Measurement of the top quark mass in the dileptonic t(t)over-bar decay channel using the mass observables M-bl, M-T2, and M-blv in pp collisions at root=8 TeV

Peer reviewe

Measurement of differential cross sections for top quark pair production using the lepton plus jets final state in proton-proton collisions at 13 TeV

Peer reviewe

Psi' and J/Psi Suppression in High-Energy Nucleon-Nucleus and Nucleus-Nucleus Collisions

The observed features of $\psi'$ to $J/\psi$ suppression in $pA$ and nucleus-nucleus collisions can be explained in terms of a two-component absorption model. For the hard component of the absorption due to the interaction of the produced $c\bar c$ systems with baryons at high relative energies, the absorption cross sections are insensitive to the radii of the $c\bar c$ systems, as described by the Additive Quark Model. For the soft component due to the low energy $c \bar c$ interactions with soft particles produced by other baryon-baryon collisions, the absorption cross sections are greater for $\psi'$ than for $J/\psi$, because the breakup threshold for $\psi'$ is much smaller than for $\psi$.Comment: Based on a talk presented at International Nuclear Physics Conference '95, Beijing, China, 5 pages (Latex), 2 uuencoded ps figure

Measurements of Bc+ production and mass with the Bc+ -> J/Ψπ+ decay

Measurements of B-c(+) production and mass are performed with the decay mode B-c(+) -> J/psi pi(+) using 0.37 fb(-1) of data collected in pp collisions at root s = 7 TeV by the LHCb experiment. The ratio of the production cross section times branching fraction between the B-c(+) -> J/psi pi(+) and the B+ -> J/psi K+ decays is measured to be (0.68 +/- 0.10(stat) +/- 0.03(syst) +/- 0.05(lifetime))% for B-c(+) and B+ mesons with transverse momenta p(T) > 4 GeV/c and pseudorapidities 2.5 < eta < 4.5. The B-c(+) mass is directly measured to be 6273.7 +/- 1.3(stat) +/- 1.6(syst) MeV/c(2), and the measured mass difference with respect to the B+ meson is M(B-c(+)) - M(B+) = 994.6 +/- 1.3(stat) +/- 0.6(syst) MeV/c(2)

A General Method for Model-Independent Measurements of Particle Spins, Couplings and Mixing Angles in Cascade Decays with Missing Energy at Hadron Colliders

We outline a general strategy for measuring spins, couplings and mixing angles in the case of a heavy partner decay chain terminating in an invisible particle. We consider the common example of a new scalar or fermion D decaying sequentially to other new particles C, B and A by emitting a quark jet j and two leptons ln and lf. We derive analytic formulas for the dilepton {ln,lf} and the two jet-lepton ({j,ln} and {j,lf}) invariant mass distributions for most general couplings and mixing angles of the new partners. We then consider various spin assignments for the particles A, B, C and D, and derive the relevant functional basis for the invariant mass distributions which contains the intrinsic spin information and does not depend on the couplings and mixing angles. We propose a new method for determining the spins of the new partners, using the three experimentally observable distributions {l+,l-}, {j,l+}+{j,l-} and {j,l+}-{j,l-}. We show that the former two only depend on a single model-dependent parameter alpha, while the latter may depend on two other parameters beta and gamma. By fitting these distributions to our set of basis functions, we are able to do a pure measurement of the spins per se. Our method is also applicable at a pp-bar collider such as the Tevatron, for which the previously proposed lepton charge asymmetry is identically zero and does not contain any spin information. In the process of determining the spins, we also obtain an independent measurement of the parameters alpha, beta and gamma, which represent certain combinations of the couplings and the mixing angles of the heavy partners A, B, C and D.Comment: 67 pages, 29 figures, typeset in JHEP styl

Eastern Maine State Fair, Inc., Bangor 1931

Official racing program for the 1931 Eastern Maine State Fair, Inc. The program includes display ads for area businesses sponsoring the races, the roster of fair directors, and Guy Kendall\u27s handwritten notes on race line ups and finishes. Kendall glued the program into the album labeled 1931b, making the back cover of the program inaccessible. Kendall also mounted several photos inside the program. Names of fair officials include: George W. Wescott, president; Charles R. Bond, treasurer; and Directors Edward M. Graham; Josiah Steward; John E. Kelley; H. J. Wheelwright; Gerry B. Burr; Charles Murray; C. J. Worthen; A. E. Webber; F. W. Hill; and Michael M. Kane

Andrew J. Webber, The European Avant-Garde, Cultural History of Literature

Andrew J. Webber, auteur d’une thèse intitulée Sexuality and the Sense of Self in the Works of Georg Trakl and Robert Musil (Londres, 1990), et d’une étude sur la figure du Double dans la littérature romantique allemande (The Doppelgänger, Oxford, Clarendon Press, 1996) propose dans son dernier ouvrage d’appliquer son intérêt théorique pour la psychanalyse des productions artistiques et littéraires à un nouveau corpus, les avant-gardes européennes de la première moitié du xxe siècle. Webber c..

They’re Playing Our Song! The Promise and The Perils of Music Copyright Litigation, 13 J. Marshall Rev. Intell. Prop. L. 555 (2014)

Music copyright cases are unique, costly, difficult, and complex. It was no different in the case where Ray Repp, a music composer for a Catholic publishing house, filed suit against Andrew Lloyd Webber, the famed British composer most famous for such Broadway hits as Cats and Phantom of the Opera. Repp alleged that Webber’s “Phantom Song,” the theme music for the Phantom of the Opera musical, infringed Repp’s song “Till You,” which he wrote and copyrighted almost a decade earlier. Webber in turn claimed that Repp’s “Till You” was in fact a copy of an even earlier Webber song, “Close Every Door.” The entire litigation spanned a decade, generated two trials, four published district court opinions, and a landmark Second Circuit decision. It involved hotly contested issues of venue, testimony of expert musicologists, courtroom waltzes, courtroom demonstrations by Webber and his exwife Sarah Brightman, and media attention. The author, who was lead counsel for Repp and K&R Music, Inc. in the Repp v. Webber litigation, uses the case as a template to illustrate the unique strategies, problems, and promise of music copyright litigation. The article discusses, on an anecdotal basis, useful lessons to be gleaned from the experience and should be studied by any practitioner who wishes to dive into the maelstrom of music copyright litigation