If your schedule has excessive slippage, then the Defense Contract Management Agency's (DCMA) Missed Tasks assessment may flag your schedule for further review.
The DCMA 14-point assessment inspects schedules and provides rules for measuring the potential for a successful project. The DCMA Missed Tasks assessment in particular, measures how well the actual (in-progress) schedule is tracking to the baseline schedule. A schedule that is exceeding its baseline finish dates may be a schedule in trouble. And it may require a corrective action plan to realign the actual schedule and baseline.
This article reviews the DCMA Missed Tasks assessment as a means for measuring whether the schedule is tracking to the baseline.
It is expected that not everything goes according to plan. Nevertheless your plan is your desired outcome, so you want actual progress to tract the schedule as much as possible. You also want an early warning indicator to alert you when your actual schedule is slipping away from the baseline. The DCMA Missed Tasks assessment is your first alert indicator that your schedule requires corrective action to realign it with the baseline.
The DCMA Missed Tasks assessment inspects how well schedule task finish dates are tracking baseline task finish dates. The assessment focuses on task finish dates and not task start dates. Task finish dates are scrutinized because it is more difficult to achieve and report the completion of a task than the commencement of a task. Therefore tracking schedule task finish dates provides a more conservative and/or accurate measurement of schedule progress.
In simpler terms the numerator is the number of missed tasks and the denominator the baseline count. Note that the denominator baseline count does not include tasks with no baseline dates. Therefore all tasks added after baselining the project are not included in this metric.
So, the assessment inspects task finish dates up through the status date, and allows only 5% of schedule tasks to slip beyond their task baseline finish dates. Otherwise, the schedule is flagged for review. This metric does not measure on-going activities that have a baseline finish beyond the update period; the Missed Tasks assessment is therefore retrospective.
Note that all missed tasks are weighed equally, regardless of their duration and/or cost. The total float of tasks is not considered. It is possible to fail this metric by using available total float, if the early finish dates are missed. Again, this metric is a conservative schedule delay early warning indicator. Also, not at issue is whether or not the activity in question is along the critical or longest path.
Let's walk through a Primavera P6 Professional schedule demonstration. In Figure 1 we have a P6 schedule that has been progressed two months.
We want to determine the percent of activities missing their baseline finish date, as per the data date.
First we want to find the baseline count. This is the number of activities that are scheduled to complete before the data date. To find the baseline count we implement the filter in Figure 2. Note we are using the DD (Data Date) modifier to keep this filter focused on retroactive missed dates and not count the impacted activities out in the future.
This filter captures all activities that have a project baseline finish date less than or equal to the data date. The result are all the activities displayed in Figure 3.
Now we simply count the number of activities displayed; I count thirteen activities that were scheduled to complete before the data date.
Now we create a missed task filter as displayed in Figure 4.
This filter captures all activities that have a project baseline finish date before the data date and have a project baseline finish date to finish date variance less than zero. All activities that miss their project baseline finish date are captured in this filter. The filter results are all the activities displayed in Figure 5.
Note the yellow baseline bars in relation to the blue activity bar actuals. Again, we simply count the number of activities displayed; I count seven activities.
So out of thirteen activities that were scheduled to complete before the data date seven missed their project baseline finish date. Employing the Missed Finish % ratio we find that 54% of activities are missing their project baseline finish date, as per the data date. This is not good. Our schedule has failed the DCMA Missed Tasks assessment by a wide margin.
Our schedule requires rigorous changes to realign it with the project baseline. Interesting how smaller schedules with less activities can fail this test more quickly and severely than much larger schedules.
The Missed Task assessment provides a conservative and straightforward way to measure schedule progress, and serves as an early warning alert when the schedule is slipping. The metric allows 5% or less activities to slip their finish baseline dates. The metric does not consider the duration, cost, and total float of missed tasks. This is a retrospective metric, task project baseline finish dates beyond the data date are not included in the analysis.
So whether or not the DCMA are auditing your schedules, this metric is a useful management tool for tracking the status of any company's project portfolio, We recommend you make this check part of your status process to see and report the overall status health of your projects.


How cute! I didnt even know the silhouette is able to cut foil. Love the drum!
I wasn't sure it would either, but it cut like butter!
Wow this is awesome, I had no idea the Cameo could cut that tape... must find some to buy!


As the flexible boards becoming more prevalent nowadays in electronics products, the simulation needs for flexible boards increases. In reality, engineers are often provided with a flat board design and asked to simulate its performance under bent conditions.
Today, ANSYS provides you with an add-on feature in ANSYS Spaceclaim that helps you bend your flat boards automatically with minimal CAD operation.
Feel free to contact us for more information on this feature.


Osorio's Cleaning Service, a stable growing company under Residential Steam Cleaning, is being run by . Since , their sales have been favorable and consistent at Unknown. Company location coordinates are: .
It can be reached by dialing (540) 376-4625 Full Phone Report, and you could get in touch with their sales team in , Fredericksburg, Virginia VA 22407. Visit their website at: to know more about the company's history, products and services, as well as frequently asked questions and privacy policies.
You can learn more by checking their classification codes: SIC – 7217 and NAIC – . Call the hotline stated above for faster transaction and queries. Osorio's Cleaning Service would like to hear from you.


Interior window shutters are as practical as they are beautiful. You can use them to block external noise when your windows have too much to deal with. You can also use window shutters to control the amount of light that enters your home. And unlike what many people believe, shutters can be installed in any home regardless of its style or décor. Just make sure the shutter design you choose complements your overall home décor. In keeping with that, here are five things you should know before sifting through window shutters designs for your home.
The dissimilarities between the different types of window shutters are mostly down to aesthetics and operability. Here's a lowdown on each type and what makes it unique.
Cherished for their country appeal, café style shutters leave the upper part of the window uncovered. Because of this, they let in a lot of light and some amount of privacy as well. These cute shutters are also affordable as they don't cover your window completely.
These shutters have independent upper and lower panels, which means you can open them (or their slats) independently of each other. They also offer the maximum flexibility and privacy and sit well in traditional-styled homes.
Full heighted with a look that is reminiscent of New England, plantation shutters are perfect for giving your room a streamlined appearance. With the addition of a mid-rail, the upper and lower slats can be tilted independently of each other.
Oozing traditional French appeal, solid shutters can be installed either as one solid unit (which requires to be folded to let light in) or as a solid lower-slatted upper combination which lets some light in even when the shutter is shut.
Window shutters for the inside are primarily made from polyvinyl or wood. The variety though stems from the extensive wood choices where there is an option for every budget. Where polyvinyl shutters score over wooden shutters is in waterproofness. This makes them ideal for homes located in humid regions, although they are just as suited for other climes as well. Wooden shutters, on the other hand, are perfect for non-humid locales.
There are also aluminium shutters, even though they are a lot less common. Aluminium's lightness makes it suitable for large windows, where the weight of wooden shutters can hamper ease of use.
Fold back the panels – Want a full unhindered view from your window? Just fold back the shutters to reveal the windows completely along with some lovely sunlight.
Tilt the slats – Keeping the panels closed while having the slats tilted just enough to let in some light serves two objectives, privacy is maintained while still letting in some fresh air and plenty of natural light.
The convention is to go for shutters featuring wider slats for large windows. In case of smaller windows, shutters with narrow slats are the norm. Remember that wider the shutter's slats, deeper is its frame. And although there is no precise reasoning for this, narrow slatted shutters suit traditional-styled spaces better. For more contemporary rooms, it's hard to go wrong with wide slatted shutters. Regardless of what you choose, make sure your shutter's tier-on-tier and mid-rain split points are in sync with the window's dividing points. The shutter's rails should sit in front of the frames while the slats should be positioned in front of the window's glass.
The window shutters décor is no longer restricted to just the old boring white, unless of course you actually like it. There are countless colours and finishes available for window shutters, ranging from soft and subtle ones to bolder and livelier ones. And since polyvinyl lends itself well to a variety of colours and finishes, you can even have your shutters custom-painted to suit the particular style of a room.
As a final point, consider the cost angle as well when mulling over which window shutters to choose for your home. It goes without saying that wooden shutters cost more than their vinyl or metal counterparts. What you get in return for the higher price is a timeless look. You should also be prepared to pay more if you opt for more exotic varieties of wood for your shutter. For instance, bamboo carries a premium of over 50-70% over basswood, which is what a majority of wooden shutters are made of.
Deciding on the right shutter is a pretty straightforward task if you know what you want. But if you find yourself confused, you can always turn towards professional help to get you through. A professional window blinds and shutter installer can offer wonderful insights and advice to help you choose the right shutter type for your rooms.
Nice post and useful for people who are looking for shopfronts installation.


text:
globalenquiries@ubisense.net
SMARTSPACE SOFTWARE
DIMENSION4 SENSOR SYSTEMS
CUSTOMERSSteven Manifold2020-01-17T17:09:45+00:00
Real customers achieving real success
Ubisense makes it work in the real world. We're proud to work with some of the world's leading and most innovative companies, helping them improve processes, track assets and deliver great outcomes.
The BMW car assembly plant in Regensburg, Germany, has a reputation for adopting new production methods ahead of the pack. Since 2007, Ubisense has provided a revolutionary new industrial tool control system.
The assembly line at the Regensburg produces BMW 1 Series, 3 Series and Z4 Sports cars, sequenced by the production planning system from customer orders. At any point on the assembly line, tools must have a torque programme installed corresponding exactly to the car being worked on.
Before Ubisense, workers identified cars by scanning a paper barcode fixed to the car and manually loaded appropriate torque settings to the tool. The scanning and programming operation wasted valuable time (up to 6 seconds per tool operation) with over 140 tools along the 1.7km production line.
With the Ubisense real-time location system (RTLS), BMW tracks the 3D location of cars and tools to within 15cm, 10 times per second, removing the need for scanning; improving efficiency and error-proofing the possibility of scanning the wrong vehicle.
The system identifies the proximity of a specific tool and vehicle, automatically programming torque and signalling to the worker to begin the tightening operation. Proximity events are detected to a confidence level of 99.99% necessary to gain worker acceptance of the system, making the Ubisense system the most reliable RTLS in the world.
Out Board are market leading specialists in immersive audio and show control for live entertainment, presentation events and experiences. Their TiMax TrackerD4 solution incorporates Ubisense UWB location technology to track the movement of performers to add precise, localized vocals and 3D surround effects for highly atmospheric performances.
TiMax TrackerD4 reliably and automatically tracks performers to within 15cm on stage, eliminating the time needed to manually programme sound queues and reducing the risk of errors resulting in the distraction of inaccurately localised vocals.
In both fixed and temporary installations, from tracking theme park characters, opera singers at the Royal Albert Hall, or bringing Broadway and West End stage musical performances such as the King and I and Aladdin to life for audiences around the world, Out Board partnered with Ubisense for the accuracy and reliability of the UWB solution.
CLAAS is a family business founded in 1913 and is one of the world's leading manufacturers of agricultural engineering equipment.
The AXION 950-920, AXION 870-800, ARION 650-530, ARION 460-410 and ATOS 350-220 tractor series, which between them cover a performance spectrum from 72 to 410 HP, are currently all produced in Le Mans.
"CLAAS offers an extremely wide choice of vehicle models in order to meet the needs of modern agriculture. By adding Ubisense technology to the facility at Le Mans, we will be able to best cope with product complexity while reducing waste."
Aldric Pavec, Production Manager, CLAAS
Increasingly complex configurations are driving manufacturing organizations to constantly improve process and improve precision control.
Aston Martin, world renown for precision engineering and high performance turned to Ubisense in order to achieve complete, adaptable monitoring of their production line.
At the Aston Martin plant in Gaydon, UK, the Ubisense Real-Time Location System (RTLS) enhances control of rigorous off-line finishing processes, through analysis and optimization of each process, ensuring production efficiency at all times.
Ubisense tags are attached in the inside of each car as they begin the testing and finishing stages. From that moment on, Ubisense allows production engineers to monitor each Aston Martin in real-time as it progresses through the facility, with alerts if a car deviates from a normal or planned progression.
About Transports Publics Fribourgeois (TPF)/Public Transport Management Company covering Fribourg, Switzerland
TPF is the main provider of public transport in the Swiss canton of Fribourg. In addition to managing the regional bus network in Freiburg, TPF also covers two urban bus networks. With an overall bus fleet of more than 250 vehicles, TPF are the second largest regional bus network provider in Switzerland. Like every depot management team, the team at TPF need to ensure that busses are scheduled correctly, arriving and departing as planned and on time. In order to ensure customer comfort and safety, a routine cleaning and maintenance programme must also be scheduled and maintained.
Challenge / Vision
With the move to a brand-new depot facility across three different buildings in April 2019, TPF have centralised the not-in-service parking of busses along with bus maintenance. TPF had previously done the bus scheduling manually, completely relying on staff experience. With the new site covering an indoor area of 70 000 square metres, incl. underground locations offering only poor to no GPS functionality, the manual process had become too complex and unmanageable.
What were the goals/parameters (scale of the issue or opportunity)
Keeping track of a dynamic fleet of busses within a large indoor and underground space is a challenge. This was recognised by the management at the TPF bus depot in Switzerland where a Ubisense real-time location system (RTLS) has been installed in conjunction with a web-based depot management system software. This software was specifically developed for TPF to seamlessly work with SmartSpace, Ubisense's modular software platform that uses real-time location and identification data from multiple sources to create mission-critical visibility and control applications.
The TPF depot management team were looking for a reliable and cost-effective RTLS that would improve the daily management of their bus depot.
In order to ensure each route is covered according to the timetable, the arrival and departure times of the busses must be monitored and maintained alerting key personnel to possible timetable deviation. Therefore, the precise location and positioning of each vehicle is critical to ensuring that they can be dispatched according to schedule and in the right order.
The Solution: How does Ubisense technology help you overcome your challenge or achieve your vision
A real-time location ultra-wide-band (UWB) radio system transmitter, known as a Ubisense tag, is attached to each bus. The tag emits small signals which are picked up by the network of Ubisense sensors located around the depot. The real-time location information is displayed within the depot management solution online interface enabling the despatch as to schedule and process-manage the depot efficiently.
The depot management system in conjunction with the Ubisense RTLS system has provided the perfect solution for the TPF bus depot offering 24/7 visibility of the busses across the depot and making significant efficiency improvements.
What have been the outcomes (results of the project)
The precise and highly reliable Ubisense technology covers a critical process at TPF enabling an efficient operation of the public transport network. It is the key to TPF's successful operational organisation.
Complete 24/7 visibility of busses across the depot
Consistently accurate location information allowing busses to be located in their correct lanes and parking spaces both indoors and outside
Reliable communication with the depot management system alerting it to busses arriving and leaving the bus depot
Considerable improvements of work-flow optimisation within the scheduling application
Mr Grégoire Ramuz, Head of Sales at TPF: "The real-time location ultra-wide-band (UWB) technology from Ubisense is the key to our operational organisation; we couldn't operate our network without this technology. It is the only truly suited technology for indoor and underground depot bus location. I strongly appreciate the competence and expertise of all involved Ubisense staff. Also, the quality of support and installation documentation is excellent. I'm looking forward to working with Ubisense on extending the solution to more of our depots."
Logiprotech (Thailand) Co., Ltd. is a joint venture between Thai and Japanese capitals, established in June 2017. They provide breakthrough improvements in production and logistics operations in Thailand and the broader Asian region by developing custom IoT systems together with their clients using the most advanced and unique IT technologies.
There is significant demand for innovative solutions that improve production and logistics operations and Logiprotech selected Ubisense RTLS to play an essential role as a core technology in their projects. Ubisense brings unique benefits to Logiprotech solutions and the ability to prove the necessity and value of IT in countries where applications are at a relatively emerging stage is a clear advantage.
Logiprotech have successfully launched several projects in Thailand based on Ubisense RTLS technology, including at Toyota for pickup truck frame, body & paint repair, and post-production conversion & accessories installation operations.
Logiprotech continue to see opportunities for breakthrough improvements combined with the Toyota Production System (TPS) and the use of advanced technology is being deployed with other companies across the region.
"We aim to bring in innovative systems to contribute to further enhancing the competitive edge of various industries in Thailand and the region." R. Sasaki, Chairman Logiprotech (Thailand) Co Ltd.
Verkehrsbetriebe Luzern (VBL) is the main provider of public transport in the Swiss city of Luzern. Like every depot management team, VBL must ensure busses are scheduled correctly, arriving and departing as planned, and follow a cleaning and maintenance program to ensure customer comfort and safety.
Keeping track of a dynamic fleet of buses within a large indoor or outdoor space of 12,000 square metres is a challenge. Busses must be parked in the order they will leave the depot to avoid a complex shunting process, causing delays or unsuitable busses used for a particular route.
VBL's real-time bus depot management system uses Ubisense RTLS to achieve operational efficiency in tracking, organising and dispatching more than 150 buses across a 12,000 square metre garage.
A Ubisense ultra-wide-band (UWB) transmitter is attached to each bus, providing sub-meter, real-time accurate location information into the swissaxis AG BeDips® depot management system. This allows buses to be located and parked correctly, both indoors and outside, alerting when buses arrive and leave 24/7, providing Considerable improvements of work-flow optimisation and efficiency for VBL.
"The solution implemented by Ubisense and swissaxis AG has provided an easy to use management system enabling complete 24/7 visibility of the busses across the depot and making significant efficiency improvements." Christian Zumsteg, technical leader, VBL
transform your business?
Get in touch to discuss how Ubisense SmartSpace and Dimension4 can make your business more productive, flexible, profitable and safe.
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redpajama_set_name: RedPajamaCommonCrawl


How will IEPs change under IDEA 2004?
In IDEA 2004, Congress added new language that parents, educators, advocates, and attorneys can use to ensure that children with disabilities are taught by highly qualified teachers and receive research based instruction. This article focuses on new requirements for personnel training, IEPs, and scientifically based instruction.
IDEA 2004 includes new requirements that schools provide "high-quality, intensive preservice preparation and professional development for all personnel who work with children with disabilities" so all school staff have "skills and knowledge to improve the academic achievement and functional performance of children with disabilities " . . . "including the use of scientifically based instructional practices."
Over 30 years of research . . .
(B) strengthening the role and responsibility of . . .
(H) supporting the development and use of technology, including assistive technology devices and assistive technology services, to maximize accessibility for children with disabilities.
Congress added new language to the definition of IEPs in Section 1414(d). IEPs must include "a statement of the special education and related services and supplementary aids and services, based on peer-reviewed research . . ."
The following language about IEPs is from Section 1414. The text in bold & italics is NEW.
(IV) a statement of the special education and related services and supplementary aids and services, based on peer-reviewed research to the extent practicable, to be provided to the child, or on behalf of the child, and a statement of the program modifications or supports for school personnel that will be provided for the child . . .
Full text of Section 1414 with changes.
Read more "What You Need to Know About IDEA 2004" articles.
Wrightslaw: Special Education Law, 2nd Edition is available in two versions: as a print book and as a print book & e-book combo.


text:
type: location
date: 2015-08-18
title: Contributing to large open source projects
event:
    name: LinuxCon
    location: Seattle, WA
links:
    Session: https://lccocc2015.sched.org/event/3YTU/how-to-contribute-to-large-open-source-projects-arnaud-porterie-docker-jerome-petazzoni-docker
---

<iframe src="//www.slideshare.net/slideshow/embed_code/key/yASnqdiybsbiZf" width="595" height="485" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" style="border:1px solid #CCC; border-width:1px; margin-bottom:5px; max-width: 100%;" allowfullscreen> </iframe>

A session and Q&A about contributing to the largest open source projects out
there.

Co-presented with <a href="https://twitter.com/jpetazzo">Jérôme Petazzoni </a>,
from Docker.

redpajama_set_name: RedPajamaGithub


Available as a monitor in public policy matters, including prison reform. Based on over 20 years federal and state experience in criminal justice, Richard is available as a special master, auditor or monitor in private or court-approved settlements to assist parties and courts in the implementation of agreed or mandated reforms and in resolving compliance issues. Richard brings to these tasks not only extensive correctional and criminal justice experience, but also mediation skills and training in collaborative problem solving and dispute resolution, helpful in avoiding, where possible, referral of compliance issues to the court for adjudication.


Noel Humphreys, Of Counsel in Connell Foley's Corporate and Business Law group, is presenting at NBI's Advanced Business Contracts: Secrets Only the Top Attorneys Know program on Tuesday, July 18, 2017 in Princeton, NJ. Noel presents alongside Victoria M. Brown of Victoria M. Brown, LLC on "Tips for Handling Complicated E-Contracting, E-Signatures and E-mail Issues." This program is designed to go beyond the "nuts and bolts" and explore business contracts at an advanced level. The speakers will demonstrate how to take vital contract language, terms, conditions and clauses, refine them and customize them to your clients' unique needs and situations. They will provide real life situations to help attendees confidently maneuver through sticky provisions and identify the most advantageous positions to take in negotiations.
Click here for more information on this event and to register.


The Leadership Development Forum is for mid to senior leaders. This program takes coaching one step further by blending executive coaching sessions with leadership development workshops, group coaching sessions and peer coaching.
The Group Development Questionnaire (GDQ) Certification is for human resource professionals, consultants and trainers. The GDQ instrument is a powerful research based tool that gives team facilitators the knowledge and expertise to transform groups into high performance teams.
Collaboration and teamwork are essential for effective healthcare delivery and positive patient outcomes. The Interprofessional Health Care Team: Leadership and Development lays out a path for increasing leadership capabilities and developing outstanding teams.


text:
Censorpedia: An Interactive Database of Censorship Incidents
Revision as of 14:11, 15 November 2016 by Joyeria02 (Talk | contribs)
Today's Featured Case
Artist: Aaron Bell / Artwork: Stand Tall, Stand Loud
Date of Action: June 2016
Subject: Political/Economic/Social Opinion, Public Art
Medium: Sculpture, Public Art
Confronting Bodies: New York City Department of Parks & Recreation
Description of Artwork: Aaron Bell's Stand Tall, Stand Loud, is a sixteen-foot tall Cor-ten steel sculpture located in Riverside Park, New York City. The sculpture is composed of a stylized figure and a noose with a slash through it in place of a head. Bell's proposed design was selected by the Art Students League for Model to Monument (M2M), a public art program administered in partnership with the New York City Department of Parks & Recreation. Bell, who is African American, conceived the sculpture as a statement against hate and bigotry. The sculpture's base is inscribed with a quote from Martin Luther King, Jr.: "Our lives begin to end the day we become silent about the things that matter."
The Incident: A public art coordinator for city parks, Jennifer Lantzas, contacted Parks staff with concerns that "the image of the noose could be problematic for the borough" (Ginia Bellafante, NYTimes May 27, 2016). Parks spokesman Sam Biederman said that Bell's project was rejected because the site, near West 68th Street in Riverside Park, "is adjacent to an area regularly programmed with passive recreational activities such as yoga, Pilates and senior movement." Bell was told to remove the noose element or forfeit the opportunity to install the sculpture; the M2M committee did not honor his repeated requests to explain or defend his concept. The sculpture was initially installed on schedule but with an alternative head element.
Results of Incident: The NYC Parks Department reversed its decision to censor the sculpture after protests by NCAC and the involvement of attorney Norman Siegel on behalf of the artist. The noose element was fabricated in Cor-ten steel. It was installed on July 20, 2016.
Source: http://untappedcities.com/2016/06/20/art-students-league-m2m-program-arrives-in-riverside-park-nyc/
A 'Problematic' Sculpture Is Silenced by New York Parks Officials by Ginia Bellafante MAY 27 2016
Artist Will Finish 'Problematic' Noose Sculpture In Riverside Park by Emma Whitford JUN 17 2016
Art Students League M2M Program Arrives in Riverside Park NYC, 06/20/2016, by AFineLyne
NCAC Letter to Mitchell J. Silver, FAICP, Commissioner, New York City Department of Parks & Recreation
What is Censorpedia?
Censorpedia is a crowdsourced online database of censorship cases within the arts and in culture. It is aimed at those researching censorship, at activists working for freedom of expression and at artists and other cultural producers whose expression has been subject to censorship or attempted censorship.
Censorpedia aids the fight for free expression by providing a repository of incidents involving information about what is vulnerable to censorship, and about the strategies and tactics that have defeated previous' censorship attempts. Essentially, its articles document censorship outbreaks by providing the who, what, when, where and why.
Researchers can search for a specific case, year or keyword using the search box, as well as browse by medium, by subject, or explore a random case.
Activists can search for ongoing cases or contribute a case that is ongoing or recently resolved.
Artists and cultural producers are similarly invited to add cases they are directly involved with or are familiar with first hand.
Censorpedia builds on the landmark 1994 art project The File Room, initiated by Muntadas.
Feel free to:
Browse censorship cases by:
Retrieved from "http://www.wiki.ncac.org/index.php?title=Main_Page&oldid=12826"
Censorship incident
Political/Economic/Social Opinion


The Samson C02 pencil style condenser microphone excels in both live performance and recording applications and come in a convenient stereo pair. Equipped with a linear frequency response for superior reproduction, it is also designed to withstand high sound pressure levels. Extremely sensitive, it employs a tight cardioid pattern to reduce feedback.
Extended range frequency response for optimum reproduction and exceptionally clear, crisp sound with great transient response. Lightweight and compact, the C02 can be mounted on any standard microphone stand using the included shock-mounted mic clip. Ultra sensitive, low mass element picks up all of the nuances of any performance.
Included foam-lined impact resistant carrying case for convenience when transporting three C02 microphones from venue to venue.
Rugged brass case ensures reliable performance in even the most demanding environments.
Special shock-mounted mic holder is included to minimize noise and provide additional protection.
Tight cardioid polar pattern minimizes feedback problems and effectively rejects signals not originating directly in front of the mic capsule.
Ultra sensitive, low mass element picks up all of the nuances of any performance.
Withstands high SPLs, lending itself to a wide range of miking situations.


text:
PFL 4 Weigh In Results: Roberta Samad, Zane Kamaka miss weight
Greg Honda Photography
Shane Connelly
Shane Connelly is a journalism student at Penn State with…
RIZIN debuts of Kevin Ross, Marcos de Souza postponed
Two fighters missed weight for Professional Fighters League's fourth event of 2019, which takes place on Thursday, July 11.
On the live ceremonial weigh-ins, former PFL champion and current commentator Sean O'Connell revealed that women's lightweight fighter Roberta Samad and men's welterweight fighter Zane Kamaka failed to make weight for their scheduled bouts against Sarah Kaufman and Andre Fialho, respectively.
Their opponents, Kaufman and Fialho, will both be given three points – the standard total for a decision victory – in the tournament for making weight. They will also be paid their show money and win money.
For the UFC veteran Kaufman, the three points bring her total up to nine. She earned six points at PFL 1 by defeating Morgan Frier by arm-triangle choke in the first round of their fight.
Those nine points are good enough to secure her a spot in the women's lightweight playoff bracket. She is the first to do so in the division's inaugural season.
Samad won her first bout of the season by unanimous decision over Moriel Charneski to earn three points, but she lost her chance to secure a playoff spot with the weight miss. Fellow week-one winners Kayla Harrison and Bobbi Jo Dalziel will have the opportunity to break into the postseason with a win tomorrow.
In the men's welterweight division, Fialho earned his first points of the season after Kamaka failed to make weight. Fialho has not yet secured a playoff spot in the welterweight portion of the tournament, having lost to Chris Curtis in his first fight of the season by third-round TKO.
Fialho's scheduled opponent Kamaka is also winless on the season. Kamaka fought last season's runner-up Ray Cooper III in a grudge match between two cousins.
Prior to Wednesday's weight miss, Kamaka missed weight for the first time in the PFL ahead of his promotional debut against his cousin, Ray Cooper III. He stayed on the card after Cooper accepted a catchweight bout. Cooper than submitted Kamaka in the second round of their grudge match.
According to O'Connell, Kamaka is "disqualified from PFL competition" after missing weight for the second time in two fights.
The PFL 4 card now features:
ESPN2 portion (8:30 p.m. ET)
Magomed Magomedkerimov vs. Chris Curtis
Kayla Harrison vs. Morgan Frier
Ray Cooper III vs. John Howard
ESPN+ portion (5:30 p.m. ET)
Joao Zeferino vs. Bojan Velickovic
Sadibou Sy vs. Glaico Franca
Handesson Ferreira vs. David Michaud
Bobbi Jo Dalziel vs. Larissa Pachecho
Genah Fabian vs. Moriel Charneski
Shane Connelly is a journalism student at Penn State with a passion for sharing the stories of MMA fighters.
Shane Connelly July 10, 2019


Swindon is planning a borough-wide Wi-Fi mesh network providing free internet access to all residents.
The network was announced on Tuesday by Swindon Borough Council, which has teamed up with former Swindon Town FC chairman Rikki Hunt and the software-as-a-service (SaaS) company aQovia to set up a new company, Digital City UK.
Digital City UK, under the brand name 'Signal', will install a mesh Wi-Fi network covering the whole borough of Swindon. Mesh networks intelligently organise themselves so they can self-heal if one node fails.
According to Digital City UK's statement on Tuesday, users will be able to "seamlessly" move between access points with no interruption to service. The statement suggests the network could be used not only for free web access, but also for air-quality monitoring, free voice calls, wireless CCTV coverage, smart metering communications and telemedicine applications.
Swindon Borough Council has a 35 percent stake in the public-private partnership. Hunt told ZDNet UK on Tuesday that Digital City UK intends to set up other similar partnerships in cities and towns across the UK, with the relevant local authority holding a 35 percent stake in each case.
The first phase of the Swindon network will be turned on the Highworth neighbourhood in early December, while the rest of the project will be live by the end of April, the statement said.
"This is a truly groundbreaking partnership which will have real benefits for everyone living in Swindon," Swindon Borough Council leader Rod Bluh said in the statement. "Not only will residents in the borough be able to access the internet for free [but] the council and its partners will be able to use the technology to provide cutting edge services to the areas or individuals who need them."
"Digital City will also provide the council with a unique funding stream and it is our intention to use our expertise to help other local authorities follow our lead."
Mustafa Arif, aQovia's director, noted in the statement that the idea of city-wide free Wi-Fi networks had "died out a few years ago with scant examples of any sustainable networks", but argued that Digital City UK's business model was "built around subsidising free access with revenues from business and community services that are delivered over our wireless network".
Arif added: "This innovative partnership demonstrates a viable way forward for other towns and cities."
According to Tuesday's statement, the network will be launched with speeds of "up to 20Mbps" and tiered services will be "as fast as people want to pay for". Wireless repeaters will be supplied for installation in windows, so signals can be improved indoors.
"The free access is probably going to be based on a limited time rather than a limited speed," Hunt told ZDNet UK. He said users would be able to gain free access at the maximum available speed for two hours a day, which, he said, would be sufficient for "social inclusion" needs.
The network will be protected with the WPA encryption standard and no devices connected to the network will be "accessible from the outside world", according to the statement.
Hunt said Digital City UK's business model would depend not on the Wi-Fi network itself, but on the bundled services that the company would resell over that network. He said this approach would help the scheme succeed where entirely free municipal Wi-Fi schemes have failed.
"What we've done is we're developing a series of applications that people will subscribe to — that gives us the business model and lets us make money," Hunt said.
He added that Google and Microsoft products would be resold to customers, along with security products and "energy monitoring and intervention products" that would let Digital City UK "remotely intervene and... switch things on and off as we see fit".
Asked whether Digital City UK had any experience in rolling out Wi-Fi mesh networks, Hunt said aQovia was "bringing in partners to look at this". He said Digital City UK did not see such deployments as "technically challenging".
Hunt also said Digital City UK was looking at creating a branded SIM card that would allow users to get free voice calls while in the Wi-Fi-enabled area, then switch across to a standard mobile operator when leaving the zone. He said the company was in "early conversations" with several operators about this plan.


We took a familiar post-Christmas hike, one of the many traditions to come. Laurel Falls, TN. Our baby in my belly was kicking up a storm during the presence of this waterfall that I used to hike when I was a little girl. My father used to hike this same trail with me in his backpack when I was less than a year old, and I was able to share this day with him, Collin, and the dogs. We hiked around 5.5 miles roundtrip to the familiar falls, new to Collin. Staying active with a growing belly really seems to suppress many pregnancy symptoms such as fatigue, headaches, or leg cramps. I look forward to the day I am able to take my daughter down these worn trails and share with her this magical spot.


Items where Author is "Radzi, M.W."
Radzi, M.W. (2008) Universalism and the law of sport: Muslim women negotiating sports leadership. In: 3rd International of University of Malaya Law Conference, 06-07 May 2008, University of Malaya.
This list was generated on Sat Apr 20 13:08:10 2019 +08.


Latino Outdoors (external link) is open to people of all races and ethnicities, but González and his teammates are especially keen on providing outdoor access for the Latino community. Simple social justice is one reason for this emphasis, of course. Many Latinos live in highly urbanized areas and have little opportunity to participate in outdoor activities.
González says conservation organizations would be well advised to take a page from corporate marketing playbooks.
González says that working with Save the Redwoods League has been particularly gratifying due to both the commitment of the League's staffers and the organization's core mission. The initial support came from League sponsorship of some Latino Outdoors' events and sharing their stories — it begins a conversation with each other and explore what may work and can be developed with common interest.


Silvery, glistening, ethereal, sweet, wafting, bright, lustrous, shimmering, bell-like, mellow, soft, velvety, sensitive, golden, glassy, pure, fragile.
The celesta's timbre consists of the attack and very long resonance.
The celesta sounds warmer and rounder than the glockenspiel.
Its resonance is long and is reinforced by the resonator boxes.
The timbre lies somewhere between the glockenspiel and the glass harmonica.
The sound is not loud.
Although the celesta is touch responsive (the harder the attack, the louder the note) it is far less so than the piano. Its dynamic range is therefore limited.
A hard attack results in a somewhat piercing sound, and for this reason the celesta is used mostly for soft and gentle passages.
The celesta is a relatively quiet instrument and cannot make itself heard in an entire orchestra.
The resonance of its notes is similar to that of the piano in the same registers, though a little shorter. Lower notes resound for longer than high ones.
A differentiation of registers on the celesta is not really possible, the timbre is relatively homogeneous over the entire compass. The lowest notes do sound particularly rich and warm, the higher notes especially bright, however.


March began in Chicago with fancy hotels and Champagne Thursday in real life with my dear friend, Liz. I thoroughly enjoy time spent with her. She reminds me how much I love vegetables and drinking four cups of coffee a day. We wore big parkas and walked around Chicago from coffee shop to bookstore to food spot. We spent ample amount of time dreaming about my bookstore and her upcoming inception into the world of law school. Our lives, though vastly different, have paralleled one another for quite some time. Walking alongside her through tumultuous seasons is one of the greatest gifts from the World Race. I'm grateful for her friendship and her honesty.
In between our bookstore and coffee stops we visited the Art Institute of Chicago. There were beautiful lions standing guard over the building, majestic and courageous. Inside were works of art so vast in concept and style that I couldn't begin to name them all. We saw Picasso's Old Guitar Player, Monet's Water Lilies, and stood mesmerized in front of portraits that danced across the canvas as if real. Liz and I arrived a little late (they close so early!) so we ran around trying to see as much as we could, barely pausing for all the madonnas-with-child sprinkled throughout the halls and galleries. By the end we were panting and sweating. The brisk outside air welcomed us with cold hugs – one of the only times I've ever been grateful for wind.
We walked to the Bean (of course) and watched some people ice skate while we cooled off (we're pretty sure we saw Taye Diggs, but who can be sure?!).
My road (or flight) back to my own big city was a little wild. While I was in the snow-less Midwest a blizzard of outrageous proportions decided to drop fourteen inches of snow over most of New England, grounding all flights for hours. Thus, I spent sixteen hours in the Chicago-Midway airport. If you're not familiar, Midway is more or less the Dollar General of airports: you stop every once in a while if you're passing through and in dire need of an essential (and even then it's hit or miss). There are no lounges, but thankfully they added a few new restaurants recently so there's actually food to eat instead of airport-gas-station-snacks. In the same amount of time it would have taken for me to drive to Boston I read a little, napped, caught up on TV shows, and decided I am too old to spend that amount of time in an airport. Six years ago it would have been fine, but… not anymore, y'all. I can't handle it. I was delirious by the time my flight took off at 9 PM.
The snow was beautiful when I arrived in Boston, though it quickly turned to grey masses of ugliness. The mounds of parking lot snow (affectionately deemed city glaciers) have been bigger than I could have ever imagined and there's always ice lurking around to trip me up. It's the end of March and the snow and ice are finally melting. Birds (besides gulls which are always around) have started making appearances. We're seeing sunny days and temperatures that reach the 50s. This southern girl has officially made it through her first New England Winter. I think.
It should be duly noted that I did take one more trip back to Georgia. I haven't been south since December and I thought I could make it until late April without getting my hair done, which seems to be the only reason I go south these days (there's no way to insert a side eye and a laugh here, but read: obviously there are more important reasons for my trips south). As it turns out, I couldn't (or didn't want to) make it to April. I needed to sit across the table from familiar places and thaw out a little in the Georgia sun.
Several great things happened while I was home. Most notably, yes, I got my hair done – with hints of purple because I'm having a life crisis? In true Georgia fashion, the weather was colder while I was home (call me Elsa) and we ended up under a tornado warning/watch while I was out having drinks with a friend. Why am I not surprised?! I spent several days legitimately working. Not all time in Georgia is for play, but sharing an office with Donna is pretty fun.
I've also been mulling over why leaving is still so hard. We are 265 days into this New England thing. This trip to Georgia was my fourth since The Move in July. Part of it is the struggle to find community in Boston. I feel like I'm awkward at conversations with strangers and winter makes me want to hibernate. It's hard leaving people who are okay with my quiet, okay with my emotions, okay with me, for a place with people who don't know me. Some of that is my own fault because I put up walls and hold back, afraid of being too trusting, too open, too raw and real. Why? Haven't I always been the one who meets no strangers? There are a million excuses I could come up with, but they don't hold water.
Part of it is this ridiculous desire to be grounded, rooted – the whole reason I bought all this heavy furniture two years ago and got mad a year ago when I realized it wasn't enough to hold me in one place.
Part of it, still, is realizing that time doesn't stop. As comforting as that can be (nothing lasts forever), it creates this urgency in me (because nothing lasts forever) and I get all up in arms over missing moments, growing apart, losing who and what matters most to me, no matter how unrealistic that is. In college and after I've been the one who may or may not show up, may or may not be in one place for very long (hello, the World Race?).
This year has made me realize how much I want to be stable – for my own sanity, but also because I want to be the one who shows up for other people.
I'm in my own way a lot over this. Looking back, I'm glad God moved me. I didn't need to stay in Rome. I couldn't have thrived there. It was so good to bring me stability and foundation in my early post-college years and it's so good to go back to front porches and green Berry grass every now and then, but it couldn't be my forever.
And as ironic as it is, I feel a little more able to be the one who shows up these days because I'm not constantly worried about whether or not my paycheck will cover all the essentials, let alone the extravagances.
Needless to say, I didn't cry leaving this time. Not one tear. Maybe it's getting a little easier.
March has ended after a fun five day romp around Boston with Bell, my original Berry roommate. We explored Concord's nooks including the Alcott house and Sleepy Hollow Cemetery. We visited half a dozen bookstores and walked miles in our sneakers through Cambridge, Back Bay, Salem, and downtown Boston. Berry couldn't have known that these two random freshman roommates would still be friends eleven years later.
April looks to be an equally busy month. The Boston marathon marks the ides of the month with a trip to south Georgia soon to follow. Temperatures are looking up (maybe even to the 60s!) in the next few weeks so we New Englanders can finally be warmed by the sun instead of using it just for light. And of course baseball season is finally here, which is all the more reason to celebrate. Here's to spring flowers, warm sun, and the waking after a long, cold winter.
Bonus: Ben Platt's new album, Sing to Me Instead – musically, lyrically, this is amazing.


text:
Q: It is kosher to open similar questions and then answer them yourself?
Possible Duplicate:
Can I answer my own questions, even those where I knew the answer before asking?

I asked 2 questions with slight variations:
One on how to get your Seed data into the testing environment without breaking FactoryGirl and then a second on how to use FactoryGirl to populate the Seeds.rb file using a helper in the spec directory.
I managed to play around enough to answer one, and thus answer the other but is it acceptable to answer multiple of your own questions?

A: Yes, it is perfectly acceptable to do that. Can I answer my own questions, even if I knew the answer before asking?
A little restraint in that is probably advisable, though.

redpajama_set_name: RedPajamaStackExchange


Wearing a jacket from Melody, vintage jeans, Modekungen knit, Converse and a KARA bag (small version).
Major loves for the jacket and this relaxed look. Have an amazing time back in Hong Kong!
Loving this look – the jeans are seriously a perfect fit!
For some reason bright skies and London aren't two words I always associate with each other, but I will agree with you that the weather has been more pleasant than otherwise recently! Can't wait to see more snaps on your return to Hong Kong.
Stunning jacket! i love the combo with the jacket!
It's great to see someone else having to juggle between UK and Hong Kong and continuing to blog about it in the same light! Literally living my London life through you – can't wait to be headed back next year. Definitely a LDN/HKG gal a heart. Have a good time in HK where you will definitely not be needing that jacket!
Wow well good thing you stole it because you look awesome.
This look is so simple yet somehow you make it look so fabulous. Your photography style is, as always, totally on-point! Glad you're keeping warm and feeling better! Safe travels back to HK!
Love all the shots! The jacket looks amazing!


text:
package org.eclipse.emf.cdo.view;

import org.eclipse.emf.cdo.common.CDOCommonRepository;
import org.eclipse.emf.cdo.common.CDOCommonView;
import org.eclipse.emf.cdo.common.util.CDOQueryInfo;

import org.eclipse.net4j.util.collection.CloseableIterator;

import java.util.List;

/**
 * Provides access to the information that specifies a query from a {@link CDOCommonView view} to a
 * {@link CDOCommonRepository repository} and to the results of the remote query execution;
 *
 * @author Simon McDuff
 * @since 2.0
 * @noextend This interface is not intended to be extended by clients.
 * @noimplement This interface is not intended to be implemented by clients.
 * @apiviz.landmark
 * @apiviz.has {@link java.lang.Object} oneway - - context
 * @apiviz.composedOf {@link java.util.Map.Entry} - - parameters
 * @apiviz.uses {@link java.util.List} - - result
 * @apiviz.uses {@link org.eclipse.net4j.util.collection.CloseableIterator} - - resultAsync
 */
public interface CDOQuery extends CDOQueryInfo
{
  /**
   * Returns the {@link CDOView view} this query was created by and is associated with.
   *
   * @return Never null.
   */
  public CDOView getView();

  /**
   * Sends this query to the server and returns a typed {@link CloseableIterator iterator} over the query result.
   *

   * As opposed to the {@link #getResult(Class)} method, this method asynchronously communicates with the server.
   * In other words, the returned iterator can be used immediately, even if the server is still about to send pending
   * result elements.
   */
  public <T> CloseableIterator<T> getResultAsync(Class<T> classObject);

  /**
   * Same as {@link #getResultAsync(Class)} but tries to infer the return type from the static context.
   *
   * @since 4.0
   */
  public <T> CloseableIterator<T> getResultAsync();

  /**
   * Sends this query to the server and returns a typed {@link List list} containing the query result.
   *

   * As opposed to the {@link #getResultAsync(Class)} method, this method synchronously communicates with the
   * server. In other words, the result list is only returned after all result elements have been received by the
   * client.
   */
  public <T> List<T> getResult(Class<T> classObject);

  /**
   * Same as {@link #getResult(Class)} but tries to infer the return type from the static context.
   *
   * @since 4.0
   */
  public <T> List<T> getResult();

  /**
   * Sets the maximum number of results to retrieve from the server.
   *
   * @param maxResults
   *          the maximum number of results to retrieve or {@link #UNLIMITED_RESULTS} for no limitation.
   * @return the same query instance.
   */
  public CDOQuery setMaxResults(int maxResults);

  /**
   * Binds an argument value to a named parameter.
   *
   * @param name
   *          the parameter name
   * @param value
   *          the value to bind
   * @return the same query instance
   * @throws IllegalArgumentException
   *           if the parameter name does not correspond to a parameter in the query string or if the argument value is
   *           of incorrect type
   */
  public CDOQuery setParameter(String name, Object value);

  /**
   * Binds an object as teh context for this query.
   *
   * @since 4.0
   */
  public CDOQuery setContext(Object object);
}


text:
'The Karate Kid' In Training For Broadway: Musical Adaptation Has Original Screenwriter On Board
Abigail Disney Describes How The "Raping and Pillaging" Culture In Hollywood Led To Creation of Level Forward
Abigail Disney described how her outrage over Harvey Weinstein's conduct prompted her to launch a bid for The Weinstein Co. and ultimately led to the creation of a new type of entertainment company that blends creativity with a broader social mission.
The documentary filmmaker and granddaughter of Walt Disney Co. co-founder Roy O. Disney offered a blistering critique of Weinstein and of billionaire Ron Burkle, who backed a bid for The Weinstein Co. that was fronted by a Maria Contreras-Sweet.
Referring more broadly to the industry, Disney remarked, "If raping and pillaging is part of your business plan, it's probably how you treat everything else in your world."
In a video conference call with a handful of journalists, Disney said she was "filled with rage" by the allegations of rape and sexual assault against the once-powerful Hollywood producer. She said her anger motivated her to back a bid to take over the studio.
Abigail Disney Teams With Killer Content For Inclusive Female-Driven Studio Level Forward
"I thought maybe just maybe we could get a group of women together to buy The Weinstein Co. and deploy the resources to benefit the women who were victims of sexual violence," Disney said. "I fell in love with the beautiful symmetry and social justice of the idea."
Disney found a partner in Killer Content CEO Adrienne Becker, whom she described as her "long-lost litter mate." They were assembling a bid when they learned of a competing offer from Conteras-Sweet and Burkle, who subsequently was revealed as the backer and whom Disney described as "not in style or tone much different from Harvey Weinstein."
The outcome of that frustrated effort to acquire The Weinstein Co. resulted in Level Forward, a new type of entertainment company that is neither a studio nor a film fund nor a talent agency. Level Forward seeks to tell authentic stories from a perspectives that are often are absent from the megaplex.
Level Forward will seek to partner with nonprofit and advocacy groups to accurately tell these new stories, promote conversation and even direct action. Among the executives joining the leadership team is Christina Norman, a former executive with Viacom and Oprah Winfrey's OWN Network.
Producing groups, known as "pods," will be led by Stephanie Allain, producer of the Netflix series Dear White People; Stephanie Laing, producer of the Emmy-laden HBO series Veep; and Broadway producer Eva Price of the Tony Award-winning Dear Evan Hansen.
The first portfolio of entertainment offerings — which Becker calls BIT, or Believe in This -includes the musical Jagged Little Pill, based on Alanis Morissette's Grammy-winning 1995 alt-rock smash, which is now at the American Repertory Theater, and MeToo, a documentary from Amy Ziering and Kirby Dick, which seeks to unpack the Hollywood sex-abuse scandal.
Level Forward also backed Rotten Apples, a database like IMDb or Rotten Tomatoes that mades it easy for people to identify people in the film or television industry who have been implicated in sexual misconduct.
Abigail Disney
Adrienne Becker
Stephanie Allain
Stephanie Laing


Good SEO specialists understand that quality results can take time, but convincing customers that they'll need to wait it out can be difficult – especially when clients have little to no experience with back-end SEO practices. Taking some time to clue in your customer base about SEO basics can go a long way in helping to develop a healthy working relationship and will give them some resources to map out their expectations for the timeline of your work.
Clients often expect keyword lists to take hours or even minutes to compile – but the best SEO experts know that keyword analysis is an ongoing process and that a basic list can take days or even weeks to perfect. High-ranking websites use a combination of long-tail and short-tail keywords that are found from a variety of sources and that have statistical data which demonstrates success. Even after keywords are implemented, tools like Google Analytics should be used to monitor click-through-rates and general traffic statistics, and low-performing keywords should be swapped out.
Once upon a time a webmaster could buy hundreds of links at once and see their Google rankings rise instantly overnight. This is no longer the case and Google now looks for content-related links from reputable sources, which can be difficult to obtain. In the same way that it would take a professional a long time to "network" at a dinner party, it will take time for a website to "network" with related sites and to gain a variety of inbound links.
Taking a few minutes out of your day to explain these time related issues to clients could make a huge difference in their understanding of the important work you do each day.


text:
Q: jsoup checking if a table exsists I have
Element list = doc.select("table").get(0);
some times there is no table present, but I am still doing get so I am
Exception in thread "main" java.lang.IndexOutOfBoundsException: Index: 0, Size: 0

How to get out of this exception?
there is no size as this is element

A: Elements is the object returned from a select.
 Elements tables = doc.select("table");

and it has a size method.
So you can call:
 tables.size();


text:
Max and Iggor Cavalera Talk About Revisiting Sepultura's Groundbreaking 'Roots' Album
When they played together in the metal band Sepultura, singer-guitarist Max and his brother, drummer Iggor Cavalera, who currently play together in Cavalera Conspiracy, explored their Brazilian heritage on the 1996 album Roots.
For the current tour, Cavalera Conspiracy guitarist Marc Rizzo and bassist Johny Chow will join the Cavaleras as they play the album in its entirety. We spoke to both brothers via Skype and asked them about the tour.
Talk about what made you want to revisit this album?
Max: We thought it would be a good time because it's been 20 years from the Roots album and we haven't done anything like this before. It's really something different in our lives and in our careers. Everyone got really excited about it. We tried it out in Canada, and it was killer. The crowd went crazy. We wanted to do it for real for a whole tour. We got backdrops and merchandise and it's rolling now. I love the show. It's one of the coolest things I've ever done.
Iggor: The cool thing about it is to do something different that we haven't done in our whole career. At the same time, we have a special relationship with this record. As a drummer, I got to explore different styles of percussion and drums. To try to recreate this now as a live concert is a real challenge. There is stuff we've never played live before. As a musician, it's amazing when you have a strong challenge in front of you. That's what keeps us hungry to do more and improve.
Take us back to the making of the album. What prompted the band to explore the indigenous music of Brazil with the album?
Max: We're always looking for something different. It was evident on all the records that there was growth. I think the seed was planted on [1991's] Arise. We did some intros where we mess around with tribal rhythms, and it continued heavily on [1993's] Chaos A.D. We started to listen to old Brazilian acts like Chico Science. I had the idea to spend some time with the Xavante. That was in the middle of the record. That provided the imagery and concept came from the trip we did to the tribe. That's never been done before by a metal band. That's very unique. There's something special about this record. It surprised everyone and it was a game changer in the metal world.
Iggor: It seems like we were moving in that direction naturally. Even before Chaos A.D., on Arise, we tried some intros that had different sounds. That sent us on the way to Roots. It was a natural progression of ideas. By the time we did Roots, it became logical to explore as much as we could from the tribal beats to playing together with the tribe and exploring their music.
You recorded "Itsari" with a native Brazilian tribe. Talk about that.
Iggor: For us, it was amazing. No one in the rock or metal world had tried anything like that. It was quite magical. We had to record with car batteries because there was no electricity. Things like that made it so special not just for metal but for Brazil too.
Max: I think that's the coolest thing. We went back o the deep roots of Brazilian music before samba. We went back to the original Brazilian music before anyone was there. It was important to us that if we call the record roots, we go back to the original music. It was important to go back there. People in Brazil at the time didn't care much for the Indian values and all their values. Our grandmother was a native, which is very cool so we have some native blood. The trip was amazing from every angle. We spent three days with them. They were so nice and open minded and so friendly and everything went so smooth. They wanted to play our music so we played a song for them. There were 300 people sitting down and they started making this noise, and we asked the translator what they were saying and they were asking for more. Getting painted by them and experiencing the way they live, for us, it was awesome. We were involved in their rituals, and it was very magical. It was a one of a kind experience. We were blessed to be part of that. In metal, nothing like that has been done. I love stuff like Paul Simon's Graceland for which he went to South Africa and recorded and Peter Gabriel's Last Temptation of Christ, which used the Eastern rhythms. I wanted to do stuff like that. There are no rules. The record is groundbreaking, and I think that's why the record was so well received.
The two of you had a falling out at one point. What's enabled you to work together again?
Iggor: The most important thing is that we decided to start making music again. The cool thing about it is that the second Max talked about making music again it was a new thing. It was to write new music together. That was the most important thing. We're super proud of our past. This Roots tour is a special thing. I'm more excited about working on new music. We want to be influenced by new bands right now. Those things are a way to motivate me as a musician. There's a way to try new things. We want to do something for the future.
Max: I really love when I got back with Iggor epically after ten years of not talking. It was very hard on all of us. When we got back together it was great just to be back together. We wanted to do something new with our life. We created Cavalera Conspiracy, and it was super, super killer. I love the record Inflikted. It was really awesome. There are some great things on it. I remember when we wrote "Sanctuary," I was so happy about the song. The main refrain is "everybody die tonight." It's a heavy angry phrase. I felt so alive to sing that. The song just kicks ass. People love Pandemonium too. It's a cool underground record. Like Iggor said, we're excited to look for the future and the Roots tour will influence us to come up with better stuff when we do the next Cavalera album, which will be our fourth album. I hope we're inspired and can do something different to create a Cavalera Conspiracy album that people haven't heard before.
Max and Iggor Cavalera Return to Their Roots Tour, Combichrist, All Hail the Yeti, Oni, 6 p.m. Sunday, Oct. 16, Agora Ballroom, 5000 Euclid Ave., 216-321-5588. Tickets: $20 ADV, $25 DOS, agoracleveland.com.
C-Notes Max and Iggor Cavalera Roots Tour Agora


The case proceeded to trial, and after the claimant rested, the employer moved for a directed verdict on the claim for radiculitis, arguing radiculitis is a symptom rather than a compensable condition. The trial court granted the motion. The remaining conditions were presented to the jury, which rendered a verdict finding against the claimant. The claimant appealed, arguing the trial court erred in granting directed verdict. The court of appeals agreed with the claimant's argument, finding the claimant's expert provided testimony indicating radiculitis is a condition and not merely a pain complaint or symptom of another injury.
In the workers' compensation practice, the defense will often argue that radiculopathy is a condition and radiculitis is a symptom. The Ellis case demonstrates the distinction between a symptom and a condition is often a function of the testimony of the experts, especially when the claim proceeds to court. If the experts disagree as to whether a radiculitis is a symptom or condition, then there will be a triable issue for the jury.


You want to be number one & You want to retain your number one position till you are in the job, in business or which ever professional field you are in, only if you are Ready to Pay the Price.
You are Ready to Pay the Price in the form of sacrificing your morning sleep as you have to leave early so that you are first to reach in office, first to meet the customer or client depending upon your professional field. You are Ready to pay the price in the form of visiting & hammering your customer again & again. You are Ready to pay the price by taking extra care of your customer by fulfilling the ethical demands of your customer. You are ready to pay the price in form of arranging number of business & professional meets again & again with the customer, at a place of customers choice & repeatedly upgrading your customer about the advantages of your products & disadvantages of competitor products. You are ready to pay the price by constantly pursuing your customer to buy & use your product. You are ready to pay the price by keeping your staff, your colleagues & your superiors in a buoyant mood, you will always get total professional support from all of them.
IF YOU ARE READY TO PAY THE PRICE OF HARD WORK,SUCCESS IS YOURS.
Vijay all this does sound like a lot of hard work-whew !!!!
Indu please further elaborate, enlighten and add up your point of view about hard work.


text:
Doctor's Review: Medicine on the Move
No smooth ride
by JACKIE ROSENHEK • January 2006
Until the emergence of the ambulance, patients had no choice but to wait for help to come
For millennia, the house call reigned as the standard site for doctor-patient interaction. Instead of holding court over crowded waiting rooms or ERs, physicians pounded the pavement in order to practise medicine. This didn't always work in the patient's favour, however. In the absence of telephones, sending for the doctor could mean a wait of many hours or even days, depending on one's distance from town — and one's ability to pay. Until the concept of the hospital emerged, people had no choice but to stay put and wait for help to come.
Once hospitals took off around the 11th century, medical care expanded to include the delicate art of patient transportation. At last, Mohammed could be brought to the mountain! A thousand years ago, the two main reasons people left home were religion and war. Accordingly, it was along the pilgrim trails and on the battlefields that ambulances were born.
From the late 11th to the end of the 13th century, Christian Europeans backed by the Pope waged a religious war to recover the Holy Land and stop the spread of Islam. The Crusades were a bloody and brutal series of military campaigns that brought many young men far from home to fall on strange battlefields. The first known paramedics emerged during this time — the Knights Hospitaller of the Order of St. John of Jerusalem.
Along the dangerous pilgrim route from Europe to Jerusalem, a group of Benedictine monks known as the Order of St. John were entrusted with the care of the pilgrims, providing food, shelter and medical care. In Jerusalem in the early 1100s, they founded what are considered to be the first two modern hospitals, one for men and one for women. The order evolved into two distinct entities — a military division entrusted with winning battles and escorting pilgrims, and the Knights Hospitaller, which cared for the sick pilgrims and the Crusades' fallen soldiers.
The Knights Hospitaller learned first aid from both Greek and Arab physicians. Aside from the hospitals they founded in Jerusalem, they also set up small tents alongside battles, dashing onto the field to scoop up the wounded in litters — canvas stretchers hung between two poles and carried by two men.
Alternately, any soldier who temporarily suspended his axing and macing to transport a wounded brother off the field to the medical tents received a small fee. Interestingly, the Knights Hospitaller didn't discriminate as to a soldier's side and worked to help both Christians and Muslims with equal dedication.
There was some precedent for battle-side treatment. In Ancient Greece and Rome, injured soldiers were transported off the battlefield by chariot and protected from further harm in tents along the sidelines. But since these chariots didn't have such hot brakes — and also because they were driven by maimed centurion veterans — these downhill journeys were often more dangerous than the wounds sustained in battle.
After the Crusades, the Knights Hospitaller brought their basic knowledge of first-aid concepts back to Europe. There, the Normans applied it to serve the public good by combining the new medical techniques with their invention of the horse litter — a hammock slung between two horses. This meant that patients could be transported safely across longer distances, provided that nothing spooked the horses, which were occasionally prone to take off in opposite directions.
Aside from the Inquisition
Historians credit King Ferdinand and Queen Isabella of Spain with coining the term "ambulance" in the late 15th century. During the royal couple's campaign to drive out the Moors, ambulancias were the field hospitals in which physicians and supplies awaited wounded soldiers to be transported off the battlefield.
Though this small contribution to the greater good doesn't quite counterbalance the centuries of torture and death spawned by their infamous Inquisition, Ferdinand and Isabella's interest in emergency care inspired great advances in the field of medicine.
The French would revive battlefield care under Napoleon's top army surgeon, Baron Dominique-Jean Larrey (1766-1842). In 1792, he designed the first official military medical corps in Europe. Like the Knights Hospitaller, Larrey's brave teams of trained medics worked on the sidelines and, for the first time, on the battlefield itself, thanks to a fleet of well-stocked but lightweight ambulances volantes (flying ambulances) — covered wagons pulled by medics on horseback. Soldiers seriously wounded enough to require extensive treatment were transported either to nearby medical tents or farther away to the field hospitals. Amazing though it may sound, prior to Larrey's initiatives, wounded soldiers were simply left to their fate until the battle stopped at the end of the day and they could be safely carried off the field.
War was certainly the driving force behind ambulance improvement for many centuries. And, although in the 19th century New York City's Bellevue Hospital became the first to offer hospital-based, civilian ambulance service in North America, there was still a war-time connection. The service was the brainchild of Dr Edward L. Dalton, the chief Civil War army surgeon and hospital administrator, who'd earlier developed a huge network of horse-drawn ambulances to service the military.
In June of 1869, Bellevue Hospital's first two horse-drawn ambulances were put into service. Within the first year, they had responded to more than 1400 calls. Pretty soon, a fleet of specially equipped horse-drawn carriages crisscrossed the city to pick up patients and deliver them back to the hospital. An elaborate zoning system was established which took into account ambulance services popping up at other hospitals. Laws were enacted to guarantee ambulances the right of way. Indeed, the only vehicles which could trump an ambulance's passage during that time were fire trucks and US postal-service vehicles. Apparently, mail delivery was deemed a matter of life or death.
Each of the new horse-drawn ambulances had to contain a strictly defined set of equipment, including various bandages, splints, tourniquets and tonics, as well as an ample supply of that most important of medicines: brandy. Handcuffs and straightjackets were also on hand in case things got rowdy. The vehicles themselves were thoughtfully designed — lightweight wagons with movable floors that could be pulled out to facilitate patient placement. Ambulance drivers soon became highly specialized workers, priding themselves on how rapidly they could respond to a call and return their charges to the hospitals.
Canuck Trucks
In Canada, the first civilian ambulance service hit the scene in Toronto in 1883. Two state-of-the-art, horse-drawn carts were commanded by the Toronto Department of Public Health. Their primary purpose wasn't geared to general medical emergencies, however, but rather toward matters of public safety. The ambulances' main priority was to remove patients suspected of having infectious diseases and transport them to the Toronto Sanitarium.
The city's first emergency-oriented service came a few years later in 1888 and, unlike those servicing individual hospitals south of the border, was run by the police department. Hearses often doubled as ambulances during this time. Toronto's first dedicated ambulance station came into being in 1907, somewhat unoptimistically, at the city morgue. It actually remained in operation until 1992.
Ambulance service improved by leaps and bounds as soon as motorized vehicles made their appearance at the beginning of the 20th century. Chicago had the first in 1899 — a 1600-pound behemoth that travelled 26 kilometres an hour, about the same speed as a half-decent horse — at Michael Reese Hospital. New York's St. Vincent Hospital followed a year later. In Toronto, 1916 saw the introduction of the first motorized ambulance, thanks not to a forward-thinking hospital, but rather a funeral home. By the time World War I rolled around, most hospitals north and south of the border were employing their own motorized fleets. During the Great War, 1000 modified Ford Model-T ambulances accompanied American troops to France. Airplane ambulance service soon followed.
And what happened to the Knights Hospitaller of the Order of St. John? Well, there aren't any knights trawling the Gaza Strip these days, but the Order of St. John is still around and is one of the oldest humanitarian organizations in the world. The Order began its own civilian ambulance service in England in 1872. Today, it is a leading first-aid, transport and care charity active in 42 countries, including Canada, where it is known simply as St. John Ambulance. The eight-pointed white cross which flew above the hospitals and battlefield tents a millennium ago remains a familiar symbol on ambulances to this very day.
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The verse form I will discourse in this essay are: " My Last Duchess " and " Porphyria 's Lover " as my primary comparings and " The Passionate Shepherd " and " The Nymph 's Reply to the Shepherd " as my secondary verse form. Both of my primary verse forms have been written by Robert Browning. Robert Browning lived from 1812-1889 and he was married to Elizabeth Barrett, another good known poet. Browning 's manner of composing reflects the epoch he lived in. Browning 's dramatic soliloquies are verse forms in which the words non merely convey puting and action but besides reveal the talker 's character. " The Passionate Shepherd to his Love " was written by Christopher Marlowe who lived from 1564-1593. Marlowe was from Canterbury and he went to analyze in Cambridge and he may hold even been involved in espionage. Marlowe had an interesting but unhappily really short life as a consequence of a suspected bash in a tap house. Some people think that he did non decease in the tap house but he went to populate in Europe, some people besides think that he may hold written some of Shakespeare 's work as Marlowe was besides a good known dramatist at the clip. " The Nymph 's Reply to the Shepherd " was written by Sir Walter Raleigh in response to Marlowe 's " The Passionate Shepherd to His Love " . Sir Walter Raleigh was a close intimate of Queen Elizabeth I and his answer to Marlowe 's verse form was demoing him being realistic about love and outlooks of love.
Robert Browning was composing in the Victorian period and is known chiefly for his dramatic soliloquies which were verse forms with a specific supporter talking largely to a specific hearer in a dramatic state of affairs. My primary two verse forms are good illustrations of dramatic soliloquies whereby a scene is conveyed to do ambiance. In " My Last Duchess " a distinguishable sense of topographic point and clip helps to animate the play to do the audience feel more involved in the verse form. Browning has used this sense of play as it is typical of the Renaissance period. Browning lived in Italy for a big proportion of his life and the description he creates of the Duke represents the Italian Renaissance period. However " Porphyria 's lover " is less distinguishable. The inside informations of clip and topographic point are obscure and this helps to concentrate the readers mind on the play of the action. The category and societal divisions of the yesteryear could perchance demo us why the lover was so haunted with his love and possibly why he killed his love.
In both poems a cardinal character refers to the slaying of their married woman or lover. In the verse form it is through their descriptions of this action that the characters are conveyed. In Porphyria 's lover the adult male 's character and presence appears concealed in a province of oblivion until Porphyria arrives 'I listened with bosom tantrum to interrupt ' this gives an feeling that he is obsessional about Porphyria and has no control over his life and that the storyteller has strong emotions towards his love. It is Porphyria 's presence that lights up his life. It is she who murmurs 'how she loved me ' in other words Porphyria appears to be the active spouse. It is Porphyria who is doing the picks. He sees himself when run intoing with Porphyria as silent and passive. 'When no voice replied she put my arm about her waist ' , which suggests that she is commanding his actions. It is besides relevant that we know this supporter as " Porphyria 's Lover " he does non even hold his ain name. When he is certain that Porphyria 'worshipped ' him 'my bosom swelled ' and this makes him determined to take control and do her 'mine ' it is merely at this point he is able to be active, and this is when he strangles her. It is as if by making so he retrieves himself to experience like a adult male. It is merely after her decease that he can experience content. It is as if he is a character in a fairy narrative and has rescued Porphyria from an evil enchantment. By killing her he has saved her. He is certain that she would be 'glad it has its uttermost will ' he still sees this slaying as an action done for her 'her darling one want would be heard ' the reader is still unsure as to the talker 's ain want, to kill his love or pin down her forever. In a sense he does non look to understand that he has murdered Porphyria. But sees that she has killed herself and he is passively accepting the state of affairs. The supporter 's logical thinking makes sense to him, he appears at times exulting. He is certain that he has power over this adult female as her lover to make up one's mind whether she lives or dies, as so does the duke in 'My last Duchess ' , nevertheless, whereas the lover in Porphyria 's lover appears weak and wants to recover power the duke is in absolute control. It becomes clear merely in line 45 that the duke 'gave bids ' and killed his first married woman. The duke is talking to the minister plenipotentiary of the count who has come to set up the duke 's following matrimony and the duke is anticipating a dowery. The fact that the duke is ready to acknowledge that he killed his first married woman because she was excessively nice confirms that the duke is confident that he is above the jurisprudence. It is chilling that the minister plenipotentiary is prepared to sell this immature miss to a liquidator. The duke says… .'the counts munificence/ is ample warrant that no merely pretension of mine for dowery will be disallowed ' . This barely disguises his greed and materialistic grounds for get marrieding. He is unconvincing when he says that it is 'his just girl 's ego ' that is his 'object ' . Worryingly this future married woman sounds as if she will fall in the other objects in his art gallery as an 'object ' . The duke wants for entire control and is happier uncovering a picture of his last married woman than her world. He makes the point that no 1 can open the drape but him and so he has power over the image. The emotion he feels seldom breaks through. He appears wholly cold. In contrast to Porphyria 's lover who is unprompted, the duke appears to move intentionally and carefully. His choler surfaces as he describes his last duchess 's reaction to an 'officious sap ' who dared to offer her a clump of cherries. The duke is outraged by his married woman and expects his hearer to hold. He is most pained that she smiled at retainers 'as if she ranked my gift of a nine-hundred twelvemonth old name with anyone 's gift ' . From this comment we see that he sees his position as most of import. He has a really fixed thought of how he and his married woman should act ; he will non 'stoop ' and believes merely inquiring his married woman non to 'smile ' would be 'stooping ' . The duke is so pretentious that he feels uncomfortable in inquiring person to halt 'stooping ' He would prefer her dead.
Both these verse forms manage to give a really strong sense of the characters of the adult females they have killed. Both adult females appear faultless. The trigger for Porphyria 's lover to 'strangle ' Porphyria is when he realises that she loves him. Porphyria enters her lover 's bungalow and makes it warm ; she attempts to do him comfy. She acts more like the adult male in the relationship, her hair is moist and she has been outside enduring the cold and wet, whereas he has been indoors waiting for her. The functions are reversed, it is she who 'murmurs ' how she loves him. In contrast the duchess appears feminine. As the duke criticizes this adult female, the reader is convinced of her comeliness, 'to easy impressed ' . It is as if the duke is falsifying linguistic communication as honest and good words 'earnest ' 'a bosom excessively shortly made sword lily ' are turned into bad. She is non a prig and does non value herself harmonizing to her name. Whilst Porphyria 's lover believes his slaying to be Porphyria 's 'dearest want ' , the duke has no involvement in his duchess 's want.
The thought procedures of the duke and the lover are suggested in the verse form through punctuation. Punctuation creates interruptions and run on lines. In " My Last Duchess " the punctuation seldom agrees with the beat or rime. This makes the rime and beat less obvious. It sounds more like a address than verse though in fact he speaks in riming pairs and utilizing iambic pentameter. In line 25 for illustration 'sir, twas all one! My favor at her chests, / the dropping of the twenty-four hours light in the West, / the bow of cherries some interfering fool/ broke in the orchid for her. Here the punctuation varies and the interruptions are non predictable. So they interrupt the formal beat of the verse form. This makes it clear the emotion he seeking to mask through his formal address.
The beat and rime in " Porphyria 's Lover " is much more evident and the interruptions less frequent. As we read we are lulled by the beat which is besides iambic. It is as if we are sing the music construct up in a horror film and all of a sudden he says 'and strangled her ' the knock of the horror hits you, the rime is broken and the interruption in the line interrupts the beat. This confirms the talker 's agitated province. Having killed her, the beat returns to its hypnotic iambic round, which contrasts with his hideous action.
The horror of the actions of both supporters is made more convincing by the strong feelings given of the topographic point. In " Porphyria 's Lover " the outside tears the 'elm tops down for malice ' . The conditions is cruelly destructive which reflects the lover 's ain temper. The bungalow that he sits in rapidly warms up when Porphyria enters. Again the house reflects his ain temper. The Duke and the envoy sit in the Duke 's gallery and expression at the art. He points in the beginning to a picture of his married woman and the terminal of the verse form in the same tone points at a sculpture of Neptune. This shows that he looks at his married woman as holding the same importance as his art.
Though both the duke and the lover kill their lovers they do so for different grounds. The duke because he does non wish his married woman plenty, as he is Obs and has paranoia over his married woman, and the lover because he loves her excessively much. However both the duke and the lover appear mad. He loved her so much that he go haunted 'she 's mine, mine mine ' which led him to go brainsick and from going loony he convinced himself that by killing her he was assisting her. Contrastingly, the duke had trouble in get bying with the attitude and personality of his married woman. The duke is really cold he gave 'commands ' he did n't even care about killing her he does non see her as homo. He says 'then all smilings stopped together ' and so he was satisfied.
In " The Passionate Shepherd to his Love " , Christopher Marlowe instantly shows his stance on his place with his love, " Come live with me " . This shows merely how eager the shepherd is and so there is a intermission where he goes on to state, " aˆ¦and be my love " . This is more of a soft tone and softens what has merely been said. In the following line there are two utilizations of initial rhyme, " And we will all the pleasances proveaˆ¦ " , and the 'w 's ' and 'p 's ' add a persuasive definite feel to the poetry. In the last two lines of this stanza, Marlowe lists all the things the Nymph and the shepherd will make together, and by naming them, he is doing it look as though there is an astonishing assortment of landscape to bask. These countries he is naming are all dramatic, natural pleasances and have non been changed by adult male, nil is unreal. When it says, " aˆ¦or steepy mountain outputs " . The shepherd is demoing that there is an excess sense of freedom and that together, the Nymph and himself will bask the natural beauties. The pastoral nature of this verse form shows the tradition of love and shepherd 's. The verse form was really successful at the clip because many people related love and the countryside. The " Nymph 's Reply " to Marlowe 's verse form is instead flooring. She starts by altering what the shepherd has merely said to what she thinks is world. In the first line, " If all the worldaˆ¦ " , the Nymph uses the word " if " as this shows her interior negative dubious feelings about what the shepherd has merely offered. The following line starting, " And truth in every shepherd 's lingua " , shows that the Nymph is connoting that work forces lie and the shepherd is lying to her. She thinks that everything that the shepherd is stating is unreal and bogus and she is seeking to do him see sense. The immature lady speaks sardonically about " pretty pleasances " , which are words, which she has taken from the shepherd 's verse form, but has twisted them. This is meant to be sarcastic, but without being excessively acrimonious, nevertheless, she is stating it with a sense of sorrow that it is non true. I think that the immature lady would truly wish to populate like that. Besides in " pretty pleasances " there is an initial rhyme of the 'p ' as this emphasises her negative temper by reiterating the initial rhyme that Marlowe used. Raleigh so uses, " might me travel " , and this is once more based on what the shepherd said. " May move and may thee moveaˆ¦ " , here there is besides a instance of initial rhyme but with a negative feel from the Nymph, underscoring her uncertainty and sorrow. At the terminal of this line there is an enjambement, as the poet wants there to be a streamlined consequence, to underscore the procedure of traveling in with the shepherd. This highlights the irony and the fact that she will non be populating with him. Raleigh so finishes with, " aˆ¦and be my love " , as this mimics the beginning of the shepherd 's verse form and underscores that the Nymph is stating she will non be his love.
These verse forms are about love but deviant or pervert the thought that love is good. Porphyria 's lover 's obsessional love where he wants to sublimate his love by taking her life gives a sense that love is destructive instead than good. The duke does non look capable of love and does non anticipate love but because his married woman is capable of loving him and the remainder of the universe he feels bitterness. The Passionate Shepherd to his Love shows true but idealistic love nevertheless the Nymph 's Reply quashes the love by being a realist and by stating that the love the shepherd wants is non possible.


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Q: Issue with running fmincon with third party mexFunction that returns a struct I am having a very obvious problem trying to run a third party code as a mex file. The source for this mexfile is available, but I would rather not mess with it. Unfortunately, it returns a struct in outputs, which makes it incompatible with fmincon in MATLAB. Is there anything I can do on the MATLAB side of things so that I don't get :
FMINCON requires all values returned by functions to be of data type double.
Or will I have to mess with the actual code?

A: Can you just wrap the mex function call in a function that breaks out the values as a double and give that to fmincon?
% MATLAB flavored Pseudocode...

function doubleVal = callMex( input )
    % Function that wraps the mex function call and returns the appropriate type.
    structVal = mex_function( input );
    doubleVal = structVal.someVal;
end

fmincon(callMex, inputs); % <-- somewhere in another file


You have just experienced an attitude adjustment. Smiles cause less wrinkles than frowns. Pleasure does help your disposition. Pass it on! Thanks!
Next day, St. Peter is making rounds inside the Gates and sees the cat.
You have just experienced an attitude adjustment. Smiles cause less wrinkles than frowns. Pleasure helps your disposition. Pass it on! Thanks!


text:
Borș () – wieś w Rumunii, w okręgu Bihor, w gminie Borș. W 2011 roku liczyła 1306
mieszkańców.

Przypisy

Wsie w okręgu Bihor

redpajama_set_name: RedPajamaWikipedia


Yuki has always been overlooked due to her petite stature. But one day, that all changes, and she becomes the woman she always wanted to be! Too bad she`s asleep the entire time. 18 pages of growth process for Yuki as well as several other girls!


Southern living beach park home tour fresh idea studio is one images from a peek inside southern living bathroom ideas ideas 18 pictures of Home Plans & Blueprints photos gallery. This image has dimension 600x900 Pixel and File Size 752 KB, you can click the image above to see the large or full size photo. Previous photo in the gallery is southern living bathrooms photos. For next photo in the gallery is southern living bathroom ideas design. You are viewing image #4 of 18, you can see the complete gallery at the bottom below.


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Bang Bang — песня американского певца Игги Попа, написанная им в соавторстве с  в 1981 году для альбома Party. Согласно автобиографии Игги Попа — I Need More, он написал эту песню, чтобы потом её выпустить в качестве сингла для лейбла Arista Records, которому обещал выпустить «коммерческий альбом». Сингл занял 35 место в чарте Billboard Club Play singles chart. Первоначально певец задумывал пригласить в качестве продюсера Фила Спектора или Майка Чепмена, но, однако, по разным причинам продюсером песни стал Томми Бойс. По словам Игги, идея для песни пришла к нему, когда он читал роман «Парни что надо» () в местном книжном магазине.

Участники записи
 Игги Поп — вокал
  — гитара, клавишные
 Роб Дупри — гитара
 Майкл Пэйдж — бас
 Дуглас Бойн — ударные
 Джимми Уизнер — аранжировки

Кавер-версии
 В 1987 году Дэвид Боуи перепел эту песню для своего альбома 1987 года — Never Let Me Down.

Примечания

Ссылки
 Текст песни на сайте MetroLyrics

Песни 1981 года
Песни Игги Попа
Песни Дэвида Боуи
Песни, написанные Игги Попом