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text:
Crowd-funded micro-grants for genomics and big data: An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy
Vural Özdemir*, Kamal F. Badr, Edward S. Dove, Laszlo Endrenyi, Christy Jo Geraci, Peter J. Hotez, Djims Milius, Maria Neves-Pereira, Tikki Pang, Charles N. Rotimi, Ramzi Sabra, Christineh N. Sarkissian, Sanjeeva Srivastava, Hesther Tims, Nathalie K. Zgheib, Ilona Kickbusch
Mason Institute
Empirical Legal Research Network
Biomedical science in the 21st century is embedded in, and draws from, a digital commons and "Big Data" created by high-throughput Omics technologies such as genomics. Classic Edisonian metaphors of science and scientists (i.e., "the lone genius" or other narrow definitions of expertise) are ill equipped to harness the vast promises of the 21st century digital commons. Moreover, in medicine and life sciences, experts often under-appreciate the important contributions made by citizen scholars and lead users of innovations to design innovative products and co-create new knowledge. We believe there are a large number of users waiting to be mobilized so as to engage with Big Data as citizen scientists-only if some funding were available. Yet many of these scholars may not meet the meta-criteria used to judge expertise, such as a track record in obtaining large research grants or a traditional academic curriculum vitae. This innovation research article describes a novel idea and action framework: micro-grants, each worth $1000, for genomics and Big Data. Though a relatively small amount at first glance, this far exceeds the annual income of the "bottom one billion"-the 1.4 billion people living below the extreme poverty level defined by the World Bank ($1.25/day). We describe two types of micro-grants. Type 1 micro-grants can be awarded through established funding agencies and philanthropies that create micro-granting programs to fund a broad and highly diverse array of small artisan labs and citizen scholars to connect genomics and Big Data with new models of discovery such as open user innovation. Type 2 micro-grants can be funded by existing or new science observatories and citizen think tanks through crowd-funding mechanisms described herein. Type 2 micro-grants would also facilitate global health diplomacy by co-creating crowd-funded micro-granting programs across nation-states in regions facing political and financial instability, while sharing similar disease burdens, therapeutics, and diagnostic needs. We report the creation of ten Type 2 micro-grants for citizen science and artisan labs to be administered by the nonprofit Data-Enabled Life Sciences Alliance International (DELSA Global, Seattle). Our hope is that these micro-grants will spur novel forms of disruptive innovation and genomics translation by artisan scientists and citizen scholars alike. We conclude with a neglected voice from the global health frontlines, the American University of Iraq in Sulaimani, and suggest that many similar global regions are now poised for micro-grant enabled collective innovation to harness the 21st century digital commons.
OMICS A Journal of Integrative Biology
https://doi.org/10.1089/omi.2013.0034
10.1089/omi.2013.0034
Dive into the research topics of 'Crowd-funded micro-grants for genomics and big data: An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy'. Together they form a unique fingerprint.
Citizen Science Medicine & Life Sciences 100%
Big Data Medicine & Life Sciences 72%
Organized Financing Medicine & Life Sciences 62%
Genomics Medicine & Life Sciences 53%
Amount Chemical Compounds 22%
Biological Science Disciplines Medicine & Life Sciences 14%
Global Health Medicine & Life Sciences 11%
Diplomacy Medicine & Life Sciences 10%
Özdemir, V., Badr, K. F., Dove, E. S., Endrenyi, L., Geraci, C. J., Hotez, P. J., Milius, D., Neves-Pereira, M., Pang, T., Rotimi, C. N., Sabra, R., Sarkissian, C. N., Srivastava, S., Tims, H., Zgheib, N. K., & Kickbusch, I. (2013). Crowd-funded micro-grants for genomics and big data: An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy. OMICS A Journal of Integrative Biology, 17(4), 161-172. https://doi.org/10.1089/omi.2013.0034
Özdemir, Vural ; Badr, Kamal F. ; Dove, Edward S. ; Endrenyi, Laszlo ; Geraci, Christy Jo ; Hotez, Peter J. ; Milius, Djims ; Neves-Pereira, Maria ; Pang, Tikki ; Rotimi, Charles N. ; Sabra, Ramzi ; Sarkissian, Christineh N. ; Srivastava, Sanjeeva ; Tims, Hesther ; Zgheib, Nathalie K. ; Kickbusch, Ilona. / Crowd-funded micro-grants for genomics and big data : An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy. In: OMICS A Journal of Integrative Biology. 2013 ; Vol. 17, No. 4. pp. 161-172.
@article{bdfe244454ef41eba993e7d8b83f2368,
title = "Crowd-funded micro-grants for genomics and big data: An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy",
abstract = "Biomedical science in the 21st century is embedded in, and draws from, a digital commons and {"}Big Data{"} created by high-throughput Omics technologies such as genomics. Classic Edisonian metaphors of science and scientists (i.e., {"}the lone genius{"} or other narrow definitions of expertise) are ill equipped to harness the vast promises of the 21st century digital commons. Moreover, in medicine and life sciences, experts often under-appreciate the important contributions made by citizen scholars and lead users of innovations to design innovative products and co-create new knowledge. We believe there are a large number of users waiting to be mobilized so as to engage with Big Data as citizen scientists-only if some funding were available. Yet many of these scholars may not meet the meta-criteria used to judge expertise, such as a track record in obtaining large research grants or a traditional academic curriculum vitae. This innovation research article describes a novel idea and action framework: micro-grants, each worth $1000, for genomics and Big Data. Though a relatively small amount at first glance, this far exceeds the annual income of the {"}bottom one billion{"}-the 1.4 billion people living below the extreme poverty level defined by the World Bank ($1.25/day). We describe two types of micro-grants. Type 1 micro-grants can be awarded through established funding agencies and philanthropies that create micro-granting programs to fund a broad and highly diverse array of small artisan labs and citizen scholars to connect genomics and Big Data with new models of discovery such as open user innovation. Type 2 micro-grants can be funded by existing or new science observatories and citizen think tanks through crowd-funding mechanisms described herein. Type 2 micro-grants would also facilitate global health diplomacy by co-creating crowd-funded micro-granting programs across nation-states in regions facing political and financial instability, while sharing similar disease burdens, therapeutics, and diagnostic needs. We report the creation of ten Type 2 micro-grants for citizen science and artisan labs to be administered by the nonprofit Data-Enabled Life Sciences Alliance International (DELSA Global, Seattle). Our hope is that these micro-grants will spur novel forms of disruptive innovation and genomics translation by artisan scientists and citizen scholars alike. We conclude with a neglected voice from the global health frontlines, the American University of Iraq in Sulaimani, and suggest that many similar global regions are now poised for micro-grant enabled collective innovation to harness the 21st century digital commons.",
author = "Vural {\"O}zdemir and Badr, {Kamal F.} and Dove, {Edward S.} and Laszlo Endrenyi and Geraci, {Christy Jo} and Hotez, {Peter J.} and Djims Milius and Maria Neves-Pereira and Tikki Pang and Rotimi, {Charles N.} and Ramzi Sabra and Sarkissian, {Christineh N.} and Sanjeeva Srivastava and Hesther Tims and Zgheib, {Nathalie K.} and Ilona Kickbusch",
doi = "10.1089/omi.2013.0034",
journal = "OMICS: A Journal of Integrative Biology",
publisher = "Mary Ann Liebert Inc.",
Özdemir, V, Badr, KF, Dove, ES, Endrenyi, L, Geraci, CJ, Hotez, PJ, Milius, D, Neves-Pereira, M, Pang, T, Rotimi, CN, Sabra, R, Sarkissian, CN, Srivastava, S, Tims, H, Zgheib, NK & Kickbusch, I 2013, 'Crowd-funded micro-grants for genomics and big data: An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy', OMICS A Journal of Integrative Biology, vol. 17, no. 4, pp. 161-172. https://doi.org/10.1089/omi.2013.0034
Crowd-funded micro-grants for genomics and big data : An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy. / Özdemir, Vural; Badr, Kamal F.; Dove, Edward S.; Endrenyi, Laszlo; Geraci, Christy Jo; Hotez, Peter J.; Milius, Djims; Neves-Pereira, Maria; Pang, Tikki; Rotimi, Charles N.; Sabra, Ramzi; Sarkissian, Christineh N.; Srivastava, Sanjeeva; Tims, Hesther; Zgheib, Nathalie K.; Kickbusch, Ilona.
In: OMICS A Journal of Integrative Biology, Vol. 17, No. 4, 10.04.2013, p. 161-172.
T1 - Crowd-funded micro-grants for genomics and big data
T2 - An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy
AU - Özdemir, Vural
AU - Badr, Kamal F.
AU - Dove, Edward S.
AU - Endrenyi, Laszlo
AU - Geraci, Christy Jo
AU - Hotez, Peter J.
AU - Milius, Djims
AU - Neves-Pereira, Maria
AU - Pang, Tikki
AU - Rotimi, Charles N.
AU - Sabra, Ramzi
AU - Sarkissian, Christineh N.
AU - Srivastava, Sanjeeva
AU - Tims, Hesther
AU - Zgheib, Nathalie K.
AU - Kickbusch, Ilona
N2 - Biomedical science in the 21st century is embedded in, and draws from, a digital commons and "Big Data" created by high-throughput Omics technologies such as genomics. Classic Edisonian metaphors of science and scientists (i.e., "the lone genius" or other narrow definitions of expertise) are ill equipped to harness the vast promises of the 21st century digital commons. Moreover, in medicine and life sciences, experts often under-appreciate the important contributions made by citizen scholars and lead users of innovations to design innovative products and co-create new knowledge. We believe there are a large number of users waiting to be mobilized so as to engage with Big Data as citizen scientists-only if some funding were available. Yet many of these scholars may not meet the meta-criteria used to judge expertise, such as a track record in obtaining large research grants or a traditional academic curriculum vitae. This innovation research article describes a novel idea and action framework: micro-grants, each worth $1000, for genomics and Big Data. Though a relatively small amount at first glance, this far exceeds the annual income of the "bottom one billion"-the 1.4 billion people living below the extreme poverty level defined by the World Bank ($1.25/day). We describe two types of micro-grants. Type 1 micro-grants can be awarded through established funding agencies and philanthropies that create micro-granting programs to fund a broad and highly diverse array of small artisan labs and citizen scholars to connect genomics and Big Data with new models of discovery such as open user innovation. Type 2 micro-grants can be funded by existing or new science observatories and citizen think tanks through crowd-funding mechanisms described herein. Type 2 micro-grants would also facilitate global health diplomacy by co-creating crowd-funded micro-granting programs across nation-states in regions facing political and financial instability, while sharing similar disease burdens, therapeutics, and diagnostic needs. We report the creation of ten Type 2 micro-grants for citizen science and artisan labs to be administered by the nonprofit Data-Enabled Life Sciences Alliance International (DELSA Global, Seattle). Our hope is that these micro-grants will spur novel forms of disruptive innovation and genomics translation by artisan scientists and citizen scholars alike. We conclude with a neglected voice from the global health frontlines, the American University of Iraq in Sulaimani, and suggest that many similar global regions are now poised for micro-grant enabled collective innovation to harness the 21st century digital commons.
AB - Biomedical science in the 21st century is embedded in, and draws from, a digital commons and "Big Data" created by high-throughput Omics technologies such as genomics. Classic Edisonian metaphors of science and scientists (i.e., "the lone genius" or other narrow definitions of expertise) are ill equipped to harness the vast promises of the 21st century digital commons. Moreover, in medicine and life sciences, experts often under-appreciate the important contributions made by citizen scholars and lead users of innovations to design innovative products and co-create new knowledge. We believe there are a large number of users waiting to be mobilized so as to engage with Big Data as citizen scientists-only if some funding were available. Yet many of these scholars may not meet the meta-criteria used to judge expertise, such as a track record in obtaining large research grants or a traditional academic curriculum vitae. This innovation research article describes a novel idea and action framework: micro-grants, each worth $1000, for genomics and Big Data. Though a relatively small amount at first glance, this far exceeds the annual income of the "bottom one billion"-the 1.4 billion people living below the extreme poverty level defined by the World Bank ($1.25/day). We describe two types of micro-grants. Type 1 micro-grants can be awarded through established funding agencies and philanthropies that create micro-granting programs to fund a broad and highly diverse array of small artisan labs and citizen scholars to connect genomics and Big Data with new models of discovery such as open user innovation. Type 2 micro-grants can be funded by existing or new science observatories and citizen think tanks through crowd-funding mechanisms described herein. Type 2 micro-grants would also facilitate global health diplomacy by co-creating crowd-funded micro-granting programs across nation-states in regions facing political and financial instability, while sharing similar disease burdens, therapeutics, and diagnostic needs. We report the creation of ten Type 2 micro-grants for citizen science and artisan labs to be administered by the nonprofit Data-Enabled Life Sciences Alliance International (DELSA Global, Seattle). Our hope is that these micro-grants will spur novel forms of disruptive innovation and genomics translation by artisan scientists and citizen scholars alike. We conclude with a neglected voice from the global health frontlines, the American University of Iraq in Sulaimani, and suggest that many similar global regions are now poised for micro-grant enabled collective innovation to harness the 21st century digital commons.
U2 - 10.1089/omi.2013.0034
DO - 10.1089/omi.2013.0034
JO - OMICS: A Journal of Integrative Biology
JF - OMICS: A Journal of Integrative Biology
Özdemir V, Badr KF, Dove ES, Endrenyi L, Geraci CJ, Hotez PJ et al. Crowd-funded micro-grants for genomics and big data: An actionable idea connecting small (Artisan) science, infrastructure science, and citizen philanthropy. OMICS A Journal of Integrative Biology. 2013 Apr 10;17(4):161-172. https://doi.org/10.1089/omi.2013.0034

redpajama_set_name: RedPajamaCommonCrawl


The municipal slaughterhouses are available on Mondays to the local population for the killing of livestock. 9 large animals maximum, with advance registration necessary, by Friday at 12:00. No animal will be accepted on Sunday evenings from June to mid-September. During the rest of the year, they can be accepted between 19:30 and 20:30.


text:
Slain reporter: trial adjourned for further study of weapon
MISNA - June 26, 2007
The trial was adjourned until June 11 on request of the prosecutors in the trial against the two suspected killers of Serge Maheshe, the local head of staff and secretary of Radio Okapi sponsored by the UN peace mission MONUC and the Hirondelle Foundation, shot dead on June 13 in Bukavu, capital of the eastern South Kivu province of DR-Congo. The public prosecutor requested an adjournment for additional investigations to be conducted, in particular on the alleged murder weapon, and for "new lines of inquiry" to be followed up. The trial against the two servicemen - both arrested the day after the killing along with 13 others in a round up - opened on June 15, but was adjourned following a demand from military prosecutors to allow an "in-depth study of the weapon" and an analysis of calls made to Maheshe's mobile phone. Maheshe's family and numerous press freedom organisations, including the Congolese 'Journaliste en Danger' (JED, Journalists in Danger) have strongly criticised the "recklessness" in the organisation of the trial.


text:
<!DOCTYPE html>

<meta http-equiv="Content-Type" content="text/html; charset=utf-8" />
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<link rel="stylesheet" href="//netdna.bootstrapcdn.com/font-awesome/4.0.3/css/font-awesome.css" />

Terima kasih kerana menyokong Blokada. Dengan sokongan anda Blokada akan sentiasa percuma, selamat dan dapat berdiri sendiri Sila pilih cara derma yang sesuai untuk anda. Jika anda mempunyai masalah, sila hubungi kami di hello@blokada.org.

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redpajama_set_name: RedPajamaGithub


text:
// Copyright © 2010 onwards, Andrew Whewell
// All rights reserved.
//
// Redistribution and use of this software in source and binary forms, with or without modification, are permitted provided that the following conditions are met:
//    * Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
//    * Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
//    * Neither the name of the author nor the names of the program's contributors may be used to endorse or promote products derived from this software without specific prior written permission.
//
// THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHORS OF THE SOFTWARE BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;

namespace VirtualRadar.Interface.View
{
    /// <summary>
    /// The interface for views that display information about the application and contain small support helpers for the app.
    /// </summary>
    public interface IAboutView
    {
        /// <summary>
        /// Gets or sets the view's title.
        /// </summary>
        string Caption { get; set; }

        /// <summary>
        /// Gets or sets the product's name.
        /// </summary>
        string ProductName { get; set; }

        /// <summary>
        /// Gets or sets the application's version information.
        /// </summary>
        string Version { get; set; }

        /// <summary>
        /// Gets or sets a small summary of the application's copyright information.
        /// </summary>
        string Copyright { get; set; }

        /// <summary>
        /// Gets or sets a full description of the application, licenses etc.
        /// </summary>
        string Description { get; set; }

        /// <summary>
        /// Gets or sets the full path to the configuration folder used by the application to store
        /// configuration files and data.
        /// </summary>
        string ConfigurationFolder { get; set; }

        /// <summary>
        /// Gets or sets a value indicating that VRS is running under Mono.
        /// </summary>
        bool IsMono { get; set; }

        /// <summary>
        /// Raised when the user wants to see the content of the configuration folder.
        /// </summary>
        event EventHandler OpenConfigurationFolderClicked;

        /// <summary>
        /// Displays the contents of the configuration folder to the user.
        /// </summary>
        void ShowConfigurationFolderContents();
    }
}


text:
Q: Methods to find the relationships between independent and dependent variables instead of regression Which statistical method can be used to find the relationships between independent and dependent variables instead of regression? And their advantages over regression.
It should be mentioned I am not able to do regression due to less number of observations that I have 5 independent variables 3 categorical and two continuous.

A: In that case, the best approach is to do a linear model with the 5 variables. If you know R, you put them in a data.frame that you call data, the "independent" variable in the first column and the other ones after, the individual observation in each line and you do:
anova(lm(data))

To me that's the best use you can make of your precious data points. If you have too few, no statistical method will save you.

redpajama_set_name: RedPajamaStackExchange


text:
Polaris had to reverse half a mile up narrow muddy, rutted bridleway to get patient to ambulance
by officialwmas October 28, 2014 Leave a comment
(Library image)
Tuesday 28th October 2014 – 10.40am – Murray MacGregor.
Ambulance staff had to use a specialised six wheel drive vehicle to get a woman back to an ambulance after she fell off a horse.
The incident happened about half a mile away from Waystone Lane in Belbroughton at around 3 o'clock on Monday afternoon.
An ambulance crew were initially sent to the scene, but after they became concerned their vehicle would get stuck, asked for the assistance from the Hazardous Area Response Team (HART).
A West Midlands Ambulance Service spokesman said: "The 45 year old woman had come off her horse down a very narrow, muddy and rutted bridleway.
"There was no way the ambulance crew could get anywhere near her in their vehicle despite their efforts.
"The woman wasn't able to fully recall what had happened though the ambulance crew were told that she probably hadn't been fully unconscious.
"While the crew waited for the HART team to bring their Polaris six-wheel-drive vehicle to the scene, they treated the woman for suspected concussion, bruising to her ribs and she was immobilised as a precaution.
"Despite the Polaris being a relatively small vehicle, the driver had to reverse it the half mile back to the ambulance as the track was too narrow to turn around.
"After reaching the ambulance, the patient was taken to Worcestershire Royal Hospital for further assessment and treatment."
Previous Entry Man who was trapped for over an hour airlifted after crash on A50
Next Entry Fatal RTC on A5


text:
Soto del Barco kan syfta på:

Spanien

 Soto del Barco (kommun), Asturien,
 Soto del Barco (kommunhuvudort), Asturien,

redpajama_set_name: RedPajamaWikipedia


text:
Camera IQ Raises Series A led by Shasta Ventures to Define the Future of Camera Marketing
Posted on September 27, 2020 / by [email protected]_84 /
The MarketWatch News Department was not involved in the creation of this content.
LOS ANGELES, Sept. 24, 2020 /PRNewswire via COMTEX/ —
LOS ANGELES, Sept. 24, 2020 /PRNewswire/ — Camera IQ, the world's first augmented reality platform for camera marketing, today announced an additional $5 million in Series A funding, bringing its total funding raised to-date to over $14 million. Led by Shasta Ventures, the round also includes participation from existing investors Waverly Capital, Betaworks Ventures, Sway Ventures, as well as new investors Grand Ventures, Space Capital, and Gingerbread Capital.
COVID tailwinds are accelerating augmented reality (AR) adoption on social platforms as consumers spend more time online. With over four billion daily active camera users on social, the numbers are in – and AR is here to stay. 75% of consumers are using AR on a daily basis, leading to an 85% year-over-year  increase in time spent in AR, AR is not only driving marketing engagement, it is now measurably increasing the likelihood of conversion by up to 250%.
Camera IQ's newly launched platform enables brand marketers to drive business objectives while easily creating, managing and measuring scalable augmented reality (AR) campaigns that reach audiences across social media and streaming platforms such as Facebook, Instagram, Snapchat, Twitch, Zoom and more.
"For beauty brands building e-commerce businesses, AR and virtual try-on are essential to providing the user experience to incentivize purchases," said Elaine Chen, Vice President of Brand Marketing and Innovation at wet n wild Beauty/Markwins. "In our latest campaign with Camera IQ, we included two AR experiences to promote the highly-anticipated launch of our Sanrio collaboration featuring My Melody and Kuromi, giving users the ability to visualize themselves as the cult characters while wearing the products from our collection. With virtual try-on, Camera IQ enabled us to not only build authentic brand affinity but also drive real business ROI. The My Melody experience saw a 47.4% play rate, and the Kuromi experience saw a 63.8% play rate, generating excitement and amplifying exposure for the collection which has largely sold-out online."
In 2020, Camera IQ customers have seen a record number of AR experiences reach in excess of one million views. AR share rates on Instagram and Facebook have increased 43% and 23% respectively in Q2, and Snap Camera usage (which powers AR in Twitch, Zoom and Google Hangouts) has increased 33x since the start of the year.
AR is Driving Next-Generation Consumer Engagement and Conversion
The network effects and virality of AR experiences harkens to the early days of social. Brand marketers and advertisers at many of the world's largest brands, like Republic Records, wet n wild, and Purina, are changing the ways they engage with their audiences through Camera IQ. For example:
Music: Camera IQ has deployed over 250 music experiences across platforms, generating over 300 million views, with a new music experience being published on the platform every two days. Recently, Republic Records used Camera IQ to scale their AR initiatives for both established and emerging artists across its 150-plus roster. One emerging artist, with only 20K Instagram followers, drove 4.5 million views of their AR experience across Snapchat, Instagram and Facebook two weeks after its release.
Gaming: A variety of game publishers, AAA franchises, and e-sports leagues use Camera IQ to create, publish and manage camera marketing campaigns. One customer launched over 100 AR effects across Facebook, Instagram, and Snapchat in 2020 alone. AR is the perfect medium to reach hyper-engaged gaming fans: play rates for some AR effects launched in the gaming vertical exceed 90%.
Beauty: Virtual try-on experiences are now a must-have. wet n wild Beauty is leveraging the platform to bring together marketing and commerce, utilizing the transformative nature of AR as a tool for self-expression.
Consumer Packaged Goods (CPG): Purina works with Camera IQ to add Camera Marketing to their social presence, celebrating both tentpole events like their Beverly Hills Dog Show, and to be part of the social conversations on holidays, like Beggin Strip's Treats & Kisses on Valentine's Day.
Media: Camera IQ has been leveraged by media brands to create, manage and measure numerous impactful AR experiences for various programs, from scripted shows to sporting events and award shows – a feat which was impossible with a traditional AR agency model.
Democratizing Camera Marketing to Make Business Goals a Reality
"With the Camera and AR playing essential roles in our daily lives now, AR is the strongest format for driving consumer engagement and making business goals a reality," said Allison Ferenci, Co-founder and CEO of Camera IQ. "Our platform enables brands and businesses to power the next generation of consumer engagement and gives them the tools to have more interactive, engaging targeted connections with customers. We are thrilled to partner with Shasta and our other investors to expand to new platforms and reach new industries."
The funds will be used to make key hires in sales and marketing, as well as on product development with an emphasis on expanding distribution to new platforms to further its mission to democratize the camera and AR technology for brands across the globe.
"When I met with Camera IQ's co-founders, Allison Ferenci and Sonia Tsao in 2016, they painted a picture of the key role that the camera would play in our daily lives," said Jacob Mullins, Partner at Shasta Ventures. "Since then, they have continuously delivered and are now the category leaders for Camera Marketing, becoming a trusted partner to leading brands in the music, beauty, media, and gaming industries."
About Camera IQ
Camera IQ is powering the next generation of consumer interactions by enabling brands to tap into the power of Augmented Reality. We are a well-funded and fast growing B2B LA-based startup. We help marketers drive business objectives through Camera Marketing. Our platform empowers brands to easily create and deploy scalable Augmented Reality campaigns and reach audiences everywhere including Facebook, Instagram, Snapchat, Twitch, Zoom, and more. We are AR Simplified.
We are a team of talented, diverse, and open-minded engineers, designers and marketers committed to democratizing the camera and AR technology. We are building a future where the camera is the new start menu, where audiences and brands can interact seamlessly with each other and co-create brand new worlds for all to explore. If this excites you, you've come to the right place.
For more information, visit cameraiq.com or follow us on LinkedIn and Twitter @cameraiqco.
View original content:http://www.prnewswire.com/news-releases/camera-iq-raises-series-a-led-by-shasta-ventures-to-define-the-future-of-camera-marketing-301137111.html
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Posted in future technology  Tagged Camera, define, Future, led, marketing, raises, series, Shasta, Ventures
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text:
on 4th marzo 2019
The breakdown and nervous tension were satellites of Uma in 1994 too. It was Quentin Tarantino who brought her out of this disastrous state and convinced him to play the role of Mia is whey protein steroids Wallace in his film, which immediately became a classic. – "Pulp Fiction." After this film, Uma has become very picky in choosing roles. In 1997-1998, Uma rises even higher on the steps of an acting career – the films "Gattaka", "Les Miserables", "The Avengers" are released.
In May 1998, Uma married Ethan Hawke, and in July they had a daughter, Maya Ray. The marriage did not cellucor testosterone booster last very long. The reason for the divorce was the mutual jealousy of the best way to boost testosterone after steroids actors. After the break with her second husband, Uma quickly recovered: in addition to other films, she starred with Tarantino in the movie "Kill Bill." This how does anavar work film brought the mind to the top of popularity.
Having conceived "To Kill Bill", Quentin Tarantino immediately saw Uma Thurman starring. However, at that moment she was pregnant. Tarantino postponed the shooting for a year, determined to wait for the mind. Three months after the birth of her son, the actress began to shoot. In the end, she played in such a way that the whole world believed that Uma was born with a sword in her hands.
When the director of the battle scenes By Ping first saw the actress, he was horrified: Uma recovered greatly during pregnancy. The role of a samurai demanded composure, the ability to fight with swords, throw knives, do flips, and also own kung-fu and hand-to-hand fighting techniques. Uma was engaged only in yoga and Pilates. Begin tedious workouts: three months from 9 to 17 hours daily. After training, Uma plunged into the bathroom with aromatic salt to soothe the aching closest point of pct to chico ca pain does progesterone increase testosterone in the whole body.
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Before the shooting of "Kill Bill" Uma grew thin with the help of a special soup. The recipe is not too workout steroids for sale complicated: 0.5 cups of tofu cubes, 0.5 cups of boiled black mushrooms, 1–2 cups of green peas, sliced carrots and zucchini; one litere of water; a small crushed piece of fresh ginger; 0.5 teaspoons black pepper; 1/8 h. spoons of hot red pepper, 1 tbsp. spoon of rice vinegar, 2 tbsp. spoons of soy sauce. All components, except vegetables, you need to mix and boil for five minutes. Then pull out the ginger and add vegetables other than green peas. Boil for 3-5 minutes, stirring occasionally. Add the peas and cook for another 2–3 minutes. This soup can be eaten 2 times a day.
If losing weight is not necessary, and you just need to keep fit, Mind follows a simple, clever diet.
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Now everyone knows her: the charming smile and cute image of the American Cinderella from the movie "Pretty Woman" fell in love with both the strong and steroids to break migraine cycle the weak half of humanity. October 28, 1967, when Julie Fiona Roberts was born to the owners of a small shop in the town of Smyrna , Georgia, the world did not even know what a real "beauty" should look like.
The biography of the future star evolved in a standard, American-style way: schooling, a journalism course at the university, moving to New York, a fruitless search for roles testosterone in pill form, working in a small shop in Manhattan.
Others would have dropped their hands a long time ago. But Americans are hard to take by commonplace bad luck.
Finally, in 1988, Julia managed to get the first role in the film normal total testosterone levels "Scarlet Blood". In 1989, she received a Golden Globe in the nomination for Best Supporting Actress in the film hgh before or after workout "Steel Magnolias". Her success was finally secured by the famous "Pretty Woman", published in 1990, after which viewers from all over the world fell in love with Julia.
The cash success of the picture proved to Hollywood producers that Julia can be successfully shot in romantic comedies. Therefore, after "Pretty Woman", viewers enjoyed the game of their favorite in the films "Notting Hill" and "Runaway Bride".
And at this time in the personal life of the movie actress happy end did not happen so often. She was engaged to Dylan McDermott, but it never came to a wedding. During the filming of "Pretty Woman," Julia was fascinated by her shooting partner Richard Gere. Then Kiefer Sutherland for his sake left his wife, however, this novel did not end with the wedding. It turned best exercise to increase testosterone out that Kiefer had betrayed his bride with some kind of dancer, and Julia, having learned about this, decided not only to part with her fiancé, but also to take revenge. When the wedding preparations were finished and all the guests were invited, Julia stated that she was not going to get married.
However, Julia still came to the altar – with Lyle Lovett. It happened in some small town and practically without witnesses. The whole world was at a loss, many took this news as a joke. First, Lovett was one of the ugliest people America knew, and secondly, she and Julia had known each other before the wedding just a few weeks. Fans condescendingly decided that this was the "sweet whim" of beloved baldness testosterone Beauty: the girl wanted to officially "get married". This union lasted about two years.
Now Julia is married to Deni Moder, she has two beautiful children, she is happy and looks like it seems like only a few years have passed since "Pretty Woman".
What is the secret of the beauty of this beauty? First of all – in naturalness. Julia Roberts – a fan of natural makeup. She enjoys pastel-colored cosmetics a hd testosterone booster reviews, which gives her face softness, charm and beauty.
As for the figure, Julia had to abandon the choux pastry, which she adored in childhood. Her evening menu includes dried fruits, grapes, oranges. And no bananas! The actress claims that bananas are like white bread. Of all is it safe to take serovital-hgh the fitness programs, Julia prefers Pilates.


Destroyed garage of Hotel Evropa after the Anti-Serb riots in Sarajevo, 1914.
Hotel Europe (originally known as Hotel Evropa) is a historic hotel in central Sarajevo.
Built and opened in the early days of what turned out to be a 40-year Austro-Hungarian occupation of Bosnia and Herzegovina, the hotel holds a special place in the city's lore as its first modern hospitality venue. Over its almost century and a half long existence, the hotel saw many changes often brought upon by sudden geopolitical events, reflecting the city's turbulent political and social history.
For 60 years, from its construction and grand opening until World War II, Hotel Evropa had been owned and run by the Jeftanović family, father and son Gliša and Dušan, respectively, Serb merchants and industrialists from Sarajevo. During the communist period in Yugoslavia from 1945 until 1990, the hotel was nationalized and run by various state-owned entities such as HTP Evropa. Since the Bosnian War, the property has been re-privatized in 2006 by the Sandžak-born Bosniak businessman Rasim Bajrović who re-opened the venue in 2008, this time under a modified name Hotel Europe.
Hotel Europe is located at 8 Vladislava Skarića Street in the central part of Sarajevo's Stari Grad municipality.
It overlooks the Gazi-Husrev Beg's Bezistan and the ruins of the former Tašlihan while it's short walking distance away from the Latin Bridge, Despić House, Baščaršija, Sahatkula, Ferhadija pedestrian promenade, and other sites of interest.
Funded by wealthy merchant and industrialist Gligorije "Gliša" Jeftanović (1841-1927), the site near the former Tašlihan, a mid-15th century caravanserai that burned down in the great fire of August 1879, was selected as the location for a new hotel. The building design was commissioned to architect Karel Pařík. Hotel Evropa got officially opened on Tuesday, 12 December 1882 and right away Jeftanović leased the premises out to Edvard Lasslauer who began running the hotel's day-to-day operations.
Opened four and a half years since Austria-Hungary had occupied the Ottoman Empire's Bosnia Vilayet and had de facto been governing the territory as another one of its provinces, the hotel very much reflected the newly imposed k. und k. cultural model. As the first of its kind in Sarajevo, the venue became the focus of the city's embryonic hospitality and tourist industries. In addition to lodging, it offered entertainment and leisure options with in-house establishments like Bečka kafana and Zlatni restoran, night club Plavi podrum, and the hotel garden. Though operating as part of the hotel, these establishments also managed to create an identity of their own, becoming instantly popular so that they began to be frequented not just by the hotel guests, but also by the city inhabitants. Drawing on various aspects of the Viennese and Germanic cultures, the social concept of Stammtisch was introduced to the city. Furthermore, Bečka kafana incorporated Wiener Kaffeehaus details such as Zeitungsständer (newspaper stand) and wallpapers depicting secessionist and Schönbrunn interior motifs, while Zlatni restoran offered desserts like Apfelstrudel, Kuglof, and Sachertorte.
By the early 1900s aging Gliša Jeftanović handed the reins of many of his business holdings including Hotel Evropa over to his son Dušan (1884-1941), a juris doctor by profession.
The hotel was attacked on 29 June 1914, during Anti-Serb riots in Sarajevo. Soon afterwards, with Austria-Hungary declaring war on Serbia and with the conflict expanding into World War I, the Austro-Hungarian Army occupied part of Hotel Evropa by the joint decision of the government's Sarajevo trustee and the Sarajevo Fortress military command. In late October 1914, Gliša Jeftanović received a cable from the Sarajevo vice-mayor Damjanović, informing him about the minimal compensation he would be receiving for k. und k. officers and soldiers using the first two floors of his hotel.
With the 6 April 1941 Nazi German invasion of the Yugoslav kingdom, the country was quickly dismembered into several client states, the biggest of which was the Ustaše-run Independent State of Croatia that swallowed up all of Bosnia including the city of Sarajevo. German units marched into Sarajevo on 15 April setting the scene for the first Ustaše contingent to enter the city en route from Zagreb during the night of 23–24 April. Within weeks of their arrival, on 5 May 1941 Ustaše arrested dr. Dušan Jeftanović along with several other prominent Sarajevo Serbs. He was taken to Zagreb where for some time he had been detained in the Petrinjska Street police jail before Ustaše eventually executed him.
After World War II, Hotel Evropa, along with the rest of the Jeftanović family property, was nationalized by the new communist authorities. Soon, another wing, built in the contemporary architectural style of the period, was added to the hotel.
The hotel was privatized in 2006 by the Sarajevo-based Astrea company, owner of another hotel, the nearby Hotel Astra. The building of the hotel was restored in 2007. The restoration project was done by architect Sead Gološ. The colour of the facade was chosen by the citizens of Sarajevo by ballot vote. It re-opened on 12 December 2008, on the 126th anniversary of its opening.
The hotel offers 125 luxurious rooms, 10 suites, 4 presidential suites, 4 conference halls and a wellness centre for fitness, swimming, tanning, sauna and Turkish hamam, massages and beauty cosmetics.
Hotel Europe's storied history continues to draw dignitaries. During an official state visit in July 2011, the Sarajevo-born Serbian president Boris Tadić had a photo-op meeting with local celebrities Dino Merlin, Halid Bešlić, and Ivica Osim in the hotel's garden. Also in hotel, later that day, he was given a medal by the European Movement's Bosnia branch.
^ West, Richard (15 November 2012). Tito and the Rise and Fall of Yugoslavia. Faber & Faber. p. 1916. ISBN 978-0-571-28110-7. Retrieved 7 December 2013.
^ "[Projekat Rastko] Velibor V. Dzomic: Ustaski zlocini nad srpskim svestenicima (Stradanje srpskih episkopa u NDH)". Rastko.rs. Retrieved 2014-06-29.
^ Hoare 2006, p. 41.
^ Jazvić, Dejan. "Bajrović je preporodio dva hotelska simbola Sarajeva - Europe i Holiday". www.vecernji.ba (in Croatian). vecernji list. Retrieved 28 January 2019.
^ "Na hotelu "Evropa" fasadni radovi počinju krajem jula 2007. godine". ekapija. Retrieved 2014-06-29.
Džomić, Velibor V. (1995). Ustaški zločini nad srbskim sveštenicima (in Serbian). Podgorica: Perun.
Hoare, Marko Atilla (2013). Bosnian Muslims in the Second World War: A History. New York City: Oxford University Press Inc. ISBN 9780231703949.


text:
Pondering and Rambling About My Origins in Cameroon
I recently, in honor of Black History month and out of genuine curiosity took an African Ancestry DNA test. A test similar to the ones famously taken by Oprah, Henry Louis Gates Jr. and Blair Underwood (to name a few). It turns out part of my story (matrilineal) began in Cameroon, a small Western African country that up until this point, I had not thought much about. Knowledge is quite a motivator, and armed with my fragmented piece of the missing puzzle, I am making plans to visit my newly discovered country of partial origin.
A genetic match with the Tikar people, my ancestors made a home for themselves in the North Western region of the country. The ruling class, they controlled their region and the accompanying trade routes enjoying relative prosperity. When the Europeans pushed into Cameroon, many young Tikar people were captured and taken aboard slave ships.
According to records, the majority of the Tikar who survived the middle passage were females (the men, had a very high suicide rate). Transported heavily to the state of Virginia, where they became numbers and mules instead of people with stories. Records chronicling their journeys, their existence were burned upon emancipation, a torched legacy that has kept the past, a painful and infuriating mystery to many black Americans who in its wake have been forced to forge an identity without a clear understanding of where they came from.
Grateful to modern science and the prevalence of African genealogy tests, I now have a point of reference. I am a descendant of a Tikar woman, who several centuries ago, survived the unthinkable, landing safely on American soil, where she gave birth to generations thriving to this day. I am not going to buy a Cameroonian flag to wave out of my window; I'm not going to blast Cameroonian music or cheer extra loud for their football team during the world cup. I'm not going to travel to Cameroon with hopes of a large dramatic homecoming filled with hugs from cousins centuries removed, drumming, dance, and a grand welcome from the chief. I simply stand grounded in my newfound knowledge and am grateful that I have a detailed past to pass on to my son- my future generations.
In 2005, I first made my way to the continent of Africa. I went to Ghana, on the western coast to volunteer at an orphanage. In many ways, this journey was an attempt to understand the mysteries of the past as I spent a vast majority of my time researching and touring the abandoned slave forts at the Cape Coast and Elmina Castles.
A few years back, I wrote a piece originally published by Pilot Guides, about my experience touring the Cape Coast Castle. It is as follows:
Ghana has a smell. It's familiar and distant, like plants, humidity, smoke and burning wood. It's an earthy comforting aroma. As comforting as the dusty red road that leaves its residue on my bare feet and ankles. I came to Ghana to take in all the sights and sounds of its Cape Coast region. Today I would take in the Cape Coast Castle, a beautiful white colonial structure adorned with fading black cannons overlooking a beach. I purchased a guided tour. I wanted the full experience.
I had a 20-minute wait before my tour began and took that time to browse the artisan shops near the entrance. There are a wonderful variety of shops selling carvings, kente cloth, drums, music, art and jewelry. I weave quickly in and out of the shops, taking in their colours and textures.
Once a small crowd of tourists has formed, our tour begins. Our guide is a young Ghanaian man whose English is soft and unwavering. We assemble on the veranda and get a brief history lesson.
The Swedish Africa Company erected the Cape Coast Castle in 1653. The Castle underwent many changes as it grew with the slave trade. Most of the slaves that came to the Americas exited through this site. We learned how slaves were shackled and held in dark, cold dungeons until there were enough slaves for a voyage.
I wondered how difficult it was for our guide to speak so eloquently about this dark moment in history. How many tours had this young man given to be able to speak in such a matter of fact manner as tourists wept touched by his words. Our history lesson complete, we headed onto what would be the most haunting leg of our tour. We were led into the dark dingy brick dungeons that once centuries ago held hundreds of frightened shackled slaves.
We were taken into the women's dungeons first. Our only light was a flashlight. It was a cold dark room. We were silent. Outside, the sound of waves hitting the shore echoed throughout the small room. Inside it was cold, dark, and haunting. Our guide pointed out a faint line on the brick about a foot high. The line indicated that stagnant water was inside as well. Slaves were herded into these rooms for days, weeks, with no food, fresh air or light, they were forced to urinate and defecate in the water that surrounded their ankles, which ultimately left the markings that spoke of their misery.
Slowly we went into the male dungeons. They were almost identical. The same water markings existed. Shining his flashlight, our guide also pointed out markings on the brick that were made by the shackles of the slaves, slaves who had rubbed their shackles on the brick in an attempt to escape or etch warnings to others in their tribal languages. A place like this, takes your breath away slowly. There is no way to fully process the horrors that went on in this space. Many on the tour wept openly.
After the dungeons, we were guided through winding corridors, into rooms that would have housed governors and other officers. We were led outside, up to the balcony where it was hard to adjust to the activity below of fishermen casting out colourful nets, blue water crashing against boulders and sand and laughter.
We examined the canons and were shown the space, a rectangular opening, where unruly slaves were thrown to their deaths from the castle onto the jagged wet rocks below.
Finally we were taken back inside through our final corridor that led to the "door of no return". This was the last door that slaves had to pass through before they were boarded onto ships, never to return. A shrine had been made in a room before the door. A simple structure in two tiers draped in white cloth. Offerings were placed on and around it.
I was struck by the desire to do something but I had nothing to leave at the shrine as some of the others in my group did. I felt overwhelmed with the need to honour this site, but how? I was at a loss. I wanted to scream out, cry, bathe the space with peace. After standing in silence, I approached our guide with a favour. I asked him to permit me to exit through the door of no return. To my surprise he agreed to open it to me, but on one condition, the condition that I, unlike so many who went through before, walked back through.
© Sojourner Walker
I am not sure what I will discover when I finally make it to North Western Cameroon, but I look forward the opportunity to embrace the past and re-claim a piece of my story – that figurative door of no return.
-If any of you are interested, I have been asked to speak at the Sojourner Truth Research Library in Washington, D.C., this May on the topic of the Door of No Return in the Cape Coast Castle. I will post more about this engagement in April.
Tagged: Cameroon


text:
Traci Belmonte
Trouble for Loretta Lynch: Top Dem Calls for Investigation
posted by Traci Belmonte • 6/12/2017
FOLLOW Traci Belmonte FOLLOWED
Liberal Democratic Senator, Dianne Feinstein, called for a probe of former Attorney General Loretta Lynch's actions in the email investigation of Hillary Clinton. Sen. Feinstein, the top Democrat who sits on the Senate Judiciary Committee, said she is concerned by the testimony provided by former FBI Director, James Comey, at the Intel Committee Hearing last Thursday.
Comey testified that Lynch directed him to soften the public language he used by changing the word "investigation" to "matter," a term favored by the Clinton camp during the Presidential campaign. Comey said the directive undermined the integrity of Lynch's Department of Justice and made him "queasy."
Senator Feinstein stated on CNN's "State of Union:"
"I would have a queasy feeling too. I think we need to know more about that. And there's only one way to know about it and that's to have the Judiciary Committee take a look at that."
This is great news for all of those left bothered by Mr. Comey's revelations! The fact that a ranking minority member wants an investigation means there is a good chance that it will happen.
Other questions remain: Why didn't James Comey report this improper request as required of him by law? Why wasn't Loretta Lynch's clandestine meeting with Bill Clinton on an airplane tarmac explored? Why wasn't a special prosecutor assigned to this investigation? What other actions did the Justice Department take to cover for Hillary Clinton?
Stay tuned as this story is just beginning to unfold.
Written by Traci Belmonte
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Community Health Workers (CHWs) are a valuable component of preventive health care delivery who connect the most vulnerable community members with culturally appropriate education and support to improve health outcomes. In most states, there is no standard mechanism to pay for the important services CHWs provide. Many states are exploring how to fix that. This brief outlines processes and best practices from Indiana, a state that successfully secured Medicaid reimbursement for specific CHW services through a State Plan Amendment.


text:
Untold Dylan
The meaning behind the music and words of Bob Dylan
A classification of Dylan's songs
About the reviews
All directions at once
Alphabetical index of Dylan's songs
Bob Dylan and friends
Bob Dylan master harpist
Bob Dylan year by year
Bob Dylan's Themes
Covers of Dylan songs
Dylan and mythologies
Dylan at the movies
Dylan in Depth
Dylan re-imagined
Dylan songs of the 1950s and 60s
Dylan songs of the 1970s
Dylan songs of the 21st century
Dylan's creativity
Dylan's lighter side
Dylan's Opening Lines: an index
Dylan's songs: the themes
Faithful Symmetry
Forgotten gems, lost songs
Index of citations
Influences On Bob Dylan
Never Ending Tour
Play lady play
Poets and themes within Bob Dylan's work
Rough and Rowdy Ways
Songs about Dylan
Tombstone Blues
Untold Highlights
Untold Themes
Untold writers
Updated reviews
Why does Dylan like…
← Black Diamond Bay – with added Jacques Levy recording of the song
Floater (Too much to ask). Revisiting Bob Dylan's song and wondering about meanings & plagiarism →
Caribbean Wind: Dylan's ever changing song that never made the never ending tour.*
Posted on August 3, 2013 by TonyAttwood
By Tony Attwood
*Yes, I know he played it once live on 12 November 1980, but "never" makes a better headline.
This review revised and updated 13 April 2007.
Having reviewed Angelina it makes sense to move on to Caribbean Wind also an out-take from Shot of Love.
But the question any reviewer of this song has to face is "Which Caribbean Wind?" for this is the most re-written of all the Dylan songs. Indeed the lyrics that appear on the official Dylan site have little to do with the first version that appears on "Shot of Love Sessions". And it is this version that I am going to use for this review. It also appears on Biograph.
The "Shot of Love Sessions" collection of songs was recorded at Rundown and Clover Studios, March and May 1981 and if it is the detailed movement of the lyrics that you require then "Still on the Road, the songs of Bob Dylan volume 2" is the book you need, but the ten page history of the song can be summarised easily. For his own reasons Dylan wrote and re-wrote this song, taking out any references that might be tracked back to an individual, a situation or a theme, and gradually the song became less and coherent as each line started to lose any connection with the line before or after.
In the end the most likely explanation as to why Dylan abandoned the song is simply because the endless re-writes had delivered a stream of interesting lines but no coherence from one to the next. As a result we can ultimately see the song as a celebration of the disconnection of fandom thoughts and maybe this is what Dylan wanted, for the writing of this seems to have come at the moment he decided to move away from predominantly religious pieces.
It starts off with the rose of Sharon, Sharon being a Mediterranean coastal plain between Joppa and Caesarea. We then have Milton's Paradise lost, and that's the first line. Then in line two we are in Rome and in line three on tour with Bob.
What are we to make of any of this? No one really seems to know. Jesus is still there, but He now becomes a bit player in the endless flow of images.
She was the rose of Sharon from paradise lost
From the city of seven hills near the place of the cross
I was playing a show in Miami in the theater of divine comedy
Told about Jesus, told about the rain
She told me about the jungle where her brothers were slain
By the man who had been dyin', who disappeared so mysteriously
Is Bob talking about his religious doubts or something else? Everything is possible with such a varied collection of ever changing lines.
Was she a child or an angel, did we go too far?
Were we sniper bait, did we follow a star?
Through a hole in the wall to where the long arm of the law cannot not reach
Could I have been used and played as a pawn?
It certainly was possible as the gay night wore on
Where men bathed in perfume and practiced the hoax of free speech
The notion of being confused about his religious commitment is an attractive explanation several times…
The cry of the peacock, flies buzz my head
Ceiling fan broken, there's a heat in my bed
Street band playing "Nearer My God to Thee"
We met at the station where the mission bells ring
She said, "I know what you're thinking, but there ain't a thing
You can do about it, so let us just agree to agree"
And sometimes we seem to be back with Bob's favourite book of the New Testament – the Revelations of John…
Every new messenger brings evil report
'Bout armies on the march and time that is short
And famines and earthquakes and train wrecks and the tearin' down of the wall
Or was that actually Jericho? It is hard to know. There are so many "end of days" lines that one keeps coming back to Revelations however
I see the screws breakin' loose, see the devil pounding on tin
I see a house in the country being torn apart from within
I can hear my ancestors calling from the land far beyond
But there is something else: the music, which is not mentioned in most reviews. For the music as captured in the first track on Shot of Love Sessions, is something quite remarkable. It is that descending baseline that Dylan loves (for example Sad Eyed Lady of the Lowlands) with one hell of a bounce and beat, coupled with a chorus which is musically taken from Isis. And we always know, when Dylan hits that descending bass, we are like as not in for one hell of a treat.
Certainly that the descending bass isn't quite true in the first line, it jumps around a bit, which is a nice touch, but the feeling, emphasised by the second line, is there all the way through.
So what we get in chordal terms is
G, D, Bm, Em, C
G, D, Em, D, C
So yes, it is the classic descending bass that arrives in the second line (G, F sharp, E, D, C) which announces this is Dylan in classic mode and which run with different chords in the first line. (Actually the bass player doesn't make the most of the descending bass possibility in the first line, where he could play G, F-sharp, E, D as a passing note, C but doesn't. But hell, that's a detail.)
And just then when we have had that classic sequence four times what do we get? Isis!
F C C G
F C G
OK, it is Isis with an extra bar added (that second C in the first line) but the reference is unmistakable.
So we have now a second really strong musical clue as to what Dylan is talking about. The lyrics have elements from the end of time as reported in the Bible, and the melody takes us back to a woman who knows everyone, a woman who has suffered through a relationship in the past going wrong through the misdemeanours of the man. A woman who holds the power.
And these two themes do eventually come together
She was well rehearsed, fair, brown and blonde
She had friends who was busboys and friends in the Pentagon
Playing a show in Miami, in the theatre of divine comedy.
Talked in the shadows, where they talked in the rain
I could tell she was still feeling the pain
Pain of rejection, pain of infidelity.
This woman is everything, she could be both. Dylan just falls for her – or at least for her presence, but then the outsider steps up… The rattlesnake – the ex-lover or ex-husband who feels the needs to deal with the newcomer "trampling over his flowers". (I only wish I had found the song much earlier. There are some guys I would have loved to have called a rattlesnake in this context!)
Was she a child or a woman? I can't say which.
One to another she could easily switch
Couples were dancing and I lost track of the hours
He was well prepared, I knew he was
Paying attention like a rattlesnake does
When he's hearing footsteps trampling over his flowers.
And then suddenly we get this amazing chorus – amazing no matter which version of the song you listen to. Everything can change everything can be anything. Nothing is set forever. The wind is the metaphor for change.
And that Caribbean wind still blows from Nassau to Mexico,
From the circle of ice to the furnace of desire.
And them distant ships of liberty on them iron waves so bold and free,
Bringing everything that's near to me nearer to the fire.
Meanwhile the woman looks at Dylan closely and announces her ex is outside, doing the usual "its only your best interest that I am trying to protect". He clearly loves her, even though he's slipping back on the alimony.
And hearing this Isis chord sequence, we are wondering – are we going to build up to that famous conclusion:
She said, "You gonna stay", I said, "If you want me to, yes"
We don't quite get there, but the hint, the thought is always there…
She looked into my soul through the clothes that I wore
She said "we got a mutual friend standing at the door
Yeah, you know he's got our best interest in mind"
He was well connected, but her heart was a snare
And she had left him to die in there,
Eighty payments due and he was a little behind.
"She had left him to die in there" – a real Isis line.
So to slip away from the unwanted attention of the ex they meet secretly. The woman says, just leave it – we can't do anything about him – he's just there. Forget it. And in this revised interpretation "Nearer My God to Thee" is not a central point but a passing bit of scene setting.
Well, I slip in a hotel where flies buzz my head
Ceiling fan was broken, there was heat in my bed
We met in secret where we drank from a spring
She said "I know what you're thinking, but there ain't a thing
We can do about it, so we might as well let it be"
Two years on, the world is falling apart, and the relationship is over. The way in which Dylan re-writes the melody around line three is incredible.
Atlantic City, two years to the day,
I hear a voice crying "Daddy" and I look that way,
But it's only the silence in the buttermilk hills that call,
Every new messenger bringing evil reports
'Bout rioting armies and time that is short,
And earthquakes and train wrecks and the heat was scribbled on the walls.
Should he have tried to keep close to her? Maybe, but he just has to keep moving, keep moving.
Would I have married her? I don't know I suppose,
She had bells in her braids and they hung to her toes.
But I heard my name and heard destiny say to be movin' on
And I felt it come over me, some kind of glow,
For the sake of "Come on with me girl, I got plenty of room"
But I knew I'd be lying, and besides she had already gone.
With Isis yes he says yes. Here he is ambiguous, and the Caribbean wind still blows.
The tragedy of this song is that this version has only one thing wrong with it, the attempt to make something special and different out of the last line. Musically it doesn't need it, and the experiment is abandoned in the rougher recording that concludes the "Sessions" album.
I much prefer these lyrics to the seemingly much more forced lyrics that appear on the official site. That version starts with "She was the rose of Sharon from paradise lost". OK if you know your horticulture you can think about it as a plant. It is mentioned in the Song of Solomon too. And having ploughed through Paradise Lost at university I can say there ain't no rose of Sharon therein. But then, is it really a nothing way to start a song – far too forced – or is it one hell of a way to start a song and really keep me guessing.
In the end I enjoy all the versions. They all work for me, because in none of them do I really know what Bob is talking about. But he does it with such energy, such boldness, and such desire.
What is on the site
1: Over 360 reviews of Dylan songs. There is an index to these in alphabetical order on the home page and an index to the songs in the order they were written in the Chronology Pages.
2: The Chronology. We've taken all the songs we can find recordings of and put them in the order they were written (as far as possible) not in the order they appeared on albums. The chronology is more or less complete and is now linked to all the reviews on the site. We have also recently started to produce overviews of Dylan's work year by year. The index to the chronologies is here.
3: Bob Dylan's themes. We publish a wide range of articles about Bob Dylan and his compositions. There is an index here.
4: The Discussion Group We now have a discussion group "Untold Dylan" on Facebook. Just type the phrase "Untold Dylan" in, on your Facebook page or follow this link
5: Bob Dylan's creativity. We're fascinated in taking the study of Dylan's creative approach further. The index is in Dylan's Creativity.
6: You might also like: A classification of Bob Dylan's songs and partial Index to Dylan's Best Opening Lines
And please do note The Bob Dylan Project, which lists every Dylan song in alphabetical order, and has links to licensed recordings and performances by Dylan and by other artists, is starting to link back to our reviews.
9 Responses to Caribbean Wind: Dylan's ever changing song that never made the never ending tour.*
sony vegas pro 13 patch says:
I love what you guys are usually up too. This sort of clever work
and coverage! Keep up the wonderful works guys
I've included you guys to blogroll.
SFTS is quite clearly about Sara.
Larry fyffe says:
Dylan revamps biblical stories: the answer is blowing in the Carribbean wind. If no one is properly hearing, 'tis not yet time for the changing of the guard:
"And ere the lamp of God went out in the temple of the Lord, where the ark of God was, and Samual was laid down to sleep". (Samuel 3:3)
Also the focus of 'Wicked Messenger."
Isn't it time for someone to wakeup: "Every new messenger brings evil reports." But the old guard gets complacent. Not until the young are advised by them do the new guard wake up and deal with the problem.
See also: "Drifter's Escape"
Until young Samuel is so informed, he thinks its the old man Eli calling him instead of God within himself.
"The world could end tonight but that's alright/
She will still be sleeping when I get back."
(Dylan: Carribbean Wind)
Mauro Suttora says:
Jesse Eells-Adams says:
rose of sharon is from grapes of wrath.
Pangur Ban says:
The city of seven hills is not necessarily Rome: it could be Cincinatti…
https://en.wikipedia.org/wiki/List_of_cities_claimed_to_be_built_on_seven_hills
Good article, which would be good to have updated following the release of the rehearsal and live versions on the Trouble No More bootleg series.
TonyAttwood says:
Thanks Pangur. Re the updates, yes I agree, but time is the issue. This site started as a hobby and has become all-consuming. I urgently need some more co-workers.
Kiwipoet says:
I too much prefer the unofficial version. So much more passionate. And that amazing line about the buttermilk hills that call! I looked it up and there are Buttermilk Hills in the U.S but I've forgotten the reference now. I think they should be capitalised – you know how Dylan loves throwing in real places, a study in itself.
I've still got a day job and a writing life, but I've been a Dylan follower since 1966 and would love to help if I could… I'm not that hard to find.
And Larry is quoting from 'I and I', not 'Caribbean Wind', at the end of his excellent comment.
Music of Bob Dylan says:
Hello there, Thank you for posting this analysis of a song from Bob Dylan's Music Box: http://thebobdylanproject.com/Song/id/112/Caribbean-Wind Come and join us inside and listen to every song composed, recorded or performed by Bob Dylan, plus all the great covers streaming on YouTube, Spotify, Deezer and SoundCloud plus so much more… including this link.
Also from Untold: Schools.co.uk
Just Like Tom Thumb's Blues (1965) part I: Thin Air
Musings on Bob Dylan and the Middle East
Can Bob Be Saved (Part III)
The Never Ending Tour 1994 part 5: Dancing to the nightingale's tune
Dylan Obscurianti: Track 5 – Love is just a four letter word
To Ramona (1964) part II: Whatever will be
Can Bob Be Saved? (Part II)
One song to tune of another 3: Shooting Star (and a Rocket Man)
All Directions, Oh Sister, Abandoned love, farewell preliminaries, hello dead body
Ramona are you betta, are you well?
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Indexes and reference pages
Untold Dylan: "I'll let you be in my dream if I can be in yours"


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The research of a test in which a research subject was asked to draw a picture of a dog four times, at different stages of his exposure to transcranial magnetic stimulation.
Hooked up to the Medtronic Mag Pro, a test subject begins the series of tests to show the effect of transcranial magnetic stimulation.
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