Three megascopic and disseminated tephra layers (which we refer to as layers A, B, and C) occur in late Quaternary glaciomarine sediments deposited on the West Antarctic continental margin. The stratigraphical positions of the distal tephra layers in 28 of the 32 studied sediment cores suggest their deposition during latest Marine Isotopic Stage (MIS) 6 and MIS 5. One prominent tephra layer (layer B), which was deposited subsequent to the penultimate deglaciation (Termination II), is present in almost all of the cores. Geochemical analyses carried out on the glass shards of the layers reveal a uniform trachytic composition and indicate Marie Byrd Land (MBL), West Antarctica, as the common volcanic source. The geochemical composition of the marine tephra is compared to that of ash layers of similar age described from Mount Moulton and Mount Takahe in MBL and from ice cores drilled at Dome Fuji, Vostok and EPICA Dome C in East Antarctica. The three tephra layers in the marine sediments are chemically indistinguishable. Also five englacial ash layers from Mt. Moulton, which originated from highly explosive Plinian eruptions of the Mt. Berlin volcano in MBL between 142 and 92 ka ago, are chemically very similar, as are two tephra layers erupted from Mt. Takahe at ca 102 ka and ca 93 ka. Statistical analysis of the chemical composition of the glass shards indicates that the youngest tephra (layer A) in the marine cores matches the ash layer that erupted from Mt. Berlin at 92 ka, which was previously correlated with tephra layers in the EPICA Dome C and the Dome Fuji ice cores. A tephra erupted from Mt. Berlin at 136 ka seems to correspond to a tephra layer deposited at 1733 m in the EPICA Dome C ice core. Additionally, the oldest tephra (layer C) in the marine sediments resembles an ash layer deposited at Vostok around 142 ka, but statistical evidence for the validity of this correlation is inconclusive. Although our results underscore the potential of tephrostratigraphy for correlating terrestrial and marine palaeoclimate archives, our study also reveals limitations of this technique, which may result in the miscorrelation of tephra. Such pitfalls comprise failure to recognise the occurrence of various tephra layers in marine sediment cores, ‘swamping’ of records with chemically indistinguishable tephra from a single volcanic source, and exclusive use of ‘geochemical fingerprinting’ for correlating ash layers.
10 People Hospitalized After Multi-Car Crash On Twin BridgesSEPTEMBER 15TH, 2018 AMANDA PORTER KENTUCKY Seven adults and three children are recovering after multiple cars crashed on the twin bridges in Henderson Friday.The accident happened in the northbound lane at approximately 6:19 p.m.Reports of a person pushing a car on the bridge and a multi-car crash prompted a response from the Henderson County Sheriff’s Office.Four cars were involved in the accident.Police believe a stalled car on the bridge caused traffic to slow which could have caused a chain reaction car accident.There is no word on the extent of injuries, but ten passengers were sent to area hospitals. CommentsFacebookTwitterCopy LinkEmail
By Donald WittkowskiWas this a mass protest against Ocean City’s “No dogs on the Boardwalk” edict?Hundreds of basset hounds in all their squat-legged, droopy eyed glory took over the Boardwalk on Saturday afternoon much to the amusement of thousands of spectators.At the head of the basset hound brigade was the self-proclaimed “top dog,” none other than Erik Estrada, who gained fame in the 1970s and ’80s playing Frank “Ponch” Poncharello in the TV police drama “CHiPS.”Estrada and about 500 basset hounds were joined by a cast of colorful characters, marching bands and clownish miniature cars in Ocean City’s 33rd annual Doo Dah Parade, a wacky procession that celebrates the end of income tax time and the start of the beach resort’s tourism season.Kathy Frisch, of Lehighton, Pa., hugs her 12-year-old basset hound Miss Bella, who was resplendent in a purple bonnet for the parade.As grand marshal, Estrada led the parade as it unfolded along Asbury Avenue through the downtown shopping district before making its way up on the Boardwalk for its comical climax. The “Pie-asco,” which encourages parade-goers to smoosh a friend or family member in the face with a shaving-cream pie, served as the finale in front of the Music Pier.Flashing his gleaming, Hollywood smile, the 69-year-old Estrada was serenaded with shouts of “We love you” and “You look so handsome” from the adoring crowds while he rode down the Boardwalk in a classic Chevrolet Super Sport convertible.Spectators rushed up to him for hugs, handshakes and photos. Ocean City residents Jill Nuss and Donna Strandwitz, who are friends and neighbors, got Estrada to pose with them for a few pictures.“I felt like I was a teenager again,” Nuss gushed about meeting Estrada.Parade Grand Marshal Erik Estrada, of “CHiPs” TV fame, poses for pictures with Ocean City’s Donna Strandwitz and Jill Nuss.The TV star, a veteran of the Macy’s Thanksgiving Parade in New York and Hollywood Christmas Parade in Los Angeles, was soaking up his first Doo Dah Parade on a sun-splashed spring day.“I’ve done the Macy’s parade, I’ve hosted the Hollywood parade, but this is a major parade. It’s incredible,” Estrada said in an interview. “The people are so generous, kind, nice and even sweet.”When asked what it was like to share the spotlight with hundreds of basset hounds, he joked, “I like being top dog.”The Doo Dah Parade is the main fundraiser for the Tri-State Basset Hound Rescue group. Valerie Mazzei, the president of Tri-State Basset Hound Rescue, said the organization was able to save 254 homeless basset hounds throughout the country last year, although it primarily concentrates on New Jersey, Pennsylvania and eastern New York.The hilariously built, sad-eyed basset hounds have been in the parade for the past 20 years and have become its centerpiece attraction. They saunter in slow motion behind the Tri-State Basset Hound Rescue’s “BoardWaddle” banner.The Pitman Original Hobo Band serenades the parade crowds on the Boardwalk with a musical number.Jennifer Buynitsky made a six-hour drive Friday night from her native Boston to march in the parade along with her basset, Eugene. For Buynitsky, it was her third Doo Dah Parade, but 6-month-old Eugene was a newbie. Looking comically nerdish, they wore matching beanie caps with propellers on top.“It’s goofy, funny, lovable,” Buynitsky said of the parade. “With 500 basset hounds here, it’s impossible not to be happy. It’s a great day of fun.”Robin Peterson, of Franklinville, N.J., brought a wooden box to the parade containing the ashes of her basset hound, Blaze-Flash, who died Feb. 20. Peterson explained that her dog had two names because he was called Blaze by one family member and Flash by another.Blaze-Flash was part of the Doo Dah Parade for years, so Peterson decided to bring his ashes along on Saturday to continue the tradition. Her family created a “basset buggy” that had four stuffed animals wearing Blaze-Flash’s collar, harness and some of his clothing.“Just because he’s gone doesn’t mean he’s not going to participate,” Peterson said. “He’s participated for many years, so we’re helping him along this year.”Costumed creatures entertain the spectators as the parade unfolds along Asbury Avenue through the downtown shopping district. Basset hounds saunter down the Boardwalk during the 2018 Doo Dah Parade.
An Edwardian-style baker’s shop is the latest exhibit to open in the living museum village of Beamish in County Durham.The £500,000 shop, called Joseph Herron’s, Baker & Confectioner, was opened last week by local celebrity baker Stacie Stewart, who has appeared on TV shows including MasterChef.Visitors to Beamish can watch bakers at work in the shop, using traditional methods, and can buy period bread, cake and biscuits to take home.A spokeswoman explained the museum’s period food team had conducted extensive research into commercial bakery recipes around 1913, and came upon some “what on earth is this?” ingredients.The range currently includes Empire biscuits, rock cakes, Grasmere-style gingerbread, as well as bread. Pies, including an Edwardian-style pork and gravy pie, will be added to the range in future.The plan had been to make stotties (flat round loaves typical of the area) on-site, but research indicated that people would have made their everyday bread, such as stotties, at home. They would go to the bakery for fancier bread, such as bread with a plait, if someone was coming over for tea.Much of the equipment required for the bakery was already in an extensive collection held at Beamish, including a massive Edwardian dough mixer, donated in 1973. More was sourced from auctions or donated.Five staff in historical costume work at the shop, two serving customers and three baking.
On May 18th, TAUK took the stage for two sets of raucous and invigorating music, featuring no shortage of sit-ins at Brooklyn Bowl. For their first number of the night, the band eschewed some of the conventional trappings of jambandery—the pleasantries were skipped at the outset, such as the traditional “How y’all feeling tonight?”, with the group launching straight into the echoing, resonant number, “The Drop”. Each new measure brought a different dazzling display of tension creation and release, and the band’s simple but elegant light show emphasized that. The song names feel like a burdensome formality impeding the band’s ripping a swathe through genres and time signatures.For “Mokuba”, the drums seemed to play far more prominently than a conventional jam band, as the group’s explosive lead guitar riffs were sometimes more window-dressing to the cacophonous, slapping, and dominant rhythm. An incendiary guitar solo burst into existence before the guitarist fell to the back of the sound, and a real dance party got underway, without the minutiae that characterized the song’s buildup.“Ratchet” was a fiery meteor of a song, instigated by a devilish bass-lead as it streaked across the listener’s consciousness. There was more metal than any other genre in the solos, throwing off heat from the tenacity of the guitarist’s thrilling licks, which was complimented fascinatingly by his more constrained approach to the song’s composed framework. During “Flashback”, the band welcomed an additional percussionist, Nate Werth of Snarky Puppy. His engagement complimented the band, padding the sound in a way that made the music feel less confrontational. The timbre and tone of his instruments seemed to open things up, and his restrained use of rain noises managed to elicit an ambient presence that the band hadn’t displayed up to that point.As the song progressed into an improvisational space, a playful repartee between the organ and guitar picked up in intensity and pace, until their conjoined crescendo became a wail, and the guitar’s solo seemed to overtake the band in one triumphant climax. As the song wrapped with its final section, the guitarist managed to take these almost nonsensical notes and then thread them into a thrilling progression.The introduction of “Square 2” felt like some sort of Michael Jackson meets Umphrey’s McGee pop diddy. The relentlessly catchy keyboard line seemed to take the lead, with a guitar resolving complex problems as it kept the rhythm. The first proper keyboard jam was exhilarating and organic, less overwhelming than his guitar counterpart until a turn to math-rock brought it to a sudden lurching change, and the end of the song slapped the listener in the face.At this point in the night, the band welcomed members of the Snarky Puppy horns, whose entrance added a bleedy psychedelia over flapping keyboard explorations. With their addition, the music became praiseful and peaceful with a recurring riff suggesting tranquility in its symmetry. When the horns were given dominion, the entire tone changed and suddenly a riffing bobbing adoration overtook the sound. The upbeat overtook the downbeat, and the venue seemed to positively shake with fans embracing the dubbier feel. The horn players seemed to bring some of the influence of Snarky Puppy, with builds and drops reminiscent of the group. Suddenly the band’s relentless complexity in their arrangements became more charming than it was intimidating as the sustained notes from the horns over those riffs seemed to level them out.After a relatively brief setbreak, TAUK returned with Nate Werth. The second percussionist added a delicate detail to the rhythm of “Mindshift”, chasing the lead like a serpent after its tail, while the guitarist seemed to emphasize the septant’s flickerings. The first song’s theme was of a latin Bossanova twang, before accelerating off like a formula one racecar and flying through the finish line, checkered flags waving.Next, with patient strokes, TAUK slowly descended into a trance reminiscent of STS9 during “Let It Ride”. The musicians’ forbearance in avoiding a ripping peak gave the song a deep sense of yearning with an exploratory bent. Led by the drummer, the band came out of that trance to the tune of dominant echoing thunder that collapsed the space they’d created. That peaceful pulsing tone was then employed as the band brought the song to a crescendoing climax.“Stepwise”, a song with Middle Eastern threads was absolutely entrancing. While the light show traced an atlas of the stars, the band summoned desert fogs over the charming backdrop and sent the audience off into the deep space of their own heads. “Times Up” reflected the band’s confidence in dealing with arcane time signatures and taking ambitious risks. The guitar’s sound almost sounded like scat singing, as the guitarist threw his notes against the drummer like Jackson Pollock painting boulders. The heavy throbbing from a bass and keys solo was followed by a screecher from the guitar brought the song to a final, roaring resolution.The song “Pitter Pattern” marked the return of Snarky Horns, and the song’s eclectic jazziness provided a great framework for them. While the keyboard player gave his tone an almost cheesy, keytar-reminiscent squishiness, the tune provided the space for him to fade to the back and let the horn players to take some serious solos for the first time. Cries of “Blow baby blow” were hurled up from the audience, instantly infatuated with the trumpet-players flapping ease and wizardry.The next tune, “Premises”, carried a real passion in its reggae throes. While its build-up pulsed and echoed with electronic influences, the horns’ tone made things feel genuine and sincere as the band progressed into its more far-off reaches. A song with more rock and roll in it than a great deal of their other work, “Jupiter” seemed to really capture how fluidly the group can shift between genres, dropping into a jazz breakdown characterized by chaos over an eminently danceable funk bassline.After a brief encore break, the band returned with a very gentle rendition of “The Spot”, which was initially almost perplexing in its anticlimactic-ness. The song doubled over on itself and picked up, thrilling with the guitarist’s tight and fiery notes. The last song of the night saw the triumphant return of the horns, as the band played its heaviest-hitting banger of the evening, “Collateral”. At times verging into almost dubstep-territory, the song seemed to bend the notion of genre almost to unrecognizability.Walking out of a TAUK show, listeners find themselves in a state of both awe and exhaustion, truly fascinated by the level of intricacy in each song and outright marveling at the group’s capacity to perform the repertoire with such ease. There is some strange magic afoot in Oyster Bay, and it has given birth to a group of the most talented musicians in the jam scene, with a taste and tone so wide-ranging and eclectic that it almost seems to defy classification. The only way to really ‘get it’ one would suppose, would be by showing up to the next gig you can catch.
As the midterm elections approach, many conservative Americans are making the Tea Party-style argument that the U.S. government should be small, localized, and as personally unobtrusive as possible.But according to a new survey by The Washington Post, the Henry J. Kaiser Family Foundation and Harvard University, many who take that position also hold positions inconsistent with a small-government mindset…
The Notre Dame Band’s video on the website had more than 37,000 views as of Tuesday night, making it one of the highest viewed performances in the contest. While band members would love to win the contest and receive all the recognition that comes with the success, most are hoping Notre Dame wins so that they can give back to the community. The band is involved in two separate programs, but both involve bringing music into the elementary school classroom. O’Leary said without these charitable programs, the schools band members visit wouldn’t have instruments or the lessons the members provide to the students. Now, the Notre Dame Marching Band is hoping the entire country will be able to see one of their unique routines on national television and raise money for a good cause along the way. “We actually had planned on performing the song this year before the contest,” Assistant Band Director Emmett O’Leary said. “The song is a classic marching band tune and it worked well for us because there’s a lot you can do with it.” The Notre Dame band submitted a video from the halftime show they performed at Michigan State, which was identical to the halftime performance from the week before at the Michigan game in Notre Dame Stadium. The performance was highlighted by Band Director Dr. Ken Dye’s musical arrangement, which featured the band members arranging themselves into a volcano — complete with smoke — and the leprechaun on a surfboard. The contest was organized by CBS to coincide with the network’s premiere of the reboot of the drama, but the famous theme song has been a favorite of marching bands for several years. “We make an announcement every day to keep voting because everyone is really excited about winning and contributing to the South Bend community in this way,” Garry said. Even when the first half of a Notre Dame football game concludes and the scoreboard isn’t Irish-friendly, students and fans can always rely on the Fighting Irish band to perform at halftime. “Tons of different schools submitted film for this competition,” senior head drum major Glynnis Garry said. “I think we have a really good shot of winning. Our show is really creative and the arrangement is one of the best arrangements we’ve had in a long time.” The desire to give the money back to the community is one of the driving forces behind the band members trying to get the student body and alumni involved in the voting process. The online contest, which takes place at cbscollegesports.com, features videos from all of the competing bands. Fans can vote once a day for their favorite band. “We have our own Bandlink programs, where one is run through the Salvation Army for the public schools in the area and the other one we do ourselves for the Catholic schools,” senior assistant drum major Tim Zintak said. The band is one of 18 collegiate marching bands competing in CBS’s “Hawaii Five-O Marching Band Mania” contest, where university and college bands from across the country arrange, choreograph and film an original performance to the theme of the classic television show, “Hawaii Five-O.” Zintak said he believes the contest is a perfect opportunity for the Notre Dame Marching Band to showcase their dedication to both their values and their art. When the contest concludes on Oct. 4, the band with the most votes will receive $25,000 and the video of their performance will run on CBS. “The Notre Dame band has stated from the beginning that if we win, the $25,000 will go to our charity programs,” Garry said. “We have the students and a couple of staff members go to these underserved areas of town,” O’Leary said. “We’ve also supplied instruments to students in Jamaica through some international groups. There are several great things we could do with this money.” A few band members created a Facebook event titled “Vote for ND Band!” which asks students and other members of the Notre Dame family to vote everyday for the Band of the Fighting Irish’s submission. “This contest really highlights our commitment to service while exhibiting how well we perform,” he said. “I think that perfectly matches up the performance side with the service side that we think and hope the band should be.”
By the end of this year the regulator intends for the group to have achieved consensus on a standardised cost disclosure template, based on Sier’s work with the LGPS. It will also aim to agree how the template will be used, how accuracy will be ensured, and how it should be adapted in future – including for use with “non-mainstream” asset managers”.“It is a brave appointment by the FCA,” said Con Keating, head of research at insurer Brighton Rock and a fellow transparency campaigner. “It makes a statement that the regulator isn’t going to take any prisoners.“To analyse a manager’s skill, you need data on performance, cost and fees. This will harm inefficient and corrupt managers. In so doing, it will make UK asset management more competitive globally.”Sier’s role as convenor is to bring together interested parties – including the asset managers’ trade body, the Investment Association, which initially fiercely rejected calls for transparency – but he has also done his own work on devising cost transparency frameworks.He recently gained recognition for his work adapting a Dutch disclosure template for use by local government pension schemes (LGPS), which has already shed light on areas of ‘hidden’ charges.The LGPS work was facilitated by Unison, the public-sector trade union, which now expects trade union representatives to be part of Sier’s convened committee.Colin Meech, national officer for Unison, said: “We hope that both Chris and the FCA recognise the role trade unions have played both in the UK and in the Netherlands in delivering greater transparency for pension funds. We ask both Chris as convenor and the FCA to ensure that there is a seat for the Trades Union Congress on the cost transparency committee.”The working group was proposed as part of a raft of recommendations from the FCA to improve the asset management sector, set out in its Asset Management Market Study. The UK regulator has appointed Chris Sier to oversee the new framework for cost transparency across the entire asset management sector.The Financial Conduct Authority (FCA) has tasked Sier – an outspoken campaigner for improved disclosure – with leading a working group that will attempt to achieve a consensus on how to make asset management costs clearer.Sier – a professor at Newcastle University Business School – has campaigned for 10 years in both retail and institutional investment to uncover the charges that impact savers.Announcing Sier’s appointment, the FCA said the working group’s first meeting was slated for September.
Sharing is caring! 101 Views no discussions Tweet LifestyleLocalNews Community Zones to Compete for Tourism Enhancement Competition Prize by: – February 13, 2020 Share Share Indian River, PortsmouthThe Dominica Community Tourism Association is inviting communities to compete for best tourism product in its Community Tourism Enhancement Competition.This initiative to enhance Dominica’s community tourism product will be anchored on four pillars: cleanliness, landscaping, hospitality and community involvement.At its launching on Wednesday, February 12th, Lester Riviere, manager of Dominica Community Tourism Association, relayed that the competition is expected to build greater awareness of Dominica’s community tourism subsector.He says that the competition provides an opportunity for communities to promote their uniqueness.“They can showcase their talents and abilities in craft, wellness, culinary skills and others. The good thing is that all the zones will be awarded cash prizes based on their participation and a winning trophy.”Meanwhile, President of the Association, Josephine Dublin-Prince says the competition’s concept is based on grassroots community development.“For that to happen, the base has to be energized,” she said. “This is to create the opportunity to villagers to understand the development…begins with them and transcends from what they do at the community level.”The five zones are:Zone 1 -Giraudel/ EgglestonZone 2-Layou, St Joseph and MeroZone 3- Grandbay and Bellevue ChopinZone 4- Soufriere and Scotts HeadZone 5-Wotten Waven and Laudat Share
Every day or so you read in the papers or hear on the news that the FBI has named another coach or player who has been investigated for allegedly getting paid by a shoe company. Coaches, like Rick Pitino of Louisville, have already been fired over supposedly many transgressions through the years. In Pitino’s case it was more than just the shoe money. In most of today’s cases, it involves money being paid to either players, their families, or some coaching member for getting a certain player to go to a specific university.I am wondering as this continues to drag on whether more coaches will be fired, or will it just make a huge noise for a while and then fade away. In many cases in the past, big announcements were made against certain coaches or universities, but after a lengthy investigation very little or no action is taken at all. Remember the North Carolina academic scandal? No one lost their job as far as I know, and the university is still eligible for all championships.Shouldn’t the FBI be working on more important things like preventing school shootings & let these basketball investigations be taken by the NCAA? Just wondering.