard is based on the relative performance of the New York City metro area against 14 of the largest domestic metro areas on a comprehensive set of quantitative indicators.
Report Pensions & Benefits
Everybody's Doing It
January 27, 2013This report analyzes New York City's health premium policies for employees and retirees and suggests options to generate savings by implementing premium-sharing in the City's largest plans.
Report State Budget
Fixing New York State's Fiscal Practices
November 09, 2003This report highlights 5 major fiscal issues facing New York State: 1) New Yorkers are the most heavily taxed Americans; 2) the State's debt burden is among the highest in the nation; 3) New York has large and recurring budget gaps; 4) the budget process lacks timeliness, transparency, and responsibility; and 5) improvements in fiscal practices are hampered by unresponsive governmental institutions. In addition, the report offers solutions to these important issues.
Report State Budget
Reform in New York
November 09, 2003This is a report on New York State's legislative process presented on behalf of the CBC by Professor Gerald Benjamin of SUNY New Paltz. It was presented at a 2003 CBC conference on New York State's Fiscal Practices.
Report State Budget
Looking Beyond Fiscal Year 2004
March 26, 2003This report that highlights an alternative framework for addressing New York State's fiscal crisis.
Report City Budget
The City's Budget Gap Since 9/11
March 03, 2003This report identifies the causes of New York City's unprecedented budget gap for fiscal year 2003-2004 and recommends solutions to close it.


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The Moral Rhetoric of Political Economy
Justice and Modern Economic Thought
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Book Description
This book examines the effects of the moral rhetoric of the market concept of justice on our understanding of justice. Market theory's elevation of the role of commutative justice, or justice in exchange and property, is often taken as liberalism's revolutionary change in priorities of justice in parting from the feudal world. This change has come at the expense of diminishing the role of distributive justice, or justice in what the community owes its members. This diminishment rules out discussion in the public sphere of any questions about our obligations to each other outside the market, relegating such questions instead to the purview of social decorum; so at the very historical moment in which equality of persons becomes the foundational condition for political liberty, the implications of that equality for how we should treat each other cease to be admissible as live political issues – that is, discussable as justice.
This shift in elevating commutative justice is traced through the moral rhetoric of praise and blame in the political economy of Adam Smith and Milton Friedman. Their theories of the market serve to implicitly position social and market decorum alongside an explicit commutative framework as the condition for a naturally self-regulating market. Their appeal to decorum is presented as a naturally occurring source of social stability. The book examines how these fundamental features of the economic argument represented by Smith and Friedman appear influentially in moral and political philosophy, among critics as well as supporters of the market system. The consistent problem is the persistent neglect of the genesis of individual identity's constitution in community, resulting in an overvaluation of individualism and an under-acknowledgement of the significance of belonging. Resolving this problem must necessarily focus on making relational complaints about justice part of public discussion again.
This book should be of interest to graduate students and researchers looking at communication or rhetoric in the history of economic thought, political thought as well as moral philosophy and ethics.
Table of Contents
Introduction 1. Moral Rhetoric and Political Economy 2. Sympathy and Justice in Theory Of Moral Sentiments 3. Sympathy and Moral Horizons in Wealth of Nations 4. The Subordination of Distributive Justice in Milton Friedman's Capitalism and Freedom 5. The Materialization of Distributive Justice 6. Recognition and the Relational Demands of Distributive Justice 7. Recognition and the Problem of Solidarity
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Paul Turpin is Assistant Professor of Communication at University of the Pacific, USA.
"Turpin brings a fresh and important interpretation to the history of moral thought embedded in political economy. This book presents an impressive multi-disciplinary argument that is provocative, convincing, and consistent with what other observers have noted about the ills of a society modeled on an eighteenth-century ideal…" – Donald E. Frey, Wake Forest University (EH.Net, June 2011)
'A multidisciplinary perspective that proves expertise in both economy and philosophy, and can be a useful reading for scholars in those fields, as well as for those interested in the general problem of justice and its moral, economic, social and rhetoric implications.' – Sergiu Bãlan, Department of Philosophy and Social Sciences, the Bucharest Academy of Economic Studies, The Journal of Philosophical Economics, (6:1) 2012


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Gottlieb's comment creates media firestorm, but is it a big deal??
Doug Gottlieb is getting a lot of heat now over a joke he cracked during a March Madness pregame show Thursday night.
Hoopsvibe's quick call: I don't think Gottlieb meant to offend anyone, and people need to lighten up.


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Ian is the CEO of Urban Mapping, a leading provider of hosted mapping services.
Prior to founding Urban Mapping in 2003, White worked as a business consultant at and held various roles in business development and marketing. He also served as Adjunct Professor of Design and Management at Parsons School of Design in New York.
White received a BA from McGill University in Montreal, an MBA from Babson College and completed postgraduate studies in France.
For information on exhibition and sponsorship opportunities at the conference, contact Susan Young at firstname.lastname@example.com
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Printmaking is a unique medium in the art world. Paintings, drawings, collages, scrapbooks, and other artistic creations are all single, separate works that can never be reproduced, only copied. Printmaking, on the other hand, is the process of creating artworks through printing, typically on paper. The process is capable of producing multiples of the same piece or art, which are called prints. Each print is not a copy, but an original, since it is not a reproduction of another work of art.
There are several ways to make gorgeous prints, and the methods to mass-produce these nearly identical artworks combine aspects of crafting, composition, color, and other studies. MisterArt.com offers everyday discounts on all of the art supplies you need to begin creating your own prints today! In fact, MisterArt.com guarantees the lowest-priced printmaking supplies on the Internet. If you can find a lower price online for the same name-brand merchandise, we'll gladly match it!
Before you purchase printmaking supplies, however, it's best to know what you're looking for. This guide details the basic tools and techniques that are used in many different kinds of printmaking, such as engraving, etching, lithography, screen-printing, and more!
A brayer is a hand roller used in printmaking techniques to spread ink. Brayers are typically composed of a handle and a cylinder that are rolled over a surface to evenly distribute ink, adhesive, or another art supply used in printmaking. Because there are so many different kinds of printmaking projects, brayers come in a wide variety of sizes and are constructed from a wide variety of materials. Different brayers have different properties and strengths.
Rubber brayers are carvable and terrific for many creative techniques. Brayers constructed from soft rubber are often considered the best for printmaking, memory albums and scrapbooks, stamping, and home decor.
Acrylic brayers are more durable than rubber brayers and are useful for printmaking using tougher materials and inks. Acrylic brayers typically have the smoothest rollers available.
Foam brayers utilize absorbent rollers to create unique printmaking effects. These brayers are great for use with stencils, cutouts, printmaking, and other water-based painting and printing techniques. The foam texture provides unusual effects similar to airbrush, spatter, stipple, and dry-brush techniques due to its spongy nature.
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Intaglio is a kind of printmaking which involves incising designs, characters, or drawings into a smooth, flat surface, which is known as a matrix or plate. Once a design suitable for printing has been carved into the matrix, the surface of the intaglio plate is covered in thick ink to ensure that the grooves cut into the matrix are impregnated with pigment. Then the excess ink is wiped off and a damp piece of paper is placed on top of the plate. The plate and paper are then run through a printing press that, through pressure, transfers the ink from the recesses of the plate to the paper, creating a print.
Etching is a form of intaglio printing in which acid is used to cut designs into metal printing plates. The metal (usually copper, zinc or steel) plate is typically covered with a waxy ground resistant to acid. The artist then scratches off the ground with a pointed etching needle where he/she wants a line to appear in the finished piece, so exposing the bare metal. An acid wash eats away at the exposed portion of the plate, effectively carving a design.
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Linoleum and wood block printing are methods of printing in which artists carve their own printing matrices. In these methods of printing, a block of wood or linoleum is prepared as a relief matrix, which means portions of the matrix are cut away with a knife or chisel, leaving only the carved characters or image to be printed at the original surface level.
There are several ways of producing a print using a linoleum or wood block carving, including stamping the inked block on to cloth or paper, creating a rubbing of the block, or running the inked block and paper through a printing press. Each of these methods has been in use by artists and scribes for centuries, especially in East Asia. Prints made using linoleum are sometimes referred to as linocuts.
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Silk screen and lithography are two printmaking methods that use chemical processes to create an image.
Silk screening, also commonly known as screenprinting, involves creating an image on a porous screen by masking sections with impermeable filler materials or emulsions, including photo emulsions. By blocking off portions of the screen, a stencil is created. The screen is then impregnated with ink and placed down on a surface such as a t-shirt or canvas and rubbed with a squeegee. The squeegee transfers the ink in the screen to the surface below, but the ink is only transferred through the sections of the screen that have not been masked off, so only the image that has been created on the screen is inked.
Screenprinting is more versatile than traditional printing techniques because the surface does not have to be printed under pressure, as with etchings or lithographs. The surface being printed doesn't even have to be flat. Screenprinting inks can be used with a variety of materials, such as textiles, ceramics, wood, paper, glass, metal, and plastic. As a result, screen printing is used in many different industries-- from clothing to product labels to circuit board printing-- in addition to fine art.
Lithography uses solid printing plates instead of permeable screens. These textured printing plates are covered with a photosensitive emulsion before a photographic negative of an image is placed in contact with the emulsion and the plate is exposed to light. The image on the printing plate is developed much the same as a photographic print, but using this oily emulsion rather than ink. Modern plates can also be created digitally.
Next, the plate is run through a printing press where rollers apply water that covers the blank portions of the plate but is repelled by the emulsion on the image area. Ink, applied by more rollers, is repelled by the water and only adheres to the emulsion over the image area.
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Printing press technology hasn't changed radically since the days of the Gutenburg Bible! These reliable mechanisms apply pressure to an inked surface resting upon media such as paper or cloth, transferring the inked text or image. Presses have been perfected over centuries in order to best reproduce sharp prints over and over again.
The high-quality printing presses you'll find at MisterArt.com can be used for a variety of printmaking techniques, including linoleum block printing, collagraph printing, engraving, etching, and monoprinting. Macro and micro pressure gauges ensure that the perfect amount of pressure is applied to each print.
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Relief printing—Parts of the printing surface that will be inked are left raised (the relief), while the remaining areas are cut away. Ink is applied to the matrix surface, typically with a roller or brayer, and then transferred to paper using direct pressure. A reverse image of the matrix is produced. Types of relief printing are woodcut, woodblock, block printing, linocut, linoleum block, and wood engraving. See relief printmaking products.
Intaglio—This print making process is the opposite of relief printing. The image is drawn, cut, or etched into the matrix surface. The matrix is inked then wiped so the ink lies below the surface of the plate. The ink is transferred to the paper under pressure. Examples of intaglio are engraving, etching, drypoint, collagraph, aquatint, and mezzotint. See intaglio and engraving products.
Planographic—This is based on the principle that oil and water don't mix. The image area of the plate attracts ink and the non-image areas repel ink. Matrices are typically stone or metal (zinc or aluminum plates). Lithography and monotyping are types of planographic techniques. See lithography products.
Stencil—An image is imposed on a fine screen with blank areas coated with an impermeable substance called a screen filler or resist. Ink or paint is forced through the screen with a squeegee and onto the surface below, which could be a number of things including T-shirts, tote bags, or canvas. This process is also called serigraphy, screen printing, or silkscreening. See silkscreening products.
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Printmaking is a unique medium in the art world. Paintings, drawings, collages, scrapbooks, and other artistic creations are all single, separate works that can never be reproduced, only copied. Printmaking, on the other hand, is the process of creating artworks through printing, typically on paper. The process is capable of producing multiples of the same piece or art, which are called prints. Each print is not a copy, but an original, since it is not a reproduction of another work of art.
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Geraldine Moriba, the vice president of diversity and inclusion at CNN Worldwide, will visit Wright State University March 12–13 as the Women's History Month scholar-in-residence.
As part of her residency, Moriba will deliver the second Anita Hill Annual Lecture on Gender Justice, also the Women's History Month keynote address, from 12:30 to 2 p.m. on Thursday, March 13, in the Millett Hall atrium. The talk is free and open to the public.
Moriba will also visit a class, meet with student leaders and faculty, and conduct a workshop, "Women of Color in Leadership," for students. The workshop, scheduled for March 13, 9:30–10:50 a.m. in 494 Allyn Hall, will examine how identity can influence how women and especially women of color are treated in professional settings. Wright State students can register for the workshop by calling the Women's Center at (937) 775-4524.
Moriba's residency is sponsored by the Women's Center and the Women's Studies Program.
Wright State was selected as the location of the traveling Anita Hill Lecture on Gender Justice, which is organized by Soapbox, Inc., a speakers bureau for feminist voices founded by authors and activists Amy Richards and Jennifer Baumgardner. Richards and Baumgardner spoke at Wright State in 2008 as part of the 15th anniversary celebration of the Women's Center.
The lecture was created to highlight a commitment to gender and racial justice and promote individuals who inspire audiences to embark on gender awareness and crusades for justice.
As vice president of diversity and inclusion for CNN Worldwide, Moriba chairs CNN's Diversity Council, offers strategic guidance on issues of diversity to the CNN management team, and serves as an executive producer for original program development.
Moriba led CNN's In America documentary team in the creation of 11 documentaries and launched the In America blog, which became one of the most popular CNN.com blogs.
She joined CNN in 2010 after 16 years at NBC News, where she served as senior producer for broadcast standards, produced award-winning stories and was co-chair of NBC News' Diversity Council.
Moriba has won numerous awards, including five Emmys, an Alfred I. DuPont Award and two Peabody Awards.
Amber Vlasnik, the director of the Women's Center, said Women's History Month is more than an annual event.
"It's also an ongoing conversation about the accomplishments, contributions, possibilities and challenges for women in our society," she said. "Bringing (Moriba) here as part of our residency program, having a Women's History Month residency, is one way Wright State participates in this larger conversation."
Moriba's residency also provides an important opportunity for students to interact with such an accomplished professional, Vlasnik said.
"She has achieved enormous success in her career and is in a new position at CNN that shows the impact of how diversity is being valued," Vlasnik said.
"It's always impactful for students to have multiple opportunities to interact with a speaker," she said. "I think it shows them possibilities for themselves, for the future, in their career, their professional lives, their personal lives and their leadership."
Since 2010, the Women's Center and Women's Studies Program have brought inspiring artists, scholars and writers to campus for a residency program, which includes a keynote lecture and activities with students and faculty. Previous Women's History Month residents include artist Yasmin Hernandez, writer Jennifer Finney Boylan, scholar Jennifer McWeeny and spoken-word artist Andrea Gibson.
Other Women's History Month keynote lectures have been delivered by distinguished guests like Carol Moseley Braun, Jean Kilbourne, Rosie Perez and Angela Davis.
For more information on the Women's History Month residency, contact the Women's Center at (937) 775-4524.


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Action Pro Helper and more
The ability to be able to cut'n'paste individual X,Y or Z Position Offsets, Rotations or Orientations from one field to another.
While it's possible to record X and Y with a mouse and then copy one of them to Z inside Action Pro, it would also be useful to be able to do it in Hitfilm. without having to make a round trip back to Action Pro. Also, X rotation to Y rotation etc. of the same, or a different layer.
This would also allow you do to the things that people have recently been asking about: how to make images scale in response to a musical beat - amongst other things.
Also being able to copy from one field type, such as percentage, to another, such as rotation (360/100) or vice versa would be handy too. It's sort of similar to what you can do with some Behaviours.
+0.5 for @Palacono 's last post. A modified Icon for plug in effects (a green "+"?) would be helpful for tutorial makers, but disagree with disable. With near 200 filters I might not remember what was turned off, and it could cause compatibility issues. What if I Ioad a project that uses a disabled effect?
@Triem23 Serious question?
OK. I'm sure a couple of devs could discuss and come up with something simple and obvious in about 5 minutes.
Like: Load them anyway and auto reactivate the disabled ones. Or ask you about them individually in case one was causing a crash and you want it stripped out, or strip them out like Express does. Or load them, but turn them all off and prompt you to reactivate them if you tried to turn them on. Or something better.
The ability to reduce the line spacing, right now I can't bring the line spacing under "auto" and numbers just passed auto does not do anything unless the number gets really high. We can't reduce the space between text lines as now
EDIT: I mean for text layers
+1 for line spacing less than default/auto.
The new Text effect in Pro does have vertical line spacing adjustment.
However, it comes with some new issues as well.
I know that the text effect has a better line spacing option but what I can't do in it is:
I would love there to be a 3D motion tracking option for 3D models and stuff. Also I would like to see 3D text.
Since you said 3D models, I will assume you have Hitfilm Pro. Mocha is your 3D tracker, and 3D Extrusion (and, in v6, the new Geometry Extrusion) are your 3D text.
If you're in Express, Mocha and 3D Extrusion are both available in add-on packs.
CTRL+Clicking on a position value in a layer's Transform properties inverts the position value. This is a great little hidden gem for all kinds of animation.
Any possibility of adding a similar modifier to other Transform fields, like Rotation and Scale? (For scale, 100% would be the nominal value, of course, which means inverting a 25% scale would go to 400%. This might not be what users expect?)
What about:
Audio / mp3 export
ctrl + leftclick to invert rotation aswell
make it possible to save media presets (with keyframed transform controlls, masks and effects)
@ElliotBrowne for just a 3D tracking you can use Mocha included in Pro or as an express add-on, or you can download for free Autodesk MatchMover to track and export a .ma tracking data file than you'll can import it in both hitfilm (express or pro)
Not sure these were already asked earlier.
couple of missing basic requirements for using hitfilm as NLE:
- having multiple timelines
- 'Add marker' option in editor timelines, as lot of times, editors need to write something for videos edited.
Also, for export,
image options should include 'TIFF' and/or 'JPEG2000' formats.
+1 multiple timelines
+1 markers
I would suggest also :
- import an .hfp project as video file
If you're like me and you just want to make movies for the experience, than Hitfilm is the best choice for VFX creation I've seen. However, on the editing side, there are so many ways to improve it.
I would HIGHLY recommend (nudge, nudge, wink, wink) that Hitfilm take a look at the editing tools in DaVinci Resolve. What? You say. Resolve? Why not Avid. I'll tell you why...
I've used both Avid and Resolve. And in a fraction of the time I've used Avid, I learned Resolve and have become quite comfortable with it. Avid still frustrates me, and I find it quite clunky. Funny, given that it's the industry standard.
Simply watch some of the editing tutorials for Resolve, and I think you will be quite impressed with their ease of use, their intuitiveness, etc. I paid $79 for the complete, certified training for Resolve from Ripple Training. For $79, I think the devs of Hitfilm could get a lot of ideas from the "Editing and Color Grading 101" series. If we had editing tools in Hitfilm like the ones in Resolve, I think you would see a surge in sales.
Just saying.
Agreed... in fact, Resolve is the first NLE to successfully entice studios working on big-budget serials to move from Avid.
I'm sure the collaboration tools have a lot to do with it; having the editor, sound designer AND colorist all able to work in the same project at the same time is pretty amazing.
Yep. And it's workflow overall is insanely intuitive. The free version is bad ass by itself.
Yes... it makes me wonder why anyone continues to waste their money on Adobe's mediocrity... especially since Adobe doesn't play well with others, so conforming Premiere projects in pretty much any color grading suite is a largely manual affair most of the time.
Speed wise, there's also no comparison; LightWorks is as fast as Mistika and plays well with almost everything. I'm hoping for OFX support in LightWorks soon so that I can start using Ignite and Sapphire in it. Or a multiple timeline option, timecode based syncing, Redcode support, and a proxy workflow in HitFilm, which is almost as fast as LightWorks, though I can't compare directly until it gets Redcode support.
+1 on Redcode support. Being able to import ".R3D" files into Hitfilm would be a huge plus.
I would also suggest adding the ability to render proxy files to speed up playback. With Hitfilm rendering from the original files upon export.
Merry Christmas. Here is my laundry list of Gift suggestions. I'm needy and greedy. Many items are repeats of previous posts. I am shamelessly surfing for +1s. I submit that most really don't read way back in such a long thread like the Wishlist.
A lot of NLE stuff. Every frame of every video goes through an NLE. Maybe an NLE is not sexy but it is the foundation. Smooth/efficient workflow is almost everything in the NLE.
Now that we can keyframe in the NLE we can now do slideshow type video stuff in Hitfilm and transitions are very common here.
+1 on Norman's list
A Plugin API would take care of so many requested features.
+1 on Norman's list
I would suggest also:
@whakan OpenType fonts (.otf) have been supported since HitFilm 4. Fonts outside of C:\Windows\Fonts do not get picked up. We are aware of this.
@PixlPants I'm not sure what you mean by plugin API. HitFilm already supports OFX plugins so it does have a plugin API.
@NormanPCN Great list, thanks for compiling this up.
@CedricBonnier I have otf fonts right inside the C:\Windows\Fonts folder but they don't show up in the font dropdown list menu
@whakan it depends on where you got the fonts from. I have some OTF fonts that are problematic with Hitfilm and a couple other programs I use. I open the offending font in a font editor and it inevitably turns out the font itself was incorrectly built to begin with. Hitfilm seems pretty strict in file implementation, and, since Josh said in the recent Hitfilm livestream everything in Hitfilm is either pure custom or licensed from the original vendors, my GUESS (it's a good guess, but I doubt @CedricBonnier will confirm) is Hitfilm doesn't use third-party open-source libraries that might be more lax.
It's similar to something I point out about certain 3D models that don't import correctly into Hitfilm because the creator did something outside the official model format spec their particular modeling software supports.
The Hitfilm text layer supports OpenType fonts with Postscript glyphs (CFF) and TrueType glyphs.
The new text effect does not work with, or list, OpenType fonts with Postscript glyphs (CFF). It seems to work with OpenType fonts with TrueType glyphs. I've already reported this and some other issues with the new text effect.
The bottom line is, does a font set work with the operating system font engine. If yes, and your native or third party font engine does not work then it's your problem. Yes, there are flaky fonts out there. The operating system font engine is realistically as good as it gets. Maybe it handles flakiness better. Maybe the GL font library Hitfilm uses is flakey. Boris Titler and NewBlue Titler seem to have ironed out this GL font thing better. We the end user don't care who or what is at fault. What we know, and care about, is the font works everywhere else but here.
I was thinking about the text layer, not the text effect, sorry.
We have compiled a list of improvements and bug fixes to do related to text handling in HitFilm. We will talk about it internally and decide what to do for each of them. I know that it is frustrating for you guys but hopefully we will be able to sort all of this out in the new year.
If we cannot lock all layers, at least provide the ability to lock text layers. Unless I'm doing something wrong. It's impossible to edit text layers that are below other text layers without moving the upper layer's text box out of the way.
For an example I will use Inscape Digital's great "Fiery Text" Tutorial from May, 2017. It has three stacked text layers. Layers 4,6,8 If I desire to edit the text on layer 8, I must first move layers 4 and 6 out of the way. If I forget to first write down the coordinates...... I will say bad words as I try to realign the layer.
If we had locked layers we wouldn't have to worry about wasting time doing things twice(I know I'm beating a dead horse but please). THIS HAS TO BE #1 PRIORITY. Locked layers are not a new thing, I still don't know why that we haven't included it in yet.
please add that we can move multiple media or comps from the timeline to a new comp


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Have you ever celebrated Pesach or Passover as Jesus did with His apostles for The Last Super?
Pictured here are samples of the Seder Plates used for the Passover dinner. Our church and several other churches in our area celebrate the seder meal each year and several newspaper articles have been written about it in the Los Angeles Times and the Los Angeles Daily News. Has this Jewish celebration been adopted by your church, I wonder? If you are Jewish, I'd love to hear about your memories or what you look forward to each year during Passover.
Visit Amy at The 160 Acre Woods for more Word-Filled Wednesday Participants.


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Englishman in the land of Kaleva – Nick Hennessey interprets the Finnish national epic
A singer, songwriter and storyteller, Nick Hennessey has been performing the Kalevala in his native language for 16 years. Kuulolla! talked to him about his work and his new collaboration with Anna-Kaisa Liedes, Timo Väänänen and Kristiina Ilmonen starting on February 28th at the Helsinki Music Centre.
Taming the Kalevala
– Storytelling as performance art is not part of the mainstream culture in the UK, and arguably hasn't been for a number of centuries, says Hennessey.
– Yet for nearly 30 years it has been undergoing a revival as the result of various conditions coming together. I have been fortunate enough to find myself part of that growing interest, with the Kalevala as my focus.
The Finnish national epic is not, as one might guess, well known in the UK. According to Hennessey, one needs stubborn perseverance and a lively imagination to study it.
– In 1998 I was lent a copy of an English version of Kalevala, and some translations of the original songs Lönnrot collected.
– Though at first reading Kalevala is difficult and unwelcoming, I was instantly struck deeply by the potent combination of the metre and the stories. Their combination has a very elemental effect on the imagination.
– Through my work with the Kalevala, I approach the deeper mysteries of live performance, which are not specific to any one culture. The relationship between the listener and the source reveals the universal power of language and landscapes.
Discovering the Kalevala led Hennessey to embark on the road of studying epic singing, which he believes to be a form of performance art shared by ancient Finns and the Anglo-Saxon and Celtic cultures in Britain.
Two years later, in 2000, he had already won the World Championship in epic-singing performing in Espoo, Finland. His cites his commitment to the traditional art form as "the consequence and cause" of his continued fascination with the Kalevala.
Oral poetry in translation
Although he does not speak Finnish and sees himself as an outsider in Finland, Hennessey thinks there is unique value in performing the Kalevala in English. It can help popularise what would otherwise be utterly inaccessible to international audiences:
– I believe that English as a language can contribute greatly to widening appeal of Kalevala in the world. It has the capacity, if used to serve the epic sensitively and appropriately, to build a bridge between the modern world and the Karelian forests that Lönnrot gathered from.
But while something is gained in translation, something else is necessarily lost. Hennessey reminds that this is inevitable to all oral tradition, not just his work:
– Reinvention happens all the time. I think Lönnrot knew this too. The singers he collected from were spontaneous in their singing, yet he had to stop them and have them repeat it line by line so he could write it down. What he collected was different from what they sang.
– Performing the songs, too, is an act of reinvention of an original idea. The freedom of my work is that there is no set text. It is a mainly improvised activity. It is the living moment that breathes power into it, making the idea original again and again.
From Helsinki to the UK
Live audiences in Finland and beyond will soon have the opportunity to witness the reinvention of oral tradition in action.
On February 28th, Nick Hennessey will present an evening of folk music, epic singing, improvisation and storytelling together with the Sibelius Academy's very own teachers Anna-Kaisa Liedes, Timo Väänänen and Kristiina Ilmonen.
The Tietäjät – The People Who Know the Way performance, inspired by the Kalevala and combining English and Finnish, will kick-start a long-planned collaboration between the expert folk music artists. Hennessey recalls his first encounters with the trio:
– I met Anna-Kaisa in 2000 when I first visited Finland. Kristiina I met about 5 years ago in Helsinki through my work at the Sibelius Academy.
– I knew Timo by reputation. He works with some very well respected musicians in Wales who I know. It has taken this long for the opportunity for us to perform together to arise!
– The upcoming performance is the very first of its kind. In July we will be performing at Beyond the Border International Storytelling festival in Wales. After that it is our plan to tour the work all over Finland, Scandinavia, and the UK.
Kuulolla! wishes the collaboration the best of luck, and hopes to see it live long and prosper!
Further information
Nick Hennessey
Suunta ensemble (Kristiina Ilmonen & Anna-Kaisa Liedes & Timo Väänänen)
Tietäjät - The People Who Know the Way on the Sibelius Academy event calendar
Text: Noora Mäntyranta
Photos: Nick Hennessey


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It seems a "Here Comes Honey Boo Boo" star has taken his antics one step too far.
Cousin "Crazy Tony" Lindsey was arrested earlier this month for reckless conduct while allegedly speeding along a Georgia highway in a gorilla suit, E! News confirmed.
"I observed a white male dressed in a gorilla suit acting as if he was going to jump into my lane of travel. I swerved into the left lane to avoid an accident with the person," wrote Deputy Joe Rozier in a police report obtained by TMZ.
Rozier said that afterward, he saw several white men run up an embankment into the woods, at which point he shouted that he was sending a dog to find them.
After he caught up with them, Rozier said they confessed to ditching the gorilla suit in the woods, according to the police report. The suit was taken in as evidence.
"Crazy Tony" is known for acrobatic four-wheeling stunts on the show.


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You know those museums that are really quiet and you can't touch anything? These are definitely not those museums. Take the Boston Children's Museum. It's one-of-a-kind, world-renowned center for enrichment. But the kids don't care about that. They just like that it's as fun as a barrel of monkeys. The Museum of Science has scary dinosaurs, loud electric bursts, and an Imax screen the size of a basketball court, and it's still extremely educational. The Kidspace at Mass MoCA has really mind-blowing art, including some uniquely interactive work. At the Discovery Museums in Acton, kids can bounce a ball three stories high or engineer their own train track. Of course, if your family loves those quiet museums, we have plenty of those too.
Watch a video on Edith Wharton's The Mount in Lenox.
Children's Museum, Boston
New Bedford Whaling Museum
Eric Carle Museum, Amherst
Museum of Science, Boston
Bring the Kids: It's all here
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Williamsville Sculpture Garden
West Stockbridge
Outdoor sculpture garden featuring regional artists. more+ 4 saves
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Bring the Kids: It's all here
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Nutritous Grab & Go Meals. Meals are available for anyone 18 years and younger and the meals are at no cost to you. Registration is required to ensure enough food for all. However, drop - ins are welcome. Meals will available at Somerset County Library on Fridays, June 19 - August 14, from 11:30AM-12:30PM.
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The Somerset County Library is a free public library with a main headquarters location and a branch at the Conemaugh Township Library. We also offer bookmobile service through our membership in the Somerset County Federated Library System.
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The Winterland Ballroom, often referred to as Winterland Arena, was an old ice skating rink and 5,400 seat music venue in San Francisco, California. Located at the corner of Post Street and Steiner Street, it was built in 1928 for the then astronomical cost of $1 million. Opening on June 29, 1928, it was originally known as the "New Dreamland Auditorium." Sometime in the late 1930s, the name was changed to Winterland and converted to exclusive use as a music venue in 1971 by rock promoter Bill Graham.
Bill Graham began to occasionally rent the venue for larger concerts that his nearby Fillmore Auditorium could not properly accommodate. After closing his New York City venue, Fillmore East, in 1971, he began to hold regular weekend shows at Winterland. Acts that played there, included Bruce Springsteen, The Rolling Stones, Queen, Cream, The Doors, Jimi Hendrix, Led Zeppelin, Lynyrd Skynyrd, Styx, Allman Brothers Band, The Grateful Dead, Jefferson Airplane, Humble Pie, Deep Purple and Slade, the latter (in this instance) to promote their album, Flame, although they had previously appeared there on 5th June1973 being broadcast on the legendary 'King Biscuit Flower Hour'. A great number of the best-known rock acts from the 1960s and 1970s played Winterland or played two blocks away across Geary Boulevard at the original Fillmore Auditorium. Frampton Comes Alive! (the 4th best-selling live album ever) was recorded, in part, at Winterland.
During it's final month of existence as a live venue, shows were booked nearly every night. Winterland closed on New Years 1978/79 with a concert by the Grateful Dead, New Riders of the Purple Sage, and The Blues Brothers. The show lasted for over eight hours, with the Grateful Dead's performance (documented on DVD and CD as The Closing of Winterland) lasting nearly six hours itself. The final show was simulcast on radio station KSAN-FM and also broadcast live on the local PBS TV station KQED. Winterland was eventually torn down in 1985, and was replaced by apartments.
Although Slade saw their biggest commercial success between 1972 and 1974, this show, culled from the archives of promoter Bill Graham, shows they were still red-hot as a live act in 1975.
Opening with 'Them Kinda Monkeys Can't Swing', they move next into 'Bangin' Man', a song that described life as a rock star in the mid-1970's. Another highlight is an extended version of "Let The Good Times Roll," which moves into "Get Down and Get With It." There are more big hits thrown in for good measure, making this a complete Slade show.
Slade embarked upon a five-year run of constant chart success in their homeland and were huge in Europe and Australia. Despite many attempts at breaking the U.S. market, they never really caught on with the record-buying public but were influential nonetheless with Gene Simmons and Paul Stanley, who witnessed them at New York's Academy. Simmons has recently admitted that without Slade, there would have been no KISS.
It would take America another decade before Slade received their first chart hits with the early-'80s songs, My Oh My and Run Runaway. This success followed the publicity they received after Quiet Riot had scored successive #1 U.S. hits with covers of two of Slade's biggest hits Cum On Feel The Noize and Mama Weer All Crazee Now, the latter which can be heard here as the show's closer.
This show was recorded in the Fall of 1975 while Slade was touring to promote the soundtrack LP from their feature film Flame. It had been released to critical acclaim in their homeland and many of the songs here are from that album, including 'How Does It Feel?', widely regarded as the band's finest moment. The classic hits are represented too, including 'Gudbye T'Jane', 'Far Far Away' and 'Mama Weer All Crazee Now', as well as long-time stage favorite 'Just Want A Little Bit', which features the blistering bass of virtuoso Jimmy Lea.
The band were second on the bill between the Frankie Miller Band, and headliners Ten Years After, and not Robin Trower as has been erroneously recorded previously. The gig was filmed by Graham's organisation to be used in between acts at his various venues that he owned throughout the States. It wasn't the easiest of crowds to get going, the band were clearly not on top form nor enjoying the experience of being heckled and spat at.
- Them Kinda Monkees Can't Swing
- The Bangin' Man
- Gudbuy T'Jane
- Thanks For The Memory
- How Does It Feel
- Just Want A Little Bit
- Let The Good Times Roll
- Get Down & Get With It
- Mama Weer All Crazee Now
The Download Link is here: Download
Filename: Winterland 1975.rar Filesize: 15.01 MB
Thanks to Hubert "Yes, you can use my photos" Tung for the photographs and memories and Steve Marsh for the information. The audio is a Scott Samuels 're-touch' for which I am, once again, very grateful for.