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Technological Flow of Carbon Seller
An hour's drive from Hangzhou to the north will lead to Nanxun District, Huzhou City, Zhejiang Province, known as the capital of flooring in China. Li Guande's Carbon Factory is located in Nanxun District and Fuzhen Industrial Park in Huzhou, Zhejiang Province. When Business Journalist arrived at the factory, he was visiting the factory with a delegation from Canada. The knowledgeable foreigners could not help exclaiming, "You are leading the world for at least five years."
At the front end of the charcoal plant, agricultural and forestry wastes, such as sawdust and straw, cost more than 300 yuan per ton. At the back end of the carbon plant, the machine-made carbon with export price of 3800-4300 yuan per ton is in short supply in the market. The factory workshop is not only a lucrative value amplifier, but also an absolute blue sky workshop with almost no pollutant emissions in the production process.
Ten years a sword, frost blade out of sheath. Li Guande's Fusheng Carbon Industry is not only facing a huge market of 18 million tons of mechanized carbon per year, but also a green business model that caters to the trend of environmental protection and mixes infinite possibilities.
The ups and downs of Charcoal Sellers
Li Guande is the third generation of the "King of Southern Zhejiang". From the age of 16, he followed his father through the mountains and forests of China and made a lot of money by cutting firewood and burning charcoal with his ancestral skills. However, after the floods in the Yangtze River Basin in 1998, the state began to close the mountains for afforestation, and the industry of making carbon by the original method of Li Jia could no longer support it.
Is there a more advanced carbon making process to meet market demand? Li Guande listened to the old customers that a kind of mechanism charcoal based on agricultural and forestry wastes is slowly becoming popular. Northeast and North China produces this kind of carbon-making equipment.
Thus, in 2001, after many investigations, Li Guande raised more than 5 million yuan of funds to buy charcoal-making equipment from Dalian and set up the plant in Nanxun District, Huzhou City.
According to Li Guande's calculation, the factory can recover its investment in a year or two. However, before his sword was completely sheathed, he was severely hit by fate. The equipment purchased at the expense of money and the semi-finished rods produced are unable to produce qualified carbon rods because of the high water content and the insufficient density. They are all a pool of peat residue.
In the first year, Fusheng's sales were only 3,000 yuan. Creditors came to their doors one after another. "Those three years were the hardest. They were asking for debts on their doorsteps. The children were still in college. Family conflicts ensued. Even the real estate purchased in Shanghai in earlier years was sold!"
Some friends also advised him to stop doing the dirty, tired and losing money. However, Li Guande stubbornly thought, "Who breaks through the technical bottleneck, who can carry out the industry's bull's ear!"
In fact, the key of carbon making process lies in drying and sticking. At that time, advanced equipment in Japan could use energy consumption of 22 kilowatts per hour to produce 100 kilograms of machine-made carbon with water content of 4%-6% and density of 700-900 kilograms/cubic meters.
Mr. Lee asked one of the factory's investors, Taro Yamada from Japan, about the price of the technical fee for the mechanism charcoal. The other side asked for more than $300,000. He was on the verge of bankruptcy. Looking at the hopeless reversal of Li Guande, Shanlu Taro mercilessly withdrew investment in factories, Fusheng Carbon Industry undoubtedly worsened.
Can't the Chinese build Japanese equipment early? Like Li Shufu, a Madman of automobiles, who makes automobiles in the fields, Cao Dewang, the king of glass, takes the factory as his home to study technology. Li Guande, with two or three technicians left behind, stays in the workshop 24 hours a day, studying the technological process obliviously: the density of carbon rods is not enough, because the pressure of the rod making machine is not high enough, increasing the pressure will cause the machine to fall apart, so he enlarges the machine. Some...
Five years later, a kind of machine-made charcoal with better quality than other similar products appeared in the Japanese market. Shanlu Tailang's son rushed to Huzhou Fusheng Carbon Factory to see: Li Guande's rod-making machine has increased its stability obviously because of enlarging its volume bearing capacity; the screw propeller is driven by a pusher, which avoids the problems of stuffing, returning material, blocking rod and slow feeding due to different sawdust; the belt wheel drive is eliminated, and the gearbox drive is used exclusively to avoid leather. The pulley skidding saves more than half of the power consumption, increases the instantaneous booster sleeve, exhaust sleeve and inner forming sleeve, improves the density of the mechanism stick, and achieves the effect of external loosening and inner compacting. Through his on-site calculation, it was found that Li Guande's rod-making machine could use 11 kilowatts of energy consumption per hour to produce mechanical charcoal with a water content of 250 kg less than 1% and a density of 1200-1500 kg/cubic meter, which not only had high production efficiency, but also had good product quality. "Xiaoshan Road" immediately proposed the purchase intention, but was refused by Li Guande. His mechanical carbon products have no worries about sales.
The price of an ordinary bar-making machine is 17,000 yuan, but it implies a very high cost of late maintenance and missed work; while the price of Fusheng bar-making machine is 58,000 yuan, which saves more than 38,000 yuan of electricity and nearly 10,000 yuan of labor cost.
Highlights of Carbon Industry
In 2004, the first set of carbon-making equipment independently developed by Fusheng Carbon Industry was put into production, and Li Guande's business had a major turnaround. Its mechanized carbon products began to be sold to Asian neighbouring countries with barbecue eating habits such as Japan and Korea.
However, from the perspective of domestic carbon industry, Li Guande is only an isolated case. The industry has a huge market capacity of 10 billion yuan, but it exposes too many fatal problems:
For example, the short-term speculative mentality of equipment vendors and investors is so serious that they are unwilling to sink down to further study equipment technology; for example, the equipment structure and machine materials are unreasonable, the later maintenance cost is very high, the service life is short, and the automation level is low; for example, the production process produces a large number of chemical by-products causing pollution...
In 2006, Li Guande, who made great efforts through technological transformation, did not stop the pace of technological innovation, but continued to reform technology along the process route of carbon making with an annual investment of more than 2 million yuan. In the carbonization process after bar making, many chemical waste gases are often produced. The traditional treatment methods are either directly discharged into the air, polluting the atmosphere, or flushing with water and polluting the water source.
Li Guande led the research and development team to transform the carbonization furnace. Nowadays, when you enter the factory of Fusheng Carbon Industry, you can see a complete and standard circular economy sample: piles of wood chips and straw are crushed by crusher, sprayed out from the pipeline, then dried in the drum drying furnace, after extruding the rod by the rod making machine, then sent to the carbonization furnace to produce mechanical charcoal, process charcoal and other products. On the other hand. Some of the natural gases produced in the carbonization furnace are used for combustion and power generation, and some of them are cooled to form wood tar, wood vinegar and other products - agricultural and forestry waste from entering the factory workshop, to being finally made into products and power generation, the whole process does not produce any waste.
Facts confirm Li Guande's original stubborn idea - climbing the cliff of technological innovation, Fusheng Carbon Industry has gradually climbed the commanding heights of the domestic industry.
In fact, in recent years, due to the national forest protection policy, many of the original charcoal plants have stopped production or changed production, China's charcoal market began to form a situation of short supply. At present, the domestic demand for charcoal in chemical and metallurgical industries is also 6 million tons.
In the market with uneven quality, the high-quality products of Fusheng Carbon Industry have been in short supply. Other export products are settled at offshore prices, while the mechanism carbon of Fusheng Carbon Industry is settled at "offshore prices".
Foreign wholesalers often wait outside Nanxun's factories. From time to time, there are other provincial wholesale mechanism charcoal bosses, driving BMW thousands of miles to ask if there are inferior charcoal not up to export standards, but even if the purchase standard is lowered, often get the answer is, No.
More possibilities
A question began to knock on Li Guande's train of thought: How can the scale of Fusheng Carbon Industry be liberalized as quickly as possible to fill the huge market demand gap?
In this questioning, an action called "enriching the millions to create wealth" was launched. Li Guande explained to reporters: For investors, their investment returns of tens of millions of yuan per year can be obtained by investing in millions of yuan-level capital, plus the abandoned resources of local agriculture and forestry. For Fusheng Carbon Industry, it invests in technical equipment and is responsible for the purchase and marketing of main and by-products, which helps investors to easily operate the factory.
Nowadays, Fusheng Carbon Industry has opened more than 100 joint-venture factories, covering Zhejiang, Guangxi, Hunan and other places, and even exported complete sets of carbon-making equipment to Brunei, Malaysia and Russia, which are rich in forestry resources.
In fact, behind Fusheng's carbon industry, there is a grand strategy of Li Guande: by cooperating with franchise partners to run factories, quickly seize and utilize agricultural and forestry waste resources, skillfully resolve the development bottleneck of raw material constraints, and then build up a group of enterprises like a tower, forming upstream and downstream raw materials for the industry. Tourist product pricing voice.
Sometimes great inventions are born in the questioning of minor details. More possibilities have been discovered by Li Guande, who is advancing step by step along the process of carbon making.
In April 2011, at the China International New Energy Industry Exposition, the booth of Fusheng Carbon Industry was crowded.
In the process of studying straw charcoal making in 2008, Li Guande found that the traditional process of crushing and pressing straw into shaped particles and then putting them into the boiler burning would easily lead to insufficient combustion and unsatisfactory discharge. However, if the straw particles were gasified into high-quality water-wood gas and then sent to the high-temperature burner of the boiler for combustion, not only could they be completely and fully burned, but also the temperature could be achieved. It can reach more than 1500 degrees Celsius, and the discharge is clean and pollution-free. Li Guande's innovation has attracted the attention of senior experts in the industry, because it not only skillfully solved the problem that the exhaust emissions of boilers using biomass fuels are difficult to meet the standards, but more importantly, it also pointed out a practical way out for those urban industrial boilers who are troubled by the high cost of burning oil and the limitation of coal emission.
Fusheng biomass gasifier designed by technology enthusiast Li Guande brings a possibility: if part of China's coal-fired and oil-fired boilers are transformed into water-wood gas boilers accordingly, it will achieve a considerable goal of energy saving and emission reduction.
In 2010, Fusheng's carbon products output and sales amounted to 32 million yuan, machinery and equipment and technology output and sales amounted to 24 million yuan, and profits and taxes amounted to 24 million yuan. The annual output and sales of Fusheng's carbon products exceeded 200 million yuan, an increase of 19%.
Today, along the founder line of technological breakthroughs, Fusheng Carbon has formed a unique business model of "product sales, equipment export and supply of biomass energy solutions".
Li Guande told reporters: Fusheng is planning a new factory in Shanghai. The whole process is fully automated. The waste is in here and the product comes out. The whole process is zero emission and pollution-free. By then, we will not only be five years ahead of others, but an era ahead.
The last one:Mechanism Carbon Segmentation Industry Division and Market Analysis
The next one:How many kinds of activated carbon for water purification
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A write-up on andy bernard quotes on pam's baby.
Paul Bryant, one of the most well-known college football coaches of most moment, is a popular candidate for sports motivational quotes. As it is hard to remain focused when you're searching, listed below are 3 options for you to remain focused. For instance, while some healthful sports makes some people today feel really fantastic taking part in them and are usually usually excellent for them, it might not always feel fantastic to everyone. you'll discover that this will be easier to do in the event that you apply the suggestions presented below to construct a fitness plan which will make sure that you continue to be healthy and fit.
What saves a guy will be have a step. You merely need certainly to accept that simple fact, and make an effort to be strong if you want to help keep the partnership strong. You may be moved by way of a speech while the individual in your area might be yawning. a person without dreams is a lot like an animal. You are complete at the moment, you're a complete, total individual, not an apprentice individual on how best to someplace else.
You can scroll our various other quotations and sayings by viewing main page and browse through the website.


A food system you and your customers can trust.
Existing traceability systems are broken.
When it comes to food safety and recalls, speed is critical to protect the health of your customers.
You need accurate information at your fingertips that you can trust.
Our MIMOSI platform gives you that information.
Easily enter data as items move through the supply chain by scanning RFID or NFC tags, barcodes, QR codes, using our mobile app and web interface. We can also take these from your ERP or SCM systems via our Responsible Sourcing API.
Always know the provenance of your items.
Trace every supplier along the supply chain from source to store, and vice versa, for a particular lot or catalog item.
Trace items from source to store. For example, trace items from the transfer of produce from multiple farms that are then aggregated by the processor, packaged, and then sold on to grocery stores.
A detailed trace by business transactions to significantly reduce the time and cost of recall investigations, and compliance audits.
Trace item by location of origin for all points along the supply chain.
We offer multiple tracing capabilities and the ability for users to define their own trace data needs.
Our flexible pricing model enables companies to add responsible sourcing to their platforms according to how many items they choose to track and trace.
MIMOSI is run on Hyperledger Fabric, an open source blockchain framework. Enterprise scalability, reliability, and security using the highest level of encryption available.
Your data is permissioned, meaning only people you allow have access to information stored on your private blockchain.
Our public APIs mean MIMOSI can be integrated with your existing supply chain enterprise solution, layering sophisticated traceability and document immutability.
MIMOSI supports data interoperability standards across industries including the GS1 standards for the food industry.
Want to ensure you have the most effective, ethical, and efficient supply chain possible?
A specialist on our team will reach out to you soon.


Hydra Toner is filled with nature's most nutrient-rich plant to hydrate and soften while balancing the skin's natural ph. Alcohol-free, this toner purifies without drying and removes impurities without stripping the skin of moisture. DermVisage Hydra Toner is safe for all skin types. It should be used after cleansing and before applying moisturizer.
After cleansing, saturate cotton ball with DermVisage Hydra Toner. Apply to face in a circular motion. Avoid eye area. For optimal results, follow with a DermVisage moisturizer to replenish moisture.
I have used this toner for one year and it takes the excess makeup off my face. I use a lot of these products and they are well worth using.


Gino Verardi is the face and the soul of "Centosedici"; but only with his wife Enza and sons Daniele and Simone, his restaurant became the symbol of the city's hospitality. They do not only give a warm welcome, but provide all guests of the restaurant with advices and hints about dishes, as well as the territory.
Enza's soul lies in the kitchen: she personally picked the main ingredients of each dish, such as local vegetables, fresh fish, extra virgin olive oil DOP. Their children grew up in the restaurant and now are of a great help to their parents, especially in terms of organisation of events and degustations.
"Our family has rural roots, catering arrived later: knowledge of raw materials, as well as our love towards this territory are expressed in each of our dishes ".


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A bad week for Trump means a good week for Rachel Maddow
A bad week...
NEW YORK (AP) - If it's a lousy week for President Donald Trump, it's usually a good week for Rachel Maddow.
MSNBC's marquee personality took advantage of a busy week of bad news for the president, led by former lawyer Michael Cohen's plea deal and former campaign manager Paul Manafort's conviction on corruption charges.
She had the top-rated show on cable television on Tuesday with 3.89 million viewers. Maddow beat the usual cable ratings leader, Fox News Channel's Sean Hannity, for the week.
Even MSNBC's Lawrence O'Donnell managed to tie Hannity's best showing of the week. MSNBC spread the love around the dial: its "Morning Joe" had its best ratings week ever, the Nielsen company said.
Behind its summer juggernaut "America's Got Talent," now being shown on two nights, NBC won the week in prime-time with an average of 4.9 million viewers. CBS had 4 million viewers, ABC had 3.6 million, Fox had 2.6 million, ION Television had 1.4 million, Univision and Telemundo were tied with 1.21 million and the CW had 770,000.
Fox News Channel led the cable networks with an average of 2.26 million viewers, taking advantage of its weekend strength. MSNBC had 2.12 million, USA had 1.42 million, HGTV had 1.39 million and CNN had 1.27 million.
ABC's "World News Tonight" topped the evening newscasts with an average of 8 million viewers. The "NBC Nightly News" had 7.4 million and the "CBS Evening News" had 5.7 million.
For the week of Aug. 20-26, the top 10 shows, their networks and viewerships: "America's Got Talent" (Tuesday), NBC, 11.21 million; "America's Got Talent" (Wednesday), NBC, 9.7 million; "60 Minutes," CBS, 7.38 million; NFL Exhibition Game: Arizona at Dallas, NBC, 7.17 million; NFL Exhibition Game: Philadelphia at Cleveland," Fox, 6.5 million; "Celebrity Family Feud," ABC, 6.31 million; "NFL Pre-Game Show," NBC, 6.12 million; "The Big Bang Theory," CBS, 5.83 million; "Big Brother" (Wednesday), CBS, 5.72 million; "Big Brother" (Sun
For the week of Aug. 20-26, the top 10 shows, their networks and viewerships: "America's Got Talent" (Tuesday), NBC, 11.21 million; "America's Got Talent" (Wednesday), NBC, 9.7 million; "60 Minutes," CBS, 7.38 million; NFL Exhibition Game: Arizona at Dallas, NBC, 7.17 million; NFL Exhibition Game: Philadelphia at Cleveland," Fox, 6.5 million; "Celebrity Family Feud," ABC, 6.31 million; "NFL Pre-Game Show," NBC, 6.12 million; "The Big Bang Theory," CBS, 5.83 million; "Big Brother" (Wednesday), CBS, 5.72 million; "Big Brother" (Sunday), CBS, 5.67 million.
ABC is owned by The Walt Disney Co. CBS is owned by CBS Corp. CW is a joint venture of Warner Bros. Entertainment and CBS Corp. Fox is owned by 21st Century Fox. NBC and Telemundo are owned by Comcast Corp. ION Television is owned by ION Media Networks.
http://www.nielsen.com
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Weinstein pleads not guilty, released on bail
Trump, Omarosa trade insults, charges; reality TV rerun?
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In wake of critical book, Trump calls Omarosa 'a lowlife'
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The Latest: Trump lashes out on Twitter at 'Wacky Omarosa'
AP source: It's not just audio, Manigault Newman has video
Omarosa unleashes on Trump in new book
Singer Chris Brown arrested on Florida felony battery charge

redpajama_set_name: RedPajamaCommonCrawl


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Home General McBride named to WNBA All-Rookie Team
McBride named to WNBA All-Rookie Team
Photo: Twitter.com/AAF
Kayla McBride was named to the 2014 WNBA All-Rookie Team on Thursday. (Photos by Rebecca George)
San Antonio Stars guard Kayla McBride had a stand out rookie season in the WNBA and on Thursday, she was recognized for her performance.
McBride was 2014 WNBA All-Rookie Team, the league announced this afternoon. The former Notre Dame guard was a unanimous selection to the squad and is the first Stars player to get the honor since Danielle Adams and Danielle Robinson in 2011.
Joining McBride on the All-Rookie Team is Chiney Ogwumike of the Connecticut Sun, Odyssey Sims of the Tulsa Shock, Bria Hartley of the Washington Mystics and Alyssa Thomas of the Sun.
McBride was selected third overall in the 2014 WNBA Draft and averaged 13.0 points with a .396 three-point field goal percentage in 34 regular season games for San Antonio. She led the Stars in scoring in the postseason, averaging 22.5 points in 30 minutes.
Be sure to check back with Stars Hoops during the off-season for the latest on your San Antonio Stars.
Kayla McBride
San Antonio Stars
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Make a difference with colour!
An awning provides pleasant cool shade in gardens or buildings. Nevertheless, the sun, wind and bad weather take their toll on the material over time. The seams rip, the colours fade and the UV protection noticeably deteriorates. – Time for a new STOBAG awning cover.
STOBAG PARTNER CLOSE TO YOU!
The acrylic fabric is impregnated. If it becomes necessary, clean it as follows: Small spots can be rubbed off with a clear rubber eraser or brushed off when dry. If slightly dirty, the fabric can be washed with diluted soap solution (5%, approx 30?°C) and a soft brush. It should then be rinsed thoroughly with clear water. It may be necessary to repeat the process. Only wind the awning in when it is completely dry.
For heavier dirt, we recommend a specially developed fabric cleaner, used in accordance with its instructions. A pressure cleaning machine should never be used. To re-impregnate the acrylic fabric, it can be treated with a special impregnation spray, such as Fabric Guard™.


As part of our personal self-development programs, many of us include making an effort to improve the level of qualities such as generosity in our intellectual and emotional make-up.
And clearly, this is worth doing and is win-win – as long as we temper this impulse with moderation and good judgement.
When we make the effort to praise someone's efforts or achievements, for example, we are in fact being generous; somewhat different than giving money to someone who is in need, but it is generosity nevertheless.
In some circumstances, however, it can be problematic when the generosity of our praise is given so as to not hurt a person's feelings or to flatter them. It then becomes false praise and false generosity.
In some cases, if someone is asking our opinion about a project they have accomplished, they are seeking analytical input from us rather than wanting "feel-good" praise from us.
They are looking for a learning and growth experience from our judgement. They want our generosity of "praise" to be well considered and meaningful.
The ancient and revered Chinese sage and teacher Confucius often looked to others, such as his students and disciples to add critical (analytical) input to his thinking. He did not consider himself to be all-knowing, and he did not want uncritical admiration and blind acceptance of his principles.


Perfect with cheese and crackers. Made with red capsicums and red chillies. This jam is addictive, as proved by my husband when offered the jam on a cheese cracker. He was most apprehensive of the chilli heat however now asks for it all the time. This is a sweet but not overly hot jam. Goes with a hard cheddar or soft cheeses like Camembert and Brie. Katandra recommend Cambray Sheep Cheese.


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WINNERS ANNOUNCED AT THE 2019 FAMILY BUSINESS AWARDS The winners have been announced for this year's Energia Family Business Awards. The ceremony which is the first of its kind in Ireland. The awards ceremony took place on the 24th May 2019 in the Round Room of the Mansion House, Dublin. The Energia [...]
By Events Team| 2019-05-24T14:37:35+00:00	May 20th, 2019|News|Comments Off on 2019 Winners Announced
ENTER NOW Categories The inaugural Energia Family Business Awards showcases the best of Irish Family Businesses throughout the 32 counties of Ireland. From SME to Multinational, every family business starts with the investment of a family who have a passion for delivering quality products and services [...]
By Yasmine Romdhane| 2019-03-14T14:09:45+00:00	March 14th, 2019|News|Comments Off on Enter the Energia Family Business Awards for Free Today
Today FM's Matt Cooper Launches Energia Family Business Awards
Ireland's first ever awards ceremony to celebrate generations of Irish families that work together has just been launched by Today FM Presenter Matt Cooper. The 2019 Energia Family Business Awards take place in the Round Room at the Mansion House on the 24th of May 2019. It's the first year of the event which [...]
By Michael O D| 2019-03-07T09:46:26+00:00	February 27th, 2019|News|Comments Off on Today FM's Matt Cooper Launches Energia Family Business Awards
Energia Family Business Awards Welcomes Judges
The inaugural Energia Family Business Awards will celebrate and highlight the achievements of Family Businesses across the 32 counties of Ireland. Tasked with the difficult decision to select the winners and finalists are the esteemed members of the Energia Family Business Awards Judging Panel. Meet Our Panel JJ O'Connell - Co-Chair and Director of Family [...]
By Events Team| 2019-02-28T12:43:41+00:00	February 26th, 2019|News|Comments Off on Energia Family Business Awards Welcomes Judges
Energia Family Business Awards – Categories Revealed
The Energia Family Business Awards has announced 18 categories for its inaugural year. The winners will be revealed at the Award Ceremony on the 24th of May at the Mansion House in the Round Room. The overall winner will be crowned on the day receiving the Energia Family Business of Year Award. The categories [...]
By Events Team| 2019-04-10T09:45:28+00:00	February 26th, 2019|News|Comments Off on Energia Family Business Awards – Categories Revealed


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Rubio all in on immigration plan
Sen. Marco Rubio R-FL weighs in on the Senate's "Gang of Eight" immigration proposal and shares some of the plans details.
Filed under: Marco Rubio • Newsmakers • State of the Union
Rubio on Beyonce & Jay-Z's trip to Cuba
Sen. Marco Rubio said it was inappropriate for singer/rapper Jay-Z and Beyonce to visit Cuba.
Rubio all in on immigration
Sen. Marco Rubio talks about his role on the Senate's "Gang of eight" as they strive for consensus on immigration reform
The risky politics of gun control
Senators Manchin and Toomey on the possible political challenge after their gun bill on background checks.
Filed under: Gun control • Joe Manchin • Newsmakers • Pat Toomey • State of the Union
Senate draws NRA fire
Senators Manchin and Toomey draw NRA fire over their bipartisan Senate bill on background checks for gun purchases.
Sen. Toomey: "I think this debate in some ways is underscoring just the extent to which there is a polarization in our society, a political polarization, the acrimony that has gotten into politics is manifesting itself in this debate. And I think that's unfortunate."
Sen. Manchin: "What we're seeing is, is same as we're seeing in the political arena, whether you're Democrat or Republican, whether you're elected or you're running for an office, they're getting caught by different other extreme groups, really extreme groups who are putting out falsehoods and just outright lies that are not even addressed in this bill."
Filed under: Gun control • Guns • Joe Manchin • Newsmakers • Pat Toomey • State of the Union
Getting to Know Joe Manchin
Sen. Joe Manchin talks to Candy about growing up in West Virginia and overcoming his childhood fear of heights.
Filed under: Getting to Know • Joe Manchin • State of the Union
McCain: North Korean nuclear weapons "a matter of time"
Sen John McCain tells Candy Crowley it's only "a matter of time" until North Korea has nuclear capability if not already.
"I don't think we know for sure. There have been other miscalculations by our intelligence agency, but have no doubt that they're on the path to achieving that capability. Look what they've achieved over the last 10-15 years, and also exported including to other countries, including Iran. And so they are a danger. So I think it's a matter of time before they have that capability. Whether they do or not right now, I don't - it's not clear."
Filed under: John McCain • Newsmakers • North Korea • State of the Union
"Guardedly optimistic" on immigration
Republican Sen. John McCain says he's "guardedly optimistic" on a deal for immigration reform.
Filed under: Immigration • John McCain • Newsmakers • State of the Union
McCain "disposed" to supporting gun bill
Sen. John McCain says he's "very favorably disposed" to support the Manchin-Toomey gun bill on background checks.
"I'm very favorably disposed. But first of all, I would like to thank Pat and Joe for their work together. We need to do a lot more of that. And I'm very favorably disposed towards that. Eighty percent of the American people want to see a better background check procedure. The Internet aspect of it, which I need more explanations - greater explanation of, but, look, I appreciate their work. "
Filed under: Gun control • Guns • John McCain • Newsmakers • Senate • State of the Union


The oxidation of iron in dry O2 and in wet O2 (40% H2O) has been studied at 600°C. The oxide microstructure was investigated by SEM/EDX, FIB and XRD. Iron forms a layered scale in dry and wet oxygen at 600°C. The scale consists of a top hematite layer, a middle magnetite layer and a wüstite layer close to the scale metal interface. All three layers grow with time, but with different growth rates, the overall growth being approximately parabolic. The presence of water vapour increases the rate of oxidation and affects the evolution of the oxide microstructure. The higher rate of oxidation in the presence of water vapour is due to an increased growth rate of the magnetite layer and, especially, of the hematite layer, while the growth of the wüstite layer is not affected. It is suggested that water vapour influences grain boundary transport in the hematite layer.


Sorry for the late notice due to the kitty cat's busy schedule.
The run will start from the Cats' house at 15:00 hour.
To contiune our party with our Overseas Manager, we'll have our October run on the 9th.
if you come with the MRT, take EXIT 3, and then keep on walking, you will meet Song Ren Road.
Call for driver: since the start of the run can only be accessed by cars, please come to ChungXiao and Song Ren to pick up others. Many thanks.
After the lovely run in Five Finger Mountain hared by the lovely former GM, the next run has been scheduled on the 25th of September.
Hared by another very much experienced hash couple, Woody and Kevin, the run is guaranteed to be a beautiful trail run with a lot of mouth-watering food in Sheng Ken.
Yes, it's summer time and it's damn hot!! Although we were on the beach last month (week), we didn't have a chance to show off our bikinis due to the full moon and very very very very low tide.
Our dearest GM doesn't give up so easily. Must find another chance to let us to show off our new bikinis.
So, don't miss the chance to show yourself off again!!!
This month we'll have a special run for a special reason. What is the special reason? Well you have to come and see yourself. So mark your calendar and make sure you don't miss it!!!
Make sure you dress up for this!!! Believe me, you do want to get everything you have to make sure that you stand out of the crowd for the night you will never forget for life! And you have 1 week to prepare.
五月的路跑將在 5 月 22 號舉行.
希望大家都能到, 因為我們有個小小的特別活動.畢竟, 我們偉大的前會長要嫁人了(已經嫁人了), 重點是, 月底他要帶著他的"妻妾"們去泰國參加瘋狂鹹濕的月圓趴. 沒辦法跟去參加月圓趴? 沒關係, 當天我們 bash 完之後, 會 on on 到市區來, 進行鹹濕月圓趴的暖身趴. 相信我, 這絕對會是讓你畢生難忘的一夜, 如果我是你, 我一定會排除萬難來參加. 把小孩交給你媽, 把老公交給鄰居, 把狗狗帶去寵物旅館, 來就對了!
it's again Pretty Young Girl's "25th" birthday!!!


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The Diversity Center Santa Cruz (Community LGBT center)
Trans support groups listed by the Diversity Center
Conexiones of Santa Cruz County (a program of the Diversity Center Santa Cruz)
Lionel Cantú Queer Center of the University of California at Santa Cruz
University of California LGBTQI Association
Programs via the Cantú Queer Center of the University of California at Santa Cruz (NOT just for University students)
The Queer Youth Task Force (QYTF)
The Queer Youth Leadership Awards (QYLA)
Safe Schools Project (SSP)
The Queer Youth and Allies Council of Santa Cruz County (QYACSCC):
No site for this organization currently exists, but for more information, please contact the Queer Youth Task Force and/or see the bullets points below.
QYACSCC Mission Statement: Founded in 2012 by a group of Santa Cruz County queer and ally high school students, the Queer Youth and Allies Council of Santa Cruz County (QYACSCC) was formed in response to the chronic lack of cohesion among the area's Queer-Straight Alliances (QSAs). The Council endeavors to heighten a sense of community and solidarity among Santa Cruz's queer and ally youth by organizing themed events for young LGBTA people and strives to combat prejudice in local secondary schools by promoting networking and collaboration among the County's QSAs on such issues as bullying and campus culture.
QYACSCC Vision: The Queer Youth and Allies Council of Santa Cruz County (QYACSCC) seeks to foster a robust, healthy, and happy LGBT youth community comprised of young people on all life paths: from the closeted high-school student to the youth activist, from young queer person of color to the gender-nonconforming middle-school student, as well as every other intersectional identity in between – whether in terms of sexuality, gender, race, class, religion, ability, or other factor – the QYASCC strives to be tool of support and empowerment for local youth.
Camp Aranu'tiq: A weeklong summer camp for transgender and gender-variant youth ages 8-15 in California and New England


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goodspeed hall - chicago, il
Summer of Beat Research
Ok, Boston Massive, the time has come! Tonight we kick off our new monthly edition of Beat Research with none other than NYC's DJ Rekha!
What (more) can we say? Flack & I have been wanting to get Rekha up here for ages; we've both had the pleasure to open for her at local shows; and we both love playing a bhangra track or three in our sets. I'm not sure anyone else in the house tonight will be quite as excited as we are, and that's how it should be.
A lot of people, myself included, throw the term "ambassador" around when talking about Rekha, and that's because it's an entirely fitting description. Rekha's been along for the ride — and piloting her own course — since just about the beginning of bhangra's urbanization and transnational spread. For 15 years she's helmed Basement Bhangra, and she facilitated the stateside premieres of no less than Panjabi MC, Tigerstyle, and MIA in the US. More recently she's been collaborating with Zuzuka Poderosa, the NYC-based carioca vocalist. Yup, Rekha knows what's up.
Moreover, though it should go without saying, Rekha's Bhangra & Beyond approach — and, especially, how bhangra itself constantly opens into and refigures what lies beyond its borders — makes her a quintessential Beat Research guest. Even were she to play a set entirely comprising bhangra, you'd also hear plenty of dancehall, hip-hop, house, garage, and any other groove worth grafting onto bhangra's big, sticky tree. It's remix music par excellence, as likely to please conservatives and/or progressives as make them bristle. Here's how she put it on NPR last year —
…theres a lot of debate around certain aspects of bhangra. Bhangra, if one would technically break it down, it is a male folk dance. It is a very specific rhythm, actually. So what is considered bhangra today is one of many rhythms, not exactly the bhangra rhythm. But as language evolves, culture moves forward, things start to mean other things. So bhangra has become sort of a ubiquitous term to describe a certain style of music and it's definitely a battleground for tradition versus modernity.
And yet, despite contemporary, urban bhangra being about as "nu whirled" as it gets, I also think there's something conspicuous about it's general exclusion from the global / tropical bass repertory. Sure, there are echoes and flirtations here and there (especially if enabled by the likes of Timbaland), and some blogs have been consistently committed to staying up on the latest desi bangers, but for the most part, I'm pretty sure there's a classic bit of brown-isn't-black-or-white, ahem, coloring the reception and circulation of bhangra. And I'm pretty sure das racist.
Anyway, I was hoping to feature a little interview with Rekha here about that sort of thing, but she's been too consumed by travel (to Bolivia last week w Zuzuka Poderosa!), so we'll just have to chat about it later tonight. Looking forward to her perspective on it, but not as much as her set!
Indeed, you might consider getting there early, if you're up for it, as we've got quite an amazing warm-up act in Scotland-born but Salem's own — that is, Salem the town in Massachusetts — world-class skweee devoteee, Radio Scotvoid.
Scotvoid is the resident DJ of the Boston 8bit collective & hosts The Curios Show online, spinning a mix of skweee, 8bit & bass music. He recently released a couple tracks on French record label Tiburoni Records. Check this promo mixxx he did for the release:
The main thing you should know for tonight is that Scotvoid is serious about skweee, the semi-obscure but thoroughly awesome and remarkably sinuous synth music based outta Sweden and Finland. Given that its a recent phenomenon, you may be surprised — but then again, not if you're familiar with the analog-love at the heart of skweee — to hear that a lot of skweee labels issue their music on 7″ vinyl. And Scotvoid is the type of guy (the only guy?) who can put together an hour-long skweee set entirely from 45s. Which is what he's gonna do. Which is bonkers.
We'll get things started around 9pm, so come make a night of it with us. Wiggle your mind, baffle your behind.
MAY 30 (AKA 2NITE!)
BEAT RESEARCH
w/ DJ REKHA
9-1am
And since I can't resist sharing, allow me to tease the incredible summer of Beat Research we've lined up:
June 27 – LE1F & NU LIFE
(RIZZLA, D'HANA, MICAH)
Yes! Next month we'll be hosting LE1F of critically acclaimed mixtape Dark York, and the producer of such varied material as epic #seajunk daydream songsuites and the winking-ha of "Combination Pizza Hut and Taco Bell" and this ol Burial remix I used to drop in my BR sets years ago.
So this also feels like a long time coming, and I couldn't be thrillder (trillder?) about LE1F's support that evening c/o of the NU LIFE crew, who just last week got some well-deserved local love —
I've long thought that what Rizzla & D'hana & co have been cooking up at NU LIFE and other things around town is pretty much one of the best — and most original — things Boston has going for it. They bring some real vision to the party, as the article delves into, and/but the way their particular musical address — including the songs of Buju Banton, their orthogonally anti-gay comrade (I'll have to explain that one sometime) — hails a particular cross-section of actually existing Boston diversity.
Ironically (or not?), NU LIFE is going out on top, ending their 3-year residency at Zuzu in Central Square next Tuesday (June 5), and shifting toward being more mobile & flexible. Sounds like a good move to me; I look forward to the next edition, wherever it may pop up. Meantime, we couldn't be more happy to host a special post-NU DEATH jam with the NU LIFERS, including a rap set c/o Micah Domingo. Need I say more?
Better to let them say it themselves. Here's a lil blurb they wrote for the Phoenix to provide a little context for their driving NU DEATH mix (which puts me in such fine company, I'm blushing):
Nu Life has hosted some incredible DJ's and producers, including Kingdom, Venus X, LE1F, Wayne Marshall, Jubilee, Massacooramaan and Physical Therapy. The vibe can range from 90's dance b-sides to underwater reggaeton house party. This mix is a blend of some styles we love – club and vogue beats, afflicted big room house, juke and harder rave music with twerk vocals. It's a mixture of Rizzla's own remixes and productions, the new school anthem YOU by Fade to Mind label head Kingdom, queer vocalists and amazing Boston-based producers like False Witness, Dev/Null, and Wheez-ie.
Or just listen —
July 25 – TONEBURST REUNION
feat. DJ C, Ripley, Hrvatski, Flack & more!
I can't even begin to describe how amped I am for this. It's a little incredible, to say the least, that all of these amazing DJs — who have all pursued impressive solo paths — will be back in town and in the same building, stirring up some good ol cross-genre, art-rave sociability like they used to make together, on the regular, as the Toneburst Collective.
This is an absolute dream bill, far as I'm concerned, and a historic occasion. I'm grateful to all of these folks for helping to make it happen! For the record, I was never a member of the collective, though as I recollected admiringly some 7 years ago (!!) —
as more of an occasional party-goer than a core participant, i first approached [the Toneburst aethetic] with a fair deal of wonder and curiosity. sounded like some stuff i'd heard before, but then again it didn't. i liked that it somehow represented boston (a town woefully marginal on the musical map), but i wasn't sure how exactly. somehow the music was both smart and gritty, though, which seemed right.
Given the way things have turned out in this mashy, remixxy world — not to mention how Jace & Jake & Keith & Larisa &c have all fared in their own pursuits — I'd say they were onto to something back then.
Beat Research is but one local torch still held aloft for the Toneburst spirit, and I couldn't be happier about how brightly we're gonna burn this summer.
They call us Boston Light, Beacon Hill…
No Logos?
Ok, rounding things out, here's the 3rd review/polemic in the 3-part series I've been running here (see parts 1 and 2). This one's the most recently published, hardly a year old! (That's not bad for lag, as these things go.) On the surface, it's a review of 2010's Anthology of Rap (Yale); but again, while offering specific commentary on the text in question, I also take the opportunity to weigh in on some trends in music scholarship — in particular, with regard to ye olde juncture of writing-about-music.
First off, let me note that I think Kalefa Sanneh already had the last word on this basically, so my own "review" is pitched more directly at music scholars. For other sharp responses following the book's publication, check out Sam Han's own anti-logocentric critique and the comedy of errors examined by Paul Devlin at Slate.
My own take appeared last June in the Journal of Popular Music Studies' newly launched "Amplifier" section — a venue for short pieces that break from the traditional mold in published music scholarship. Yes, my own piece is relatively traditional as a book review, but, I'm also happy to report that it's a far shorter piece than the other two reviews I've ran here in recent weeks. So this time I'll let you get to the kicker — another good one, IMO — all on your own.
JPMS 23(2): 190–194 / June 2011
This journal aims to encourage "writerly" approaches to our various encounters with popular music. And sensibly so. After all, despite some recent and relatively modest multimedia enhancements, this is a space primarily for words.
A writerly tack embraces the peculiar challenges of bridging what Charles Seeger referred to as the "musicological juncture," or the inevitable slippages more folksily described as "dancing about architecture": in other words, the problems inherent to translating sonic material and embodied experience into written text. As the quip about dancing implies, many seem to think that such a project dooms itself to reducing, recoding, and reifying its subject. But if such outcomes are, in their way, unavoidable, better to acknowledge the mediation and embrace the medium. To press our words to rise to the occasion, and dance. Or more modestly, we think there is space for such discourse, and we want this space to offer some.
Against this ideal, the recent publication of The Anthology of Rap (Yale University Press, 2010), edited by Adam Bradley and Andrew DuBois, offers a timely reminder of what can get lost in the translation from popular music—with all the p-word entails, from commerce to contexts—to words on a page. Admittedly, the enterprise of representing rap music as lyrics abstracted from recorded performances or any particular encounter with them—indeed, as poetry—goes well beyond questions of "writerly" approaches. But it also presents a sort of limit case. In an effort to perform a kind of alchemy on hip-hop's texts, the anthology highlights, by their very absence, how crucial dimensions of popular music as actually encountered demand a special sort of textual recognition.
From the so-called "grain" of the voice to the inextricable entrainment of a lyric's sonic shape and setting to the meanings these things take on in different times and places, the texts (in the broadest sense) of popular music beckon for language that registers as it grapples with questions of form and force, interpretation and affect. It may be unsurprising that a collection edited by two professors of English, seeking to read rap as an "estimable body of contemporary poetry" (xxxiii), would downplay the genre's sonic dimensions. But in justifying their project, the authors go so far as to assert that rap's poetics can be examined with no reference to matters of sound.
The Anthology of Rap exhibits a pervasive and often bald logocentrism even as it bears subtle and consistent witness to rap as a fundamentally musical phenomenon. In his foreword, Henry Louis Gates concludes that "the words are finally the best reason for the beat" (xxvi). He marshals this rhetorical flourish to affirm the larger goal of the anthology: positioning rap, as Gates puts it, in the "new vanguard of American poetry" (xxvi). Gates's primary strategy here is to ennoble rap by linking its rhymes to the African-American oral traditions—the dozens, signifyin(g)—that Gates built his own career around recuperating and recoding. But, tellingly, in order to draw us into the narrative, Gates highlights a number of crucial, performative qualities that resist easy render to the page. Recalling what arrested him as a young man watching his father recite Stagolee stanzas, Gates calls our attention to "all that a virtuosic performer possessed: an excellent memory, a mastery of pace and timing, the capacity to inflect and gesture, the ability to summon the identities of different characters simply through the nuance of their voices" (xxii). Clearly, all of these aspects—many of which we might include in the realm of the musical—are indispensible aspects of a performance's poetics, and yet the anthology, its editors, and Gates himself all ask us, implicitly and explicitly, to set them aside.
A bias toward the words of rap, and against its music, rears its head throughout the editors' introduction, whether they're casually referring to rap's "fundamental literary and artistic nature" (xxix)—see what they did there?—or asserting, with no support other than their own authority, that lyrics constitute "the most enduring part" (xxxiv) of hip-hop songs and that, moreover, lyrics "generally retain much of their resonance and meaning when isolated from their music" (xxxv). O rly? Sounds scientific enough, I suppose. Adding insult to injury, the editors have the audacity to employ "the music" synecdochically: "The parody of rap as doggerel does not touch truly on much of the music" (xxii). In its way, of course, such a slip registers the music's refusal to recede from our imaginative engagements with hip-hop.
For all this rationalization, the collection suffers from a central and ultimately unacknowledged paradox. "This anthology treats rap as a literary form," write the editors, "albeit one primarily experienced as music" (xxxv). There's a lot riding on that "albeit"—a lot that never truly gets addressed. Instead, sleight of hand is meant to suffice: "Far from denying rap's value as music," they defend, "readers stand to gain a renewed appreciation for rap's music by considering the poetry of its lyrics" (xxxv).
What this means is profoundly unclear, especially as the previous page finds the editors willingly enlisting unwieldy Eurocentric critiques of rap as "unmusical"—a surprising and needless concession: "The very qualities that leave rap open to criticism as music—heavy reliance on 4/4 beats, limited use of melody and harmony—are precisely what make it such an effective vehicle for poetry" (xxxiv). Would a hip-hop waltz be better? Perhaps something in 7/8 time? Is a "limited use of melody and harmony" really an accurate or fair description of the staggering variety of rap's tonalities and omnivorous musical borrowings? The editors' eagerness to throw rap's music under the bus raises flags, to say the least. Indeed, this is one place where the book's inherent conservatism betrays itself: Bradley and DuBois seek to admit hip-hop's spectacular vernacular into the hallowed halls where people teach poetry. To do so, they embrace, rather than subvert, the elitist politics of canon. But a paramount part of hip-hop's poetics—and a central reason for the genre's resiliency and appeal—is a refusal to measure up to old models (aka, "all that jazz"). Following an imperative to flip the script, hip-hop artists, producers, and entrepreneurs have consistently opened doors—whether aesthetic or commercial—on their own terms, smashing canons in the process.
Moreover, while rap is doubtless a verbose genre at heart, even a casual survey of listening habits reveals that devotees and even casual listeners attend to a great deal more than rap's lyrics, sometimes ignoring lexical content altogether to focus on the beats or flows, on the timbres and textures and rhythms of a recording, all of which crucially contribute to a song's poetics. The editors' subordination of musical wholes to an abstracted logos is not only misguided, it's irresponsible, playing back into the hands of rap's rarefied critics rather than elucidating hip-hop's poetics on their own terms.
It is especially ironic to find prose neglecting, if not dismissing, the musical dimensions of a musical genre in a book that carries a clear agenda of validation. Legitimacy has been a hobgoblin haunting much of the academic literature on hip-hop. Such a stance may have made sense at a certain time, when hip-hop was roundly attacked in public media even as it made its commercial ascent, and it may yet make sense in certain contexts (English and music departments come to mind). But it's a revealing and distracting preoccupation, saying more about the academic contexts in which young scholars seek sanction to teach hip-hop in their classes than, say, the wider world, where hip-hop pervades popular culture. Rap conquered the world some time ago, and as it happens, universities are demonstrably eager to offer and promote large-enrollment courses centered on the genre. Tricia Rose called her groundbreaking book Black Noise for a reason—and began chapter 3 with the revealing tale of encountering some racist, and familiar, opposition from the chairman of Brown's music department: "Well, you must be writing on rap's social impact and political lyrics, because there is nothing to the music" (62). But she wrote that book—and had that conversation—nearly twenty years ago. Hip-hop has moved on, and so should we.
At a launch event in Cambridge last November, Bradley asserted that the anthology "can help sustain a culture that already sustains itself." This seems disingenuous, or at best, wrong. As Rose herself told me as an aspiring hip-hop scholar some ten years ago, hip-hop needs no help from academics. If anything, the academy could use some help from hip-hop. And while we might read the anthology as an attempt to stage such an intervention, we might better see it as a telling symptom of the ways that elite institutions such as universities and university presses inform the shape of our own cultural production. Looking for a silver lining, at the same event Jamaica Kincaid praised the anthology as a "sanctifying" project—an interesting choice given the etymological linkage between canonization and sainthood. As Kincaid elaborated, however, what she meant by this was that this rather humanities-style elevation of rap's lyrics to the level of poetry works as a humanizing gesture—for "the people and the situation," as she put it, though she also said she didn't want to "freight the thing."
Obviously, it's plenty fraught already. Still, I'd like to be a good relativist of sorts. It's a wide world after all. And I don't mean, in turn, to disrespect or dismiss a valid listening position on the part of the anthologizers: that one important set of meanings of popular music do stem from abstractions and analyses of song texts. Clearly, to the editors' ears, and in their minds, the beats stand in the background, or, ironically, as the ground itself, "the perfect sonic climate for poetically sophisticated lyrics to flourish" (xxxv). But respecting the editors' right to read rap as they will, and understanding their approach in relation to the political economy of scholarly production and academic promotion, does not mean that one cannot also remain a strong advocate for popular music scholarship that cares more about the power of music and the power relations shot through our various engagements with it, than in further consolidating power and prestige for certain kinds of academic labor.
The longstanding attempt to legitimize hip-hop for our colleagues and patrons distracts from more meaningful research, the sort of work that takes hip-hop's artistic (or, if you must, "literary") merits for granted, and then proceeds to ask other questions about how its poetics function (and, necessarily, how they're anchored in sonic and social experience). If such work could also aspire to be writerly, to dance on the page in a manner commensurate with its subject, perhaps one of hip-hop's "golden age" ideals—rap as "edutainment"—could finally find some real footing in the academy. Until we make that space for ourselves, we're doomed to reproduce a certain wackness.
Dances With Words
Following up on the last post/review, I'm running the next in the triad I described there: a series of book reviews written over the last few years which together bring matters of form — and its institutional (re)production — to the fore.
This one — a review of Mark Butler's Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music (Indiana 2006) — was written first of the three, and is a lot less recent. Indeed, this first saw the light of day (if in the dark corner of a subscription-only music theory journal) way back in 2009, though I wrote it in 2006! And here I am finally sharing with you in 2012. Don't ask me why it took so long. (One funny result is that one term I use throughout, EDM — an umbrella-term long wielded by scholars of "electronic dance music" — has in the last year or so become a new buzz word in the music biz, more or less akin to electronica in the late 90s. I do not mean it in that way here.)
Ok, I'll tell you, at least in part, what took me so long. One reason I've not re-publicized the review until now is that I had an email exchange with the author where he bristled at the treatment the book was receiving. "Thus far, then, my work has been reviewed solely by ethnomusicologists," he explained to me, since at that point — the point where he also happened to be up for tenure — the only reviews to emerge were by me and Vijay Iyer (who, no, is not an ethnomusicologist). Butler also took umbrage at my suggestion that disciplinary pressures served as a significant force in producing his book. He wanted to own it as a work of theory, which I understand, and which I agree with.
If that's the case, I guess I still find such works of theory lacking. And I'm glad that one of the premier journals of the field, Spectrum, gave me the chance to say so, even if the implication to Butler was that they didn't care to send it to a theorist. I can see how one might feel doubly on the margins in such a situation, and as a (white) popular music scholar trying to work in either Music or Africana Studies departments, I can relate. All that said, I'm happy to report that Butler received tenure some years ago and enjoys some stature as a Professor with a big P. I, on the other hand…write a well-regarded blog.
Anyway, here's one thing I said in my emails to him, to put too fine a point on it:
Frankly, I respect your work immensely and I'm glad that you're doing it. The gist of my review is that, for all of the book's strengths, it still seems reigned in by the rearguard of Eurocentric/elite/art theory. I'd rather read the book you'd write if you weren't up for tenure, if you know what I mean.
I mean, I do think it's important to be generous in a book review, but I'm no fan of simple summaries. Given how much time goes into them (and how little career reward), I also think it's important to say something with teeth — to take the opportunity to make an essay out of it. That's what I was invited to do by Spectrum at any rate.
So, although Butler's objections gave me pause, I still stand by the piece and its critiques — which are, in my opinion, more about institutions than about one particular scholar. And I remain proud a few turns of phrase, which aspire to the ideal I'm arguing for. At least, I do think I finish with a kicker of a kicker:
…music scholarship not only needs more theorists that dance, it needs more theory that dances.
And though I don't think I myself often (ever?) match up to that standard, it's certainly something to strive toward, and I'm heartened by increasing signals that the sea is changing in this regard. I'll excerpt the juicy intro below, but it's far too long to reprint here in full; if you want to read the whole dang thing, here you go.
Music Theory Spectrum 31 (2009): 192-99
Butler, Mark J. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Bloomington: Indiana University Press, 2006, xi + 346 pages.
In an infamous exchange set up by The Wire magazine in 1995, Karlheinz Stockhausen was asked to comment on music produced by several contemporary electronic music makers thought to be, according to well-worn narratives, his techno-musical heirs. Taking the so-called "Technocrats" to task, Stockhausen decried their use of what he called "permanent repetitive language" and recommended that they each listen to various compositions of his own that might lead them away from "ice cream harmonies" and other "kitschy" indulgences. To Richard D. James (a.k.a. Aphex Twin), he offered the following advice:
I think it would be very helpful if he listens to my work Song of the Youth, which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repetitions, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it were [not] varied to some extent and if it did not have a direction in its sequence of variations (Witts 1995, 33).
Yoking his unrepentant elitism and staunchly Eurocentric modernism to Adorno's critique of the culture industry and the fashioning of fascism, Stockhausen raises the specter of corrupting, repetitive "African" rhythm yet again in order to assail a track by Richie Hawtin (a.k.a. Plastikman):
It starts with 30 or 40—I don't know, I haven't counted them—fifths in parallel, always the same perfect fifths, you see, changing from one to the next, and then comes in hundreds of repetitions of one small section of an African rhythm: duh-duh-dum, etc., and I think it would be helpful if he listened to Cycle for percussion, which is only a 15 minute long piece of mine for a percussionist, but there he will have a hell to understand the rhythms, and I think he will get a taste for very interesting non-metric and non-periodic rhythms. I know that he wants to have a special effect in dancing bars, or wherever it is, on the public who like to dream away with such repetitions, but he should be very careful, because the public will sell him out immediately for something else, if a new kind of musical drug is on the market (Witts 1995, 33).
Although Stockhausen and the Technocrats seem to talk past each other rather than truly converse ("Do you reckon he can dance?" asks James in a cheeky retort), the exchange is a valuable one at least insofar as it provocatively puts questions of (electronic) musical craft in the context of a broader conversation about the cultural connotations and social implications of quite divergent—if, for many, rather related—musical aesthetics. The value for today's music theorists, perhaps, is that Stockhausen issues a challenge, at least to those whose iPods place Hawtin next to Haydn, to find a new language, a more appropriate poetics to describe, defend, and even to dissent from today's "electronic music." For it would seem clear that Stockhausen demonstrates to anyone who values the kind of music one hears in "dancing bars," or wherever, the utter inadequacy of traditional (or even avant-garde) music theory for understanding the power and, if one must, the complexities of electronic dance music (EDM).
The central position of repetition in the debate, and its dubious racialization as "(post-)African," is not only deeply revealing of the texts and subtexts at hand, it directs us to the vexing question of so much discourse around electronic dance music: how to argue for the aesthetic value of deeply repetitive music—a quality utterly taken for granted and celebrated by EDM devotees—without falling into two common traps: (1) searching for the hidden complexities of seemingly simple sounds; (2) foregoing any sort of music analysis at all, in favor of socio-cultural exegesis, and thus implying that EDM does not need it (but also, perhaps, does not merit it). A great many journalists, cultural critics, ethnomusicologists, practitioners, and aficionados have been involved in the intertwined projects of explicating and celebrating EDM as social phenomenon, as cultural product and practice, and—if, ironically, less commonly—as music. Music theorists may be (fashionably?) late to the party, but I reckon they can dance (if they want to). More important, I reckon that if anyone can convince the Stockhausens of the world (if one could possibly posit such a singular plurality) to attend more closely, and openly, to the forms and contents of EDM, it would be music theorists. The next obvious question, of course, might be: why bother? But let's set that aside for now.
[Read the rest here.]
Beat Research REEEEEBOOOOOOOT
Contrary to former reports, we will not have DJ Rekha at Beat Research tonight. Indeed, we will not be holding Beat Research at all this evening. Our final Tuesday night session will happen next week, May 8, when Tony "DJ" Flack and his students from MassArt present "Beat Research at Beat Research" — that is, the semester's end projects from the class that shares its name with our night.
But don't despair, ye Beatheadz and Experimental Partiers of Nerdtown: we'll be bringing Rekha to Boston later this month, and Beat Research will most definitely go on. But we're making a significant shift in our programming beginning this month. Allow me to explain. (I mean, what else is a blog for?)
A funny thing happened on the way to relaunching Beat Research over at the Good Life: we ended up moving from Monday to Tuesday — basically, because the club doesn't operate on Mondays. We hardly gave it a second thought when we agreed, eager to get our weekly back on track, but we stumbled right into a tangle of unfortunate conflicts. And in a town of this size, you just can't split the scene(s) like that.
So we've been in the unfortunate situation of playing against good bredren and comrades, leading to such absurd situations as pitting Chief Boima at our night against Filastine at the very kindred Music Ecology across town. (I know this kind of thing inevitably happens every night in NYC, but in Boston you might get only 1 or 2 chances a year to see one of these guys.) Or me missing out on the likes of Jess Jubilee at Rizzla & co's NU LIFE. Indeed, one reason we decided to make the shift now is that I just couldn't stand to play opposite the good Rev. Dave Quam (aka Massacooraman) tonight — or pit dude against Rekha — over at Zuzu in Cambridge, which is where I recommend you go, and which is where I will definitely be.
I'm glad to have my Tuesdays free, but I'm also happy about our move to monthly Wednesdays. To his credit, Flack has been involved with Beat Research as a weekly for 8 years and some 400 shows (I've only been here for the last 5) and he's tireless when it comes to rocking week in and week out. For my part, I really like the idea of a monthly since it will afford us a better opportunity to do it up big, bring in very special guests, and rally the greater Boston massive. (Bigup Pajaritos, whose Picó Picante has demonstrated the great potential of a semi-regular/monthly-ish trans-global dance jam — oh, and wait til you hear who they've got on the bill in mid-May.)
So all things considered, we're very excited to reboot in fine style later this month: Wednesday, May 30 we'll kick off our monthly with none other than NYC's desi diplomat, DJ Rekha, host of Basement Bhangra, North America's premiere bhangra party 15 years and running. (To our delight, but not surprising if you know anything about modern/urban bhangra, Rekha's also a not-so-secret dancehall devotee.) Check this recent radio set and bhangra-funk-carioca collabo to get a sense of Rekha's range — that is, if you don't already know.
If you do, I trust we'll see you pon the SS Beat Research w/ Admiral Malhotra at the wheels–
Unfortunately, we won't actually be on a boat — though a BR booze-cruise could be…something — but I'm happy to report that we'll have another special guest to help Flack & I warm things up for Rekha: local skweee aficionado Radio Scotvoid will be playing an early set from his worldclass collection of skweee 45s. That's right, skweee 45s!


The various other growth sector has-been the increase within the range sub-12m vessels fishing with handlines for pollack. Although this was an attribute of this Cornish inshore fleet for several years, this recent growth in task happens to be spurred by pollack becoming commonly reported when you look at the news as a sustainable replacement for cod. It's lead to an elevated need amongst regional processors, because of the knock-on effect of greater prices becoming seen atlocal auction areas. Operating prices for this mode of fishing tend to be reduced, so earnings margins are attractive.
Cornwall gets the largest fleet of under 10 metre vessels in the UK. These mainly work within 12 miles of land and they are polyvalent within their activities, often switching between gear types in the same day like going between potting, netting and handlining.
Until 1962 fisheries management in UK Territoral Waters cas carried out because of the UNITED KINGDOM federal government. However when Britain joined up with the EU, handling of fisheries became a more political event. Many of the stocks that individuals catch are shared and migratory, consequently they are also caught by EU vessels so a multinational way of fisheries management is smart. Many countries have historical files of fishing within oceans and also the current system recognises these legal rights. The Common Fisheries Policy (CFP) sets quotas in the quantities of all primary fish species landed. This limit has some undeniable fisheries preservation benefits. The problems come whenever vessels come to an end of quota and after that forced to discard fish for which they haven't any quota. In Cornwall's extremely productive seas it is impossible for anglers to prevent catching specific types. Modern reform for the Common Fisheries plan is defined to ban discards. This discard ban will be very difficult for Cornish demersal fisheries specifically, and precisely how the ban could be earned is a significant issue for Cornish fishermen.
The Saints' Way (Cornish: Forth an Syns) is a long-distance footpath in Cornwall, in the United Kingdom.


The Camptent fits in a series of works in which dré wapenaar is going back to his earlier works where the idea of geo-metric related forms and shapes are directing the movement of people. Combining this with the idea of the tent, where people are turning and twisting each other, the artist gives new possibilities to play and study. No heavy concepts, but fun designing , sculpting and building, with the production totally inside the atelier.
- This work is very much related with the Treetents , the Familytent, Winterbivouac and Showertent, but as said, with many earlier works as well."
In this series new works are coming up like the 8-Plane-Tent ( winter 08/09 ) and the Tent With a Panoramic View ( 09 ).


text:
By Michael Ahlefeldt
Drawing to Light
Michael Ahlefeldt is a painter and freehand artist distinguished by deep reserves of genuine artistic passion and dedication; in this series of line drawings, he explores the power of intuition and the subconscious. What appears at first glance to be a series of abstract compositions, gradually reveals joy, enthusiasm, and dynamic scenes in which multiple figures emerge and invite the observer to come closer. Michael Ahlefeldt's approach is shaped by how he views the world around him and allows all this positive energy to find expression on paper.
Michael Ahlefeldt's curiosity for new techniques and his fascination with form and colour encourage him to strive to bring his drawings to life making them as vibrant as the scenes they represent. Their transformation into light "tableaux" featuring intense colours allows us to step into the world of the artist and to participate actively in the dance. Drawing to Light demonstrate the artist's ability to bring his natural curiosity into play, capturing his own personal space and translating it into two diametrically different media. His mastery of technique allows him to simplify the drawings to focus exclusively on what is essential, facilitating its transformation.
The exhibition contains illuminated works as well as examples of his intricate line drawings which provide the inspiration for his light art.
Michael is a practicing artist who paints and creates freehand art with authentic artistic passion and dedication. In this series of line drawings, he explores the power of intuition and the subconscious. What appears at first glance to be a series of abstract compositions, gradually reveals joy, enthusiasm and dynamic scenes in which multiple figures emerge and invite the observer to come closer. Michael's approach is shaped by how he views the world around him and allows all this positive energy to find expression on paper.
Michael's natural curiosity for new techniques and his fascination with form and colour encourage him to strive to bring his drawings to life and make them as vibrant as the scenes they depict. Their transformation into light "tableaux" featuring intense colours allows us to step into the world of the artist and to participate actively in the dance.
His light works are composed with a singular stroke of the pen transformed into light through the company Neonful, from Aarhus, Denmark, that have assisted him in transforming his pen strokes into glowing LED. The frames for his works are made of carefully selected oak from PA Savværk in Korinth, Denmark.
The minimum size of this work is 68 x 100 cm, with a weight of approx. 40 kg. There is a different minimum size of every work. All the works can upon request be scaled up to the desired size.
This collection comprises 28 drawings that have been transformed into light artworks to the limited number of five works.
MICHAEL AHLEFELDT
Egeskov, Egeskov Gade 18
DK-5772 Kværndrup
E-mail: michael@ahlefeldt.dk
The art is for sale
www.egeskov.dk


text:
Tag: Books	Remove
Alderman George Bowden, Mayor of Smethwick (1903–1905)	1904 Joseph Gibbs (active 1852–1907)
Alderman George Bowden, Mayor of Smethwick (1903–1905)	1904 Wednesbury Museum & Art Gallery
Professor Edward Kenney	1993 John Stanton Ward (1917–2007)
Professor Edward Kenney	1993 Christ's Hospital
Girl in a Lace Blouse	c.1940 Anthony Devas (1911–1958)
Girl in a Lace Blouse	c.1940 Aberdeen Art Gallery & Museums
Christopher Crawford	unknown artist
Christopher Crawford	Whitby Museum
Lieutenant Colonel and Honorary Colonel Herbert Brooke-Taylor (1855–1923), VB	1905 Charles Bentson
Lieutenant Colonel and Honorary Colonel Herbert Brooke-Taylor (1855–1923), VB	1905 Bakewell Town Hall
King's College Chapel, Aberdeen	1879 Archibald David Reid (1844–1908)
King's College Chapel, Aberdeen	1879 University of Aberdeen
John Struthers (1823–1899), MD, LLD	1891 George Reid (1841–1913)
John Struthers (1823–1899), MD, LLD	1891 University of Aberdeen
William A. Edward	1934–1939 Jannectar
William A. Edward	1934–1939 University of Aberdeen
Michael Thomas Bass (1799–1884), Brewer	1870 Eden Upton Eddis (1812–1901)
Michael Thomas Bass (1799–1884), Brewer	1870 Derby Civic Treasures
Woman Writing at a Desk	John Lessore (b.1939)
Woman Writing at a Desk	The University of York
Conversation Piece	1950 Terence Tenison Cuneo (1907–1996)
Conversation Piece	1950 Royal Cornwall Museum
The Village School	c.1707 P. van Host
The Village School	c.1707 Fairfax House
Neil Jacobs, Bursar (1934–1938) and Vice-Principal (1951–1979)	1979 John Teesdale (1912–2001)
Neil Jacobs, Bursar (1934–1938) and Vice-Principal (1951–1979)	1979 The Royal Agricultural University Collection
Abel Chapman of Woodford (1752–1849), an Elder Brother of the Trinity House and a Treasurer of St Thomas's Hospital	unknown artist
Abel Chapman of Woodford (1752–1849), an Elder Brother of the Trinity House and a Treasurer of St Thomas's Hospital	Whitby Museum
Daniel Hipkins	1900 J. Gibbs
Daniel Hipkins	1900 Sandwell Metropolitan Borough Council
Mr Armitage, Town Clerk of Falmouth	1908 unknown artist
Mr Armitage, Town Clerk of Falmouth	1908 Falmouth Town Council Municipal Buildings
William Stonehouse (1817–1898), Honorary Secretary of the Whitby Library and Philosophical Society (1880–1898)	John William Schofield (1865–1944)
William Stonehouse (1817–1898), Honorary Secretary of the Whitby Library and Philosophical Society (1880–1898)	Whitby Museum
Professor Robert Douglas Lockhart (1894–1987)	1964 Herbert James Gunn (1893–1964)
Professor Robert Douglas Lockhart (1894–1987)	1964 University of Aberdeen
The Old Forge, Chelsea (I)	1953 Theodore Garman (1924–1954)
The Old Forge, Chelsea (I)	1953 The New Art Gallery Walsall
Neil Arnott (1788–1874), MD	1835–1872 John Partridge (1790–1872)
Neil Arnott (1788–1874), MD	1835–1872 University of Aberdeen


Looking to recognize how wildcrafting can teach us so much about the natural world and how to respect and honor its bounty. Wildcrafting sustainability, in my humble yet privileged opinion, requires that we change our relationship with greed, with desperation. It asks that we acknowledge the behaviors that seek to fill the holes within us with that which exists outside of us. It asks that we understand that sometimes our personal needs must be adjusted, that the plants and their ecosystems have needs too. Wildcrafting is a form of relationship-building, and like with all loving relationships it is a two-way street.
Echinacea purpurea, Purple Cone Flower, belongs to a genus of plants that is on United Plant Savers Species At-Risk list.


text:
Awards and Recognition Nominations Due by Dec. 31!
Do you know a member who deserves recognition and honors? PSIA-AASI's Award Program recognizes its members' achievements as instructors, leaders, and collaborators in the industry.
Nominations for the Distinguished Service Award, Educational Excellence Award, and Lifetime Achievement Award are due December 31 at 11:59 Mountain Time.
Review the award categories, then submit a nomination.
This award recognizes individuals who have made significant contributions to support the success of PSIA-AASI and its members.
Made important contributions that have added to the success of PSIA-AASI and its members on a national scale (e.g. national initiatives).
Displayed long-term commitment and dedication by providing educational programming and support.
Demonstrated positive leadership skills.
Fostered connections with and between members, including serving as a mentor.
Who is eligible? Members and non-members including, but not limited to, staff, vendors, and industry partners and/or influencers.
Educational Excellence Award
This award recognizes members who authored or helped develop educational materials or resources related to teaching snowsports or the snowsports industry.
Authored or developed educational materials related to snowsports.
Added significantly to, and possibly even changed, the educational direction of PSIA-AASI.
Exhibited dedication, devotion, and self-sacrifice contributing to the PSIA-AASI education system.
Who is eligible? Members who have made significant contributions to the creation of PSIA-AASI or snowsports industry education materials.
This award recognizes exceptional members who developed and implemented programs, projects, and procedures affecting the association on a national level while demonstrating dedication, devotion, and self-sacrifice serving in their role. Lifetime membership will be awarded to recipients of the Lifetime Achievement award.
Designed and implemented programs, projects, and procedures affecting the association on a national level.
Exhibited dedication, devotion, and self-sacrifice serving in national level leadership positions.
Has a history of 10 years or more sustained outstanding service.
Who is eligible? Members with 10 years or more sustained outstanding service.
World Cup Movement Analysis – Learn from the Best in the Business
Celebrating the Life of Chris Kastner: 1961 – 2022
32 Degrees: Meet Master Bootfitter Matt Schiller
32 Degrees: Member Profile of Tammy VuPham
Member Profile: "Lucky" Dave Voda


text:
The Law Offices of John C. Manoog III Home
Free Consultation (888) 262-6664 Nós Falamos Português · No Fee Unless Successful
You Make the Call.We'll Do the Rest. Contact Us Now For a Free Consultation
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The Law Offices of John C. Manoog, III consists of experienced attorneys who represent people injured in car crashes and other accidents. We offer more than 150 years of legal experience in our efforts to help victims get the full compensation that they are due under the law and to ensure that people and entities whose actions led to an accident are held responsible. Our attorneys understand that each situation is unique. We take the time to consider an individual client's situation and craft a strategy that is appropriate for their personal needs. Our Marion car accident lawyers are proud to stand by the people whom we represent at every step of the way. Our record of success in personal injury cases speaks for itself.
Compensation in Car Crash Cases
Car accidents are an unfortunate risk that comes with getting behind the wheel or piling into a passenger seat. Whether it is a distracted driver, unsafe driving conditions, or a malfunctioning auto part, hazards are part of life on the road. Fortunately, however, state law gives a person who is injured in a car accident the right to seek compensation from those responsible for the crash. The damages typically available include compensation for medical bills, property damage, missed earnings, and pain and suffering, as well as many types of future costs.
Even in cases in which you were partly to blame for an accident, you may still be able to get some compensation. Massachusetts' modified comparative negligence system allows you to recover some damages as long as you were not more than 51 percent responsible for the collision. A car accident attorney can help Marion residents investigate the cause of a collision and show that they were not predominantly at fault.
Proving Negligence
Getting compensation often means haggling with insurance companies and filing a lawsuit against the person or entity to blame for the crash. These cases typically involve claims for negligence, a legal theory that holds people, companies, and government agencies liable for failing to live up to a "duty of care." Drivers, for instance, owe others on the road a duty to operate their cars and trucks in a way that is reasonably safe. That means no speeding or disregarding traffic signs, as well as refraining from drinking and driving or using a cell phone behind the wheel. A driver who fails to live up to the duty of care is likely to be liable for any accidents that happen as a result.
To prove negligence, you need to show that the driver breached the duty of care, that the breach caused the accident, and that you were injured in the crash. This often means gathering witness testimony to show how the crash happened, along with medical evidence detailing the extent of the injuries incurred. It is important to discuss your case with an experienced personal injury attorney before negotiating with an insurance company or anyone else.
Enlist a Car Accident Lawyer in Marion to Assert Your Rights
Marion is an enchanting coastal town nestled along the shores of Buzzards Bay. The area, originally inhabited by Native Americans of the Wampanoag tribe, was settled in 1679 and later named Marion in honor of Revolutionary War hero Francis Marion. The community remains a hub for fishing and boating and is a popular destination for summer visitors.
At the Law Offices of John C. Manoog, III, our personal injury attorneys are proud to help people in Marion and across Cape Cod with protecting their rights after an accident. We understand the pain and stress that often come with being injured in a car crash. Our Marion car accident attorneys can meet with you at our office, but we can also visit you at your home or in the hospital as needed. We do not charge a fee to most car accident victims who seek our help unless we get compensation for them. Contact us at 888-262-6664 or through our online form to schedule a free initial consultation. Nós Falamos Português.
Name Email Phone Message
"The best attorney by far. Doesn't keep you waiting, very understanding, and very approachable. The staff always greets you with a warm smile. John C. Manoog never left me out of the loop, he kept me informed at all times, and got me every dollar I deserved. I'm very pleased with the services of The Law Offices Of John C. Manoog. Happy Thanksgiving guys, and thank you for everything." Joseph A.
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"I have used John Manoog and his firm several times with my company. Having used several other Law firms prior to Law offices of John Manoog I can say definitively that they are the best we have have had experience with. The level of professionalism, follow up, and skill levels are unmatched. And we have been particularly impressed with the outcomes." Brian M.
Hyannis Office
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4 Court St #212
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We serve the following localities: Cape Cod including Barnstable County, Barnstable, Buzzards Bay, Centerville, East Falmouth, Hyannis, Mashpee, and Sandwich; Plymouth County including Bridgewater, Brockton, Marshfield, and Plymouth. View More
Marion Car Accidents | Plymouth County Auto Injury Lawyers The Law Offices of John C. Manoog III
Copyright © 2021, The Law Offices of John C. Manoog III


text:
package org.pentaho.di.ui.trans.steps.systemdata;

import org.eclipse.swt.SWT;
import org.eclipse.swt.events.ModifyEvent;
import org.eclipse.swt.events.ModifyListener;
import org.eclipse.swt.events.SelectionAdapter;
import org.eclipse.swt.events.SelectionEvent;
import org.eclipse.swt.events.ShellAdapter;
import org.eclipse.swt.events.ShellEvent;
import org.eclipse.swt.layout.FormAttachment;
import org.eclipse.swt.layout.FormData;
import org.eclipse.swt.layout.FormLayout;
import org.eclipse.swt.widgets.Button;
import org.eclipse.swt.widgets.Display;
import org.eclipse.swt.widgets.Event;
import org.eclipse.swt.widgets.Label;
import org.eclipse.swt.widgets.Listener;
import org.eclipse.swt.widgets.Shell;
import org.eclipse.swt.widgets.TableItem;
import org.eclipse.swt.widgets.Text;
import org.pentaho.di.core.Const;
import org.pentaho.di.core.exception.KettleException;
import org.pentaho.di.i18n.BaseMessages;
import org.pentaho.di.trans.Trans;
import org.pentaho.di.trans.TransMeta;
import org.pentaho.di.trans.TransPreviewFactory;
import org.pentaho.di.trans.step.BaseStepMeta;
import org.pentaho.di.trans.step.StepDialogInterface;
import org.pentaho.di.trans.steps.systemdata.SystemDataMeta;
import org.pentaho.di.ui.core.dialog.EnterNumberDialog;
import org.pentaho.di.ui.core.dialog.EnterSelectionDialog;
import org.pentaho.di.ui.core.dialog.EnterTextDialog;
import org.pentaho.di.ui.core.dialog.ErrorDialog;
import org.pentaho.di.ui.core.dialog.PreviewRowsDialog;
import org.pentaho.di.ui.core.widget.ColumnInfo;
import org.pentaho.di.ui.core.widget.TableView;
import org.pentaho.di.ui.trans.dialog.TransPreviewProgressDialog;
import org.pentaho.di.ui.trans.step.BaseStepDialog;

public class SystemDataDialog extends BaseStepDialog implements StepDialogInterface
{
	private static Class<?> PKG = SystemDataMeta.class; // for i18n purposes, needed by Translator2!!   $NON-NLS-1$

	private Label        wlStepname;
	private Text         wStepname;
    private FormData     fdlStepname, fdStepname;

	private Label        wlFields;
	private TableView    wFields;
	private FormData     fdlFields, fdFields;

	private SystemDataMeta input;

	private boolean isReceivingInput=false;

	public SystemDataDialog(Shell parent, Object in, TransMeta transMeta, String sname)
	{
		super(parent, (BaseStepMeta)in, transMeta, sname);
		input=(SystemDataMeta)in;
	}

	public String open()
	{
		Shell parent = getParent();
		Display display = parent.getDisplay();

		shell = new Shell(parent, SWT.DIALOG_TRIM | SWT.RESIZE | SWT.MAX | SWT.MIN);
 		props.setLook(shell);
        setShellImage(shell, input);

		ModifyListener lsMod = new ModifyListener()
		{
			public void modifyText(ModifyEvent e)
			{
				input.setChanged();
			}
		};
		changed = input.hasChanged();

		FormLayout formLayout = new FormLayout ();
		formLayout.marginWidth  = Const.FORM_MARGIN;
		formLayout.marginHeight = Const.FORM_MARGIN;

		shell.setLayout(formLayout);
		shell.setText(BaseMessages.getString(PKG, "SystemDataDialog.DialogTitle"));

		int middle = props.getMiddlePct();
		int margin = Const.MARGIN;

		// See if the step receives input.
		//
		isReceivingInput = transMeta.findNrPrevSteps(stepMeta)>0;

		// Stepname line
		wlStepname=new Label(shell, SWT.RIGHT);
		wlStepname.setText(BaseMessages.getString(PKG, "System.Label.StepName"));
 		props.setLook(wlStepname);
		fdlStepname=new FormData();
		fdlStepname.left = new FormAttachment(0, 0);
		fdlStepname.right= new FormAttachment(middle, -margin);
		fdlStepname.top  = new FormAttachment(0, margin);
		wlStepname.setLayoutData(fdlStepname);
		wStepname=new Text(shell, SWT.SINGLE | SWT.LEFT | SWT.BORDER);
		wStepname.setText(stepname);
 		props.setLook(wStepname);
		wStepname.addModifyListener(lsMod);
		fdStepname=new FormData();
		fdStepname.left = new FormAttachment(middle, 0);
		fdStepname.top  = new FormAttachment(0, margin);
		fdStepname.right= new FormAttachment(100, 0);
		wStepname.setLayoutData(fdStepname);

		wlFields=new Label(shell, SWT.NONE);
		wlFields.setText(BaseMessages.getString(PKG, "SystemDataDialog.Fields.Label"));
 		props.setLook(wlFields);
		fdlFields=new FormData();
		fdlFields.left = new FormAttachment(0, 0);
		fdlFields.top  = new FormAttachment(wStepname, margin);
		wlFields.setLayoutData(fdlFields);

		final int FieldsCols=2;
		final int FieldsRows=input.getFieldName().length;

        final String functionDesc[] = new String[SystemDataMeta.functions.length-1];
        for (int i=1;i<SystemDataMeta.functions.length;i++) functionDesc[i-1]=SystemDataMeta.functions[i].getDescription();

		ColumnInfo[] colinf=new ColumnInfo[FieldsCols];
		colinf[0]=new ColumnInfo(BaseMessages.getString(PKG, "SystemDataDialog.NameColumn.Column"),       ColumnInfo.COLUMN_TYPE_TEXT, false);
		colinf[1]=new ColumnInfo(BaseMessages.getString(PKG, "SystemDataDialog.TypeColumn.Column"),       ColumnInfo.COLUMN_TYPE_TEXT, false);
		colinf[1].setSelectionAdapter(
		    new SelectionAdapter()
	        {
	            public void widgetSelected(SelectionEvent e)
	            {
	                EnterSelectionDialog esd = new EnterSelectionDialog(shell, functionDesc, BaseMessages.getString(PKG, "SystemDataDialog.SelectInfoType.DialogTitle"), BaseMessages.getString(PKG, "SystemDataDialog.SelectInfoType.DialogMessage"));
	                String string = esd.open();
	                if (string!=null)
	                {
	                    TableView tv = (TableView)e.widget;
	                    tv.setText(string, e.x, e.y);
	                }
	            }
	        }
		);

		wFields=new TableView(transMeta, shell,
							  SWT.BORDER | SWT.FULL_SELECTION | SWT.MULTI,
							  colinf,
							  FieldsRows,
							  lsMod,
							  props
							  );

		fdFields=new FormData();
		fdFields.left  = new FormAttachment(0, 0);
		fdFields.top   = new FormAttachment(wlFields, margin);
		fdFields.right = new FormAttachment(100, 0);
		fdFields.bottom= new FormAttachment(100, -50);
		wFields.setLayoutData(fdFields);

		// Some buttons
		wOK=new Button(shell, SWT.PUSH);
		wOK.setText(BaseMessages.getString(PKG, "System.Button.OK"));
		wPreview=new Button(shell, SWT.PUSH);
		wPreview.setText(BaseMessages.getString(PKG, "SystemDataDialog.Button.PreviewRows"));
		wPreview.setEnabled(!isReceivingInput);
		wCancel=new Button(shell, SWT.PUSH);
		wCancel.setText(BaseMessages.getString(PKG, "System.Button.Cancel"));

		setButtonPositions(new Button[] { wOK, wPreview, wCancel }, margin, wFields);

		// Add listeners
		lsCancel   = new Listener() { public void handleEvent(Event e) { cancel(); } };
		lsOK       = new Listener() { public void handleEvent(Event e) { ok();     } };
		lsPreview  = new Listener() { public void handleEvent(Event e) { preview();   } };

		wCancel.addListener(SWT.Selection, lsCancel);
		wOK.addListener    (SWT.Selection, lsOK    );
		wPreview.addListener(SWT.Selection, lsPreview);

		lsDef=new SelectionAdapter() { public void widgetDefaultSelected(SelectionEvent e) { ok(); } };

		wStepname.addSelectionListener( lsDef );

		// Detect X or ALT-F4 or something that kills this window...
		shell.addShellListener(	new ShellAdapter() { public void shellClosed(ShellEvent e) { cancel(); } } );

		// Set the shell size, based upon previous time...
		setSize();

		getData();
		input.setChanged(changed);

		shell.open();
		while (!shell.isDisposed())
		{
				if (!display.readAndDispatch()) display.sleep();
		}
		return stepname;
	}

	/**
	 * Copy information from the meta-data input to the dialog fields.
	 */
	public void getData()
	{
		wStepname.setText(stepname);

		for (int i=0;i<input.getFieldName().length;i++)
		{
			TableItem item = wFields.table.getItem(i);
			String name = input.getFieldName()[i];
			String type = SystemDataMeta.getTypeDesc( input.getFieldType()[i] );

			if (name!=null) item.setText(1, name);
			if (type!=null) item.setText(2, type);
		}

		wFields.setRowNums();
		wFields.optWidth(true);

		wStepname.selectAll();
	}

	private void cancel()
	{
		stepname=null;
		input.setChanged(changed);
		dispose();
	}

	private void ok()
	{
		if (Const.isEmpty(wStepname.getText())) return;

        try
        {
            getInfo(input);
        }
        catch(KettleException e)
        {
            new ErrorDialog(shell, BaseMessages.getString(PKG, "SystemDataDialog.ErrorParsingData.DialogTitle"), BaseMessages.getString(PKG, "SystemDataDialog.ErrorParsingData.DialogMessage"), e);
        }
		dispose();
	}
	private void getInfo(SystemDataMeta in) throws KettleException
	{

		stepname = wStepname.getText(); // return value
		int count = wFields.nrNonEmpty();
		in.allocate(count);

		for (int i=0;i<count;i++)
		{
			TableItem item = wFields.getNonEmpty(i);
			in.getFieldName()[i]   = item.getText(1);
			in.getFieldType()[i]   = SystemDataMeta.getType(item.getText(2));
		}
	}
	// Preview the data
	private void preview()
	{
        try
        {
            SystemDataMeta oneMeta = new SystemDataMeta();
            getInfo(oneMeta);

            TransMeta previewMeta = TransPreviewFactory.generatePreviewTransformation(transMeta, oneMeta, wStepname.getText());

            EnterNumberDialog numberDialog = new EnterNumberDialog(shell, props.getDefaultPreviewSize(), BaseMessages.getString(PKG, "SystemDataDialog.NumberRows.DialogTitle"), BaseMessages.getString(PKG, "SystemDataDialog.NumberRows.DialogMessage"));

            int previewSize = numberDialog.open();
            if (previewSize>0)
            {
                TransPreviewProgressDialog progressDialog = new TransPreviewProgressDialog(shell, previewMeta, new String[] { wStepname.getText() }, new int[] { previewSize } );
                progressDialog.open();

                if (!progressDialog.isCancelled())
                {
                    Trans trans = progressDialog.getTrans();
                    String loggingText = progressDialog.getLoggingText();

                    if (trans.getResult()!=null && trans.getResult().getNrErrors()>0)
                    {
                    	EnterTextDialog etd = new EnterTextDialog(shell, BaseMessages.getString(PKG, "System.Dialog.PreviewError.Title"),
                    			BaseMessages.getString(PKG, "System.Dialog.PreviewError.Message"), loggingText, true );
                    	etd.setReadOnly();
                    	etd.open();
                    }

                    PreviewRowsDialog prd = new PreviewRowsDialog(shell, transMeta, SWT.NONE, wStepname.getText(),
							progressDialog.getPreviewRowsMeta(wStepname.getText()), progressDialog
									.getPreviewRows(wStepname.getText()), loggingText);
					prd.open();

                }
            }
        }
        catch(KettleException e)
        {
            new ErrorDialog(shell, BaseMessages.getString(PKG, "SystemDataDialog.ErrorPreviewingData.DialogTitle"), BaseMessages.getString(PKG, "SystemDataDialog.ErrorPreviewingData.DialogMessage"), e);
       }
	}
}

redpajama_set_name: RedPajamaGithub


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