#macaulay library archive

[tinyowlthoughts]

THE BIRBS ARE HERE

Find someone who looks at you like this feral rock pigeon looks at her beau (his beau? How does one sex a feral rock pigeon?)

Hat.

"You do this every time! If you want some, order it yourself, stop eating off my plate!"

MOTHER. FUCKING. CASSOWARY.

Humanity is lucky the emu's didn't call for back up. If they'd gotten the cassowary special forces involved, Australia would belong to the birds.

Fun fact: owls can't roll their eyes in exasperation. Their eyes are mostly fixed in place in the orbital socket, that's why their heads turn so far! Also why so many get hit by cars - see a mouse, swoop down for mouse, can't see the vehicle coming at them because their focus is totally on the food.

When volunteering at the wildlife rehab center, I got to help weigh a Great Horned Owl. He was wrapped up in a towel, and then we put him in a Quaker Oats tube to keep him still on the scale. Big motherfucker - HUGE talons. He survived and was released a couple months later, I'm pretty sure.

(Plug: donate to your local wildlife rehab centers! They're almost always non-profit and do great work, and if you don't mind scooping poop or scrubbing cages, they usually have volunteer opportunities!!!)

Mom. Mom. MOM. MOM! MOMMA! MOMMA! MOMMY!

NGL, thought the snow was a cloud and we were finally getting a proper kaiju event.

(I don't know why I did this - I just saw birds and got excited and had to share. BIRBS!)

(Photos belong to Macaulay Library Archive & respective photographers!)

[markscherz]

Is there an online register of different frog species' sounds that you would recommend?

There is no one good place to go, but

iNaturalist.org has a lot

xeno-canto.org just added frogs, and is probably the best in terms of data and UI

Macaulay library has some

FonoZoo is horribly built but has quite a few

Museum für Naturkunde Berlin's Animal Sound Archive is horribly built but has quite a few

Hope that helps!

[herpsandbirds]

hallo. this might be nothing, since i'm once-a-year casual about bird recordings - but did something happen with macaulay library / ebird? they arrange their maps by hotspots and some of them are empty. the archives grind to a halt at 2023 or so. this makes no sense bc the ones i'm looking at are on a popular pilgrimage / hiking route, and maybe 1 hotspot out of 6 has a full list of birds. but the ones adjacent are empty? this could be my bad memory but i swear there were far many more audio files online. like we used to have trouble paging through them all. same with xeno-canto. is this something?

I personally do not use ebird, not do I use Maccaulay in a systematic way, so I don't know.

Does anyone know about this?

[rjzimmerman]

Here are five of the photos. They're all terrific photos, but these five pulled me in.

An Eastern Bluebird chases a Tree Swallow. Photo by Brad Imhoff / Macaulay Library.

Juvenile Eurasian Kestrels in their urban nest in Radešínek, Czech Republic. Photo by Lenka Steuter / Macaulay Library.

A Blue-headed Vireo in North Carolina has four hungry mouths to feed. Photo by Emilia Deino / Macaulay Library.

A Eurasian Scops-Owl disappears into tree bark in Israel. Photo by Liron Grau / Macaulay Library.

A Dunlin finds a perfect perch atop a Willet in California. Photo by Steven Hunter / Macaulay Library.

[northamericanbirder]

  Get to know your bird organizations:

Cornell Lab of Ornithology

The Cornell Lab provides quite a number of data-driven apps and repositories, with many of the contributions through citizen science (birders like you and me):

eBird (website and mobile app) This has become the de facto app and website for submitting bird sightings. It's also great for researching birding hotspots all around the world. The website offers a great deal more information and functionality than the app (such as uploading photos to accompany your sightings, and providing you with your own central sightings hub complete with maps), so using them in tandem is the best strategy. All rare sightings are reviewed for accuracy by qualified volunteers.  

Merlin (mobile app) This is the app that gets a lot of press due to its ease of entry to the world of birdwatching. Hit the 'record' button and it will listen for bird calls and suggest species. It does a decent job of that. You can also upload photos of birds to see if they match anything in the database. Note however, that it has developed a bit of a reputation for frustrating ornithologists due to false positives that novices might not catch, suggesting rare birds that wouldn't be anywhere nearby, and thus tainting the eBird data.  

All About Birds Cornell's bird guide; search by species and it will provide a great deal of information. There's a lot of clicking involved (there's an Overview tab, an ID info tab, a Life History tab, a Maps tab), instead of the info being presented on a single scrollable page, but I enjoy their 'Cool Facts' section.  

Macaulay Library This is Cornell's media library (photos, videos, audio). When a photo or audio clip is submitted through eBird, it will then show up here in the archives, along with any additional information that the photographer might have included (e.g., how many are in the photo, is it male or female, is it foraging). The library has been operating since 1929, and has over 60 million pieces of media. The information included in the library helps to power the Merlin app, providing more photographs and audio clips for comparison purposes.  

eBird Status and Trends data visualizer Using the eBird data to track bird population increases and declines, as well as possible geographic shifts. The visualizer provides heat maps superimposed on a globe, and you can hit the 'play' button to see how things shift throughout the year.  

Feeder Watch This is a backyard counting project (in conjunction with Birds Canada) that is roughly the same as eBird, but for bird feeders and backyards. Participants spend two consecutive days per week (or as much as they can) watching to see who shows up, and you can compare your data to your neighbours. The data goes back decades, and you can use a few different visualizations to see trends.  

Bird Academy As Cornell is a university, they offer online classes. They range from the simple (eBird essentials; Free), to the more complex (Ornithology: Complex Bird Biology; $240 USD; 100+ hours to complete).  

(Eastern Bluebird photo by @everydayesterday)

[birbmania]

Hi, all! I’ve been meaning to start posting bird songs and calls since I was gifted a recording device for my birthday in April. Then I had a ruptured eardrum, technical difficulties, no idea how to upload audio to Tumblr... That last one is still iffy - the link will bring you to the Macaulay Library, an archive of wildlife sounds. I also have to learn how to use my recording device better, and I learn best by doing, so! At the moment, I don’t have a set schedule for posting these like I do pictures, but here we go~ First up we’ve got a few juvenile blue jays begging parents for food with their hoarse, plastic-sounding jeers, plus common grackles and their one-note calls. Enjoy!

[itsemily-louise-writing-blog]

EMILY MCCAUSLAND “TEENAGE DIRTBAG”

CHARACTERS: The Streets: Charlotte May Jane Louisa Street (born 30 July 1999) Maria May Jane Street (born 24 March 1973) Francesca Louisa Taylor née Street (born 3 August 1969) Cody Jake James (born 2 March 1994) Lily Elizabeth Street (born 21 August 2010) Max James Street (born 18 October 2013) The Deans: Kayla Thomas née Dean (born 30 July 1967) Jerome Dean (born 21 August 1972) The Greys/Spencers: Karl Spencer Daphne Grey née Merrimack, previously Spencer Alexander Edward Grey Logan Christopher Spencer (born 11 January 1971) Danielle Spencer née Dean (born 4 October 1974) Terri Amber Spencer (born 8 October 1993) Maxxi Lola Spencer (born 8 October 1993) Robbie James Spencer (born 21 November 1997) Evan Freddie Spencer (born 2 February 2000) Lillie Alexia Spencer (born 2 August 1972) Mark Summers Taylor Joanne Summers (born 2 December 1993) Haiden Jennifer Summers (born 1 July 1996) Rylee Felicia Summers (born 12 April 2002) Tessa Nicole Grey (born 3 June 1983) Kezia Grey (born 20 November 2000) Axle Max Grey (born 22 September 1988) Polly Anna Maisie Grey née Thomas (born 10 November 1991) Jaydon James Grey (born 10 April 2008) Tristan Mason Grey (born 21 May 2010) The Evertons: Daniel Thomas “Danny” Everton (born 5 May 1971) Rebecca Kelly “Becky” Lloyd (born 11 September 1972) Thomas Daniel “Tom” Everton (born 17 July 1992) Tiffani Rebecca Everton (born 27 March 1994) Ethan James Everton (born 15 June 1998) Elliott Michael Everton (born 15 June 1998) Maya Kelly Everton (born 11 July 2002) The Lyles: Annalise Lily “Annie” Lyle (born 21 December 1991) Elizabeth Annabelle Lyle (born 21 June 1996) Madeleine Jennifer Lyle (born 26 March 1997) The Hutches: Brett Charlie Hutch (born 21 December 1987) Thomas Jacob Hutch (born 15 December 1994) Nathaniel Mason “Nate” Hutch (born 15 November 1996) Others: Matt Cooper Jake Mitchell Ben Macaulay Amy Macaulay Nicole Harry Shields Holly Shields Shaun Brandon Thomson Nathan Thomson Nicola Thomson Lauren Mitchell Jade Kerri Ann Gemma Lottie Young Cheyenne Young Jazia Jennifer Danielle Olivia Porsche Piper Drew Zack Drew Denny Drew Anita Mitchell Maria Mitchell Charlie Thomson SCENE ONE. MANCHESTER, LANCASHIRE. V.O. AUGUST 1, 2017. ARCHIVE FOOTAGE OF CHARLOTTE GROWING UP AND CHARACTERS SHOWN AS THEY ARE NAMED. V.O. CHARLOTTE. I’m eighteen-year-old CHARLOTTE STREET, born in Manchester, Lancashire, to SHONNÉ SHIELDS and JEROME DEAN. My mum had previously been married, when she was 20-years-old, but the marriage lasted just 5 years and they divorced at age 25. She had a son, twenty-four-year-old CODY, with her ex-husband, who grew up in Liverpool with his father and I have only ever met him three times. My father was arrested and jailed before I was born, and so my mum cut him off for good and I have no ties to him. I was told I had the cancer gene from my father’s side and was diagnosed in 2012, after I turned 12, and won my battle in 2013 when I was 13. Mum’s parents LEON and LIZZIE were not in the best of health at this point and GRAMPA LEON had to be taken into hospital; NANA LIZZIE was diagnosed as being a dementia patient and taken into a care home almost immediately. They are progressing. I have five cousins: POLLY (born 10 November 1991, to Dad’s sister KAYLA), identical twin sisters TERRI and MAXXI, and ROBBIE and EVAN (born to Mum’s sister DANIELLE). POLLY had two sons, JAYDON and TRISTAN, with husband AXLE GREY. AXLE is now a single father, as POLLY sadly passed away on 10 January 2012. She also had the cancer gene. Axle is the son of DAPHNE GREY, the management at the studio where POLLY and I were a music duo, POLLY providing vocals and keyboard, and myself guitar and backing vocals. I still get money from sales. Our career lasted from September two-thousand-nine (when I was nine and POLLY eighteen) until January two-thousand-twelve (when POLLY was twenty and me twelve). I now work for the studio freelance. I live in a two bed flat with my mother and Aunt Francesca. But spend the majority of my time with my close friends: identical twins ETHAN and ELLIOTT EVERTON, sisters ELIZABETH and MADDIE LYLE, and TOM HUTCH, Elizabeth’s long-term on-again-off-again boyfriend. Elizabeth and Tom have been together for years - they were first made official in December 2011, at school five years ago - but split at least three times and then got back together during that time, but they’ve been firmly back together for eight months now - since September 2016. Ethan and Maddie have been together for four years now - since 30 June 2013 - when Ethan was fifteen and Maddie fourteen. Elizabeth and Maddie have an older sister, ANNIE. Ethan and Elliott have an older brother named THOMAS, and two sisters named MAYA and TIFFANI. Tom has an older brother, BRETT and a young brother NATE. Brett has a daughter named SOFIA with a relative of mine, KAT. Grampa Leon is Kat’s Great-Uncle. AUNT DANIELLE works as the producer of a TV series filmed in front of a live studio audience in Manchester. As soon as I turned 16, I started looking for jobs and got one working in a shop during the summer holidays. They kept me on because they thought I was doing well. But I left in late-August because she was offered another job in advertising. Then in early-September I was a shop assistant for a month before starting my job at as a waitress in a café earlier last month: November. And then I was offered to write and provide guitar for other artists/bands at the studio I had previously worked for. I also play basketball, football, volunteers at the library and attended evening classes in English, Maths and History as I never got to finish school because of my maternal grandparents’ illnesses. And I visit my maternal grandparents often, frequently changing bed sheets at the different locations and bringing them treats and just generally helping out. I started doing some charity work in the summer, gaining permission for use at the community centre; I am using the time slots for young people to sign up and do different activities such as sports, cooking, school tutoring and more, in an attempt to reduce crime; if young people are occupied with something more beneficial to put their time into then they are less likely to commit crime. I also put together fundraisers every six-months-or-so in order to raise money for cancer, with activities including singing, sports, dancing, competitions and more… I have been doing this since I was thirteen and have raised up to £5,000 on these occasions. I inherited my father’s home but rent it out because I’m not ready to live alone (but still pay rent at my mother’s), and I was named on my father’s life insurance, and inherited my father’s car - which I keep in my grandparents’ double garage - as well as inheriting other aspects and property of my father’s belongings. I was recently involved in a drugs raid after being drugged and kidnapped. I was shot in the left shoulder once and stabbed in the very bottom-right of her stomach. I was also sexually assaulted by one of the dealers who wanted money for the drugs my friend had bought. I was later arrested, charged and put behind bars. After one of the dealers’ house was burned to the ground, I was arrested and charged. After serving several months in prison they found the true culprit and released me with compensation. I subsequently fell pregnant as a result of the assault but sadly lost the baby in September at just five months. I then made the decision that I needed some time away from everything, and so moved out of my mother and aunt’s. So, I was homeless for a week or two before I moved back in. I kept my job as my record was cleared after admissions were given and charges were dropped. My bedroom is a square-shape at the back of the home. The bedroom contains: an en-suite on the bottom-right of the room; a wardrobe in the top-right of the room; the bed in the top-left of the room; a bedside and one of two desks next to it, by the window; a stand with a TV on in the bottom-right corner; a round wooden table under the window containing: teddies, baskets with chocolates, sweets and cookies, glitter, candles; a guitar circle containing three guitars on stands in the middle of the room; and a keyboard against the right-side wall. This community centre; work at the café; library; Maths classes; English classes; play football; writing for the studio; basketball training; care home; studying History. I teach guitar. On my basketball team were MATT, JAKE, and siblings BEN and AMY; on my football team were NICOLE, siblings HARRY and HOLLY, and SHAUN. Since the evening classes I have become friends with siblings BRANDON, NATHAN, NICOLA, and LAUREN and JADE, especially as they all help each other during and outside their classes. At the café I often share shifts with three girls around my age named KERRI ANN, GEMMA and LOTTIE. Lottie has a younger sister named CHEYENNE, with whom I have also become quite close. At the studio I have provided guitar for a girl band consisting of members JAZIA, JENNIFER, DANIELLE, OLIVIA and PORSCHE, and solo singers PIPER DREW (through whom I also met her siblings ZACK and DENNY when they came to the studio to see her) and ANITA MITCHELL (through whom I also met her sister MARIA when she came to the studio to see Anita). I also met a guy named CHARLIE THOMSON when I was in London travelling during my music career. We have a lot in common: Charlie’s father also passed away due to cancer, and his mother is a drug user - she’s getting treatment presently. SCENE TWO. MANCHESTER, LANCASHIRE. AUGUST 1, 2017. HOME. DAYTIME It’s Tuesday, May 2, 2017, and six-o'clock-in-the-morning so CHARLOTTE is in the flat getting ready for work and the day ahead of her. She goes to work wearing a long-sleeved black crop top and a long, brown fluffy, warm winter jacket with a fluffy white collar, white scarf, black skinny jeans, and with black trainers. She has her long straight jet-black hair down and a black headband with a cute little black bow on its side, and a small black over-the-shoulder bag. She locks the flat’s white front door and then heads for the café around the corner at 06:35. SCENE THREE. MANCHESTER, LANCASHIRE. AUGUST 1, 2017. INT. CAFE. DAYTIME. She arrives at 06:50. In the kitchen, there is a cupboard in the top-left corner, containing lockers; CHARLOTTE opens the locker using her combination, places her bag and coat inside of it, and then gets her coat out of her bag and places it in the back pocket of her jeans, then closing the locker so it’s secure, and putting the required work apron on, which only goes on the waist, not around the neck; she ties it on so that her black crop top reveals her belly button and belly button piercing. Her manager ANA, then comes from around a corner. ANA Oh, hi, Charlotte, how are you today? CHARLOTTE I’m OK thanks, Ana, and yourself? ANA Good ta. So, if you could get some more coffee cups out of storage, refill the coffee machine, and set the buns and bread out, please. That’d be a wonderful start. CHARLOTTE Of course. By 07:45 she has finished all this, and has now taken it upon herself to clean the tables, fridge and counter rather than waiting for ANA to ask her. This is done by 08:15, and customers have started arriving for their morning coffees now, so CHARLOTTE washes her hands and puts a pair of gloves on from storage to make sandwiches. She makes around twenty sandwiches and packages them within an hour. By 09:15 she has been asked to wash up, which takes her around twenty minutes, so by 09:40 she has begun serving customers. By 10:30, after forty minutes of serving, she is due a break and so takes a croissant from the tray on the counter, then making herself a coffee and placing the money in the till; steps out the back and then eats the croissant, getting out a cigarette and lighter along with her phone, holding the coffee and cigarette in one hand and scrolling through her phone with the other. At 10:40 she goes to the staff loo just behind the kitchen, and then heads back in for work by 10:45. Ana then asks her if she’ll restock the fridge while ANA serves. And finally, at 11:15, she’s asked to serve again for the last 45 minutes of her shift. And by 12:00 she’s back at her locker and waving goodbye to ANA. SCENE FOUR. MANCHESTER, LANCASHIRE. AUGUST 1, 2017. INT. FLAT. DAYTIME. She’s home by 12:15 and grabs her laptop and some papers for the group she runs, substituting her small black bag for a bigger black backpack, placing her laptop, phone, purse, notebook and pencil case, small makeup bag including deodorant, perfume, hair and headbands and hair clips, and hairbrush, and a memory stick and earphones. Taking her coat off, she then goes to the fridge to see what there is to eat for lunch. She decides on a pasta salad and sits down at the small round wooden kitchen table to eat it. By 12:30 she’s finished and washed up and so gets her coat from back off the coat stand, grabs her keys from the side, along her backpack, and then locks back up. She then heads to the community centre, taking a 10-minute bus ride and a 20-minute walk, arriving at the community centre for one o'clock, some of the young people having already arrived and waiting outside the hall we use. SCENE FIVE. MANCHESTER, LANCASHIRE. AUGUST 1, 2017. INT. COMMUNITY CENTRE. DAYTIME. As they start going in, there is a sign-up sheet that CHARLOTTE puts out, along with an activities sheet, and so they line-up to sign it. She then to set-up the five different activities they’ve got in-store. The tutor then comes in and greets everyone with an apology for being late, and they set up a table for her to sit with the students. CHARLOTTE joins in with some of the activities for an hour-and-fifteen-minutes, and at 14:30 they sit down for a chat about how things are going in general, and then at 14:45 they begin packing up. By 15:00 they have packed up and got their things and are ready to go; they say their goodbyes and then MADDIE heads back home, arriving there for 15:30, getting her laptop out of her backpack and getting some song sheets up so that she can write on them. SCENE SIX. MANCHESTER, LANCASHIRE. AUGUST 1, 2017. INT. FLAT. DAYTIME. She finishes at 17:00 and then begins cooking some tea. She has a small TV in the kitchen on the side, and often watches whilst cooking and eating at the dining table; she switches it on after she’s prepared the vegetables she’s going to cook. She then puts some sausages in the oven and starts grilling them. Once done, she sits down and eats, watching the TV and then washing up, putting a load of washing in the machine and going to her room to get changed into her basketball kit and puts her hair up into a ponytail. SCENE SEVEN. MANCHESTER, LANCASHIRE. AUGUST 1, 2017. INT. SPORTS HALL. DAYTIME. At 17:45 she sets of for the sports hall, a ten-minute walk, and helps Jake - who’s already there - set up. CHARLOTTE Alright, Jake? JAKE Yeah. Yeah, I’m good ta. CHARLOTTE Need a hand? JAKE I could use one for the other side, thanks, love. CHARLOTTE Sure. By the time they’ve got the ball and bibs out, others have started arriving and the game will therefore begin in a matter of moments. Once they’ve all got their positions determined by their bibs on, the coach gets them to do some warm-ups, and then by 18:30 the coach calls for them to get into position ready for a game. 16-year-old CHARLOTTE plays Power Forward, 22-year-old JAKE plays Shooting Guard, 18-year-old BEN plays Centre, AMY plays Small Forward, and 18-year-old BRANDON plays Point Guard. BEN and AMY are twins. They get into position and start the training, and CHARLOTTE has scored twenty-five baskets in the last half-an-hour. And at 19:00 they get the cones out for dribbling, which they do for fifteen minutes, and then they spend the last ten minutes passing the ball between them, and finally the last five minutes are spent packing up. They then bid one another goodbye and they head out. SCENE EIGHT. MACHESTER, LANCASHIRE. AUGUST 1, 2017. INT. FLAT. DAYTIME. So, CHARLOTTE sets off for the block of flats she lives in, that her mother rented for years as a teenager and her early-twenties. She gets some pyjamas out from her wardrobe in her room and sets them down on the side in the bathroom (there’s a side from left to right at the back with a round sink in the middle). The bathroom is next to the bedroom I’m the flat, with the kitchen, living room and storage cupboard on the right-hand-side of the hall. Once CHARLOTTE has gotten a towel out of one of the bathroom wall cabinets and hung it on the shower glass, closed the curtains and turned the shower on, she soaks in water for a moment and then begins washing her body. Her hair is up but she’s not washing her hair. She then dries herself on the white bath mat in the middle of the bathroom, and begins putting on her pyjamas: a pair of green shorts, and a blue top with a beach setting on it. She then puts her hair up in a messy bun and slips into her slippers, then placing the towel she just used on the towel rack. And then she goes into the kitchen to make tea and toast. Once that’s done she secures the flat (making sure necessary doors are locked, and curtains and blinds are closed) and so goes into the living room and closes the curtains (the blinds were already shut), and then she gets her phone out from her bag, sits down in the living room, closes the door, begins eating the toast she made earlier, and turns the TV on. She then receives a text message. She then goes into the bathroom to brush her teeth and gets changed into everyday clothing and heads out again. SCENE NINE. MANCHESTER, LANCASHIRE. AUGUST 1, 2017. INT. PUB. NIGHTTIME. She heads to her local where she spots some older friends: 20-year-old twin brothers ETHAN and ELLIOTT, Ethan’s 19-year-old girlfriend MADDIE, Maddie’s 20-year-old sister ELIZABETH, and Elizabeth’s 20-year-old boyfriend TOM. They are visiting family on a break from filming. It’s 21:15 and ETHAN has his arm around MADDIE. CHARLOTTE has small brown eyes, is tanned, has a small thin nose, has a round face, cheekbones, wavy jet-black hair and is 5'8". ETHAN and ELLIOTT have small brown eyes, are tanned, and Ethan has a little stubble and is around 5'7" while Elliott’s baby-faced and 5’9” and, finally, they both have oval faces and strong cheekbones, messy thick dark brown hair and a handsome smile. MADDIE has long dirty blonde hair, is 5'7" in height, is fair skinned and has noticeable cheekbones, small green eyes and rosy cheeks. Elliott has a much bulkier build, is paler, has hazel eyes, freckles and lighter, shaven hair and is 5'9" in height. ELIZABETH has light brown hair, green eyes and cheekbones and has olive-tone skin, and is smaller in height than her younger sister at 5'5". TOM is 5'8" in height and has a round face and stubble, is olive-skin-toned, has dark brown parted hair and bright blue eyes. Elizabeth is sitting on her boyfriend’s lap and they are whispering sweet nothings in each other’s ears. Elliott and Charlotte are the only singles left in the bunch, but Elliott is a lady’s man and is usually speaking to at least two or three girls at a time. He’s had quite a few girlfriends but never really long-term, whereas his twin has had three or four girlfriends but they’ve all been for a longer period of time. ELLIOTT is sitting opposite his brother with a girl he met a few weeks ago when she guest-started at his workplace: 25-year-old DANIELLE JACKSON. She’s got one leg on Elliott’s lap and the other drooped over the edge of the red leather seat, her head resting against the wall that the booth is up against. CHARLOTTE is sitting next to ELLIOTT, opposite TOM and ELIZABETH. And next to CHARLOTTE, on the left-side-edge of the booth is TOMMY LEWIS, a cousin of Elizabeth and Maddie. DANIELLE How long have you pair been together?“ ETHAN Four years (He takes a sip from his pint) Danielle then turns her focus on Tom and Elizabeth. TOM Well, we first got together four years ago, but we split within three months; got back together two weeks later, stayed together for a year before breaking up again, and then got back together a day later; and it kept going like that on-off for another couple of years, but we’ve been firmly back together for a year now DANIELLE How can you be sure that you’ll stay together this time? And how come you’ve split so many times, anyway? (Danielle speaks her mind) TOM Er, well our personalities tend to clash because I’m the kind of guy who would be getting detentions every other day in school, was never very academically involved and used school as a social and trouble making opportunity, and partied while his parents were out- (He looks sheepish and then turns to his girlfriend) ELIZABETH Whereas I… put my head down and got all the work done, always had my head in a book, was at the library, or the voice of something academically-inclined, and only had a small group of friends. But when I met Tom at school I found his loud, cheeky side very attractive because he was funny and would always try and involve me in everything he could. And that’s when we started seeing each other… TOM But my wild side has always gotten in the way because there were trust issues. However, we’ve had a good chat about it and decided that none of that matters, we love each other and we couldn’t be ourselves without each other; the fitting pieces to one another’s puzzle. So, if it starts getting tough again, rather than splitting, we’ll talk about it and remind each other why we’re together. ELIZABETH So, we’re going to start over, we’re going to make a new start of our relationship, erase everything from the past that hasn’t gone the way we wanted it to, and stay together for as long as we can. (she smiles, cuddling in tighter to her boyfriend) TOM takes a mouthful from his pint and gulps it down, while ELIZABETH elegantly sips her wine. TOM then takes ELIZABETH’s left hand into his right, from over his shoulder. ETHAN and CHARLOTTE have now gone up for a dance and I swear if DANIELLE gets any closer to ELLIOTT she’ll be sitting on his lap. And TOMMY has now found a girl, who’s just asked him to dance. ELLIOTT Charlotte, do you want a game of pool? CHARLOTTE Sure. DANIELLE lazily takes her leg off of ELLIOTT’s lap and he downs the rest of his drink and offers CHARLOTTE a coke as they go past the bar to the pool table, an offer upon which she takes. Once she’s got the coke she thanks ELLIOTT and then he puts a coin in and they set up the game. CHARLOTTE Who’s breaking? ELLIOTT Ladies first. (He gestures the table) ELLIOTT Don’t you have work tomorrow? CHARLOTTE Nope! And even if I did, I like the company. (She breaks) ELLIOTT So, what are you doing tomorrow, then? (He takes his shot) CHARLOTTE Studio work. Care home. Community Centre. Maths evening class. English evening class. (Lazily) “Ooh!” (She pots a ball) ELLIOTT Nice one! Could always stay at ours, Mum and Dad won’t mind, you know what they’re like. Everyone’s coming ’round tonight. (Charlotte smiles) ETHAN Oi, Elliott, when you and Charlotte are done we’re gonna head back. (From the bar) ELLIOTT Alright, bro. ETHAN D'you want one more drink, any of you? ELLIOTT Please, bro. CHARLOTTE Yes, please. ETHAN takes a final swig from his bottle and orders another round, MADDIE linked arm in arm on his left side, head on his shoulder. ETHAN You alright, babe? You look tired. (He ruffles his girlfriend’s hair) MADDIE I am (Maddie sighs) ETHAN We’ll be going soon, no worries. Are you staying over? (Maddie nods) ETHAN Is there something else wrong, Mads, you seem upset? MADDIE Nah, just tired. (She’s still tucked into her boyfriend) ETHAN Well if there is something the matter, you can tell me, you know. MADDIE I know, babe, thank you. ELLIOTT Guys, anyone want a smoke? (He walks around the corner past the bar with Charlotte, aiming his question at his brother, Tom, and Maddie, knowing that they smoke and Danielle, Elizabeth and Maddie don’t) MADDIE goes out, leaving her sister with their cousin and DANIELLE. The others make their way out with their drinks in hand. And ELLIOTT hands a lighter round. CHARLOTTE Wish I were eighteen. (She shivers) ETHAN You can still smoke. (He takes his coat off and placing it on Charlotte’s shoulder) CHARLOTTE Thank you. ETHAN Drinking is good, though. (He puts his arm round his girlfriend and smiling) ETHAN and ELLIOTT’s younger sister, TIFFANI, comes around the corner suddenly with some of her friends from school. She’s 18. ETHAN Alright, Tiff! TIFFANI Yo, bros! (She slurs and giggles) ELLIOTT Are you drunk? Have you got her drunk? (He gestures to Tiff’s boyfriend on the right) BOYFRIEND No! And even she was, she’s eighteen. ETHAN Yeah well, she’s still our little sister. TIFFANI Shut up! (Tiff goes into the pub) See you at home. TOM Right, I’m gonna go see my girlfriend. (He goes back into the pub) ELLIOTT Dude, you saw her ten minutes ago. TOM I love her. Always wanna be with her. ETHAN You wouldn’t understand, mate. (Tom’s gone in) ELLIOTT Why wouldn’t I? ETHAN Because you’ve never been properly in love. You’ve loved before, but I don’t think you’ve ever been in love. ELLIOTT I haven’t. I love but they don’t seem to truly love me back. ETHAN That’s because you fall in love too quickly, mate. ELLIOTT Can’t help who you fall in love with. ETHAN No, but sometimes you can help how fast you fall in love with them. Or what you show. I fell in love with Maddie quickly but I didn’t tell her I loved her until about six months in because I didn’t want to put her off or jinx it. And I had to make sure I felt absolutely certain about my feelings and that I wanted to stay with her. And that I thought she felt the same about me. Bro, can you honestly tell me that you wanted to be with those girls for the long-term? ELLIOTT Just one. (Elliott takes a last swig from his bottle) But she’s well out of my reach. (He makes his way back inside) ETHAN How come? ELLIOTT She’s in love with someone else. (He opens the door and going back in) As everyone else follows, Charlotte makes to take off Ethan’s coat but he puts it back on her shoulder. ETHAN Keep it till we get to mine, I’m warm. CHARLOTTE Thanks again. ETHAN As for you… (He refers to his girlfriend and cuddling her in tighter, kissing her on the head) I love you and you only get your charger back when you give me a kiss!     (Maddie pecks Ethan on the lips) No no, I mean a proper kiss! CHARLOTTE Too much info, mate. When they get back in they get their coats and the twins tell their sister they’ll see her when they get home, and they head off out. ELLIOTT You coming, Danielle? DANIELLE Nah, mate, I’ll catch you up. ELLIOTT Alright. See you back at ours in a bit. DANIELLE Yeah. I’ll see you lot back with Tiff. TOM and ELIZABETH cuddle into one another as they walk. CHARLOTTE texts her mum and her aunt to say where she’s going; two minutes later SHONNÉ texts back and five minutes later AUNT FRANCESCA texts back. They are fine with it. On the way out of the pub they spot CHARLOTTE’s friend CHARLIE, who then joins them, and later his ex, LOTTIE YOUNG, who works with CHARLOTTE, and also joins them. SCENE TEN. MANCHESTER, LANCASHIRE. AUGUST 1, 2017. EXT. PARK. NIGHTTIME. They walk by a small park on the way to the Everton household. Ethan gets a cigarette out and begins smoking it, and then leads the way into the park, sits against a fence in the pitch dark, and spins Maddie around to sit in his lap; ELLIOTT sits next to them and lights up a cigarette, CHARLOTTE beside ELLIOTT, and TOMMY beside MADDIE, while TOM and ELIZABETH sit side-by-side at the back. TOM has his arm around ELIZABETH as he too lights up a cigarette, while ETHAN leans over to light CHARLOTTE’s up for her. CHARLOTTE Cheers, mate. ETHAN notices MADDIE getting cold and starting to shiver, and so wraps his arm around her and gives her a very friendly kiss on the cheek. TIFFANI, her boyfriend MAX, DANIELLE, and their friends ANTONY, his girlfriend DIONNE, her fraternal twin AMY, FLOYD, and EMMA are on their way to the Evertons’ when they cross through the park and sit with the others. TIFFANI and MAX sit together next to CHARLOTTE; DANIELLE sits beside TOM and ELIZABETH; and ANTONY and FLOYD squeeze themselves between ETHAN and MADDIE and ELLIOTT. At 23:15 they decide to play a game of Heads Up, which lasts until midnight, and with ELLIOTT and MADDIE tying in first place, they then decide to play Truth or Dare until 00:30; ELLIOTT, TIFFANI, MAX and DANIELLE quickly got bored of that game because nobody else was doing a Dare. So, they moved on to Spin the Bottle, however the couples did not take part. They form a circle at the swings; from left to right starting at CHARLOTTE: ELLIOTT; DANIELLE; TOMMY; FLOYD; EMMA; LOTTIE; AMY; CHARLIE. CHARLOTTE, ELLIOTT, DANIELLE and EMMA light up a cigarette each, and everyone except TOMMY and FLOYD has (another) drink. CHARLOTTE was made to kiss ELLIOTT and TOMMY, while DANIELLE and LOTTIE are made to kiss CHARLIE; DANIELLE is made to kiss ELLIOTT, and EMMA and AMY are made to kiss FLOYD. SCENE ELEVEN. MANCHESTER, LANCASHIRE. AUGUST 1 AND 2, 2017. THE EVERTON HOUSE. NIGHTTIME. Then at 23:45, the twins, TIFFANI, MAX, CHARLOTTE, MADDIE, TOM, ELIZABETH, DANIELLE and TOMMY decide to go back to the Evertons’ place, a ten-minute walk away. Once there, TIFFANI, MAX, DANIELLE and TOMMY head into TIFFANI’s bedroom, while the others head into the twins’ room: ETHAN and MADDIE lay on his bed; ELLIOTT and CHARLOTTE on his bed; TOM and ELIZABETH on the yellow beanbag under the window. By midnight ELLIOTT has CHARLOTTE tucked into his chest, and they’re watching a film with earphones on his tablet; ETHAN and MADDIE are well into a game of tonsil tennis; TOM is showing ELIZABETH something on his phone whilst cuddling her from behind as she sits on his lap. MADDIE Do I get my charger back now? (Maddie asks Ethan after they’ve taken a breath) He reaches down the side of his bed and pulls it out from the plug behind his bedside table, rolls the wire up around the plug and puts it in her jean pocket. ETHAN Thank you. Right, I’m going to get some drinks. (He jumps up off his bed and smiling back at his girlfriend) TOM I’ll come. (Tom pecks Elizabeth on the cheek and shifting her legs so that he can get up) They go downstairs and bump into Ethan’s parents, 45-year-old BECKY LLOYD and 47-year-old DANNY, holding hands as they pass their son and Tom on the way up the stairs to bed. BECKY Goodnight. DANNY ’Night, mate. ETHAN Na-night. BECKY Don’t stay up too late. They pass ETHAN’s older brother, 24-year-old THOMAS at the table on his laptop. Upstairs, ELLIOTT wraps his arms around CHARLOTTE’s waist from behind, and plants a soft kiss on her cheek. By 02:45 they have had five more lagers each, three more cigarettes, and are falling asleep under the sheets of his bed. ETHAN and MADDIE don’t fall asleep until around 03:30; ELIZABETH dropped off at 00:30 and TOM was playing ‘Heads Up’ with ETHAN and MADDIE until 02:00, when he went to sleep on the orange beanbag next to his girlfriend. At 06:45 CHARLOTTE wakes up, and showers until 06:55, getting some spare clothes from under ELLIOTT’s bed (she stays often as she and the twins go way back) and she takes ETHAN’s laptop downstairs (as she has done many times; he lets her use it for studio work, where she’ll email herself back after she’s done) and starts working. She opens her emails and finds a song sheet, and then finds an email from her manager DAPHNE, requesting the sort of work she wants done. And begins writing. At 07:30 MAYA EVERTON comes downstairs and offers her friend some breakfast and fresh clothes, which CHARLOTTE kindly accepts. CHARLOTTE stays round the twins more frequently than anyone apart from MADDIE, who keeps clothes in the twins’ room in Ethan’s wardrobe. ETHAN Hey, Charlotte, do you want some company to visit your grandparents? CHARLOTTE Er, if you’re offering, mate. But I’ve gotta leave in ten. ETHAN Okay, no worries. Let me just put some toast in and brush me teeth and then we can head off. I’ll walk Mads to college as well CHARLOTTE Sure, no worries. Thanks, E. ETHAN Right, what would you like for breakfast, love? (He asks Maddie) MADDIE Yoghurt, please, if you’ve got any, babe? ETHAN Coming up. ELLIOTT Right, I’m off to work. See you guys later. (Elliott puts his coat on, half a piece of toast hanging from his mouth) MAYA AND ETHAN See ya, bro. After a series of ‘goodbye’s he makes his way out. SCENE TWELVE. MANCHESTER, LANCASHIRE. AUGUST 2, 2017. EXT. STREETS OF MANCHESTER AND OUTSIDE OF LOCAL COLLEGE. DAYTIME. At 08:50 ETHAN, MADDIE and CHARLOTTE bid goodbye and head out. ETHAN and MADDIE are holding hands. It’s another miserable rainy Manchester day and so all three are wearing hoodies/coats and have hoods up. They walk towards the park where they stayed for a few hours last night and turn left at the end of the street, walk down a road for ten minutes until they’re at Maddie’s (and Elizabeth’s) house, where she grabs her backpack and a drink. Another fifteen-minute walk down the street and they’re at the college MADDIE attends; she wraps her arms around her boyfriend’s neck and gives him a cuddle, which he happily receives, and as she meets a couple of friends who also give Ethan a wave, they say “I love you” to one another, and then she’s off giggling with her friends. ETHAN So, do you want dropping off or for some company inside? (He throws an arm around Charlotte’s left shoulder) CHARLOTTE You’re not working till later, are you? ETHAN Nah, twelve till eight. CHARLOTTE Okay, then yes, please, company’d be nice. (She smiles) What’s the time? ETHAN Twen'y past nine. CHARLOTTE You got a burn, by any chance? ETHAN Er… (Ethan hesitates as he feels around in his pockets for a moment) Yes (He gets a lighter out and then a cigarette pack) SCENE THIRTEEN. MANCHESTER, LANCASHIRE. AUGUST 2, 2017. INT. CARE HOME. DAYTIME. They talk for another ten minutes into the town centre, and then make their way up the stone steps. They sign in at the desk, and a nurse directs the two to CHARLOTTE’s NANA LIZZIE and GRAMPA LEON. CHARLOTTE Hiya, Nana (Charlotte says barely above a whisper) NANA ANNA Shonné? CHARLOTTE Nana, it’s me. It’s Charlotte, your granddaughter, and this is my friend, Ethan. Remember? NANA ANNA Charlotte? CHARLOTTE Yes, Nana, it’s me. Do you want a cup of tea? (She nods vaguely) ETHAN I’ll make it (Ethan offers as Charlotte makes to get up) NANA ANNA Thanks, sweet. GRAMPA LEON comes out from his room. GRAMPA LEON Hiya, sweetheart. (Grampa Leon gives Charlotte a hug) CHARLOTTE Hiya, Grampa. How are you? GRAMPA LEON Alive. How are you? How’s Mum, Aunt Francesca. CHARLOTTE They’re alright, Grampa, as am I - thank you. ETHAN comes back with three mugs of tea. ETHAN There we go. CHARLOTTE Thanks, E. NANA ANNA Thank you … er … E-E … Eth- … E … something. CHARLOTTE Ethan, Nana. NANA ANNA Right. GRAMPA LEON Thank you, Ethan. (He raises his mug) After an hour of random chats about life and memories have been shared and exchanged, CHARLOTTR and ETHAN bid their goodbyes and make their way out. SCENE FOURTEEN. MANCHESTER, LANCASHIRE. AUGUST 2, 2017. EXT. STREETS OF MANCHESTER. DAYTIME. ETHAN Hungry? CHARLOTTE Yeah, I could eat. ETHAN Where’d you fancy? CHARLOTTE Chippy? ETHAN Sure. They buy chips and go for a walk in the park. CHARLOTTE Thanks for coming with me today, E. ETHAN No probs. You coming ’round tonight? CHARLOTTE Yeah, Elliott asked me last night. ETHAN Ah, I’ve got work till one. So, you and me brother can have the room to yourselves! (He nudges her) CHARLOTTE Shut up! ETHAN Well, when are you guys ever gonna get on with this shit? CHARLOTTE Dude! I don’t see him in that way. ETHAN How come? CHARLOTTE I don’t know, it’s just … a lot of girls have a crush on him. ETHAN Yeah but what’s that matter? He’s only got eyes for you. (Charlotte does not respond) SCENE FIFTEEN. MANCHESTER, LANCASHIRE. AUGUST 1 AND 2, 2017. THE EVERTON HOUSE. DAYTIME. They make their way back to the Evertons’ place at 11:30. After she’s been at the community centre, CHARLOTTE heads to the library. She stacks shelves for a while, and helps out with some admin, and then heads back home to the flat, where her mother and aunt are, for tea. SCENE SIXTEEN. MANCHESTER, LANCASHIRE. AUGUST 1 AND 2, 2017. THE EVERTON HOUSE. NIGHTTIME. At 22:00 that night, CHARLOTTE and ELLIOTT are in the living room at his place playing a game with MAYA, her boyfriend CODY, DANIELLE JACKSON, her sister JENNIFER, Maya’s friends RYDER and SAMANTHA, and Max’s best friend TRAVIS. They are playing video games. MAYA, CODY, TRAVIS and DANIELLE go up to her room at 00:00, while everyone else minus CHARLOTTE has left by then. ELLIOTT lays on his bed and pulls out a cigarette, offering CHARLOTTE one. ELLIOTT Thanks, mate. (Charlotte takes one from the pack) D'you wa’ a lift back after, or you staying? CHARLOTTE Lift, please, mate. They smoke, drink and chat for a while on ELLIOTT’s bed, and ETHAN comes back in five minutes later. ETHAN Hey, bro, what you up to? ELLIOTT You’re early. ETHAN Yeah, it was quiet. Hiya, Charlotte. CHARLOTTE Hey. ELLIOTT D'you want a smoke? A can? ETHAN Yeah, go on. But then I’m going to sleep. CHARLOTTE, you’re welcome to stay as long as you want. But if you’re gonna be staying up late, quiet please. CHARLOTTE Of course, mate. ETHAN’s phone rings. ETHAN Hey, babe… Elizabeth … Calm down, I can’t understand ya. Eliz- Where’s Maddie? Is Tom there? Mate, what’s going on? I can’t hear. Oh, shit… Okay, I’m coming over. (He hangs up the phone) ELLIOTT What’s going on? ETHAN Not sure. I’ve gotta go. Tell 'oever’s up that I’ve got my phone if they need me. ELLIOTT Be safe. And let us know when you’re ready. Is there any chance you could give Charlotte a lift home? ETHAN Will do. Let’s go, get ya home. See ya later, mate. ELLIOTT Good luck, bro. You coming ours later, Char? CHARLOTTE Yeah, I will, but not for a while, I’ve got a family meal with my mum and aunt at seven. ELLIOTT Oh okay, give us a buzz, then. CHARLOTTE Will do. See ya later. They get into the twins’ blue ford focus for the five-minute ride. ETHAN looks intense and is biting his fingernail nervously. ETHAN Sorry, Char, I’m worried about Mads and the family - something’s obviously happened. CHARLOTTE As long as they’re okay. Go on, go and see her - I’ll see you later, yeah - good luck.

ETHAN Thanks, Char, I’ll let you know. SCENE SEVENTEEN. MANCHESTER, LANCASHIRE. AUGUST 2, 2017. INT. FLAT. NIGHTTIME. Charlotte strolls in to the flat silently, at 01:30. Her mother and aunt seem to be sleeping. The following morning, Charlotte goes downstairs at 07:30, and bumps into Aunt Francesca in the kitchen. AUNT FRANCESCA Good night, was it? (Aunt Francesca says smugly, taking a bite of her toast and making her way for the door) Coming? CHARLOTTE Yeah, sure. SCENE EIGHTEEN. MANCHESTER, LANCASHIRE. AUGUST 2, 2017. INT. EVERTON HOUSE. NIGHTTIME. At 10pm, CHARLOTTE gets dropped off at the Evertons’ by her aunt. Elliott answers the door. ELLIOTT Hey, you! Just us, Melissa and Danielle tonight,“ he says softly, closing the door behind him. Ethan’s with Mads, Mum and Dad have gone to stay with Uncle Brad, Maya’s 'round our cousin’s, Tiff’s with Max, and Thomas finally has a date. CHARLOTTE Ah, okay, no worries - what 'ya up to? ELLIOTT Drinking. Want one? (Elliott closes the front door behind her and they make their way into the living room) CHARLOTTE Hey, babe. ELLIOTT Hiya, mate. CHARLOTTETO smiles, taking a seat next to MELISSA on the opposite sofa. They play drinking games from apps on their phone. At 23:00, the door suddenly slams open and they hear Ethan’s voice and a load of kissing sounds and Elizabeth’s giggles; ELLIOTT gets up to say hello to his brother. ETHAN Oh, shit - sorry, bro, didn’t realise you were in. ELLIOTT Clearly. (He smirks) Hey, Mads, everything alright? MADDIE Hey, Elliott, I’m alright, thanks - well, now I am, anyway - wasn’t the other night - shit happened but I’d sooner not talk about it. I’m sure myself or Elizabeth will tell you soon. ELLIOTT No worries, love. Wanna join? We’ve got Melissa, Charlotte and Danielle here. ETHAN Actually, bro, we’re just gonna head upstairs for the night - have fun, though, and say hi. ELLIOTT Alright, will do, night. ETHAN and MADDIE head upstairs and he gently pushes her against his bedroom door and kisses her passionately; he’s wearing a pale blue buttoned shirt and she’s wearing a black vest top; she has her hands on his chest as he undoes his buttons to reveal a muscled and tanned torso; his bright brown eyes gleaming as he looks into her thin emerald green eyes, she takes off his T-shirt and throws it across the room (it lands on the other side of Elliott’s bed). MADDIE absorbs ETHAN’s body for a moment, Ethan leaning on the doorframe. Maddie leans in again and mumbles "I love you” against his lips; “I love you, too,” he says with a smile, biting his lips cutely. MADDIE looks down and then hugs her boyfriend lightly; he cuddles her back wordlessly, knowing why she’s suddenly so upset. She has to tuck her head into his chest, because they’re the same height. ETHAN Wa’ 'o go 'o bed? MADDIE sobs and nods. ETHAN remains shirtless, but she doesn’t bother to strip or change at all, just lays on Ethan’s chest. Downstairs, ELLIOTT’s finally got a guy friend to join him, MATT, who DANIELLE used to have sex with every time they saw each other - because, you know, DANIELLE fucks everything that moves and doesn’t give a shit about anything - and MATT just liked the thrill. MATT has his eye on MELISSA, now, a pretty blonde haired petite girl with big blue eyes, kind of resembles Taylor Swift; MATT’s got more of a Channing Tatum look with a face like Brian McFadden - muscled meaty build and a handsome face and physique every girl wants - a lot like ELLIOTT. CHARLOTTE is sitting between ELLIOTT on her right, and MELISSA on her left, MATT and DANIELLE on the other side. They keep pecking each other playfully even though he has a girlfriend which is why CHARLOTTE feels rather bad for MELISSA; she’s sweet and will fall for his charm; all he’ll have to do is tell her what she wants to hear - he tried that on CHARLOTTE more than once but she never fell for that bullshit, whereas MELISSA would have because she hasn’t had enough experience or been with enough decent guys to know any different. ELLIOTT has a reputation as a player, because he’s scared of feeling, falling for a girl too hard and then getting hurt - so instead he puts on a persona that doesn’t want a girlfriend, a long term, stable relationship, just somebody to shag - in order to cover that up, where really, he’s just like the rest of us, just wants to be loved and settle down. He hasn’t discussed this with anyone but Ethan and CHARLOTTE. CHARLOTTE has known the twins since she was a baby and they were four, with their parents being best friends as DANNY and SHONNÉ grew up together. Upstairs, MADDIE’s fallen asleep on ETHAN’s left arm and chest; he is using his phone in his right hand. His phone vibrates and it’s ELIZABETH. ETHAN Hello? ELIZABETH Hey, E, is Mads with you? She’s not answering her phone. ETHAN Yeah, sorry about that, her phone’s on vibrate and charging in the corner of mine and Elliott’s room, she’s asleep on my shoulder at the moment. ELIZABETH Bugger. D'you think she’ll be alright? She never goes to bed before twelve. ETHAN I hope so, I love her and I hate seeing her so… broken. (He looks down at his sleeping girlfriend) What do we do, Elizabeth? ELIZABETH We wait. Until she’s ready to talk. ETHAN I just wanna hug her, tell her it’s all gonna be okay. ELIZABETH I know, Ethan, so do I. She’ll get there, I promise, we’ll just have to keep an eye on her. ETHAN Yeah, I know… You with Tom? ELIZABETH Not tonight, no, he’s gone to a house party. I’ve had a few girls 'round ours - Lily’s joined but my parents are out. ETHAN Oh okay, and are you okay? ELIZABETH Yeah, just worried about me sister. Tom’s heading here now. ETHAN What, drunk? To a girl’s party? ELIZABETH No! He’s not been drinking and the girls went after the film we watched. ETHAN Oh okay. I’ll let ya get on then, have a good evening. See ya soon. MADDIE Yeah, look after me sister for me, E. ETHAN I will. Night. MADDIE Na-night. He looks down at his girlfriend and strokes her cheek with his index finger. CHARLOTTE knocks on the door softly. ETHAN gets up and gestures Charlotte out the room and into the hallway. ETHAN Hey, what’s up? CHARLOTTE Just came in to get some clothes. No worries, I’ll come back in the morning. ETHAN No, no, you don’t need to do that, love. Go on, go on in. Charlotte nods and smiles; Ethan goes to the loo while Charlotte enters the bedroom and quickly but quietly ruffles through the drawers by Elliott’s bed. CHARLOTTE Ta, love. ETHAN You’re alright. CHARLOTTE Ethan, honey, do you wanna talk? ETHAN I’m good. CHARLOTTE E, you’re going through what Mads is going through. ETHAN It’s fucking killing me. But I still care more about my beautiful, precious girlfriend than I do myself. CHARLOTTE I get that, E, but you still gotta grieve yourself. ETHAN I just need to be there for Mads. CHARLOTTE And we need to be there for you - me and Elliott. ETHAN And you are, Charlotte – you always ’ave been. And Elliott. CHARLOTTE Then talk to us. Let us help. ETHAN I need to get back in to Mads. CHARLOTTE Ethan I’m sorry. ETHAN Not your fault, love. (He tears up and she pulls him in for a cuddle) ETHAN Thank you, Charlotte. CHARLOTTE I didn’t do anything. ETHAN You were there for me, that’s more than enough. Charlotte I’d better get ‘ome. ETHAN D’you wan’ a lift? CHARLOTTE Mhm, please. ETHAN I’ll get Elliott to take you. I’d do it but I wanna be here in case Mads wakes up. CHARLOTTE Okay, love. ETHAN Come on, then, let’s go. (They make their way downstairs) Hey, bro, can you give our beautiful young friend here a lift ’ome? ELLIOTT Yeah, no worries. ETHAN gets a can from the fridge and makes his way back up the stairs, while ELLIOTT and CHARLOTTE head out. SCENE NINETEEN. MANCHESTER, LANCASHIRE. AUGUST 2, 2017. EXT. ELLIOTT’S CAR. ELLIOTT puts the radio on. CHARLOTTE begins to sing. ELLIOTT You’ve a lovely singing voice, Char. CHARLOTTE Ha! Thanks. ELLIOTT You want me to buy you some cigs? CHARLOTTE Yeah, please – that’d be brilliant, mate. ELLIOTT No worries, babe.

[gposada]

Birds of the World, a powerful new subscription-based resource, compiles the most comprehensive, up-to-date ornithological data into one platform through integration of four major ornithological works (Birds of North America, Neotropical Birds, Bird Families of the World and Handbook of the Birds of the World) with two of the Lab’s signature data archives: Macaulay Library and eBird.

[android-for-life]

"A competition to identify bird calls using machine learning"

Do you hear the birds chirping outside your window? There are more than 10,000 bird species in the world, and they can be found in nearly every environment, from untouched rainforests to suburbs and cities. Birds play an essential role in nature. They are high up in the food chain and integrate changes occurring at low levels. As such, birds are excellent indicators of deteriorating habitat quality and environmental pollution. However, it’s often easier to hear birds than see them. With proper sound detection and classification, researchers could automatically intuit factors about an area’s quality of life based on a changing bird population.

There are already many projects underway to extensively monitor birds by recording natural soundscapes over long periods. However the analysis of these datasets is often done manually, is painstakingly slow, and results are incomplete. Data science may be able to assist, so researchers have turned to large crowdsourced databases of vocal recordings of birds to train AI models.

To fully take advantage of these extensive and information-rich sound archives, researchers need good machine listeners to reliably extract as much information as possible to aid data-driven conservation.

In partnership with the Cornell Lab of Ornithology, Google’s bioacoustics team—part of ourAI for Social Good initiative—is announcing a competition to use machine learning to identify bird calls. In this competition, data scientists will identify a wide variety of bird vocalizations in soundscape recordings. Training audio comes from the Xeno-Canto project, a crowd-sourced collection of thousands of hours of bird sounds from around the world. We’re offering $25,000 in prizes for the best entries, and hosting the competition on Kaggle, the world’s largest data science competition community with more than 4 million members from 194 countries. The competition kicks off today and will last until September 2—check out the competition page for more details.

If successful, winners of this competition will help researchers better understand changes in habitat quality, levels of pollution, and the effectiveness of restoration efforts. The eventual conservation outcomes could greatly improve the quality of life for many living organisms���birds and human beings included.

Attribution for image at the top of the post: Red-winged Blackbird © Drew Weber / Macaulay Library at the Cornell Lab of Ornithology (ML227768151)

Source : The Official Google Blog via Source information

[darrenlock]

RT @dark_shark: Cornell's Macaulay Library: A Scientific Archive Of 150,000 Bird Calls And Animal Sounds #photos #audio #videos http://bit.ly/2X7bJ30 http://bit.ly/34VVE30

Cornell's Macaulay Library: A Scientific Archive Of 150,000 Bird Calls And Animal Sounds #photos #audio #videos https://t.co/qN3dB7e95a pic.twitter.com/gjc8gIQ86I

— Brian Eno (@dark_shark) November 12, 2019

from Twitter https://twitter.com/darren_lock November 12, 2019 at 08:08AM via IFTTT

[kayla1993-world]

Veterans Affairs tightens social media vetting after Nazi gaffe in VE-Day video

Veterans Affairs has reviewed how it approves videos for posting on media “to ensure rigour and accountability,” following an incident last May that saw Macaulay apologize for a tribute that “erroneously” included footage of soldiers.

Documents obtained by CBC News under the AIA show staff, including managers, copied on messages to review scripts, share drafts and offer feedback during the vetting process for several videos produced last spring.

But none of the apparatchiki on the email chain managed to spot the difference between uniforms in the video commemorating VE-Day.

CBC News reported on the bungling on May 9, after sharp-eyed buffs who saw the video on the department’s Twitter account noticed footage of Nazi soldiers laid over the tribute to Canada’s effort.

The eagle on the uniforms, the shape of the helmets, the cut of the uniforms: anyone familiar with the imagery of WWII could identify several shots in the video that were not Canadians or their Allies, but the Germans they were fighting.

Someone in the department saw posts talking about the Nazi images and a manager had the video deleted from Facebook and Twitter.

By the morning, Barrett was chirping that “Liberals marked VE-Day by thanking Nazis for their sacrifice.”

Macaulay apologized in the House of Commons.

Emails released to CBC News show officials scrambling to do that.

By May 14, Natynczyk had signed off on a new approvals process and more training.

Ministerial videos for posting on Facebook or Twitter are now vetted in stages.

A flow chart laying out the six-step approvals process for communications products and media responses was included.

The documents show many of these steps were in place already.

The 42-second tribute featured MacAulay speaking on speaking as well as footage sourced from the YouTube channel of Library and Archives, according to the briefing.

The documents show the team settling on only videos to mark occasions, including VE-Day, the anniversary of the surrender of Nazi Germany in 1945.

On May 6, a link to a draft video was provided to managers, leading up to its May deadline for posting.

In some respects, the approval process was thorough.

But while staff went back and forth with a number of critiques -- things like saying “servicemembers” instead of “soldiers” for an inclusive script.

The department met its deadline to produce the video, and prodded Embury, Macaulay’s director of communications, for his approval early on the morning of May 8.

Later that afternoon, a senior editor at the department also signed off: “The videos sent earlier have been QC’ed.”

By May 10, the investigation had zeroed in on where things went sideways.

Going forward, managers vowed that “the right questions we be asked at sign off... No assumptions.”

[earlrmerrill]

Treasures From The World’s Largest Archive Of Dance Materials

That would be none other than the New York Public Library for the Performing Arts. “It regularly films dance productions in the city, preserving the present for the future; it aims to have a copy of every dance book ever published; it possesses treasures going back centuries. And its doors are open to the public as well as to specialist researchers.” Alastair Macaulay looks at a few of its gems, from a 1453 treatise to 1933 films of Balinese dance. — The New York Times

Article source here:Arts Journal

[ruseg]

Tweeted

Cornell's Macaulay Library: A scientific archive of 150,000 bird calls and animal sounds #photos #audio #videos https://t.co/qN3dB7e95a pic.twitter.com/o7kP99pog8

— Brian Eno (@dark_shark) March 30, 2017

[maclitpub]

The Golden Age of the Illustrated Book Dust Jacket

Spines of books from the collection of Martin Salisbury (photo by Simon Pask)

In the 19th century, dust jackets on books were just protective paper wrappers, thrown away after a book was purchased. The prized cover was the leather underneath, and although some of these bindings had elegant designs, the dust jacket rarely referenced the interior contents. The Illustrated Dust Jacket, 1920-1970 by Martin Salisbury, out November 21 from Thames & Hudson, chronicles how this once disposable object became a major creative force in publishing.

“In view of its origins as a plain protection to be discarded on purchase, and the relatively recent acceptance of the detachable jacket as an integral part of the book and its identity, it is ironic that for today’s book collectors the jacket is key — the presence of an original jacket on a sought-after first edition now greatly adds to its value,” Salisbury writes in the book. The Illustrated Dust Jacket concentrates on the 20th-century heyday of the dust jacket, when artists were experimenting with printing and illustration techniques, and publishers were recognizing its advertising potential. Although the first known illustrated dust jacket dates to the 1830s, this was the era in which it was actively designed.

Cover of The Illustrated Dust Jacket, 1920-1970 (courtesy Thames & Hudson)

“The rapid rise of the pictorial dust jacket through the 1920s and 1930s coincided with the Art Deco period in contemporary design,” Salisbury notes. “Inevitably, the movement’s ubiquitous dynamic, geometric motifs pervaded the covers of many books.” The Illustrated Dust Jacket begins with short descriptions on the artistic movements that influenced these influential decades of book design, and then highlights over 50 of its artists through more than 300 images.

For instance, Ancona, aka Edward D’Ancona, brought a 1930s film noir aesthetic to crime fiction, while Vanessa Bell instilled a simplicity and painterly style on her sister Virginia Woolf’s books.  Other early 20th-century illustrators came from the realist school, including N. C. Wyeth who studied with Howard Pyle, and involved his passion for landscapes and the natural world on covers for the 1939 The Yearling and 1928 Westward Ho!.

By the 1950s there was more of an interest in lifestyle publications that offered aspirational information on travel, food, and home improvement. Heather Standring created designs for publishers in the UK and USA, her meticulously sketched lines with punctuating color adorning the 1954 Mushroom Cooking (she later authored How to Live in Style in 1974). Alongside was a “Kitchen Sink” social realism popular in the UK, as well as the more florid, lyrical neo-romanticism.

“Many of the so-called neo-romantic artists worked across a range of fine and applied arts,” Salisbury states. “Most of the key figures illustrated books and/or contributed jacket designs, leaving us with a mini ‘golden age��� of book designs and illustration.” Hand-rendered lettering by designers like John Minton and Keith Vaughan added to the individual character of these books, enticing the reader with the promise of a transporting narrative.

Salisbury has identified numerous book illustrators, yet a large number of the dust jackets were unsigned, their creators now anonymous. And as he notes in The Illustrated Dust Jacket, even a successful designer such as Edward McKnight Kauffer, known for his use of form and geometry on covers for The Invisible Man (1952) and Intruder in the Dust (1948), was not “widely appreciated during his own lifetime in his native America.” The Illustrated Dust Jacket argues for celebrating the design and art of the dust jacket, and the often obscure creators behind these innovative covers.

Art by Aubrey Hammond for Metropolis by Thea von Harbou (Readers Library, 1927). Hammond’s design juxtaposes delicate color harmony with nightmarish vision. (Collection of Mark Terry/Facsimile Dust Jackets L.L.C.) Art by Edward Bawden for The Hammering by Hal Martin (Faber and Faber, 1960). Edward Bawden’s lino-cutting techniques informed his color-separation line work, where he would often use a knife to scrape away areas of black ink to create texture (© The Estate of Edward Bawden) Art by Ancona for The Night Flower by Walter C. Butler (The Macaulay Company, New York, 1936). “Ancona,” aka Edward D’Ancona, used dramatic contrasts of light and dark for this mystery novel (one of only two written by Frederick Faust under this pseudonym) and echoes the film noir genre of the period. (© “Ancona” (Edward D’Ancona), from the collection of Martin Salisbury, photo by Simon Pask) Art by Edward McKnight Kauffer for Let It Come Down by Paul Bowles (Random House, New York, 1952). The jacket for the first American edition of Bowles’s second novel employs a technique informed by Edward McKnight Kauffer’s earlier experience of stenciling or “pochoir.” Bowles’s lead character, Nelson Dyar, is depicted metaphorically entering the dark underworld of Tangiers. (© Simon Rendall) Pages from The Illustrated Dust Jacket, 1920-1970 (photo of the book for Hyperallergic) Art by Ric Fraser for Drugs and the Mind by Robert S. de Ropp (Scientific Book Club, 1957) Dr. de Ropp’s first book introduced readers to the joys and mental tortures of ancient herbs and modern drugs. (courtesy the Fraser Family) Art by Alvin Lustig for Anatomy for Interior Designers by Francis de N. Schroeder (Whitney Publications, New York, 1948). Lustig’s distinctive hand-rendered lettering was a key pictorial feature of the early editions of this jacket design. In later editions this was removed and replaced by a font, a rather ill-fitting Akzidenz-Grotesk Bold. (Reproduced by permission of the Alvin Lustig Archive) Art by Milton Glaser for The Electric Kool-Aid Acid Test by Tom Wolfe (Farrar, Straus and Giroux, New York, 1968) (Reproduction courtesy Milton Glaser Studio, collection of Mark Terry/Facsimile Dust Jackets L.L.C.) Art by Barnett Freedman for The Faber Book of Children’s Verse edited by Janet Adam Smith (Faber and Faber, 1953). Many of Freedman’s book jackets were designed to repeat the front image on the back seamlessly. The design is also repeated on the cover boards. (© The Estate of Barnett Freedman, from the collection of Martin Salisbury, photo by Simon Pask) Pages from The Illustrated Dust Jacket, 1920-1970 (photo of the book for Hyperallergic) Art by Arthur Hawkins, Jr. for Barron Ixell: Crime Breaker by Oscar Schisgall (Longmans, Green & Co., New York, 1929). For this collection of stories featuring the intrepid international sleuth Barron Ixell, Hawkins’s highly theatrical design is repeated to create a full wraparound jacket. (© The Estate of Arthur Hawkins, Jr., photo courtesy Hyde Brothers Booksellers, Fort Wayne, Indiana) Art by Barbara Jones for The Unsophisticated Arts by Barbara Jones (Architectural Press, 1951). Jones’s dust jacket for her own book is one of the more memorably idiosyncratic designs of the 20th century. (© The Estate of Barbara Jones) Pages from The Illustrated Dust Jacket, 1920-1970 (photo of the book for Hyperallergic) Art by Rockwell Kent Mountain Meadow by John Buchan (Literary Guild of America, New York, 1941). The artist’s lifelong preoccupation with the drama and beauty of landscape is given full rein in this spectacular wraparound design. The exaggerated, almost heroic, posing of the foreground figures suggests the influence of Soviet Realism. (© The Estate of Rockwell Kent, courtesy the Plattsburgh State Art Museum, Plattsburgh College Foundation, Rockwell Kent Gallery and Collection, Bequest of Sally Kent Gorton, Plattsburgh, New York)

The Illustrated Dust Jacket, 1920-1970 by Martin Salisbury is out November 21 from Thames & Hudson.

The post The Golden Age of the Illustrated Book Dust Jacket appeared first on Hyperallergic.

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