Realizing that the ship was beyond repair, Columbus ordered his men to strip the timbers from the ship. With the boy at the helm, the currents carried the ship onto a sandbank, running her aground off the present-day site of Cap-Haïtien, Haiti. The night being calm, the steersman also decided to sleep, leaving only a cabin boy to steer the ship, a practice which the admiral had always strictly forbidden. Then on the return trip, on 24 December (1492), not having slept for two days, Columbus decided at 11:00 p.m. With three masts, Santa María was the slowest of Columbus' vessels but performed well in the Atlantic Ocean crossing. Santa María, being Columbus' largest ship, was only about this size, and Niña and Pinta were smaller, at only 50 to 75 tons burden and perhaps 15 to 18 metres (49 to 59 ft) on deck (updated dimensional estimates are discussed below in the section entitled Replicas). Both were caravel vessels 19 m (62 ft) in length overall, 12.6 m (41 ft) keel length and 5 to 5.7 m (16 to 19 ft) in width, and rated between 100 and 150 tons burden. These include the ballast piles and keel lengths of the Molasses Reef Wreck and Highborn Cay Wreck in the Bahamas. The exact measurements of length and width of the three ships have not survived, but good estimates of their burden capacity can be judged from contemporary anecdotes written down by one or more of Columbus's crew members, and contemporary Spanish and Portuguese shipwrecks from the late 15th and early 16th centuries which are comparable in size to that of Santa María. Niña, Pinta, and the Santa María were modest-sized merchant vessels comparable in size to a modern cruising yacht. All these ships were second-hand (if not third- or more) and were not intended for exploration. ![]() The other ships of the Columbus expedition were the smaller caravel-type ships Santa Clara one particular ship sailed for 46 years and was remembered as La Niña (" The Girl"), and La Pinta (" The Painted"). ![]() Santa María had a single deck and three small masts. Santa María was probably a medium-sized nau ( carrack), about 58 ft (17.7 m) long on deck, and according to Juan Escalante de Mendoza in 1575, Santa Maria was " very little larger than 100 toneladas" (about 100 tons, or tuns) burthen, or burden, and was used as the flagship for the expedition. Santa María was built in Pontevedra, Galicia, in Spain's North-West region. Her master and owner was Juan de la Cosa. La Santa María de la Inmaculada Concepción ( Spanish for: The Holy Mary of the Immaculate Conception), or La Santa María, originally La Gallega, was the largest of the three ships used by Christopher Columbus in his first voyage across the Atlantic Ocean in 1492. 7 years.Ship model at Fort San Cristóbal, San Juan, Puerto Rico Single territory rights for trade books worldwide rights for academic books. Print and/or digital, including use in online academic databases. ![]() ![]() Web display, social media, apps or blogs. Personal presentation use or non-commercial, non-public use within a company or organization only. Not for commercial use, not for public display, not for resale. Personal Prints, Cards, Gifts, Reference.
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![]() The latest version, 6.0, delivers full support for macOS Sierra and OS X El Capitan, but Noise Industries maintains two previous versions for compatibility all the way back to OS X Lion 10.7. Each plugin has a detailed product page with demo and tutorial videos that show how each tool works, but a 14-day trial download is only a click away so editors can experience how the full version fits into their workflow. Using FxFactory is as straightforward as the Mac App Store four buttons across the top provide shortcuts to featured new products, browsing the entire catalog (or only apps you have installed) and automatic updates, when available.įxFactory’s dark user interface nicely matches the aesthetic of modern video apps, and requires little maintenance beyond signing into your account. The core software is free to download (as are nearly 20 of the plugins), but the $399 Pro version includes with over 175 built-in effects of its own, including blurs, color corrections, distortions, generators, glows, halftones, tiling, transitions, and more. FxFactoryįxFactory 6 is a slick app store for pro video plugins, with free 14-day trial installations and easy one-click purchasing. Not all plugins work with every host, and some are exclusive to FCPX-a welcome change, since rival Red Giant tends to favor Adobe. The rest happens behind the scenes, with FxFactory responsible for installing and updating plugins for compatible host applications, including Final Cut Pro X, Motion 5, Adobe After Effects CC, and Adobe Premiere Pro CC. On the surface, it’s a storefront for pro video plugins from 28 different developers including Noise Industries, the brainchild behind the concept. FxFactory is the rare Mac application you’ll rarely need to launch. ![]() Each of these benefits gives families access to more and better jobs. For example, wealth can be used to support both children’s and parents’ education, to start a business, to buy a house in a neighborhood with access to good jobs, and to move to new places when better opportunities arise. Wealth makes it easier for families to invest in their own futures. To close these persistent labor market gaps, African American families need more wealth to begin with. For Black women, the intersection of race and gender bias has had a combined effect on their labor market experiences, too often devaluing their work and confining their opportunities. 4 Despite notable improvement, today’s Black workers still have a harder time than whites securing good employment. These include repeated violent oppression of African Americans such as the riots that destroyed Black business owners’ wealth on the Black Wall Street in Tulsa, Oklahoma in 1921, codified segregation, legal racial terrorism during the almost centurylong period from Reconstruction to the civil rights era, systematic exclusions of African Americans from better-paying jobs, and continued occupational segregation. There are several factors that have contributed and continue to contribute to this. The labor market experience for African Americans has historically been worse than that for whites, and this continues today. For example, African American workers often see their unemployment rates go up sooner than white workers when the economy sours, and their unemployment rates also take longer to decline when the economy improves than is the case for whites-a phenomenon often described as “last hired, first fired.” Moreover, unemployed Black workers look longer to find and secure a new job than do white workers. Moreover, they tend to work in jobs that are less stable than those held by white workers. They regularly experience higher unemployment rates and work in worse jobs, which feature lower pay and fewer benefits, than whites. ![]() African Americans have always been more vulnerable in the labor market. ![]() These differences are not new, and the longest labor market expansion on record has not eliminated them. 3 Despite African American workers having increased access to jobs and actually getting more jobs, labor market outcomes-including higher unemployment and fewer good jobs-continue to be worse for African American workers and their families. These persistent differences reflect systematic barriers to quality jobs, such as outright discrimination against African American workers, 1 as well as occupational segregation-whereby African American workers often end up in lower-paid jobs than whites 2-and segmented labor markets in which Black workers are less likely than white workers to get hired into stable, well-paying jobs. They continue to face systematically higher unemployment rates, fewer job opportunities, lower pay, poorer benefits, and greater job instability. (see Figure 1) However, African American workers still face more hurdles to get a job, never mind a good one, than their white counterparts. labor market has now seen a record 109 months of uninterrupted job growth, with the overall unemployment rate falling to its lowest level in 50 years. Author’s note: CAP uses “Black” and “African American” interchangeably throughout many of our products. We chose to capitalize “Black” in order to reflect that we are discussing a group of people and to be consistent with the capitalization of “African American.” ![]() It includes different helping tools to enlarge the resolution of any sized images. It helps to enhance the face look and the other parts of images. It shines special parts of the face like eye color, skin tuning, and removal of unwanted things. 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Pettigrew’s Duke of York trivia is one of the longest-running pub quizzes in the city. He had trivia booklets printed with the title “Zoom Trivia Live!” and A/V rounds included Pettigrew’s pandemic-perfected before-and-after marker drawings, which the community loved enough to demand they get their own Instagram account You can play along there, guessing answers like “Juno Country for Old Men” and “Blade-y and the Tramp.” “Let’s get the band back together one last time.” “Like, we’ve been seeing each other for 100 weeks on Zoom,” he said. He likened the in-person version to “a Scorsese ‘Last Waltz.’” He told me he felt guilty he didn’t reunite us sooner and paid for this live iteration out of his own pocket. “It really helped to be working away at trivia rounds rather than ruminating about my health.”Įventually, when the world started opening up again and people got Zoom fatigue, virtual trivia fizzled, leading Pettigrew to announce a hiatus in May 2022. “There was a period of about a month when everybody thought I was going to die,” he said. Weekly trivia helped many through a tough time, including Pettigrew, who underwent major surgery in October 2020. He later raised money for those in need, such as Black Lives Matter demonstrators who required bail funds after being arrested during George Floyd protests. At first, Pettigrew kept some of it himself and gave the rest to laid-off bar staff. There was no entrance fee, just pay-what-you-can donations through e-transfer. It was a sense of structure and community during a time when we were all longing for it. When one of us got engaged or pregnant, the team members were some of the first to know.Īt a time of extreme isolation, seeing the same faces every Monday night, cracking jokes and identifying songs from three-second audio clips, was a much-needed shared experience. Some of my teammates were already friends, some started out as friends of friends, but soon I knew their lives intimately and they knew mine. With two different screens open - one where Pettigrew read the questions, and the other where I conferred with my Shut Up, Nerds! teammates - we played multiple rounds every week. Pub quizzes spread to Toronto from the UK, and at their core they’re all relatively similar: a host reads a series of questions (sometimes offering audio and visual clues), as teams write down answers to compete for a prize - say, a pitcher of beer, an appetizer or simply bragging rights.įor me, and many other regulars, those nights on Zoom were a lifeline. ![]() ![]() They’ve both specialized and diversified, and now there’s a pub quiz to fit virtually every personality or interest. After many local games pivoted online, they’ve now come roaring back to life, more ubiquitous than ever. Trivia has always been a fun thing to do on a weeknight, but it’s become much more meaningful since the pandemic. ![]() “I’ve aged about a decade,” said quizmaster Luke Pettigrew during his introduction to the crowd of 90 or so players. This was the first time we gathered in person to play in three years, but for many of us it felt longer. It was like being at an A-list TIFF party - except these were all trivia nerds like me. Everywhere I looked I saw faces I’d only ever seen on screens. George subway station, everyone laughed a little harder. I’ve been to the Duke of York’s pub quiz dozens of times, but on a recent Monday evening I felt a new energy.Īs I squeezed into a booth in the packed basement of the British pub near St. United States presidential election results for Montgomery County, Kansas Year About 9.20% of families and 12.60% of the population were below the poverty line, including 16.80% of those under age 18 and 10.90% of those age 65 or over. The per capita income for the county was $16,421. ![]() Males had a median income of $29,745 versus $20,179 for females. The median income for a household in the county was $30,997, and the median income for a family was $38,516. For every 100 females age 18 and over, there were 88.60 males. For every 100 females there were 93.20 males. In the county, the population was spread out, with 25.00% under the age of 18, 8.60% from 18 to 24, 24.70% from 25 to 44, 23.30% from 45 to 64, and 18.30% who were 65 years of age or older. The average household size was 2.37 and the average family size was 2.93. 29.70% of all households were made up of individuals, and 14.70% had someone living alone who was 65 years of age or older. There were 14,903 households, out of which 29.80% had children under the age of 18 living with them, 53.00% were married couples living together, 10.10% had a female householder with no husband present, and 33.20% were non-families. Hispanic or Latino of any race were 3.08% of the population. The racial makeup of the county was 85.77% White, 6.07% Black or African American, 3.19% Native American, 0.47% Asian, 0.02% Pacific Islander, 1.13% from other races, and 3.34% from two or more races. There were 17,207 housing units at an average density of 27 per square mile (10/km 2). The population density was 56 people per square mile (22 people/km 2). The Coffeyville Micropolitan Statistical Area includes all of Montgomery County.Īs of the 2000 census, there were 36,252 people, 14,903 households, and 9,955 families residing in the county. Population pyramid based on 2000 census age data Historical population Census In other words, all directions to the "United States" will lead to a point in Fawn Creek. Google Maps uses Fawn Creek Township within Montgomery County as the zero-mile point of the United States. Western portions of the county contain parts of the northern Cross Timbers eco-region, which separates the forested eastern portion of the United States with the Plains. The lowest point in the state of Kansas is located on the Verdigris River in Cherokee Township in Montgomery County (just southeast of Coffeyville), where it flows out of Kansas and into Oklahoma. Census Bureau, the county has a total area of 651 square miles (1,690 km 2), of which 644 square miles (1,670 km 2) is land and 8.0 square miles (21 km 2) (1.2%) is water. Įarly in 1869, however, settlers began to cross the Verdigris River, "at first under protest of the Indians, but the immense throng of settlers soon made all protests futile." Montgomery County was surveyed and organized in 1869 the governor appointed commissioners June 3. ![]() Like the Osages, the Bunkers thought they were beyond the boundaries of civilization. In 1867 Frank and Fred Bunker established a primitive cattle camp on the west side of the Verdigris south of the confluence. From the west the Elk River joins the Verdigris at a confluence slightly northwest of the geographical center of the county. The Verdigris flows from north to south through the center of Montgomery County. įor a brief time, the Osages attempted to maintain a boundary at the Verdigris River. ![]() This treaty conceded white settlement on land in the eastern part of what is now Montgomery County. As early as 1866, the Osages were forced to cede tracts at the eastern and northern edges of the reservation. After the Civil War ended, the Osage lands were coveted as the largest and last reserve of good land in the eastern part of the state. The reservation had been established in 1825. When Kansas was admitted to the Union as a state in 1861, the Osage Indian reservation occupied a large tract of land near the southern border. It was named in honor of Richard Montgomery, an American Revolutionary War general killed in 1775 while attempting to capture Quebec City, in Canada, after successfully capturing two forts and the city of Montreal. Montgomery County was established on February 26, 1867. In 1854, the Kansas Territory was organized, then in 1861 Kansas became the 34th U.S. In 1803, most of the land for modern day Kansas was acquired by the United States from France as part of the 828,000 square mile Louisiana Purchase for 2.83 cents per acre. In 1802, Spain returned most of the land to France, but keeping title to about 7,500 square miles. In 1762, after the French and Indian War, France secretly ceded New France to Spain, per the Treaty of Fontainebleau. From the 16th century to 18th century, the Kingdom of France claimed ownership of large parts of North America. ![]() For many millennia, the Great Plains of North America was inhabited by nomadic Native Americans. ![]() Web the automotive wiring harness in a 2003 kia spectra is becoming increasing more complicated and more difficult to identify read free kia spectra. Having a kia stereo wiring diagram makes installing a car radio easy. Kia spectra wiring engine diagram and wiring. 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This free open source program has been created and is supported by a loyal community of programmers. DxO also recently acquired the excellent Nik Collection of image processing plug-ins, so we can expect some interesting additions and features. ![]() While it has an image browser, PhotoLab does not create a catalog, so this isn’t a full Lightroom replacement, but it is a superb raw developer. The ELITE version of what DxO now calls “PhotoLab” offers DxO’s superb PRIME noise reduction and excellent ClearView contrast enhancement feature. Noise reduction is “Perfectly Clear” from Athentech and works well. Here’s a low cost Lightroom replacement for image management and raw processing abilities. It is a Lightroom replacement only, but a very good one indeed. So Capture One cannot be used like Photoshop, to stack and composite images. The MacOS version resembles the Windows Pro version.Ĭost: $299, and $120 for major upgrades, or by subscription for $180/yearĪs of version 11 this powerful raw developer and cataloguing program offers “Layers.” But these are only for applying local adjustments to masked areas of an image. Only the Pro version offers the full suite of raw development features, in addition to cataloging functions. Windows users have a choice of either a Standard or Professional version. Lightroom Contenders: Five Raw DevelopersĪCDSee Photo Studio (current as of late 2017)Ĭost: $60 to $100, depending on version, upgrades $40 to $60. My question is, how well do they work? Are any serious contenders to replace Photoshop or Lightroom? Thus the popularity of these alternative programs. Though $120 for a year is not far off the cost of purchasing many of these other programs and perhaps upgrading them annually, many photographers prefer to purchase their software and not subscribe to it. Photoshop and Lightroom complement each other and are now available together, but only by monthly subscription through Adobe’s Creative Cloud service, at $10/month. Camera Raw and Lightroom have identical processing functions and can produce identical results. Camera Raw is equivalent to the Develop module in Lightroom, Adobe’s cataloguing and raw processing software. Most have free trial copies available.Īdobe Camera Raw (ACR), Photoshop, Bridge, and Lightroom, the standards to measure others byĬost: $10 a month by subscription, includes ACR, Photoshop, Bridge, and LightroomĪdobe Camera Raw (ACR) is the raw development plug-in that comes with Photoshop and Adobe Bridge, Adobe’s image browsing application that accompanies Photoshop. Here are the image processing programs I looked at.
Prior to Ogilvy, Robert held senior marketing and agency management positions at JPMorganChase, Prudential, AT&T, & Epsilon. During his tenure at WPP, he also served as COO of Ogilvy & Mather South and Head of CRM for Ogilvy, North America. He previously served as Global Managing Director at WPP leading the integrated marketing services business for InterContinental Hotels Group, one of WPP’s largest global client relationships. In addition, Robert was co-leader of the IBM Digital Services Group - an internal marketing services organization delivering solutions in digital strategy, content creation, web production and data services. Robert joined IBM as VP, Global Digital Marketing at IBM, where he led a global community of over 800 digital marketing professionals focused on content engagement, search, social, mobile, digital experience and performance media. In 2017, Robert was named a to PRWeek’s Power List. In this role, Robert led over 3500 practitioners in 38 IBM iX Studios across the globe, working with clients to explore how applied creativity and business design impact their products and customer relationships. Prior to joining Carat, Robert served as Global Leader, Agency Services for IBM iX, overseeing the strategy, creative, digital and design disciplines around the world. Robert also serves as co-CMO of Dentsu Aegis Network media line of business, focused on digital transformation and talent. Schwartz is a graduate of Temple University School of Law and of Haverford College, which in 2011 also awarded him an honorary degree.Robert serves as CMO, Carat, where he leads all aspects of marketing as well as the agencies’ thought leadership and eminence agenda. Cahn Award, presented by the National Association of Counsel for Children for career achievement and the Haverford Award for service to humanity. Schwartz has been the recipient of numerous awards, including the Mark Hardin Award from the ABA Center on Children and the Law Andrew Hamilton Award, presented by the Philadelphia Bar Association “for exemplary service in the public interest” the Reginald Heber Smith Award, presented by the National Legal Aid and Defender Association the Livingston Hall Award, presented by the American Bar Association and the Stephen M. During his time as a Visiting Fellow, Schwartz has worked to make juvenile probation services more aligned with knowledge of adolescent development. In April, 2016, Schwartz became Stoneleigh Foundation’s first Visiting Fellow, a position that ends in August, 2017. From 2003-2012, Schwartz chaired the Board of the Philadelphia Youth Network. Schwartz in 2005 became chair of the Advisory Committee to the Children’s Rights Division of Human Rights Watch. From 1991 to 2012, he was a gubernatorial appointee to the Commission’s Juvenile Justice and Delinquency Prevention Committee, which is the State Advisory Group that distributes federal funds in Pennsylvania and advises the governor regarding juvenile justice policy. From 1996-99 he was a gubernatorial appointee to the Pennsylvania Commission on Crime and Delinquency. ![]() As part of the Network, he co-edited Youth on Trial: A Developmental Perspective on Juvenile Justice (University of Chicago Press 2000). In 1993 he visited South Africa to help develop a legal system for children, and was invited to China in 2010 to speak to judges and lawyers about sentencing of youth.įrom 1996-2006, Schwartz was a member of the MacArthur Foundation Research Network on Adolescent Development and Juvenile Justice. In 1993 he also co-authored the American Bar Association’s report, America’s Children at Risk and in 1995 he helped author a follow-up report on youths’ access to quality lawyers, A Call for Justice. From 1992-08, he was chair of the Juvenile Justice Committee of the American Bar Association’s Criminal Justice Section. Schwartz chaired the American Bar Association’s Commission on Youth at Risk from 2011-2013. ![]() Schwartz’s career has not been limited to Pennsylvania, but has included fighting nationally and internationally for youths’ rights. During his career there, Schwartz represented dependent and delinquent children in Pennsylvania juvenile and appellate courts brought class-action litigation over institutional conditions and probation functions testified in Congress before House and Senate committees and spoke in over 30 states on matters related to children and the law. ![]() Schwartz co-founded the Juvenile Law Center in 1975 and was its executive director from 1982 to 2015. Schwartz held the Beck Chair in Law from 2017 – 2019. |