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Dianne Margaret Tracey is a New Zealand marine biologist specializing in research on deep-sea fisheries and deep-sea corals at the National Institute of Water and Atmospheric Research (NIWA). She works on the biology of deep water fishes such as orange roughy, and deep sea corals. She was one of the first women in New Zealand to work in fisheries and to work on research vessels and has spent her career advocating and mentoring women in marine science.

Tracey went to Sacred Heart Girls' College, New Plymouth. She then attended Wellington Polytechnic and studied for a New Zealand Certificate in Science in biology. She was determined to study marine biology, and not to become a nurse or a teacher, the main options for girls at the time. She started her career in 1972 as a technician at the Ministry for Agriculture and Fisheries. She travelled overseas between 1976 and 1980, working in a fish factory and at the Hafrannsknarstofnunin Marine research station in Iceland. On return to New Zealand she moved into working on deep-sea fisheries research at the Ministry for Agriculture and Fisheries. She worked primarily on stock assessments for deep sea fish orange roughy. She led the programme and voyage leadership in the newly declared Exclusive Economic Zone. In 1990 Tracey moved from a technical role to a science role and after the formation of the NIWA. She moved into deep-sea invertebrate ecology, working primarily on deep-sea corals, from 2006.

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Tracey has worked on the biology of deep water fishes such as orange roughy and has spent a considerable time at sea on research ships undertaking trawl surveys to provide data for New Zealand fisheries stock assessments.[1] Her work has involved using otoliths to determine the age of fishes. In the last 10 years her focus has shifted from deep-sea fish to deep-sea corals and deep-sea benthic marine ecosystems - also known as vulnerable marine ecosystems (VME).[2] She has worked on understanding the distribution, age and growth rates of deep-sea corals,[3][4][5] and contributing to benthic habitat suitability modelling studies.[6] She has also developed several deep-sea invertebrate and deep-sea coral guides[7] in collaboration with Fisheries New Zealand, for by-catch observers on commercial fishing boats. Tracey is a recognised international expert on deep-sea corals and co-organised the 4th International Deep Sea Coral Symposium in Wellington in 2008. In 2019, she published a review titled State of Knowledge of deep-sea corals in the New Zealand region.[8] She also participates in working groups for the New Zealand Department of Conservation and Fisheries New Zealand to help protect deep-sea corals.

Tracey areceived the 2021 Miriam Dell Award from the Association for Women in the Sciences (AWIS) for her advocacy for and mentoring of women working in science.[12][13] Tracey began her career working for the New Zealand, Ministry of Agriculture and Fisheries (MAF) in the 1980s and she spent a lot of time at sea on research and commercial fishing vessels, often the only woman on board. She persevered in this male-dominated field and served as voyage leader and co-leader on a number of expeditions. She was a pioneer for women working in fisheries, and has worked to improve the attitudes to women on research vessels and to create a culturally safe environment on research ships, paving the way for the next generation of sea-going researchers and leaders. Tracey was also instrumental in helping to set up the (since closed) Greta Point Child Care Centre in the early 1990s for parents working at NIWA.

From Dublin, Ireland, comes Tracey K, a musician that specializes in electronic and house music. She has established herself as one of the most accomplished and cutting-edge performers in the electronic music scene because to her distinctive sound and style. Acid house, deep house, and techno are just a few of the styles that are combined in her music.

Pulsating beats, complex rhythms, and ethereal soundscapes are the hallmarks of Tracey K's music. She has a knack for writing songs with intricate melodies and robust basslines, which results in a captivating and alluring sound. Her songs are made to take the listener to different worlds since they are full of emotion and intensity.

The electronic music scene has recognized Tracey K as a rising artist, and various locations and events around the globe have played her music. She keeps enthralling listeners with her music and pushing the frontiers of electronic and dance music with her distinctive sound and approach.

With her most recent tracks and albums, Irish electronic and house musician Tracey K has been making waves in the music business. Her most recent record, "Lil' Hand (2003)," is a masterwork that exemplifies her own sense of style and originality. You may dance all night long to the infectious sounds and rhythm of the album's tunes, which mix electronic and house music.

"The Cure & The Cause (Sped Up House Version) (2023)," one of Tracey K's most recent singles, is an ideal illustration of her capacity to experiment with many genres and produce something fresh and intriguing. The song is a remix of an old-school house tune with a faster tempo and a happier mood. "My Life (Radio Edit) (2021)," another of her well-known tracks, is a soulful and emotive piece that highlights her remarkable vocal range and moving lyrics.

Tracey K's music is about more than just making upbeat sounds and danceable rhythms; it's also about sharing tales and developing a deeper connection with her listeners. Her song "Lovefool (2011)" is the ideal illustration of this. The song is a cover of The Cardigans' legendary hit, but Tracey K's rendition is more emotive and spare, enabling her to have a more personal connection with her listeners. Another of her songs, "A Dream (2010)," is a lovely and ethereal melody that will take you to a different place.

Let's sum up by saying that Tracey K is a gifted artist who has been causing a stir in the music industry with her distinct aesthetic and ingenuity. Her most recent album and singles demonstrate her capacity to play around with many genres and produce something fresh and intriguing. You should absolutely listen to Tracey K's songs if you enjoy electronic and house music.

The Irish electronic and house music producer Tracey K has worked with a variety of musicians over the course of her career. Her partnerships with Fish Go Deep, Tiago Fragateiro, Jay Shepheard, and Lord Badu are among her most significant ones.

Tracey K and Fish Go Deep collaborated on a number of songs together, including "The Cure & The Cause - Radio Edit," "Battery Man," and "A Dream." The most well-known songs in her catalog were produced as a result of these collaborations. Tracey K's electronic beats and Fish Go Deep's deep house sound combine to make a seamless fusion of the two genres.

"Lovefool - Jay Shepheard Remix," a noteworthy collaboration between Tiago Fragateiro and Jay Shepheard, is another. Tracey K's talent for fusing many musical genres is on full display in this song, which features a remix that incorporates pop, electronic, and house components.

Last but not least, Lord Badu and Tracey K collaborated on the song "Suicide." Tracey K's darker side is highlighted in this collaboration, which features Lord Badu's passionate vocals and eerie techno beats.

Overall, Tracey K's partnerships have positioned her as one of Ireland's most significant producers of electronic and house music. Her reputation as a versatile and creative musician has been cemented by her ability to collaborate with a variety of musicians and genres.

At the beginning of March, I had the pleasure of going on my first deep sea fishing day trip on a boat travelling 40-50 miles into the Gulf of Mexico, where we fished down to about 50-70 feet in depth at various locations. Despite getting highly seasick and throwing up on 5 different occasions on the boat, it was such an exhilarating fishing trip because I was thrilled to have caught 7 seafish, baited and removed each one myself without help!

The 8th fish was a very poisonous scary looking one, that I was warned not to touch, and of which we threw back in the ocean unharmed. This poisonous fish reminded me of that fish that chased Dory and Marlin, the clown fish in "Finding Nemo". Take note of this poisonous fish example because I will reference back to it later in my analogy. I'm writing this story because the entire trip reminds me of job hunting and life in general and I wanted to pass down my analogy and motivation to others.

At home, we packed some sub sandwiches, plenty of snacks and water, and tossed in some candy just in case we felt nauseous on the boat. We left at the crack of dawn early at 6 am to fuel up the boat and get some breakfast on the way. I heard our team say that it would be a bummer if we were out on the ocean catching fish but that we had to return early because we had ran out of fuel. We certainly didn't want that to happen, so we had to do all the preparatory things correctly before setting out on the Gulf of Mexico.

There were three of us on the boat, and I was prompted to take a motion sickness medicine 1 hour before and then again 15 minutes while on the boat and was told "on the sea we learn fast because things go quickly!" I love learning and fishing, so I was ready to catch some sea fish!

In order to be more effective on our fishing trip, we used an underwater fishing camera system that we lowered in the ocean, paired with a Simrad monitor to visualize the heat map of the fish to have a better idea of where they may be in the ocean depths. Here is a picture of what the Simrad heat map shows:

"Color is closely related to how strong the echoes return to the transducer. Density and how hard an object is are both very important factors in echo return strength. The stronger the echo is when it returns, then the darker or stronger color used on the fish finder display." (Fishfinders.info) e24fc04721