The sun has started to warm the cockpit when we climb out of the cabin in the morning. The crystal clear water that surrounds us is tempting. We jump in, only to quickly climb out again. Wow, that's chilly! We rinse off with fresh water from our deck shower and dry up in the sun. While we enjoy breakfast and coffee, the stressful anchoring situation from last night seems far away. We know we are firmly anchored now with both our Rocna and Fortress anchors in use. Time to kayak to the shore and start our explorations.
Our anchorage at Cala Talamanca is next to Ibiza's largest natural bay. Ibiza Town was built on this bay, as well as a large ferry pontoons and marinas. We learn that even the cheapest marina is notoriously expensive in high season. For our boat they ask close to €400 a night in July/August. Luckily, March is still considered low season, evidenced by a daily rate of one tenth of that. Still, with so many pretty bays all around the island we decide to stay on the anchor as much as possible.
Via the harbour we reach Ibiza Town. It's sunny and warm and the castle of the medieval city towers above us. The perfect setting for a reunion with our friend Alice, who just arrived. Together we discover the old centre, Dalt Vila. Its elevation, impressive walls and many cannons give it the looks of an enormous fortress. Inside there are many historic, well maintained houses. We enjoy the magnificent views over a large part of Ibiza, the harbour, and neighbouring island Formentera. We even spot Luci in the distance, patiently waiting at the anchorage for our return.
The next day, Chris Dews pays us a visit. Chris is the director of Greenheart Ibiza, and founder of Casita Verde, an ecotourism and education centre. He's the reason we sailed here in the first place. We had never been on Ibiza and thought of it as a party and yoga island. However, when we learned about Chris and his great initiative, we changed our minds. Eager to learn more about ecotourism and education on Ibiza, we happily accept his invitation to spend the night at Casita Verde.
Chris is full of energy. He proudly wears a necklace with a green heart. "Everybody has a green heart. All we need to do is bring it out." Over a drink on-board, the former merchant-navy sailor explains how he arrived more or less coincidentally on Ibiza 26 years ago. He's involved in many sustainability initiatives on the island, and talks passionately about eco-living, waste recycling, solar energy, local products and better, greener governance. When he takes Alice and us with him to Casita Verde, he points out a few clubs from the highway. "They're all closed now, just like most hotels. In the low-season, this is really not a party island at all".
On the last few kilometres to Casita Verde, the road gets narrow. Steep curves force us to slow down, and when we cross a mountain pass we can't believe our eyes. A beautiful green valley opens up, with the blue sea in the distance. At a yellow "Casita Verde" sign we turn right, and the four-wheel drive car makes itself useful during the last few hundred meters bumpy off-road. "Welcome to Casita Verde" says Chris when we stop. Spanish for "little green house", we understand the name when we tour Chris' home. The former piggery runs on solar energy and collected rainwater. In fact the entire estate is "off the grid". Casita Verde is the base of the "Greenheart Ibiza" movement, which stimulates sustainable behaviour on the island and beyond.
Dotted around the estate we encounter all types of small homes, made from natural and recycled materials. "Legally these aren't homes, so no building restrictions apply" Chris explains with a smile. They range from a bottle house made from empty glass bottles and clay, to a Mongolian tent made from wood, canvas and wool, to a cave house made in a natural cavity, with daylight from the roof. Alice checks into the "Gaia centre", made from local stone, clay and wood. We lodge in the "carob tree house", a hut made around a living carob tree. All dwellings have one thing in common: they are beautifully decorated and very cosy.
Under a bright sun and a blue sky we learn more about what makes Casita Verde "eco". For more info on this eco-tourism and education solution, read our article and see our video here.
We are anxious to see more of Ibiza and sail for Cala Llonga. This small but very well sheltered bay is only 8 nm further, and with a westerly wind we easily sail there using only our genoa. We drop our "tandem" anchor, and look around. The crystal clear blue water, the large sandy beach and the green and steep cliffs make us feel like being in a tropical paradise. Unfortunately, some hotels also found this beautiful spot. They are still closed, so at least we have the bay to ourselves.
Chris lent us a car, which is still at Cala Talamanca, so we need to hike back to get it. A stunning two-hour hike along fields, farms and forests follows. The paths are reasonably good, but the lack of any signs or marks surprises us. What an opportunity to attract more hiking enthusiasts to this island. After a short drive, we're back in Cala Llonga. Now we can keep an eye on the car from the boat.
The next morning we spot an orange buoy. It's close to the rocks, not far from us. When we look closer, we can see it moving. A rope is connected it to… a snorkeler! Inspired by this snorkelling stranger we dig up our own gear. We haven't used it since our diving-refreshing training back home around a year ago. The water temperature is only 15 degrees, so we'll need our wetsuits. When we jump into water, it feels cold, but only for the first few seconds. Soon we can enjoy the underwater world. Colourful fish hide inside the poseidonia as we approach. We realize how important this seagrass is for the ecosystem, it cleans the water and provides shelter for all types of sea creatures. We extensively tour the bay. Before we getting out of the water again, we make use of the opportunity to inspect Luci's bottom. The propeller, rudder, and anodes all look fine, so we just clean the hull a bit.
When our friends Truus, Sylvain and Annemiek arrive on the island. We pick them up in Chris's car and when we reach the bay they are overwhelmed. From cold, rainy Amsterdam to almost-paradise in only a few of hours! In the afternoon we are off to the local and organic Saturday market, where we buy fresh fruits and vegetables, bread, olives and other local specialties. We enjoy a lovely "veggie paella" lunch with an aloe vera juice from Casita Verde, deliciously prepared by staff members Estefania and Alberto.
After lunch it's time for a hike. We drive to Santa Agnes and leave the car. Floris proposes a route that takes us trough forests, active and abandoned farms. When we reach a very steep cliff, we get a spectacular view on the northern side of Ibiza. It is magical as the sea fog moves into the bay. On land the sun is unchallenged, and during the rest of our hike the visibility remains fine. When we get back at Cala Llonga, however, the sea fog has also reached Luci. We're just able to see her, and kayak through the cold, wet silence to get back on-board. As we light the woodstove to get warm, we check the weather forecast. Perhaps the fog preluded it, but there's bad weather on its way to us.
The strong easterly wind that is forecast makes Cala Llonga a lee-shore. Our shallow, paradise-like bay might become a foaming nightmare with breaking waves. We discuss the options with our friends and they kindly sponsor a night in the sheltered nearby marina.
The next morning we sail to Santa Eulalia, and check in at the marina. It's similarly priced to Ibiza Town, and the facilities are excellent. We enjoy a shower, and get ready to hike back to the car that is still at Cala Llonga. After another beautiful route, we drive our friends up to Casita Verde for the Sunday luncheon. They're as amazed as we were, but one thing is different. We can provide them with a tour in Dutch now!
Annemiek and Sylvain leave us after the weekend, while Truus has more time and stays a bit longer. She sails with us to Cala Porroig, a beautiful bay on the west coast. We helped clean it a week ago during a beach clean-up organized by Greenheart Ibiza. Now it provides us with excellent shelter to the continuing easterly winds. After a smooth trip, we learn that a mooring is much easier than anchoring here. And still for free in the low season. Lucky us.
This time it's a bit more complicated to retrieve our car, Santa Eulalia is more than 30km away. But we manage to get it with a combination of hiking, hitchhiking and a local bus. The next day Truus leaves us too, but only after a morning hike to the "Torre de Salvinas" and a delicious farewell lunch in Sant Josep.
During the next few days there's not a lot of wind. We stay in Cala Porroig, making a routine out of a daily morning swims in the crystal clear water, followed by us drying up in the sun while having breakfast. We spend some time blogging and vlogging. Via Chris, we meet several Ibiza residents that turn our to be great people. Among them is Agathe from France, who also helps us to find sustainable solutions in her home country. Karin from Germany is active in the Oceanic movement to prevent plastic pollution. And Wietske from the Netherlands runs the Ibiza dolphin project. We share her love and enthusiasm for these great animals immediately. Giada from Italy helps Chris with communications and runs a beautiful blog about the island. We are even invited for drinks by Dutchies Bart and Philip, friends of friends who have a beautiful house on the island. And everyone we meet is also very enthusiastic about our project, which is really heart-warming.
To return the favour of Chris' generosity and kindness, we invite him and the Casita Verde staff for a day of sailing. Together with Cubanito – his 5-year long staff member who will run his own Casita Verde in Granada soon – and Giada, they arrive at the beach. After they've all kayaked on-board, we provide a short tour of the boat. Our guests store the Aloe Vera juice, Chris' famous quiche, local wine and many more delicious treats. We hoist the sails and head towards the characteristic Es Vedra rock. Without any waves, the sailing is very smooth. We can all relax and share stories while our lovely Casita Verde crew provides us with excellent catering. The sun is already setting when we tie up to the mooring again. A super day, and saying goodbye hurts. We love you guys. We feel honoured by the Greenheart necklaces that you brought for us as presents. And we naturally look forward to our next visit when we return to Ibiza, and to visiting Cubanito in Granada later in the year.
In the evening we catch up with our sailing friends Karin and Jeroen from "White Pearl". They saw where we were on AIS and sailed to our bay. For more than a year, they were ahead of us in their journey from the Netherlands to the Mediterranean Sea and we learned a lot from their blog. Only recently we overtook them. During a dinner at theirs and coffee on our boat the next morning, we exchange experiences and plans. Hopefully we'll meet you guys again later!
After learning of so many great initiatives and making so many new friends, it's hard to think about moving on. But that's what we need to do. The wind is returning and we sail to the northwest part of the island as a small step in the direction of mainland Spain.
Via the remote anchorage of Isla Conillera, we spend our last Ibiza-night in another beautiful bay: Cala Salada. One last time, we enjoy the protection of a well-sheltered bay on a free mooring. One last time, we jump into the crystal clear water as our morning shower, and dry up in the sun while having breakfast. One last time, we blog and vlog from a sunny cockpit with a stunning view. When a fair westerly wind picks up, we set sail for Barcelona.
Party Island? Perhaps in the summer. We discovered a very different Ibiza. An amazing island with stunning natural beauty and lovely people. We enjoyed spending time with old and new friends. And are truly inspired by the eco-tourism, education and other sustainability initiatives that are taking place. We are convinced they usher in a new reputation, that of a green and sustainable pearl in the Mediterranean Sea. Wonderful Ibiza, you've strengthened our green hearts. We'll miss you.
Leuk hoor, om het allemaal weer terug te zien en te lezen. Ik kijk nu al uit naar het volgende bezoekje :-). Ook artikel over findhorn vond ik leuk.
De moestuintjes actie van Albert Heijn loopt, dus wie weet wordt het met het zelf verbouwen van groente ook nog wel eens wat.
Great story Guys, I was guest last November on Ibiza and stayed by a friend, she lives parttime on the Island. I discovered the same all big Hotels closed and quiet on the beaches. I missed Casita Verde but will surely visit it next Time!


Soul Singer Cina Soul released 'Julor', a single off her upcoming Metanoia EP mid last week. The slow tempo song featuring M.anifest was produced by Nigerian producer Odunsi.
Cina spoke to Antoine Mensah, host of Live FM's entertainment show, ENTLive about how the song came together and her being nervous about what the reception to the song would be.


text:
GSP 2015 Closing Ceremony: Meet 20+ Startups With Revolution on the Brain
Join Singularity University August 20 at San Jose's California Theatre for the 2015 Graduate Studies Program Closing Ceremony—a night of inspiration, impact, and exciting pitches for 20+ new startups aiming to tackle the world's biggest challenges. This event will sell out: Order your ticket now. Tickets purchased before August 10 (earlybird) are $50 and those purchased thereafter are $60.
Singularity University's Graduate Studies Program (GSP) is what happens when 80 entrepreneurs from 40 countries dedicate 10 weeks to big ideas. But GSP isn't about ideas, it's about innovation. And ideas only become innovation with action.
Muhammad Yunus at GSP 2015 Opening Ceremony.
At this year's opening ceremony, Nobel laureate and social entrepreneur, Muhammad Yunus told participants, "Every time I see a problem, I start a business."
So, it's only fitting: The closing ceremony is where the rubber meets the road.
GSP is organized around two guiding principles. The first is the world's grand challenges—energy, environment, water, food, disasters, space, security, education, global health, governance, and prosperity—are solvable using the latest technologies. The second is innovation (idea + business) can do the heavy lifting.
GSP participants learn about the grand challenges and exponential technologies, and then they form teams. Each team chooses a grand challenge, an exponential technology, and develops a startup idea to tackle it. It's an intense and rewarding process. The final exam? Pitching their startup to the public at the closing ceremony.
The closing ceremony is your chance to meet this year's participants—they'll man booths before the ceremony and mingle with guests after—and be the first to see and hear what remarkable new ideas and businesses were born at GSP 2015.
Exciting companies who got their start at GSP include Made In Space (recently sent the first 3D printer to the space station), Miroculus (micro-RNA analysis to more easily diagnose disease), and Matternet (building and testing autonomous delivery drones).
By all accounts, this year's group is exceptional.
Thanks to generous funding from Google and supporters of SU's Global Impact Competitions, 2015 is the first year the cost of the program was sponsored for all participants. It's also the first year women outnumber men. And according to those working closest with them—GSP 2105 could not be more motivated, energetic, and ready to make a big impact.
What world-changing innovations have they dreamed up?
Join us at the GSP 2015 Closing Ceremony on August 20 when participants publicly pitch their ideas and kick off their quest to make the world a better place.
Image Credit: Shutterstock.com
Singularity University empowers leaders to leverage exponential technologies to solve global grand challenges. Join us.
Europe's Biggest Vertical Farm Will Be Powered by Wind and Planted by Robots
McDonald's Is Making a Plant-Based Burger; You Can Try It in 2021

redpajama_set_name: RedPajamaCommonCrawl


text:
Regent St. Claire Interview
Posted on April 7, 2006 by Olivier in Needs Reviewed // 0 Comments
REGENT ST. CLAIRE INTERVIEW:
Regent St. Claire was the vocalist/guitarist in the obscure 80s hard rock band Castle Blak. After years of slugging it out in the musical trenches he broadened out and created the comic book CandyAppleBlack. However Regent has decided to celebrate his musical career with an ambitious limited edition three-CD boxset entitled Glamour & Damnation. In this interview Regent talks to Sleaze Roxx about the upcoming hits collection and his musical career in general.
SR: The Castle Blak boxset is finally going to get released, tell us about it.
RS: It's kind of a musical scrapbook that covers a lot of ground. 45 songs and a radio interview, all between 1979 and 2005. Castle Blak material (songs from 'Babes In Toyland,' 'Another Dark Carnival,' and 'No Bed Of Roses') and also songs by every incarnation of that band (Castle Blak/Blak/Monster Island, etc.), as well as my own solo stuff done during those years. Plus 3, 20-page booklets, one for each of the 3 discs/volumes, with lots of rare photos, artwork, lyrics, and linear notes about the creation and/or recording of the songs.
SR: This box seems to have been a long time in the making, why has it been held up so long?
RS: I have a bad habit of taking on far more than I should be able to accomplish in any given amount of time. It was like that back in the old days too. If we had one day in the studio, I'd say: 'Let's try to record three songs!' even if we only had time to do one. My maxim is: 'Give me a rock and a stick and I'll make a Buick out of it.' Any SANE person would've simply made just one hits disc with like 12 – 15 songs on it, thrown a couple unreleased tracks in there, and been satisfied with that. But I never would've been satisfied with that. This collection represents 25 years of my life, and I wanted it to be 'about' something more than a band. I wanted it to be about a time, and a place, and Rock and Roll, and how all that (and myself) evolved over time. I wanted it to have a context.
This collection took so long to come out, because I wanted it to have all that, and as well be something that our fans would really treasure. In some ways, it's kind of ragged, and dog-eared, like a scrapbook, but in other ways it's sharp as a knife. I think you not only hear that on the discs, but see and read it in the three, extensive booklets. My layout guy (Gilbert Garcia) and me slaved over the design and assembly of this thing like mad scientists assembling our Glam creature on the slab.
It also took so long because a lot of different people offered to help put it together, but it turned out to be a much bigger investment of their time, effort, and money, than any of us ever imagined. So they would do some work on it for a while, and then have to walk away from it to get on with their lives. Ultimately it was also a very complicated project, and when you get right down to it, the only person who was able to keep all the information straight in their head, was me. And so it took over 5 years to make this thing.
SR: Have any of the songs been remastered or is everything being released the way they originally sounded?
RS: Various people/engineers have tried their hand at 'remastering' some or all of the songs, but the goal was never to 'change' them in any way, just to try and bring them back to the way they sounded when we recorded them. Some actually sound a little better than they used to, and a couple of the masters I used had degraded a bit over time (Tom McWilliams of T.O.M. Records had to actually 'bake' his 'Babes In Toyland' masters to get them to play one last time for their transfer to DAT for this collection), but all in all, everything sounds more or less the way it did then. You have to remember that with rare exception, all that stuff was just really ambitious demos anyway. Ah the ghosts of Punk Rock.
SR: What about the booklets, what all will they contain?
RS: There are 3 booklets, one for each volume/disc, and they have both colour and black and white stuff in them. They contain rare and/or previously unpublished photos (like a couple from our first ever video shoot in 1983), artwork by a variety of folks including me, NY artist extraordinaire Marc Sasso, Olaf Folta, and more, extensive linear notes and credits about the songs and recordings, lyrics to all the original stuff, photos of memorabilia (like our various backstage passes from throughout the years), and the buttons we gave away when we reformed as Blak in 1990 that say "Serious As A Fu*&ing Heart Attack!", and my favorite part: a multi-page photographic chronology of the various incarnations of me and/or the band from 1979 – 1993. Basically something for everyone.
SR: Does this release essentially 'clean out the vault' of all your old recordings?
RS: Not by a long shot. I've written over 200 songs, and recorded over 100, so at 45 songs, this collection is only a fraction of them. The songs I put on this set were what I considered our fans would be most interested in. Songs that over the years, people wrote us most about, told us they liked best at our shows, or in some cases, just songs that I felt really needed to finally see the light of day but had never been released for a variety of reasons. There are a few gems that I wasn't able to include here, like our demo version of Kix's "Fire Engine #9," (for legal reasons) and another radio interview, this one from the mid 80's on Nor Cal College station KVHS, which was just to lewd, but was also very funny. Ultimately, the 45 songs and a radio interview in this set should be enough to satisfy just about any of our fans.
SR: I know some people will wonder this, so I'll ask it myself. Why does a band like Castle Blak warrant a box set release?
RS: Although we never became millionaire rock stars, for a little band from Pleasant Hill we accomplished quite a lot with our 3 releases, and various band members and people associated with the band have gone on to do some pretty notable things. That's the short answer.
The more complex answer is that we and our music were part of something bigger than ourselves. It's sort of like Six Degrees from Kevin Bacon. In a nutshell, we have connections to huge artists like Green Day, Starship, Dolly Parton, Queen, and even Bruce Willis. We often played legendary SF clubs like The Old Waldorf, all the Keystones, Mabuhay Gardens, The On Broadway, and The Stone. Those were landmarks from a thriving scene that helped change the music world back then. We played a show that outdrew Metallica and Ozzy in Billboard. We've gotten letters and emails over the years from thousands of people who were touched by our music, and who even started bands because they were inspired by us. And yet a lot of our music still never got out to the public who it was written for, so I figured that it was about time. This box set is also for all the musicians who played with the band over the years, many of who were and still are good friends. It's a way to memorialize those friendships and connections between ourselves and with our fans."
SR: Are you still in contact with most of your old band mates, and did some of them help with this release?
RS: The guys who were either at the core of it, and/or with us for the longest amount of time – yes, I'm still in touch with them. Matthias Montgomery (drums), Brian Crow (lead guitar), Kev Mueller (bass), Keith Beattie (bass), Chuck More' (lead guitar), we keep in touch either by email or phone, and because Brian and Kev both still live within an hour of me, we get together every now and then. Scott Sanders, our second drummer died around 1990 in a murder suicide (which is referenced in one of the CD booklets in great detail), so we don't keep in touch. Dave Anthony who was our drummer at the end of our run, moved out of state I think, and I heard that he did standup comedy for a while (actually so did Brian), but I've been unable to find Dave even on the web. I know that after we broke up for good, he continued to play in other people's signed bands (at least for a while), and I saw him one night years ago on TV in somebody's band on Leno. A couple of months ago I recently reconnected with David Chayce aka David Victor, who played lead guitar on our debut LP "Babes In Toyland," and also Paul Houston who was our lead guitarist when we were performing as Monster Island, since they both now live in the area. I hear bizarre rumors every now and then about Monster Island's first lead guitarist, Matt Lee, and it always surprises me that he's not in prison, or worse. He was a real character. Mad, bad, and dangerous to know. LOL.
As for helping me with the collection, Matthias built his own studio, and that's where we recorded the new track, "Whose Little Girl," which he also engineered and mixed to great results. He was also able to miraculously fix a very nasty audio glitch on the master for "The One That Got Away," which really made me happy because I consider that one of the best songs I've ever written and it would've broken my heart not to be able to include it with this collection now. Brian has worked for big commercial CD manufacturers in the past, so he was a great source of advice for where and how to do that part of it. Beyond Matthias and Brian, most of my ex-bandmates weren't really very involved with it. It was just too much work and time for me to even ask them to get involved, especially when you consider that the bulk of it was done between the hours of 10:00 pm and 4:00 am.
SR: Who all played on "Whose Little Girl", and is that the lone newly recorded track?
RS: Keith Beattie on bass (also played on "Babes…"), Matthias Montgomery on drums (also played on "Babes…"), Brian Crow on lead guitar (played with the band for a short spell right after we finished recording "Babes…" and on our final release "No Bed Of Roses"), and me on guitars and lead vocals. Keith, Matthias, and Brian all sang backup as well.
And yes, "Whose Little Girl?" is the only new song on the collection. It was really a blast hanging out with them again, and recording with these 3 people that I've known for over half my life. Keith and I were best friends in Jr. High, and we went to those early Crue shows waaaaay back before "Too Fast For Love" was picked up by Elektra, and they were still just a goofy club band from LA. I think his folks still have a photo of me in their living room, making the face and the fist, a few minutes before me and Keith went to one of those Crue shows.
SR: Was Castle Blak your first band?
RS: No, but I consider it to be "my" first "real" band. I started playing clubs when I was 15 in producer Kevin Army's band The TOTS (which was a "real" band, but not "mine"). I picked up a bit of non-drum music theory along the way, and eventually my drum teacher showed me a little of it too. Until then I was in other people's bands. Castle Blak was "mine." The first band I was ever in was called Avatar in 1978 and between then and CB in 1983, I was in: Havok (drums), Fedoinkas (guitar/vox), The Bonamics (guitar/vox), Rat Patrol (guitar/vox), and Escort Service (drums).
SR: What other bands were making their mark in your area the time Castle Blak began happening?
RS: In Nor Cal at that time, on the Glam-ier side, there was Head On, Roadrunner, Babylon A.D. (back then they were called The Persuaders I think), Strange Toys, Jet Boy, Kid Blue, Vain, Y&T, Le Mans, Chumbi, Cinema, and Kamikaze, and on the harder side, Metallica of course.
SR: It's obvious that was a special time for hard rock. Do you think we will experience a scene like that again?
RS: It was, but each era has its own special magic. In 1973, who would've ever dreamed that Glam would come around again, especially so strongly, in just 10 years later? But obviously, much of music is cyclical. I was also lucky enough to be in the Punk scene as a musician in its final days (1977-80), and those were some wild times, made all the more surreal by the fact that I experienced them through the lense of being a teenager. You just never know – maybe in the next 10 years, Glam will come 'round yet again, and while it'll share a lot with its predecessor (80's Glam), and it's predecessor (70's Glam), it will also be made new again by those kids who discover it, embrace it, and make it theirs. That's the true beauty of rock and roll – the way that each generation remakes it, and makes it their own.
SR: For people that have never heard Castle Blak, how would you describe its sound to them?
RS: It really depends on the song. We were definitely part of The New Wave Of British Heavy Metal in the 80's, but also lean in a Glam direction as well, so our music has a lot of seemingly diverse flavours like Kiss, AC/DC, The Sweet, a little Scorpions/Saxon/Judas Priest every now and then, old Motley Crue, hints of old Alice Cooper, and a bit of Black N Blue. I think a journalist described us best years ago as 'Dark California Glam.
SR: How many albums did the band end up recording and is there any chance of them being reissued?
RS: Castle Blak released 2 LPs in the 80's: "Babes In Toyland" in 1985 on T.O.M. Records and "Another Dark Carnival" in 1987 on my own Stiff Kitten Records label. Blak also did a cassette-only release of "No Bed Of Roses" in 1992 on Obscurity Records. I think the closest we'll ever get to a re-issue any of this material, is the new box set that comes out this month in limited edition, and only from my GIPC site. While the set has a lot of the stuff from all three previous releases, that's only about half of what I collected in it.
SR: Was Another Dark Carnival released with two different covers, if so, how come?
RS: Yes. Back in those days, hardcore collectors would want to get all versions of a record that were available, especially if it had a different cover, or a bonus track that the other version(s) didn't have. So the non-US companies that licensed our records for release in their territories were given the right to come up with and use an alternate cover if they wanted to, and with "A.D.C." the Japanese import actually had either a different version of one of the songs, or a bonus track, I can't recall which. Different inner sleeves or inserts were also common.
SR: Out of those three albums which one do you think captured the band the best and what do you like and dislike about each?
RS: It's hard to choose, because each one is like one of my kids. I think each LP captured us really well for the time that they were recorded. 'Babes…' was really raw, experimental, and energetic, and in its way, kinda Punky. In many ways it was for us what 'Too Fast For Love' was for Crue. 'Babes…' was also very pure and naive. '…Carnival' was a lot slicker, more controlled, and allowed me to stretch out in more musical directions style-wise. '…Roses' is I think the best one tho, because it had the slickness of 'A.D.C.', while retaining the energy of our debut. '…Roses' in my opinion, easily had the best songs. Everything was finally just right on that release, the only problem was that at that time, our genre had become the kiss of death to all the labels and to the mainstream. We did a very limited, self-release on that one back in the day, so with the new box set, people will finally be able to hear it.
What I dislike about each of them? With 'Babes' I was really depressed that we ran out of time before being able to finish the last 2 songs (the LP was released with only 8), but I've always tried to do much more than is humanly possible in the studio. With 'A.D.C.' we were working with a new engineer (a nice old(er) guy) who simply wasn't familiar with any of the current production styles of the genre at that time, so we'd end up spending hours and hours trying to do something simple like backwards reverb, but doing it in the most clunky, caveman kind of way possible (like putting the reel of 2″ tape onto the recorder upside down). That was a huge waste of time, and very hard to swallow for a guy like me who always walks into the studio knowing exactly what he wants to hear, with a very clear plan of how to go about doing it. With '…Roses' I have very few complaints. I just wish we would've had more time to record and mix the songs.
SR: What ultimately led to the break-up of Castle Blak?
RS: Three reasons equally. First, we were in final negotiations with a small indie label to make our 3rd LP ('No Bed Of Roses'), and we had worked out a really great deal with a KILLER producer and studio, and with an awesome artist to do our cover for peanuts, and altho we negotiated in good faith with this label and brought those deals we had made to the table, the label never had any intention of dealing fairly with us. Ultimately they were scammers, and when that was revealed, I first bit their heads off their necks, and then decided I didn't need that kind of negativity in my life anymore.
Secondly, I had been doing music professionally since I was 15, and to really do it like that, at that level, you wind up feeding your whole life to it. At 28 in 1992, I took a long, hard look at the sacrifices I'd made to do that, and it was disturbing to say the least. Musicians and artists of all kinds tend to put blinders on when it comes to the price they pay to do their art. This is expected and necessary in order to do it at all. Every penny, every resource, and every minute, was spent on the band and my music, and after 13 years of that, and refusing to really look at that aspect of it up until that point, I decided that maybe it'd be a good time to actually start working on a life. Of course being in a band can be fun sometimes, and it was (sometimes), but there's more to life than sacrifice. Being a broke artist at 20 is doable. Bohemian. Being a broke artist at 30 is just fukking idiocy. I know way too many "rock stars" who are now in their 40's, and altho you know their names, they've never made a dime, and either live nowhere when they get off tour, or with their folks. I'll always be a rebel, and a Rock and Roller, I'm just not willing to trade everything else in the world for the Rock and Roll life anymore.
Thirdly, and this was actually the most important, Glam and Hard Rock were being thrown overboard by the public, the Press, and the industry at that point. Grunge was coming into vogue, and that was pretty much that. I do think it was ironic that Grunge came and went in the blink of an eye. I sure wish Glam would've been vanquished by a much more substantial foe than that.
SR: What did 'working on a life' entail for you?
RS: Little things. Like being able to get a few hours of sleep in each night, watch a video, or read a book. Having the time and money to go on an actual 'date' once in a while, or hang out with your friends. Having a job that can actually pay your basic bills, and allow you to eat at least once a day. Like I said, the little things.
SR: What is the story behind the band simply called Blak?
RS: When we decided to re-form Castle Blak in 1990, we felt we had evolved in every way. We were better players, better writers, better singers, and looked and sounded better than we ever had before. We felt that we'd gained some wisdom about the business by then as well, so we wanted to streamline the name, while still keeping one foot planted firmly in our past. Blak seemed like the logical choice.
SR: You are also involved with a comic book called CandyAppleBlack, what is the story behind it?
RS: I wrote a Gothic comic book story called 'CandyAppleBlack' back around 1993, about a rebel angel who is cast-down for believing that suicide shouldn't be a damnable offense. For this blasphemous opinion, he is exiled to walk the Earth for 1,000 years, only being seen and heard by those about to take their own lives, and small children. Writer/director Anthony C. Ferrante and I wrote a theatrical screenplay based on that story, and a few years ago I adapted that film script into a comic book script. The seven book series, compared to 'The Crow', "Preacher', and 'Sandman,' started coming out in stores about two years ago. Right now, we're trying to raise the funds to make the film ourselves, with Anthony directing.
SR: Did you also do all the artwork for CandyAppleBlack?
RS: I'm not a comic book artist, tho you will see some of my artwork (and a little bit of the Candy comic book artwork) in and on the Box Set booklets. I wrote and published the Candy books. My cover artist on the series was Marc Sasso (who has since done artwork for Dio, Rob Halford, & Judas Priest), and I also hired Eric Theriault and Marc Deering as inkers, and Djezer and John Toledo as pencilers.
SR: How does writing a comic book differ from writing song lyrics and do you find one more fulfilling then the other?
RS: Writing stories is another world from writing songs. A lot more rules so I end up using totally different parts of my brain for each. Songs tend to be free-form in their construction, hence less rules, and I typically write songs and poetry from an emotional place rather than the intellectual place my stories come from. And comic book writing is actually more involved than regular novel writing, because you're actually the 'director' of the images on the pages, so you have to also think visually. I like writing both a lot, but music is much easier.
SR: When everything is said and done, how do you want to be remembered?
RS: If you mean the band, just that we came from a little town in the middle of nowhere, and were part of the NWOBHM, but did it with our own style. That we did our music our way.
Thanks to Regent St. Claire


text:
The 1953 Limerick Senior Hurling Championship was the 59th staging of the Limerick Senior Hurling Championship since its establishment by the Limerick County Board in 1887.

Treaty Sarsfields were the defending champions.

Treaty Sarsfields won the championship after a 2-05 to 0-05 defeat of Ahane in the final. It was their third championship title overall and their third title in succession. It remains their last championship title.

Championship statistics

Miscellaneous

 Treaty Sarsfields win the last of their three titles.

References

Limerick Senior Hurling Championship
Limerick Senior Hurling Championship

redpajama_set_name: RedPajamaWikipedia


text:
Indonesian province considers beheading as murder punishment
Implementation of sharia law has become increasingly harsh in conservative region of Aceh
A man being caned in public last year after he was convicted of gay sex. Photograph: Heri Juanda/AP
Associated Press in Banda Aceh
Wed 14 Mar 2018 11.30 EDT
Last modified on Wed 14 Mar 2018 12.03 EDT
The conservative Indonesian province of Aceh, which already carries out public caning of gay people, adulterers and gamblers, is considering the introduction of beheading as a punishment for murder, a top Islamic law official has said.
Syukri M Yusuf, the head of Aceh's shariah law and human rights office, said the provincial government had asked his office to research beheading as a method of execution under Islamic law and to consult public opinion.
"Beheading is more in line with Islamic law and will cause a deterrent effect. A strict punishment is made to save human beings," Yusuf told reporters. "We will begin to draft the law when our academic research is completed."
The public flogging of two gay men and what it says about Indonesia's future
Aceh is the only province in Muslim-majority Indonesia to practise shariah law, a concession made by the central government in 2005 to end a decades-long war for independence.
Its implementation has become increasingly harsh and also applies to non-Muslims. Last year, the province for the first time caned two men as punishment for gay sex after vigilantes broke into their home and handed them over to religious police.
Yusuf said if sharia law was consistently applied, then crime, particularly murder, would decrease significantly or disappear.
He said punishment for murderers had in practice been "relatively mild" and they could re-offend after release from prison. He pointed to Saudi Arabia as an example to follow in carrying out severe punishment for murder.
Indonesia has the death penalty for crimes such as murder and drug trafficking, which it carries out by firing squad. Its last executions were in July 2016, when three Nigerians and one Indonesian convicted of drug offences were shot on the Nusa Kambangan prison island.


text:
← Labor Activist : Bill Fletcher Speaks to Austin Audience
FILM / Peter Watkins' 'La Commune' : A Conceptual Tour de Force →
SPORT / March Madness MVP? Baylor's Brittney Griner
Posted on March 29, 2010 by Thorne Dreyer
Baylor's Brittney Griner. Photo from metatube.
Baylor's Brittney Griner:
The story of this year's 'Big Dance'
By Dave Zirin / March 29, 2010
A 6' 8" freshman is changing the way we understand hoops in the 2010 NCAA tournament and unless you're paying full attention to all the glories of March Madness, you'd never know it.
Maybe it's because the player in question is not a fresh-MAN at all. Her name is Brittney Griner, and despite the incredible buzzer beaters and upsets in the men's draw, she is the individual story of this year's "Big Dance." Griner, with her agility, quick hops, and size 17 men's shoes, is more than just evolution in action. That would imply that there are more Brittney Griner's in the high school pipeline. There aren't. She is simply a player apart.
As Helen Wheelock of the Women's Hoops Blog commented to me, "My sense is that she's unique — not because of her skills, but because of her mere physical size/attributes — and that her play will draw those who are curious in to be part of the viewing audience."
If you aren't aware of Griner, please allow me to stoke your curiosity. Her initial year of college ball has exceeded expectations with statistics that rival the first-year seasons of Lisa Leslie and Anne Donovan. But that has proven to be just an appetizer. Her tournament has been simply epic, with the only available comparison being Bill Russell.
First she set an NCAA tourney record with 14 blocked shots against Georgetown. Then against legendary Coach Pat Summit and the Tennessee Lady Vols, Griner played all 40 minutes and finished with 27 points, 10 blocked shots and seven rebounds, all while barely breaking a sweat. Baylor won 77-62 in what was basically a road game, played in Memphis. Now Griner is the first player to ever have at least 10 blocked shots in two separate tournament games.
There have been tall players in women's hoops before. What separates Griner is that her height is matched by an agility, footwork and toughness that sees her contesting shots from the rim to the three point line. As her teammate, 5' 10" guard Melissa Jones said, "It's my excuse. When someone drives past me, I say I wanted Brittney to get 14 blocks. I'll take credit for that."
Before the tournament, Griner was best known for two things women players normally do not do, one notable and the other notorious: first she dunked twice in one game, a spectacle that put women's hoops higher in the highlight rotation. Then last month, during a physical, bruising contest against Texas Tech, she punched opposing player Jordan Barncastle, bloodying her face, and was suspended for two games.
Now both the notable and notorious are in the rearview mirror. Baylor will be playing the school-that-will-not-be-named on Monday (ok, it's Duke) to see who makes the Final Four. The winner will presumably play the utterly unbeaten and unchallenged 36-0 UCONN Huskies who haven't lost seemingly since the Carter Administration. UCONN is epic, and we do love our sports dynasties in this country. But, like Wilt Chamberlain in his prime, are they just too good?
I communicated with USA Today's Christine Brennan who told me,
Brittney Griner is the best thing to happen to women's basketball since UConn, and she might be even better for the game than UConn. Connecticut's dominance can cut both ways for women's hoops. It's stunning, but all those double-digit wins can depress national interest. But Griner? People will tune in to see this kid, and she's only going to get better. It's a cult-of-personality world out there in sports, and she's the new, fresh face of women's sports — not just basketball, but all women's sports."
If Griner and her Baylor Lady Bears teammates are the only thing standing between UCONN and another title, anyone who considers themselves a hoops fan should tune in. It will be David against Goliath. But this time, David will be 6"8", and brilliant to behold.
[Dave Zirin is the author of the forthcoming Bad Sports: How Owners are Ruining the Games we Love (Scribner) Receive his column every week by emailing dave@edgeofsports.com. Contact him at edgeofsports@gmail.com .]
Source / The Nation
Brittney Griner. Photo from The End Zone.
This entry was posted in RagBlog and tagged Basketball, Baylor, Campuses, Dave Zirin, Sports, Women. Bookmark the permalink.
One Response to SPORT / March Madness MVP? Baylor's Brittney Griner
a real pleasure — thanks!


text:
// +build darwin

package proc

// Based on https://github.com/cloudfoundry/gosigar/blob/master/sigar_darwin.go

/*
#include <sys/sysctl.h>
typedef struct kinfo_proc kInfoProc;
*/
import "C"

import (
  "bytes"
  "encoding/binary"
  "io"
  "strings"
  "syscall"
  "unsafe"
)

func ps(pid int) []*ProcessInfo {
  processes := []*ProcessInfo{}

  mib := []C.int{C.CTL_KERN, C.KERN_PROC, C.KERN_PROC_ALL, 0}
  length := uintptr(0)

  if err := sysctl(mib, nil, &length, nil, 0); err != nil {
    return nil
  }

  buf := make([]byte, length)
  if err := sysctl(mib, &buf[0], &length, nil, 0); err != nil {
    return nil
  }

  kInfoProcSize := int(unsafe.Sizeof(C.kInfoProc{}))
  count := int(length) / kInfoProcSize

  for i := 0; i < count; i++ {
    proc := (*C.kInfoProc) (unsafe.Pointer(&buf[i * kInfoProcSize]))
    procPid := int(proc.kp_proc.p_pid)

    if pid >= 0 && procPid != pid {
      continue
    }

    process := ProcessInfo{Pid: procPid}

    command, argv, err := kern_procargs(process.Pid)

    if err != nil {
      continue
    }

    commandParts := strings.Split(command, "/")
    process.Command = strings.TrimSpace(commandParts[len(commandParts) - 1])
    process.CommandLine = argv

    processes = append(processes, &process)

    if process.Pid == pid {
      break
    }
  }

  return processes
}

func kern_procargs(pid int) (command string, argv []string, err error) {
  mib := []C.int{C.CTL_KERN, C.KERN_PROCARGS2, C.int(pid)}
  argmax := uintptr(C.ARG_MAX)
  buf := make([]byte, argmax)
  err = sysctl(mib, &buf[0], &argmax, nil, 0)

  if err != nil {
    return
  }

  bbuf := bytes.NewBuffer(buf)
  bbuf.Truncate(int(argmax))

  var argc int32
  binary.Read(bbuf, binary.LittleEndian, &argc)

  path, err := bbuf.ReadBytes(0)
  command = string(chop(path))

  // skip trailing \0's
  for {
    c, _ := bbuf.ReadByte()
    if c != 0 {
      bbuf.UnreadByte()
      break // start of argv[0]
    }
  }

  argv = make([]string, argc)

  for i := 0; i < int(argc); i++ {
    arg, err := bbuf.ReadBytes(0)
    if err == io.EOF {
      break
    }
    argv[i] = string(chop(arg))
  }

  return
}

func sysctl(mib []C.int, old *byte, oldlen *uintptr, new *byte, newlen uintptr) (err error) {
  _, _, e1 := syscall.Syscall6(
    syscall.SYS___SYSCTL,
    uintptr(unsafe.Pointer(&mib[0])),
    uintptr(len(mib)),
    uintptr(unsafe.Pointer(old)),
    uintptr(unsafe.Pointer(oldlen)),
    uintptr(unsafe.Pointer(new)),
    uintptr(newlen))

  if e1 != 0 {
    err = e1
  }

  return
}

func chop(buf []byte) []byte {
  return buf[0 : len(buf)-1]
}

redpajama_set_name: RedPajamaGithub


D.C. Author George Pelecanos Writes What He Knows In 'The Martini Shot' In his new collection of short stories and a novella, Pelecanos explores crime, adoption and writing from an African-American point of view. He says he's "aware of the responsibility" to get it right.
When writer George Pelecanos was growing up in Washington, D.C., he was chased by the police several times.
"It was almost like there's respect there. 'Chase me,' you know what I mean? 'See if you can,' " Pelecanos tells Fresh Air's Dave Davies. "Sometimes when I'd be pulled over or whatever, there were times when a police officer would say to me, 'Where do you live, son?' 'Well, I live a few blocks down here.' And instead of arresting me for — he saw the beer cans in the back, or he could smell the weed in the car with my friends — he would say, 'All right, get on home and be careful driving there.' "
Pelecanos says he wonders what would have happened if he had been arrested as a kid and "put in the system."
"My life would be completely different today," he says. "It's why I'm so opposed to these stops for possession and this broken-window policing, because once you do that to a kid — once you put them in the system — it's very, very hard to come back."
Pelecanos is now a successful crime novelist who sets his stories in D.C.'s neighborhoods. His new book, The Martini Shot, is a collection of short stories and a novella about a TV writer and producer who discovers a member of the production crew has been murdered and then tracks down a killer. It's a plotline that blends a few elements of Pelecanos' writing and personal experience.
On writing in the first person as an African-American character in the story "String Music"
Rosa Pelecanos/Courtesy of Little, Brown and Co.
George Pelecanos is a crime novelist who was a writer and producer for the HBO series The Wire and Treme.
I'm aware of the responsibility, let's put it that way. I wouldn't go there if I didn't think I could do it and do it well. I do feel like that's what a writer does, is he goes into other people's heads. Growing up [in D.C.], around here, in a city that was, when I was a kid, 75 percent black, you pick up the voices. And my dad had a diner and I was always out on the street, working with people, playing sports, things like that, and listening all the time. ... I sort of picked that up. I'm still very interested in that. A lot of what I do now, when I say I'm "researching" — it's really just being out there in the world and listening to people and trying to respect them when I get to the point where I'm putting it down on the page.
In general, you take the race thing and people seem to be surprised that there's still racism. It was supposed to end when Obama got elected, right? "Post-racial America." So I'll say in general that what I think, unfortunately, is that this problem will be solved when people of my generation and older die off, basically. Because you see it very rarely now in kids — and kids, juveniles, people in their 20s, they just don't care about it. Even people of my generation who have these bad feelings, they know enough, they've been smart enough not to pass it on to their kids, and so that is what's going to happen. I think things are going to get better in probably 20, 30 years, when people my age and older are gone.
On his experience adopting two kids from Brazil, which inspired the story "When You're Hungry"
Everybody thinks that adopting kids is some kind of noble calling, but I wanted to demystify it, take the mystery out of it and also show the humor of it. Because there are some sort of ridiculous things that happen when you adopt kids, and one of them is when you go to the lawyer's office — or whoever you're dealing with – [and] they throw a bunch of pictures on the table, of babies, and they'll say ... "Choose a baby."
"I saw the police pull into the parking lot and I was all jacked up on adrenaline and I just got in my car and I took off. I had to drive down the sidewalk to do it and a high-speed chase ensued, let's put it that way."
It's relatively easy to adopt kids if you're not trying to get kids that look exactly like you. Because you hear how hard it is. But actually it happened very quickly for us.
Laura Lippman, who was [series creator] David Simon's girlfriend at the time and she's a great writer out of Baltimore ... she gave David one of my books. It was a book called The Sweet Forever, which was one of my deep, urban, dark books that were set back in a time in Washington when things were pretty crummy.
I think she said to him, "Read this guy. He's doing in Washington what you're sort of doing in Baltimore." So David read it and I met him — I saw him at a funeral, actually, of a mutual friend ... and he says, "Ride back with me to the wake." So we're riding back and he says kind of casually, "I just sold a series to HBO about drug dealers and police." He downplayed it. He didn't tell me about his ambition or really what the show was going to be about. But I knew his work from Homicide and especially The Corner, [the book he co-wrote with] with Ed Burns. ... He offered me an episode for that first season. I accepted David's offer and I wrote the episode, which was the penultimate episode of Season 1.
Anyway, the next day they called me at my apartment said "Would you like to come in or would you like us to come arrest you?" Because they had my license plate numbers. So I went by my parents' house ... I told them, "Mom and Dad, I'm about to go turn myself in," this and that. Anyway, I got charged with a bunch of stuff, including driving on the sidewalk, which is my favorite charge of that checkered night.
I ended up having to go to this class at night for six weeks and I was looking around at the people in the classroom and I saw a bunch of guys who, to me, they were losers, you know what I mean? And then I came to the realization that I was one of them. So I sort of grew up and that's what happens. I got married shortly thereafter; two or three years later I wrote my first novel, started a family. People do change. I believe in that.


This kind of picture All You Need to Know About Algebra 2 @ the Best Algebra Apps for iPhone & Ipad earlier mentioned is classed along with: all for you janet jackson,all you,all you can ever know,all you can quaff,all you deserve lyrics,all you for song,all you had to do was stay mp3,all you have is your soul,all you is need love lyrics,all you most, put up simply by Janet Natalie from 2018-09-03 15:43:51. To find out most photos throughout All You Need to Know About Algebra 2 images gallery remember to abide by that hyperlink.
We hope you can find what you need here. We always effort to show a picture with HD resolution or at least with perfect images. All You Need to Know About Algebra 2 @ the Best Algebra Apps for iPhone & Ipad can be beneficial inspiration for those who seek an image according specific categories; you can find it in this site. Finally all pictures we have been displayed in this site will inspire you all..


Watch out green and white mugs, the new Masters Yellow Mug is sure to be a best seller. This year's mug features "Augusta National Golf Club" script text below the iconic Masters logo. Your mornings just got brighter with this yellow Master mug. These mugs are durable and heavy duty. You won't want to drink your morning joe without this coffee mug. These mugs are featured on each telecast from Augusta National and sell out rather quickly. Don't miss your chance!


text:
Randall Beach: Jimmy Koplik recalls strange days backstage with the Stones, the Who and the Dead
1of8Jimmy Koplik at the Toyota Oakdale Theatre in Wallingford, with WPLR DJ Mike Lapitino.Catherine Avalone — New Haven Register Show MoreShow Less
2of8Randall BeachJournal Register Co.Show MoreShow Less
4of8(Catherine Avalone - New Haven Register) Hosted by WPLR 99.1 DJ Mike Lapitino, Backstage Stories with rock concert promoter Jimmy Koplik, Thursday, April 28, 2016, at the Toyota Oakdale Theater in Wallingford. Koplik talked about producing shows by Paul McCartney, Billy Joel, The Rolling Stones, , Bruce Springsteen, REO Speedwagon, Madonna and Elton John.Journal Register Co.Show MoreShow Less
Jimmy Koplik looked out into a crowd at the Toyota Oakdale Theatre in Wallingford and recalled the most amazing rock show he ever had a hand in, on the night of Aug. 12, 1989.
"The Stones were rehearsing for their tour in Washington, Connecticut, and they wanted to do a show beforehand for a small crowd," he remembered. "Somebody who was with the band called me up and asked, 'Where can they play?' I told him, 'There's only one place and that's Toad's.'"
The date was quietly set. But how to keep it quiet and yet attract about 500 people to that New Haven club so Mick, Keith and the boys could try out their new material?
"We faked people out," Koplik said. "We told them, 'Come down to Toad's for Jimmy Koplik's 40th birthday party.' (It was actually a few days away.) We got a few hundred people there by saying that."
The band that was listed to play that night was an obscure act called Sons of Bob. "Backstage I told a guy in the band, 'You're opening for the Stones.' He fell down on the floor. Then he said, 'I need to call my father to get him down here.' I said, 'OK, but don't tell him why.'"
Koplik let the young rattled man make the call on what was probably the only working phone in the club. This was in a time before cell phones and all the pay phones had been dismantled so nobody who had gotten inside and heard the Stones rumor could call and tell a friend to come to Toad's.
After Sons of Bob played their short set, Koplik said, he and Toad's owner Mike Spoerndle got a chance to do something very special.
"Mike and I had the honor of going up on that stage and saying: 'Ladies and gentlemen, please welcome the Rolling Stones!'"
The Stones came out and played a killer set for about an hour as the crowd roared in delighted disbelief. (I was there with my wife; a source had tipped me off.)
"At the end of the night," Koplik said, "they asked me to come down to their dressing room. They said, 'We have a birthday present for you,' And they handed me a $10,000 check. I gave half of it to Mike."
Not a bad story, eh? Koplik, who has been promoting rock shows and other entertainers since the late '60s, had about 15 other backstage gems to offer on a recent Thursday night at the Oakdale. He is now based there, as president of Live Nation for Connecticut and upstate New York.
Koplik, who was interviewed on stage by longtime WPLR DJ Mike Lapitino, drew an appreciative audience of baby boomers who had attended many of his shows. Proceeds for the event, organized with help from the Hamden Regional Chamber of Commerce, went to benefit the Sandy Hook Organization for Prosperity, working to revitalize that community's village area.
Koplik and I go way back, as I was the rock reviewer for the New Haven Register in the late '70s and early '80s. He asked me not to put in this column several of the stories he told at the Oakdale because they involved musicians who still tour occasionally and might get mad at him for revealing what went down backstage.
But he said it was OK to include the first story he told: the night somebody connected with the Grateful Dead spiked his soda with LSD at the Palace Theatre in Waterbury in September 1972.
"I knew that when working with the Dead, if you saw an open can or bottle: don't drink from it! I had my six-pack of Pepsi backstage. I took a hit from a can; 30 seconds later I thought the whole theater was moving at 100 miles per hour!
"I fell down on the couch and said, 'What's going on?' A guy with the band picked up my can and said, 'Somebody took a syringe and put acid in your Pepsi.' The manager said, 'You will have either a good trip or a bad trip. Come over with me. Sit down in that chair, get ready for the show and watch Jerry's (Garcia's) fingers. You'll have the best trip you've ever had.' So I watched Jerry Garcia's fingers and had a great time."
Koplik added, "I called my wife and said, 'Honey, I'm tripping.' She got mad and so I had Jerry write a note to her, like a note from your doctor: 'Yes, Jimmy got doped. Please forgive us.'"
Koplik offered another Dead tale: the night in November 1978 when Garcia got a severe sore throat and was unable to perform at the New Haven Coliseum. "The manager told me; 'Jerry can't sing, there's no show tonight.' I said, 'What am I going to tell the crowd out there? They've already dropped their acid. Those kids are gonna go crazy!'
"I went out on stage with (the Dead's) Bob Weir and Mickey Hart and made the announcement. Everybody left peacefully. Yay for the Deadheads!" (The Dead came back and did a show at the Coliseum on Jan. 17, 1979.)
Koplik tossed out two other New Haven anecdotes. There was the night U2 performed at Yale's stately Woolsey Hall. "I told (lead singer) Bono, 'Don't stand on the box or we're all dead; that's America's largest pipe organ.' So on the first song, he dances on the pipe organ! That was one of the worst moments of my life. Later that night they checked it. Thankfully, it didn't break."
Koplik had learned to comply with musicians' odd demands, such as providing psychedelic condoms for Ratt. But he was bewildered by an order from the manager for Emerson, Lake and Palmer when they played at the New Haven Coliseum Dec. 14, 1973: they would need three limousines.
"I said, 'But it's only three blocks from the Park Plaza (hotel) to the Coliseum! And why three of them?' The manager replied, 'They (expletive) hate each other!'"
When somebody in the audience asked Koplik which of his more than 15,000 shows had made him the most nervous, he did not hesitate: "The Who, December 1979, the New Haven Coliseum. Eleven of their fans had been trampled to death in Cincinnati 12 days before their Coliseum show was supposed to happen. Biagio DiLieto (the New Haven police chief who was then mayor-elect) told me, 'I'm canceling the show.' I told him, 'It was mishandled in Cincinnati. We're selling only assigned seats, not general admission. We will make sure the doors open early.'
"He agreed but he tripled the police force. He was standing there out front; he scared the hell out of me. But everything went fine. We opened the doors 2 1/2 hours early."
Asked to name the first rock show he ever attended, Koplik had an answer that was not too shabby: "I was 13 or 14 and a friend of mine with a connection asked, 'Do you want to come with me to see the Beatles at Carnegie Hall?'
"I didn't hear a note because the girls were screaming. But it was a great thing to see. That's how I got into this business."
Another person in the crowd asked Koplik what had happened to his former Cross Country Concerts partner, Shelly Finkel. Koplik said he's a boxing manager for SFX.
Koplik noted Finkel is five years older than he is; Koplik is 66.
During the time when Koplik was taking questions from the audience, a man who appeared to be in Koplik's age group stood up and said, "I'm overcome with gratitude! Thank you for those great shows!"
The evening ended, fittingly, with everybody standing up and applauding Koplik for pulling together all of those memorable nights for us, plus a few days. Remember the Eagles at the Yale Bowl, June 14, 1980? The Bowl was full and, Koplik noted, "It must have been about 100 degrees."
Contact Randall Beach at rbeach@nhregister.com or 203-680-9345.


Contact Us - Emergency Medical Training Professionals, Inc.
Feel free to contact us using the form below or any of our other contact methods. We'd love to answer your questions, and be sure to stop by for a personal tour of the school!
Emergency Medical Training Professionals, Inc.


Qamar Henna from the tube in red for decorating hands and feet. Strong henna paste with a short reaction time and strong staining. Read more..
Qamar Henna from the tube for decorating hands and feet with tattoos. Fine, red henna paste with a short reaction time and strong staining.
Henna for painting hands and feet, packaged in a handy tube, so that the application is a breeze.
Reaction time 30 minutes; between the henna again carefully moisten slightly to get a more intense result.
A prior application of essential oils enhances the coloring effect.
Blend of natural essential oils to reinforce the color of H..
Blend of essential oils to reinforce the color of Hennatatto..


text:
Israel to accept 3,000 Ethiopian Jews following 2015 agreement
Israel's government has approved the immigration of several thousand Jews from war-torn Ethiopia, some of whom have waited for decades to join their relatives in Israel.
he decision took a step towards resolving an issue that has long complicated the government's relations with the country's Ethiopian community.
Around 140,000 Ethiopian Jews live in Israel. Community leaders estimate that roughly 6,000 others remain behind in Ethiopia.
Although the families are of Jewish descent and many are practising Jews, Israel does not consider them Jewish under religious law. Instead, they have been fighting to enter the country under a family-unification programme that requires special government approval.
Community activists have accused the government of dragging its feet in implementing a 2015 decision to bring all remaining Ethiopians of Jewish lineage to Israel within five years.
Under Sunday's decision, an estimated 3,000 people will be eligible to move to Israel. They include parents, children and siblings of relatives already in Israel, as well as orphans whose parents were in Israel when they died.
"Today we are correcting an ongoing injustice," said Pnina Tamano Shata, the country's minister for immigration and herself an Ethiopian immigrant. She said the programme was a response to people who have waited "too many years to come to Israel with their families" and to resolve a "painful issue".
In a joint statement with Israel's interior minister, she said the decision came in part as a response to the precarious security situation in Ethiopia, where tens of thousands of people have been killed over the past year in fighting between the government and Tigray forces.
It was not immediately clear when the airlift would begin. The government has appointed a special project coordinator to oversee it.
Kasaw Shiferaw, chairman of the group Activists for the Immigration of Ethiopian Jews, welcomed Sunday's decision but said there was still a long way to go.
"On one hand, this decision makes me happy. Three thousand people are realising a dream and uniting with their families," he said.
"But it's not a final resolution. Thousands are still waiting in camps, some for more than 25 years. We expect the government to bring all of them," he said.
Previous article Responding to the Omicron Variant, Israel and Morocco Impose Bans on All Foreign Travelers
Next article Thomas Tuchel went mad at the referee but his real frustration is failing to beat Manchester United
Responding to the Omicron Variant, Israel and Morocco Impose Bans on All Foreign Travelers
Thomas Tuchel went mad at the referee but his real frustration is failing to beat Manchester United


text:
Q: Object synchronization method was called from an unsynchronized block of code. Exception on Mutex.Release() I have found different articles about this exception but none of them was my case.
Here is the source code:
class Program
{

    private static Mutex mutex;
    private static bool mutexIsLocked = false;
    static void Main(string[] args)
    {

        ICrmService crmService =
            new ArmenianSoftware.Crm.Common.CrmServiceWrapper(GetCrmService("Armsoft", "crmserver"));
        //Lock mutex for concurrent access to workflow
        mutex = new Mutex(true, "ArmenianSoftware.Crm.Common.FilterCtiCallLogActivity");
        mutexIsLocked = true;

        //Create object for updating filtered cti call log
        ArmenianSoftware.Crm.Common.FilterCtiCallLog filterCtiCallLog =
            new ArmenianSoftware.Crm.Common.FilterCtiCallLog(crmService);
        //Bind events
        filterCtiCallLog.CtiCallsRetrieved += new EventHandler<ArmenianSoftware.Crm.Common.CtiCallsRetrievedEventArgs>(filterCtiCallLog_CtiCallsRetrieved);

        //Execute filter
        try
        {
            filterCtiCallLog.CreateFilteredCtiCallLogSync();
        }
        catch (Exception ex)
        {
            throw ex;
        }
        finally
        {
            if (mutexIsLocked)
            {
                mutexIsLocked = false;
                mutex.ReleaseMutex();
            }
        }
    }

    static void filterCtiCallLog_CtiCallsRetrieved(object sender,
         ArmenianSoftware.Crm.Common.CtiCallsRetrievedEventArgs e)
    {
        tryasasas
        {
            if (mutexIsLocked)
            {
                mutexIsLocked = false;
                mutex.ReleaseMutex();
            }
        }
        catch (Exception ex)
        {
            throw ex;
        }
    }
}

filterCtiCallLog.CreateFilteredCtiCallLogSync(); function executes requests to server, and raises some events, one of which is CtiCallsRetrieve event. And I need to release the mutex when this event is fired. But on calling the mutex.Release() function exception is thrown.  CreateFilteredCtiCallLogSync works synchronously. What is the problem?

A: You will also run into this exception if you do the following:
        mutex.WaitOne();
        … Some Work...
        await someTask;
        mutex.ReleaseMutex();

That's because the code after the await can be executed on a different thread from the line just before. Basically, it seems that if you asynch code now (in early 2020), Mutexes simply don't work. Use events or something.

A: Keeping a bool around that indicates that the mutex is owned is a grave mistake.  You are not making the bool thread-safe.  You got into this pickle because you are using the wrong synchronization object.  A mutex has thread-affinity, the owner of a mutex is a thread.  The thread that acquired it must also be the one that calls ReleaseMutex().  Which is why your code bombs.
You in all likelihood need an event here, use AutoResetEvent.  Create it in the main thread, call Set() in the worker, WaitOne() in the main thread to wait for the worker to complete its job.  And dispose it afterwards.  Also note that using a thread to perform a job and having your main thread wait for its completion is not productive.  You might as well have the main thread do the job.
If you are actually doing this to protect access to an object that's not thread-safe (it isn't clear) then use the lock statement.

A: I have found the problem. First several things about the filterCtiCallLog class. I have designed it so to work both asynchronous and synchronous. For first I have written code for asynchronous execution. I needed a way to trigger events from child worker thread to parent, to report the working state. For this I have used AsyncOperation class and it's post method. Here is the code part for triggering CtiCallsRetrieved event.
public class FilterCtiCallLog
{
    private int RequestCount = 0;
    private AsyncOperation createCallsAsync = null;
    private SendOrPostCallback ctiCallsRetrievedPost;
    public void CreateFilteredCtiCallLogSync()
    {
        createCallsAsync = AsyncOperationManager.CreateOperation(null);
        ctiCallsRetrievedPost = new SendOrPostCallback(CtiCallsRetrievedPost);
        CreateFilteredCtiCallLog();
    }

    private void CreateFilteredCtiCallLog()
    {
        int count=0;
        //do the job
        //............
        //...........
        //Raise the event
        createCallsAsync.Post(CtiCallsRetrievedPost, new CtiCallsRetrievedEventArgs(count));
        //...........
        //...........
    }

    public event EventHandler<CtiCallsRetrievedEventArgs> CtiCallsRetrieved;

    private void CtiCallsRetrievedPost(object state)
    {
        CtiCallsRetrievedEventArgs args = state as CtiCallsRetrievedEventArgs;
        if (CtiCallsRetrieved != null)
            CtiCallsRetrieved(this, args);
    }
}

As you can see the code is executing synchronously. The problem here is in AsyncOperation.Post() method. I presumed that if it is called in the main thread it will act as simply triggering the event, not posting it to parent thread. However it wasn't the case. I don't know how it is working, but I have changed the code, to check if the CreateFilteredCtiCallLog is called sync or async. And if it is async call I used AsyncOperation.Post method, if not, I have simply triggered the EventHandler if it is not null. Here is the corrected code
public class FilterCtiCallLog
{
    private int RequestCount = 0;
    private AsyncOperation createCallsAsync = null;
    private SendOrPostCallback ctiCallsRetrievedPost;
    public void CreateFilteredCtiCallLogSync()
    {
        createCallsAsync = AsyncOperationManager.CreateOperation(null);
        ctiCallsRetrievedPost = new SendOrPostCallback(CtiCallsRetrievedPost);
        CreateFilteredCtiCallLog(false);
    }

    private void CreateFilteredCtiCallLog(bool isAsync)
    {
        int count=0;
        //do the job
        //............
        //...........
        //Raise the event
        RaiseEvent(CtiCallsRetrievedPost, new CtiCallsRetrievedEventArgs(count),isAsync);
        //...........
        //...........
    }

    public event EventHandler<CtiCallsRetrievedEventArgs> CtiCallsRetrieved;

    private void RaiseEvent(SendOrPostCallback callback, object state, bool isAsync)
    {
        if (isAsync)
            createCallsAsync.Post(callback, state);
        else
            callback(state);
    }

    private void CtiCallsRetrievedPost(object state)
    {
        CtiCallsRetrievedEventArgs args = state as CtiCallsRetrievedEventArgs;
        if (CtiCallsRetrieved != null)
            CtiCallsRetrieved(this, args);
    }
}

Thanks everybody for the answers!

A: I have seen this happen when you lock code using a Monitor, then call an async code and you get this, when using a lock(object) you get a compiler error, however between monitor.enter(object) and Monitor.Exist(object) the compiler does not complain... unfortunately.

A: Using a flag to attempt to monitor a kernel synchro object state will just not work - the point of using those synchro calls is that they work correctly without any explicit checking.  Setting flags will just cause intermittent problems because the flag may be changed inappropriately due to interrupts between checking the flag and acting on it.
A mutex can only be released by the threat that acquired it.  If you callback is called by a different thread, (one internal to CreateFilteredCtiCallLogSync() or a kernel thread pool), the release will fail.
It's not clear exactly what you are attempting to do.  Presumably, you want to serialize access to CreateFilteredCtiCallLogSync() and the callback flags that the instance is available for re-use?  If so, you could use a semaphore instead - init. it to one unit, wait for it at the start and release it in the callback.
Is there some issue where sometimes the callback is not called, and hence the try/finally/release?  If so this way out seems a bit dodgy if the callback is asychronous and may be called by another thread after the setup thread has left the function.

A: Another reason why this exception may occur:
if (Monitor.TryEnter(_lock))
{
    try
    {
        ... await MyMethodAsync(); ...
    }
    finally
    {
        Monitor.Exit(_lock);
    }
}

I get this exception on Monitor.Exit when after 'await' another thread continues execution.
Edit:
Use SemaphoreSlim, because it doesn't require releasing thread to be the same.

A: I only had this one once or twice, and in every case it came about by trying to release a mutex I didn't own.
Are you sure the events are raised on the same thread the mutex was acquired on?
Although you mention that filterCtiCallLog.CreateFilteredCtiCallLogSync() is a blocking call, perhaps  it spawns of worker threads that raise the event?

A: Maybe not the most meaningful error message, I've seen this happen in some third party code as below,
object obj = new object();
lock (obj)
{
    //do something

    Monitor.Exit(obj);//obj released

}//exception happens here, when trying to release obj

A: I have read the thread and got some ideas. But did not know what exactly need to do to solve the issue. I face the same error when uploading the image to the s3 at nopCommerce solution.And the below code is working for me.
   using var mutex = new Mutex(false, thumbFileName);
         mutex.WaitOne();
          try
           {
             if (pictureBinary != null)
              {
                  try
                     {
                       using var image = SKBitmap.Decode(pictureBinary);
                       var format = GetImageFormatByMimeType(picture.MimeType);
                       pictureBinary = ImageResize(image, format, targetSize);
                     }
                   catch
                     {
                     }
             }

          if (s3Enabled)
           //await S3UploadImageOnThumbsAsync(thumbFileName, pictureBinary, picture.MimeType, picture, targetSize);
           // The above code was causing the issue. Because it is wait for the thread.
           //So I replace the code below line and the error disappear. This also kind of same implementation by nopCommerce.
           //The thread need to wait.

           S3UploadImageOnThumbsAsync(thumbFileName, pictureBinary, picture.MimeType, picture, targetSize).Wait();
         else
            File.WriteAllBytes(thumbFilePath, pictureBinary);
         }
         finally
         {
             mutex.ReleaseMutex();
         }

redpajama_set_name: RedPajamaStackExchange


text:
News Vault
Nov. 23-24: Sam Chase, Philip Tetlock, Andrea Ponsi, David Eagleman, James Miller, Steven Saylor
By BY Examiner Staff • November 23, 2015 12:00 am
The Sam Chase plays a benefit for The Riptide. (Courtesy photo)
The Sam Chase: The San Francisco folk rock band that got its start at The Riptide (the Outer Sunset bar damaged in a recent fire) headlines a benefit show (and S.F. Food Bank Drive); Tom and Richard Frost (of Powder) and Whograss also play. [8 p.m., Slim's, 333 11th St., S.F.]
Philip Tetlock: The professor of management and psychology at Univesity of Pennsylvania talks about the methodology used in his new book "Superforecasting: The Art and Science of Prediction." [7:30 p.m., SFJAZZ, 201 Franklin St., S.F.]
Andrea Ponsi: The renowned architect, artist and designer, author of "San Francisco: A Map of Perceptions," speaks on "San Francisco Through the Eyes of An Italian Architect." [6:30 p.m., Commonwealth Club, 555 Post St., S.F.]
Ann Wilson Thing: The vocalist from Heart is on tour "excited to play unusual songs in small places." [8 p.m., Yoshi's, 510 Embarcadero West, Oakland]
David Eagleman: The neuroscientist and best-selling author, whose new book is "The Brain: The Story of You," appears in conversaton with Jacob Ward. [7:30 p.m., Nourse, 275 Hayes St., S.F.]
Steven Saylor: The author of historical novels talks about his most recent release "Wrath of the Furies: A Novel of the Ancient World," which is set in 88 B.C. Alexandria. [6 p.m., Book Passage, 1 Ferry Building, S.F.]
James Miller: The San Francisco poet reads from "Poetry James Miller," a collection of 50 years of poems from his archives that had been scribbled on scraps of paper and stashed in files labeled "to be finished." [7 p.m., Green Apple Books, 506 Clement St., S.F.]
Market Street snowflake lighting: Music accompanies the ceremonial countdown to (and lighting of) 270 LED illuminated snowflakes on poles on The City's major thoroughfare. [6:30 p.m., cable car turnaround, Powell and Market streets, S.F.]
TUESDAY, NOV. 24
Copeland: Pianist-guitarist-vocalist Aaron Marsh leads the Florida-based indie band, playing from its long-awaited sixth album "Ixora"; Eisley and We Are The City open. [8 p.m., Great American Music Hall, 859 O'Farrell St., S.F.]
Sean Keane: The comic, a former resident of The City and SF Sketchfest veteran, does standup; Natasha Muse opens. [8 p.m., Punch Line Comedy Club, 444 Battery St., S.F.]
Bay City Blues: Guitarist John Garcia appears at the weekly showcase, with special guest harmonica player Gary Smith. [7:30 and 9:30 p.m., Biscuits and Blues, Mason St., S.F.]
Monika Trobits: The tour leader, historian and author of "Antebellum and Civil War San Francisco" presents an illustrated talk about the lingering presence of the antebellum and Civil War eras in The City. [7:30 p.m., St. Philip's Catholic Church, 725 Diamond St., S.F.]
Darwin Deez: The indie pop rocker recorded, mixed and mastered his third album "Double Down" by himself in his sixth-floor Brooklyn walk-up. [8 p.m., Rickshaw Stop, 155 Fell St., S.F.]
Magic Lantern 3-D: The flashy Dia de los Muertos projection created by acclaimed artist Bart Kresa lights up for the final time. [8 p.m., San Mateo County History Museum 2200 Broadway, Redwood City]
Riverdance: The international Irish dance phenomenon is back by popular demand on its 20th anniversary tour. [7:30 p.m., Center for the Performing Arts, 255 S. Almaden Blvd., San Jose]
Bright Half Life: Magic Theatre stages the West Coast premiere of Tanya Barfield's fast-paced love story that follows Erica and Vicky through big, and small, moments of their relationship. [7 p.m., Strand, 1127 Market St., S.F.]
Niners face tough road through NFL playoffs. Next stop Green Bay
Landscape photos with multiple signifiers at Haines and Thacher Galleries
Saved! Community rallies to rescue City College's Cantonese classes
Rebecca Black is all grown up and now a charming, world touring, gay pop star
Draymond Green's injury opens for Warriors' Jonathan Kuminga
C.W. Nevius: Big money sports teams are writing their own COVID rules
Sign Up For The Examiner Daily Newsletter
Kickoff temperature expected to be 13 degrees, and dropping fast
By Al Saracevic
The pieces in "Ice" and "Elemental Exposures" represent experimentations with the process itself
By Max Blue Special to The Examiner
'We need to stop Asian hate and make sure the Chinese community has access to bilingual services'
By James Salazar Examiner Staff Writer
About SF Examiner
San Francisco Examiner Media Company
Nob Hill Gazette
SF Weekly
SF Evergreen
© 2022, The San Francisco Examiner and SFEMC


Peptan® collagen peptides are so-called Type 1 Collagen Peptides. This means they are identical to the collagens found in human bones and skin. Peptan® is a high-purity, natural bioactive product, containing more than 97% protein (on a dry weight basis).
Peptan collagen peptides are optimized for high bioavailability and activity, and their hydrolyzed form makes them easily digestible by humans. Peptan is a bioactive ingredient that has been specifically developed to deliver multiple health benefits and functional properties. As a natural, non-allergenic and clean label ingredient, it can be easily and cost-effectively incorporated into functional foods and beverages, nutri-cosmetics and dietary supplements without impacting taste or odor.
Peptan contains 18 amino acids, the building blocks of our tissues and the primary component of proteins. Glycine, proline and hydroxyproline represent around 50% of Peptan's total amino acid content; the glycine and proline concentration in Peptan is 10 to 20 times higher than in other proteins. As a result, Peptan offers health benefits that cannot be found in other protein sources.
Peptan collagen peptides deliver multiple health benefits and display unique bioactive properties in body tissues. At Rousselot, we believe in investing in scientific evidence and clinical studies, and we continue to perform scientific studies, including in-vitro, in-vivo and clinical research to further substantiate Peptan's health benefits and broaden its application potential.
Peptan is the world's leading collagen peptides brand.


Indoor skydiving is all about learning to control your body in the air flow. By maintaining an arched body position and using your arms and legs to control you, you can perform turns and move forwards, backwards, up and down. More advanced indoor skydiving involves flying with other people and at orientations other than belly to earth.
In this beginner's guide to indoor skydiving, we'll explain the basics of getting started and how you too can learn the skills of bodyflight.
The first step to becoming an accomplished indoor skydiver is learning how to enter the wind tunnel.
The wind tunnel is a skydiving simulator which pushes air upwards, creating the same conditions you would find in freefall if you'd jumped from an airplane. To enter, you'll be asked by your instructor to fold your arms across your body and simply lower yourself forwards through the door – your instructor will support you the first few times but eventually, you'll be confident enough to lower yourself down on your own.
It's important not to try to jump into the wind tunnel. This is because your body shape and position will affect how you move in the air and 'jumping' in could cause you to become out of control once in the air flow.
The next step to bodyflight is to become comfortable with your body in the air flow.
To achieve a stable position, you will arch your body by pushing forward at the hips. This is something you can try at home; simply lie on the floor and push your hips forward, raising your head and your feet. The idea is similar to that of a shuttlecock in badminton – creating that center of mass at your core gives you stability while allowing your arms and legs to be free to help you move.
Your first few minutes in the wind tunnel may be utilized to get used to the body position and the feeling of pressure that the air flow puts on your body. At this point, the wind speed will be relatively low, meaning you'll be flying close to the net and your instructor can easily give you corrective signals to help you perfect your position before moving on.
The basic principles of bodyflight are rooted in aerodynamics. The idea is that we are able to affect our movements by displacing the air pressure as it hits our body, resulting in the ability to, amongst other things, turn.
To turn, you'll start with the stable arched body position – this should be maintained throughout. To make a turn, you'll simply dip the shoulder and arm slightly on the side you want to turn with hands pointing forward. So to turn right, you'd dip your right arm.
Providing you maintain your arched body position and your arms and legs stay symmetrical, you'll perform a stable turn. More advanced indoor skydivers will use a combination of arms, legs and chest to turn and adopt a slightly different position, but this will all be covered as you progress.
By similar air displacement principles, you can move yourself backwards and forwards in the air by simply changing the position of your arms and legs.
To go forwards, you'll push your legs into a straighter position. This tips your body up slightly and pushes you forwards, head first.
To go backwards, you'll bring your feet closer to your buttocks and push your arms forward slightly.
As you become faster at forwards and backwards movements, you'll learn to stop them using the opposite input – so legs out to go forward and legs in and arms out to stop that.
The final step to starting as an indoor skydiver is to learn to change your fall rate, enabling you to, relatively speaking, fly up and down in the wind tunnel (of course, in the sky, this effect is simply increasing and decreasing the rate of descent).
To increase your fall rate (and go 'down'), you'll emphasize that stable arched position you learned at the beginning, pushing forward more with your hips. You'll also bring your arms in a little toward your body, thus decreasing your surface area and allowing you to fall faster.
To decrease your fall rate is the opposite; rather than pushing forwards with the hips, you'll relax them and think instead about cupping the air with your chest and using your arms and legs to make yourself as big as possible. This will slow you down and mean you can fly 'up'.
Ready to learn how to indoor skydive? The instructors at Paraclete XP can't wait to assist you in your exciting journey towards mastering body flight. View indoors skydiving prices or reserve your flight today!


text:
World's First, Solar-Hydrogen Powered Mini-Grids in Uganda
By FuelCellsWorksNovember 20, 2018 4 min read (617 words)
November 20, 2018 | 4 min read
Today, the Belgian renewable energy company Tiger Power signs an agreement with the Ugandan government to power 3000 rural households and businesses in Kyenjojo. Currently, three communities lack access to electricity. By mid-2019 this will change. Tiger Power is building a solar power plant in each village backed up by on-site hydrogen production and storage. The technology keeps a black-out from happening and supplies electricity to the community, pollution- and fuel free.
Solar power generator
The three villages in Kyenjojo will be powered by Tiger Power's propriety system "Sunfold" which is a complete solar power solution, including a storage system (battery/hydrogen). This allows households to watch television, schools to open early and later in the day, health centres to provide round the clock services and the miller to continue to work during evening hours.
World first
"We are very proud to bring this solar-hydrogen technology to Uganda. When the Sunfold generates insufficient power during cloudy days, the hydrogen generator takes over. Thanks to our technology, the Kyenjojo communities will never experience any black-out", explains Jonathan Lambregs, Tiger Power's Business Development Manager East Africa.
Pollution free
Hydrogen is the most known element in the world. "We use the surplus of solar electricity during the day to produce hydrogen. The electricity causes an electro-chemical reaction separating H20 (water) into H (hydrogen) and O (oxygen). The hydrogen gas is stored and turned into electricity when needed. In this way we can power the community without the use of a diesel generator. This means completely pollution free electricity." explains Chris Prengels, CEO of Tiger Power.
Economic power booster
"90% of rural Uganda still lacks access to electricity. This is one of the biggest obstacles to alleviating poverty and creating economic development. The mini-grids in Kyenjojo will provide reliable power for all aspects of the communities' needs, health, education, businesses including the old and the new (miller and the welder). Our experience with other projects in Uganda and Kenya is that this type of solar mini grids will invigorate the communities in many positive ways", says Professor Bahaj, Head of the Energy and Climate Change Division at the University of Southampton. Prof. Bahaj's team is embedded in the project from the beginning. The experts will carry out energy needs assessments as well as research on the socio-economic impacts of Tiger Power's mini-grid projects.
Rural Electrification
The Ugandan Rural Electrification Agency is supporting these projects by building the distribution network to transmit the electricity to households and businesses. "The Ugandan government plans to supply 26% of its rural residents with electrical power by 2022. Currently only 10% have access to electricity in rural communities", says Godfrey Turyahikayo, CEO of the Rural Electrification Agency of Uganda. "Partners like Tiger Power and the University of Southampton are of great help to realise our objectives".
Power Uganda
The development of these 3 mini-grids accelerates Tiger Power's mission to build 200 mini-grids across the East African region. The company is well on its way to reach this goal. "We have recently been shortlisted in a tender to build 25 mini-grids in Lamwo, Uganda. In Rwanda, Tiger Power plans to develop 30 mini-grids of which the first two will be commissioned in 2019. These projects will allow us to open up a workshop to provide jobs to Ugandans. Being able to contribute to the Ugandan economy makes us proud", says Jonathan Lambregs, Tiger Power's Business Development Manager East Africa.
Belgian Innovation
This world first project is supported by the Belgian government agency Finexpo. "We are glad to supports Tiger Power in exporting their solar and hydrogen solution to Uganda. This will help them to extent their business and provide needed jobs and development in Uganda", says Joeri Colson, Attaché at Finexpo.
Previous PostFrench Railway Company SNCF Wants Hydrogen Trains
Next PostRUDN Chemists made an Electrode for Hydrogen Fuel Production out of Chinese Flour


I like your research, comrade, except that bezel and case back is later than '83, I think; more like late '80s - early '90s.
Also wiki doesn't have them making any civilian automobiles.
'83 catalog has some type 119 amphibians and some civil versions of the 2214 large "Chistopol" komandirskie but no dive-style komandirskies.
Thanks for the info guys! I believe the car in the dial is a Lada 2101 also known as the Vaz BA3 introduced in 1970. It was basically a russianized Fiat 124 and I remember them being picked on, but still loved on Top Gear.
That would put the watch around 1995. It is still in remarkable condition though there is a tiny bit of cracking in the dial that can be seen in the right light.
If only my car knowledge and Keen eye for cars continued into the watch realm.
Thanks again for all the info and good news comrades!
Well I almost got there - second try could be Volzhsky Avtomobilny Zavod, the company behind Lada. Founded in 1966, so possible date for the watch would be 1991. This also fits with "made in CCCP" in the dial as the USSR folded at the end of 1991.
That makes perfect sense! Good knowledge on the origin of VAZ. I do think the Lada has a lot in common with Russian watches too. Tough, affordable sometimes questionable quality control and will just keep going. But very very Russian.
Can I respectfully ask expert opinion on the legitimacy, or otherwise, of the watch in this listing? I have my suspicions.
So, BEFORE I buy this watch, I would like to know what you guys thought about it's authenticity. I have had good luck from this seller before, and it looks good to me, but I would like a second opinion from the experts.
Or this one. I like this style of dial and they are about the same price point.
Dub Rubb - the second example, a Komandirskie, has a caseback usually associated with export. There's some contemporary publicity showing that some models were sold in Italy by a company called Timetrend, but as the original labeling was in several languages, they may well have been sold in other European countries as well. However casebacks can easily be interchanged, and I don't think (not sure) that there is specific proof that this particular model was exported. Where is the seller located?
The first model, an Amphibian, has the movement marked SU but no "made in" on the dial. Possibly indicates it was made in the transition period c.1992. The lettering on the rocket has either faded or worn off.
I find the small hands on the sub-dials a little strange, and the application of the "VII" just a little off. So, is this a factory Poljot, or perhaps assembled after the main factory stopped production?


Looking for a renowned tuition centre in Singapore? We provide high quality science tuition for students from primary school at affordable prices.
Read more about our tutor Ms Joy.
Our Primary School Science program is highly rated. Read more about what students and parents have to say about us!
Our tutor is a full time MOE teacher. We expect classes to fill up quickly.


My Top Five Sacred Stones and Their Special Meanings.
We'd been to that old lodge on the trip up to Lion Creek many times before, but I'd never noticed the mysterious tray that sat beside the other jewels and rings that were being sold there. It caught my eye because a thousand beams of light and colors danced from the tray to the windows of the shop, calling me to see what was inside.
I smiled at her, bought five of the pink stones and left the lodge. Since that day at the lodge I've learned some seriously special things about crystals and their meanings.
Many bohemian bellas worship this stone because it is known to bring unconditional love. It's said that in ancient times, goddesses would use the stone to pray for everlasting romantic love. The magical thing about rose quartz is that although the crystal is meant to bring everlasting love, its intention is based around reawakening one's heart, personal fulfillment and innate contentment. You know, like-to love another, you must first love yourself!
This is the ultimate stone for dreamers. White jade is a seriously mystical stone, as it brings potential, focus and force to the auspicious dreams and goals that we seek. Back in the day, magical individuals would encourage people to wear this stone, as it dispelled negativity and helped them to see themselves for who they really were. White Jade has been known through the ages to bless whatever it touches and help individuals realize their dreams. Dream on, dreamers!
Leadership, endurance, motivation. This deep rusty stone embodies all of these strong female energies. I've always carried carnelian with me in times when I've felt timid or untrusting of a particular situation. This stone helps individuals step into their power, feel confident and trust the sweet strength within.
This is the stone of highest protection. Goddesses and gurus will find it visually very striking, but it's meaning is also intense. Turquoise carries the wisdom of basic truth, and protects whoever carries it from any harm. Keeping turquoise around the house or in your boho bag will shield you from negativity, and keep you safe.
Black Onyx has been known to defend against negative energies. Bad boss, crazy co-worker, sibling rivalry? Keep black onyx with you or, wear your black onyx mala, and negative energies will remain at bay. This stone has been known to sharpen the senses, create self-confidence and create a healthy sense of egotism.