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text:
Printed from https://ideas.repec.org/a/kap/rqfnac/v46y2016i4d10.1007_s11156-014-0484-y.html
The extent of informational efficiency in the credit default swap market: evidence from post-earnings announcement returns
Nicole Thorne Jenkins
() (University of Kentucky)
Michael D. Kimbrough
() (University of Maryland)
Juan Wang
() (Central Connecticut State University)
Under semi-strong market efficiency future returns are unpredictable from previously released information. We test the degree of semi-strong form market efficiency in the credit default swap (CDS) market by examining the relationship between subsequent CDS returns and previously announced quarterly earnings surprises and quarterly accruals, both of which have been the source of stock market anomalies. We conduct our analysis over three time periods: (1) before the credit crisis that spanned from July 2007 to June 2009, (2) during the credit crisis, and (3) after the credit crisis. Both before and after the credit crisis, the CDS market was efficient, exhibiting no systematic relation between subsequent CDS returns and previously announced accounting information. During the credit crisis, however, we find that both quarterly earnings surprises and quarterly accruals are associated with systematic patterns in subsequent CDS returns that are consistent with underreaction to both measures. In the latter stages of the crisis, the pattern reverses, consistent with the CDS market overreacting to both measures although the overreaction is short-lived. Collectively, our results indicate that the CDS market is efficient during periods of relative economic stability but call into question its efficiency during less stable economic periods.
Nicole Thorne Jenkins & Michael D. Kimbrough & Juan Wang, 2016. "The extent of informational efficiency in the credit default swap market: evidence from post-earnings announcement returns," Review of Quantitative Finance and Accounting, Springer, vol. 46(4), pages 725-761, May.
Handle: RePEc:kap:rqfnac:v:46:y:2016:i:4:d:10.1007_s11156-014-0484-y
File URL: http://link.springer.com/10.1007/s11156-014-0484-y
File Function: Abstract
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Credit default swaps; Market efficiency; Default risk; Post earnings announcement drift; Accrual anomaly;
M41 - Business Administration and Business Economics; Marketing; Accounting; Personnel Economics - - Accounting - - - Accounting
G13 - Financial Economics - - General Financial Markets - - - Contingent Pricing; Futures Pricing
G32 - Financial Economics - - Corporate Finance and Governance - - - Financing Policy; Financial Risk and Risk Management; Capital and Ownership Structure; Value of Firms; Goodwill
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Just a wee quicky post for tonight as I'm enjoying a nice with my lovely man.
Got a nice little surprise from my Aunt this morning when she called and asked if Agent M could stay over. His little cousin had been desperate to have him over night and Agent M was jumping with excitement when i told him.
Another bonus to that was i could get the last of the prezzies that were delivered wrapped without him sneaking by the living room door and that when Agent D came home from work, We got to have a night out.
We don't get a night out often as when my Dad takes Agent M, Normally Agent D has to work so we end up in bed with a DVD and asleep by 9pm.
Tonight however we decided to go out (even though he is working tomorrow .. He's a total sweetheart).
I've been saving up my Odeon Premier points for the last Hobbit movie so while we had a free night we decided to go.
I love the Odeon cause on a Tuesday they do tickets from £5 which means i don't have to sell a kidney to take the boys out, plus having the premier card means that i collect points which can be used to get food or tickets.
The film was AMAZING! Without spoiling it for those who haven't seen it yet, its really good. Some sad bits in it and alot of battles (but then its called The Battle of the Five Armies so you could have guessed that lol).


text:
Can we trust statistics in fMRI studies?
January 8, 2018 PLOS Blogs Uncategorized
Functional MRI (fMRI) is one of the most celebrated tools in neuroscience. Because of their unique ability to peer directly into the living brain while an organism thinks, feels and behaves, fMRI studies are often devoted disproportionate media attention, replete with flashy headlines and often grandiose claims. However, the technique has come under a fair amount of criticism from researchers questioning the validity of the statistical methods used to analyze fMRI data, and hence the reliability of fMRI findings. Can we trust those flashy headlines claiming that "scientists have discovered the <insert political affiliation, emotion or personality trait> area of the brain," or are the masses of fMRI studies plagued by statistical shortcomings? To explore why these studies can be vulnerable to experimental failure, in their new PLOS One study coauthors Henk Cremers, Tor Wager and Tal Yarkoni investigated common statistical issues encountered in typical fMRI studies, and proposed how to avert them moving forward.
FMRI simulation
The reliability of any experiment depends on adequate power to detect real effects and reject spurious ones, which can be influenced by various factors including the sample size (or number of "subjects" in fMRI), how strong the real effect is ("effect size"), whether comparisons are within or between subjects, and the statistical threshold used. To characterize common statistical culprits of fMRI studies, Cremers and colleagues first simulated typical fMRI scenarios before validating these simulations on a real dataset. One scenario simulated weak but diffusely distributed brain activity, and the other scenario simulated strong but localized brain activity (Figure 1). The simulation revealed that effect sizes are generally inflated for weak diffuse, compared to strong localized, activations, especially when the sample size is small. In contrast, effect sizes can actually be underestimated for strong localized scenarios when the sample size is large. Thus, more isn't always better when it comes to fMRI; the optimal sample size likely depends on the specific brain-behavior relationship under investigation.
Figure 1. Example "weak diffuse" and "strong localized" fMRI activations. Adapted from Cremers et al., 2017.
Real data application: Human Connectome Project
Next, Cremers and colleagues analyzed a real fMRI dataset of nearly 500 subjects performing a social cognition task collected through the Human Connectome Project. To represent typical fMRI studies, random samples of 15 subjects were drawn to assess within-subject effects, and random samples of 30 subjects were used for between-subjects analyses. Results from these examples were compared to data from the full sample of 500 subjects—a rough proxy for true effects. Similar to the simulation, effect sizes negatively correlated with sample size, decreasing as the sample size grew. Because within-subject contrasts are by nature higher-powered, and because of the strong brain-behavior effect analyzed, real within-subject activations were readily detected even with the small sample of 15 individuals, resembling the simulated "strong localized" effects. In contrast, between-subject effects, even with twice the sample size, were unreliable and inflated, closely resembling the simulated "weak diffuse" scenario (Figure 2).
Figure 2. Eight random subsamples of data (N = 30) from the Human Connectome Project, showing unreliable between-subject activations. Adapted from Cremers et al., 2017.
These findings offer a few key take-away lessons. Underpowered studies can result in grossly overestimated effects and inconsistent activations, leading to an inability to replicate results. In part driven by a common fear of Type I errors (false positives), many studies miss legitimate effects and thus encourage incomplete or inaccurate inferences about brain-behavior relationships. Wager underscores that these pitfalls aren't entirely unique to fMRI:
"Having a healthy skepticism applies to most areas of science—genetics, animal models of disorders, psychology, and much more—not just fMRI. And I think skepticism should be healthy skepticism—we can get provisionally excited about published ideas, and more excited about them as they pass the test of time and begin to be replicated across more groups. Publishing an exploratory finding that may not be true is not wrong, if you've made a good faith attempt to get at the truth—we just have to have patience and not 'over-believe' until the evidence comes in."
Avoiding statistical pitfalls
So what can a neuroscientist do to adequately power their fMRI experiment to detect true effects while minimizing false or unreliable effects? A power analysis using realistic parameter estimates to compute the necessary sample size is a critical first step. Unfortunately, the requisite sample of fMRI data may be prohibitive in terms of time and money for an individual researcher without access to large datasets. The growing trend in "big data" may partially address this problem, but, as Wager explains, "it's even more important to have 'smart data.' Large datasets can produce spurious results with high confidence in many cases where hidden causes are not properly accounted for. Smart data means careful sampling and analysis to improve inferences about what the real causes of effects are." Once the data have been collected, a researcher can optimize their analysis by selecting the right balance between Type I (false positives) and Type II (false negatives) errors, which largely depends on the unique study scenario. Finally, the number of statistical comparisons can be limited by employing hypothesis-driven testing or by taking advantage of machine-learning, graph theory, or data reduction approaches.
A movement to standardize fMRI methods has recently emerged, propelled by papers including the OHBM Committee on Best Practice in Data Analysis and Sharing (COBIDAS) on MRI and "Guidelines for reporting an fMRI study." According to Cremers, such efforts are "indeed essential, since there are so many choices to make when it comes to data acquisition and analyses. Also, initiatives like the Coursera fMRI course of Lindquist and Tor, are great and very important—they make the principles of fMRI research accessible to a wide audience."
Cremers HR, Wager TD, Yarkoni T. (2017). The relation between statistical power and inference in fMRI. PLOS One. 12(11): e0184923. doi.org/10.1371/journal.pone.0184923
Nichols TE et al. (2016). Best Practices in Data Analysis and Sharing in Neuroimaging using MRI. bioRxiv doi: 10.1101/054262
Poldrack RA et al. (2008). Guidelines for reporting an fMRI study. Neuroimage. 40(2):409-414. 10.1016/j.neuroimage.2007.11.048
Any views expressed are those of the author, and do not necessarily reflect those of PLOS.
Emilie Reas received her PhD in Neuroscience from UC San Diego, where she used fMRI to study memory. As a postdoc at UCSD, she currently studies how the brain changes with aging and disease. In addition to her tweets for @PLOSNeuro she is @etreas.


People diagnosed with "metabolic syndrome" will likely be advised to lose weight. To many that means no more sweets, especially chocolate. But Australian researchers think a daily dose of dark chocolate may be just what the doctor should order. It might well reduce the risk of heart attack and stroke in these high risk patients.


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Home/DIY news/Painting & Decorating DIY/Young people lack DIY skills
Young people lack DIY skills
Today's younger generations lack basic DIY skills, with half of those under the age of 35 admitting they do not know how to wire a plug.
According to a survey by Halifax Home Insurance, some 54 per cent of people in this age group can't bleed a radiator and would call on someone else to help.
It would most likely be dad, as 65 per cent of respondents said their fathers are better at DIY than they are.
The research shows that while many younger homeowners lack the knowledge to carry out basic home maintenance, others don't even want to try.
Indeed, 45 per cent of those questioned said they wouldn't attempt to put up shelves, while 63 per cent wouldn't give wallpapering a go.
Martyn Foulds, senior claims manager at Halifax Home Insurance, said that by adopting this attitude, today's under-35s could be creating more work for themselves.
"A significant number of younger householders could be storing up problems for the future, as the lack of home maintenance starts to take its toll on their homes," he explained.
Meanwhile, experts at this year's National Home Improvement Show have identified a growing trend in the DIY sector, with more women getting out their tools and carrying out projects by themselves.
Skimming plasterboard
How to remove grout
Laying ceramic floor tiles
Fix a light switch
How to change a tap
Installing an electric socket
Electric shower
Average cost of sash windows
Demolishing interior walls


Stocks were flat for the week, but are up big for the year, with the S&P 500 gaining about 16% year-to-date with three months left to go (long-term averages are around 9%-10% per year). Most of the global equities rally has been driven by actions in Europe that have lessened the perceived chances of a Euro-area meltdown leading to a global financial crisis.
But the lack of a total catastrophe doesn't mean all is rosy. Global industrial purchasing managers indices are low or down virtually across the board, and a Europe and China-driven global growth slowdown is very evident in the data. The broader Eurozone is currently in recession, with Germany growing at an annualized rate of +1.1%. Offsetting this somewhat is the considerable global monetary policy easing in the U.S., Europe, Japan, and China. I don't think that makes it a wash, but I also don't think that markets have been expecting robust global growth to begin with. In the U.S., positive news from durable goods orders and housing data (new home sales/prices) has been off-set by declines in regional PMIs. It is my opinion that we aren't going to see a lot of economic activity – business spending and hiring – until election outcomes are known.
On monetary policy, one of the better essays (few are worth reading) on recent Fed actions was published in the Financial Times last week, written by Martin Wolf. Wolf pointed out that because interest rates are already low, the Fed's new actions ($40bb + new monthly asset purchases) are "far more likely to be helpful than transformative." Helpful rather than transformative − I think that's the right way to look at it.


Let's be real: Halloween can be scary. Ghosts, and witches, and zombies – oh my! But that's no reason to stay in. Here are six tame alternatives to screaming your head off this Halloween.
The National Museum of Mexican Art in Pilsen is housing its second annual Day of the Dead Chicago celebration on October 30, complete with a festival of light, live performances, and transforming a neighboring soccer field into a cemetery filled with ofrendas.
A short drive north of Chicago in Glencoe, the Chicago Botanic Gardens offer lush, expansive views of a whole array of natural wonders. This Halloween, however, they are working with New York artist groups Rise of the Jack O' Lanterns to create an immersive experience of more than a thousand jack-o'-lanterns depicting classic Halloween images as well as famous Chicago landmarks. Tickets are selling fast, so hurry!
Go on this family-friendly romp through Lincoln Park Zoo looking your Halloween best. The animals will be out, as well as crafts, treats, and live entertainment! Did we mention it's free?
A sleepover at the Shedd Aquarium with a pumpkin scavenger hunt. What else do you need to know?
What's better for Halloween than a classic monster as hilariously interpreted by Mel Brooks and then remade into a musical? Nothing we know. Catch it onstage now at Metropolis Performing Arts Centre.
Not in the mood for Halloween? Check out these productions before they close!


Reflections on my first term of teaching: I never want to leave education!
24 Oct Reflections on my first term teaching at EborHope Teaching Schools Alliance: I never want to leave education!
In the first of our 'Talking about teaching' blogs we hear from Emily, a student History Teacher with EborHope Teaching Schools Alliance about her experience in her first few months of teaching. In this series we will be looking at teaching from the point of view of student teachers, professional mentors, newly and recently qualified teachers, specialists and senior leaders in education to give you a broad overview of what being part of teaching in EborHope Schools Alliance looks like today.
The stress of university careers fair was approaching in my final year at Newcastle University and I had no idea what I wanted to do! The thought of applying for jobs terrified me. My 15 years of education was coming to an end and I really didn't want it to. That's when the idea of teaching was suggested to me, and that is how my journey began.
I loved my experience at secondary school; I was passionate about education and will never forget the inspiring teachers that I encountered throughout school life. An opportunity to get back into that environment seemed right for me. After applying for the School Direct Programme, I was offered an interview (before I'd even finished my current university course) and accepted on a conditional offer until I graduated. The interview was not as scary as I thought it would be, reassured by the EborHope staff, who were passionate about helping me to get a place on the course.
Before beginning the course in the September of this year, I was continually supported by EborHope throughout the summer with all my worries and queries. I was naturally apprehensive about beginning, however, the induction days helped by meeting my fellow student teachers (who seemed as nervous as me!). I was given my 'base' placement school and had a chance to meet my future colleagues and mentors before starting in September.
I was worried that I would be behind compared with my course cohort as I'd had little experience of working in a secondary school. However, I soon realised that the students of the school direct course came from all sorts of backgrounds, ranging in age and experience. I think this unique mix creates a great atmosphere when we all get together once a week to discuss how our placements are going, and the experiences we have had – the good, the bad and the ugly! Knowing that one day a week we are able to meet up as a cohort, have our questions and concerns answered, and given advice from experienced teachers is so reassuring.
Teaching is a constant challenge; there is no denying that. Nevertheless, the joy I have already felt from my first term with the EborHope teaching placement has affirmed that this is the job that is right for me. I have a strong support system of mentors and tutors, guiding me through beginning my teaching practice, also providing weekly sessions on the various elements involved in the job. EborHope focuses on staying true to yourself and revolving your development around that – there is no certain mould you have to fit in for teaching, teaching is expressing your personality and knowledge in your own individual way.
If I could go back to that careers fair, I would tell myself that if you want a job where no day is the same, a job where you are constantly stimulated and challenged and finally, a job where you can make a real difference in society and individuals' lives then, put down all those leaflets and apply for teaching!
If you would like more information on training to teach with EborHope Teaching Schools Alliance you can read more on our website or email admin@eborhope-tsa.org to book a School Experience day with us.


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Dubbing Is A Must: A Beginner's Guide To Jamaica's Most...
Features I by David Katz I 16.04.14
Dubbing Is A Must: A Beginner's Guide To Jamaica's Most Influential Genre
From drone to dubstep, the values and techniques of dub are more present than ever in the music we consume every day. Yet, for many, dub appears an impenetrable genre – the sort of thing we know we should be into, but we don't quite know where to start with. That's why we asked David Katz – renowned reggae historian, photographer and more – to write us the Beginner's Guide to Dub, with quotes from Bunny Lee, Niney the Observer, Glen Brown, Adrian Sherwood, Dennis Alcapone, Roy Cousins and more. We've also compiled an accompanying playlist on the last page of this article.
During the last 60 years, Jamaican popular music has rarely stood still, thriving on the innovations of a handful of committed practitioners that continually force the music into new directions. Although it would take time for foreigners to clock the music emanating from this Caribbean island, and even longer for them to comprehend it, there is ample proof that Jamaica has exercised a disproportionate influence on the musical practices of the outside world. And in recent times, dub has proven to be the most influential reggae sub-genre of all.
Without the dub invention pioneered by an elite coterie of Jamaican recording engineers and record producers, rap would never have become the world's leading form of popular culture; ambient, jungle, house, garage, grime and numerous other types of technologically-driven dance music probably would not have taken off. And there would surely be no such thing as dubstep, currently the focus of youth culture in so many different lands. Yet, who, exactly, is responsible for dub? What purpose did dub serve, and has the form remained static? What, in other words, is dub music all about?
Chris Blackwell once memorably noted that "there are no facts in Jamaica", since conflicting accounts of who was responsible for what in the island's incredibly rich music scene continually come into play. Nevertheless, the man most readily identified as the 'dub inventor' is none other than King Tubby, the sound system proprietor and electronics technician otherwise known as Osbourne Ruddock, whose tiny front-room studio in the Waterhouse ghetto of western Kingston was a key site of dub creation.
The nickname Tubby did not refer to Ruddock's waistline. Instead, it stemmed from Tubman, his mother's maiden name. Though Tubby's chief occupation involved amplifier repair and the construction and winding of transformers to stabilise the electrical supply of local businesses, music was always a primary fascination, leading him to found the Home Town Hi-Fi sound system as a teenager in 1958. Producer Niney the Observer, who worked closely with Tubby during the 1970s, points out that, although he was crowned 'King of the Dancehall' at a neighbourhood event in the early 1960s, his set was initially a small concern affiliated with the tamer uptown music scene, despite its hallmark of technical innovation. "King Tubby used to have a little hi-fi that he played up Red Hills, and there is certain little people follow him—not the rebel people those days. Tubby used to tape songs off the radio, like certain time of night he plug in the radio station and play it back into his sound."
Producer Glen Brown, another close associate, says Tubby always had an innovative approach to recorded sound. "King Tubby always build some little speaker, and he always have a little Quickly motorbike, so King Tubby build a little thing on the bike—sometimes you're talking to him, and he'll record you with it."
"King Tubby always build some little speaker, and he always have a little Quickly motorbike, so King Tubby build a little thing on the bike—sometimes you're talking to him, and he'll record you with it." – Glen Brown
Toaster Dennis Alcapone says this penchant for constant innovation is what made Tubby's so sound distinctive. "King Tubby's was definitely the greatest sound ever to come out of Jamaica. You wouldn't listen to the other sounds, because they was just bringing out normal voices with normal bass. Duke Reid and Coxsone, their bass was heavy, but Tubby's bass was just so solid, and then he brought in reverb, which wasn't introduced to the public before—it was mind-blowing."
Since the years following World War II, when Jamaicans who went abroad for seasonal farm work encountered black Americans making money at street dances and block parties, sound system culture has defined the Jamaican music scene. With powerful amplifiers and banks of speaker boxes, sound systems provided the rhythm and blues beloved by the black Jamaican masses, forming an affordable alternative to the costly live jazz scene, which catered to the light-skinned upper class and visiting tourists. Exclusivity became a key factor, with shrewd proprietors removing the labels of their most prized records to stop the competition from locating a copy. Then, once Jamaica kick-started its own music industry in the 1950s, exclusive acetates cut with local talent, known first as 'soft wax' and later as 'dub plates,' became necessary components of every sound system, along with a jive-talking toaster on the microphone, who would spice up the dead airtime between songs. During the late 1960s, these components coalesced in dub, when an incidental moment of studio innovation had drastic repercussions.
According to producer Bunny Lee, the genesis of dub took place in late 1968 at Duke Reid's Treasure Isle studio, where King Tubby was working as an apprentice to engineer Byron Smith, though Lee ultimately credits Ruddy Redwood, the financially solvent owner of the Spanish Town-based Supreme Ruler of Sound as dub's initial catalyst. And Lee likes to say that Ruddy's development was a "mistake", but the way he describes it, the experimentation seems quite deliberate:
"Ruddy was another wealthy man who can help himself. Him inna racehorses and have him record shop and a big club 'cross Fort Henderson, so when him come ah Duke Reid and Coxsone, them give him any tape him want. One evening them ah cut dub plate, and when them cut, it's difficult to put in the voice, and Smithy ah go stop it, and Ruddy say, "No, make it run." When it done, him say it art, and me and Tubby stand up right there, me look 'pon Tubby and Tubby look 'pon me. Saturday night, him drop the singing cut first, and the deejay said, "I'm going to play part two!" and the whole dancehall start to sing the song 'pon the pure rhythm. Him have to play it about ten, fifteen times because it's something new. I say, "Boy, Tubbs, you see the mistake whe' Smithy make? A serious thing! The people ah Spanish Town love it! You have to start do something like that." Tubby just bang onto U Roy, U Roy come in and say, "Part two, another version" on "Too Proud To Beg" with Slim Smith, ah so the name 'version' come in. When it start, you hear Slim Smith start to sing and then you hear the voice gone! Then you hear him come in again, and you hear U Roy talk, "Love the life you live and live the life you love, here come the brother Slim Smith again, tell them," and a man say, "Boy, Tubby have amplifier that can take out the voice and play pure rhythm." Little did them know that's how the dub make out. There goes version now, and everybody wants it 'pon them record."
Thus begins the incredible tale of dub, which has so much resonance in our present time. But when you go digging into the past of Jamaican music, you often find that things happened earlier than expected. Indeed, rhythm tracks had already been used for more than one purpose in Jamaica: in 1965, at Studio One, Roland Alphonso blew the saxophone melody of a song called 'Rinky Dink', using the rhythm of Lee 'Scratch' Perry's 'Hold Down' with the vocals removed. The following year, the rhythm of the Wailers' popular 'Put It On' was also used for Perry's ribald 'Rub And Squeeze,' and there was a wild harmonica take of the Wailers' 'Rudie' called 'Green Collie' too. Studio One founder Clement 'Sir Coxsone' Dodd said this was enabled by changes in recording technology, with the two-track Ampex he purchased in 1964 allowing for the technique.
Nevertheless, the standard practice of 'version' B-sides being constructed from the customised rhythm tracks of a previous recording clearly follows from the legendary 1968 Treasure Isle session described by Bunny Lee—particularly after Tubby opened a tiny voicing and mixing studio in his front room in 1969, after acquiring an obsolete mixing desk from Byron Lee's Dynamic Sounds. And the rise of 'version' would ultimately pave the way for the experimental contours of dub, in which previously recorded vocal songs would be remixed to emphasise drum and bass, making greater space for deejays to appear on record, particularly after U Roy, the star toaster on King Tubby's sound system, showed just what could be done with the form.
Use your keyboard's arrow keys or hit the prev / next arrows on your screen to turn pages (page 1/3)
Before U Roy, a deejay was just an incidental figure, someone that told a few jokes between songs and made announcements about future dances. But U Roy's fluid toasting, voiced over Duke Reid's old rock steady rhythms, brought deejay music to the top-three Jamaican chart positions in 1970—a truly unprecedented feat. U Roy thus turned the deejay into a superstar whose toasts were as important as any singer's lyrics, prefacing the rap craze in America by the better part of a decade.
Dub began its concerted evolutionary gestation shortly thereafter, once King Tubby, Lee 'Scratch' Perry, and a handful of likeminded peers began exploring the limits of the form, with Perry being the first to delve in wholeheartedly. During the late 1960s, Perry had his greatest successes with instrumental versions, hitting spectacularly with 'Return Of Django,' which brought him and his Upsetters band to Britain in 1969. The following year, he began concentrating on Bob Marley and the Wailers, yielding the albums Soul Rebels and Soul Revolution, but continued his forays into the 'version' phenomenon through exquisite instrumental B-sides. In 1971, he took things a step further by issuing Soul Revolution II, an entirely instrumental edition of the Wailers' Soul Revolution set, which allowed listeners to hear the material in an entirely different way; devoid of the singer's voices, emphasis was now placed entirely on the rhythms of the backing musicians.
Dramatic changes were soon afoot, as mixing engineers began to emphasise drum and bass on the version B-sides, augmented by the application of echo and reverb, as notably heard on the opening lines to Glen Brown's melodica-led hit 'Merry Up.' As Bunny Lee explains, "The drum and bass part, Tubby strike out now, and one of the first drum-and-bass tunes that come out was 'Merry Up' with Glen Brown. That reverb, that watery sound at the start, that ah one of the first."
Tubby was able to make more initial forays into dub because he had his own space in which to work, unlike peers such as Perry, who had to rely on the facility of others, prior to the opening of the Black Ark in late 1973. Other producers heavily involved in dub, such as Niney the Observer, Keith Hudson and Augustus Pablo, never managed to get a studio of their own, which led them to rely on Tubby for the most part (though Niney later worked steadily out of both Joe Gibbs and Channel One). Tubby's home set-up at 18 Dromilly Avenue was not a recording studio in the conventional sense, nor was Tubby an actual producer in his own right, until he expanded in the late 1980s. His bedroom studio was never large enough for rhythms to be created in full there, but the space was gradually converted into a sound manipulation unit complete with a machine to cut acetates.
"Tubbs is an innovator", said the late Philip Smart, who was engineer at the studio for much of the mid-1970s. "He didn't buy his first console, he built it, and that's what he used until he bought the MCI console from Dynamics, their studio B. It was just that room he had at first. You have a carport, and then the carport is a bedroom and a bathroom, so him turn the bathroom into the voice room and the bedroom into the control room, and he had his repair shop in another little house in the back. His main income was building amplifiers and winding transformers; the music was an addition, because he had the sound and he always wanted to make his own dubs."
"That reverb, that watery sound at the start, that ah one of the first." – Bunny Lee
"The home amplifiers like Pioneer, Marantz, it's them amplifiers him started with", says singer and producer Roy Cousins, who often recorded at Tubby's. "He did have about three of them transistor amplifiers, one of them old cutter, and them likkle two-track reel-to-reel that come in a suitcase, him did have one like that him used to put on a stool. Then when Byron Lee decided him going cut stampers, him decided to sell [the equipment in] studio two, which was four-track. It's through Bunny Lee that Tubby get the mixing desk: Byron wanted cash and everybody just want to leave a deposit, but Tubby go down there with the whole of it."
Dub gained greater credibility in 1973, when a number of dub albums appeared all at once, each vying for the title of 'first dub LP.' Among the most noteworthy were Herman Chin-Loy's minimalist Aquarius Dub; Lee Perry's astounding Blackboard Jungle Dub (originally issued as Upsetters 14 Dub Blackboard Jungle), created in collaboration with Tubby; Prince Buster's The Message Dubwise, mixed at Dynamics by Carlton Lee; Clive Chin's exquisite Java Java Java Java, mixed by Errol Thompson at Randy's; Joe Gibbs' Dub Serial, also mixed by Thompson, and Studio One's enthralling Dub Store Special, mixed by Clement Dodd.
When we survey the available evidence, Aquarius Dub is the strongest contender for actually being the first, and Chin-Loy says he assembled the disc as a way of giving deejays uninterrupted toasting time on sound systems. But Chin-Loy's album has few of the effects that would give dub its outstanding difference, being more in the mode of an instrumental 'version' LP; Clive Chin points out that Java Java Java Java had more in the way of experimentation, which helped dub attain more solid footing. "Them time there, Tubby try and experiment more fi dub, but me and Errol start dub music", Chin emphasises. "When I say start it, I'm not saying we going to take credit for any other man that put out a dub album, but we really experiment, because we had the time and the facility to do it. Another man like Phil Pratt or Niney, studio time was so important that you have to run in and run out." Had Thompson not left Randy's for Joe Gibbs, dub probably would have enjoyed a further flowering there, and even though Clement Dodd mixed a great series of dub albums at Studio One, the form remained somewhat peripheral to his general output.
As technology advanced, Jamaica's creative dub mixers began attracting interest overseas: the dubs Lee Perry mixed at the Black Ark were dense tapestries of heavily manipulated rhythm, which brought a contract with Island Records; Errol Thompson left Randy's to mix sound effects-laden dubs at Joe Gibbs, who landed a deal with WEA; Ernest Hoo-Kim crafted thunderous dubs at Channel One with Sly Dunbar and the Revolutionaries house band, some of which were handled by Virgin. But during the late 1970s, the most important evolutionary happenings continued to take place at King Tubby's, as apprentice engineers such as Prince Jammy and Scientist mixed captivating masterworks, most notably with the Roots Radics band, as heard on the sublime series of dub albums handled overseas by Trojan and Greensleeves. Scientist had a way of isolating the bass that greatly appealed to overseas listeners, and his use of the electronic test-tone as a percussive instrument was truly exceptional.
The dub album reached its international pinnacle of popularity during the late 1970s, when Joe Gibbs and the Professionals' African Dub Chapter 3 (mixed by Errol Thompson) became the rage amongst reefer-smoking college students in Britain for its ringing doorbells, banging gongs and flushing toilets. The championing of reggae and dub by John Lydon, the Clash and their deejay pal Don Letts led to dub techniques being adopted by punk and post-punk acts such as the Ruts, the Slits, Generation X and Killing Joke. Initially, 'foreign' dub was made by transplanted Jamaican sound system operators such as Lloyd 'Bullwackie' Barnes in New York, plus Ken 'Fatman' Gordon and Jah Shaka in London.
Then came a series of highly inspired British dub albums from Guyanese immigrant Neil 'Mad Professor' Fraser, and Barbados-born Dennis Bovell, along with Adrian Sherwood, the white English reggae devotee who had distributed Jamaican imports and worked with Prince Fari, prior to the formation of his On-U Sound label, even being responsible for the ground-breaking Cry Tuff Dub Encounter series with Fari. "I did my first-ever dubs when I was like 18 or 19, when I did Creation Rebel, which evolved into a band", Sherwood recalls. "Then I started working with Fari, making the dub stuff a little more interesting, because I was aware there was a big demand for dub amongst black and white sound system fans. A lot of the white smoky bears were smoking spliffs listening to dub music." Dub was widening its audience, largely through the efforts of these pioneering figures, its appeal making perfect sense in London's multicultural environment. Brian Eno caught its influence as well, noting that the Jamaica producers treated the mixing desk as an instrument, and drawing directly on their techniques for his 'ambient' releases.
Back home in Jamaica, as the dancehall style took over during the early 1980s, it seemed dub's death knell was sounded by 'Sleng Teng,' Jamaica's first totally computerised hit. Prince Jammy actually cut an album called Computerised Dub in 1986, yet the digital format was detrimental, being less conducive to dub's mixing peculiarities than the sound of live instruments captured on analogue equipment. But with such strong demand for dub overseas, and with the cost of home recording gear reducing, it was only natural that a new legion of international mixers would spring up abroad, creating bedroom recording spaces of their own.
"I was aware there was a big demand for dub amongst black and white sound system fans. A lot of the white smoky bears were smoking spliffs listening to dub music." – Adrian Sherwood
The Disciples, two white English dub fans making largely digital dub in a suburban bedroom, began crafting their own dubs in the late 1980s, after being inspired by the religious energy at Shaka dances. Alpha and Omega and the Bush Chemists began gaining currency in the 1990s, along with techno-based practitioners such as Zion Train and Dreadzone. Following on from Adrian Sherwood's experiments with Creation Rebel, dub music began to be made overseas that was not related to a previously-issued vocal recording, changing the purpose, as well as the format, of dub in the process.
Nevertheless, its influence continued gathering steam, as shown when Massive Attack fed directly on the classical Jamaican dub style, roping in Mad Professor for the dub recasting of their Protection album. The Beastie Boys had referenced Lee Perry's Revolution Dub on their sample-heavy Paul's Boutique album, and brought further kudos to dub by collaborating with the man on Hello Nasty. The Prodigy transmuted Max Romeo's Perry-produced 'Chase The Devil' for their massive 'Out Of Space,' and by the time Kanye West sampled the same tune for Jay Z's Black Album, it was entirely clear that dub was fully entrenched in the broader popular culture of the western world.
Dubbing Is A Must Playlist
Bob Marley & The Wailers – 'Put It On'
Lee Perry & The Soulettes – 'Run and Squeeze'
Bob Marley & The Wailers – 'Rudie'
Roy Richards – 'Green Collie'
The Upsetters – 'Return of Django'
Glen Brown – 'Merry Up'
Herman Chin-Loy – Aquarius Dub Side 1
Joe Gibbs & The Professionals – 'Angolian Chant'
Prince Far I – Cry Tough Dub Encounter Chapter 1
For more information on dub's evolution, check David Katz's book Solid Foundation: An Oral History of Reggae, published by Jawbone.
Tags: ReggaeBrian EnoLee 'Scratch' PerryAdrian Sherwood
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"""Loads Initial State and manages project structure"""

import json
import subprocess
import os

from sensible.loginit import logger
log = logger(__name__)

def read_config(path):
    """Reads in Config File for a Project"""

    with open(path) as data_file:
        data = json.loads(data_file.read())
    return data

def project_metadata(data):
    """Returns project metadata"""

    project = data["project"]
    checkout_dir = project["checkout_dir"]
    oath_token = project["oath"]
    org = project["org"]
    return checkout_dir, oath_token, org

def get_project_metadata(path="project/config.json"):
    """Get metadata from project by selecting path"""

    data = read_config(path)
    checkout_dir, oath_token, org = project_metadata(data)
    return checkout_dir, oath_token, org

def create_project_folders(org):
    """Create the structure for the project on disk """

    project_folders = ["org", "author", "cluster",
            "metadata", "archive", "logs"]

    root_path = "/mmi/data/projects"
    for folder in project_folders:
        folder_path = os.path.join(root_path, org, folder)
        mkdir_cmd = "mkdir -p %s" % folder_path
        res = subprocess.call([mkdir_cmd], shell=True)
        mkdir_log_msg = "Ran %s with exit status [%s]" % (mkdir_cmd, res)
        log.info(mkdir_log_msg)
    return True

redpajama_set_name: RedPajamaGithub


Care and Repair is delighted to announce a pilot programme of handy person services to undertake minor household repairs in the homes of older people.
Age Action Ireland is the national organisation which works to improve the quality of life of all older people and their carers. Our aim is to achieve fundamental change in the lives of all older people by empowering them to live full lives as actively engaged citizens and to secure their rights to comprehensive high quality services according to their changing needs.
Age Action Ireland is the national organisation which works to improve the quality of life of all older people and their carers – especially those who are most disadvantaged and vulnerable – by enabling them to live full, independent and satisfying lives for as long as they wish in their own homes.
In partnership with Irish Life, Age Action Ireland continues to develop the Care and Repair Services for older people in Ireland. The programme is currently available in Dublin, Cork and Galway City. More than twenty local community groups (or Franchise partners) also deliver the service with the support of Age Action throughout the country.
Age Action Ireland sees the Care and Repair Programme as an opportunity to create new services of value to older people in Ireland and to help Age Action fulfil its core goal of making Ireland the best country in the world in which to grow older.
Hanging curtains Installing domestic smoke alarms.
3. The Trades Referral Service is an option whereby a register of reliable and honest tradespersons is maintained. Through this means, informed recommendations can be made to older people who may have job requirements which are beyond the scope of the Care and Repair Programme. In this way, clients can have confidence that the prices charged for these larger jobs by professional tradespeople will be reasonable and that the service provided will be of a good standard.


Just months ago that the Korean company Samsung began selling his new Samsung Galaxy S3 . Its new flagship later went on to compete with another piece of relevance within the catalog of Samsung. We refer, of course, the Samsung Galaxy Note 2 , a smartphone that comes with a 5.5 inch screen and an unparalleled potential. It is true that the company is focusing its marketing efforts on this pair of high-level smartphones. But it is also true that the company is working hard on developing a new smart phone to be presented next year and would function as a worthy successor to the Samsung Galaxy S3. Today we have news that confirm - always via rumor - that the new Samsung Galaxy S4 reach the mass market with a processor Samsung Exynos 5450, a new generation chip that would offer users superior performance.
You know that a few days ago was presented in society a new tablet called the Samsung Google Nexus 10 that presented but whose manufacture has been borne by the Koreans. For the occasion, the company joined a processor Exynos 5250 dual-core Cortex A-15, running at a clock frequency of 1.7 GHz. This is, if you recognize it, the same chip that is integrated into the Samsung Chromebook, a laptop that also opened last October. I should not wonder resultarnos employ Samsung Exynos processor 5, made by herself. Everything suggests, therefore, that the Samsung Galaxy S4 heart take A15 quad core Exynos 5450, running at 2 GHz, combining his duties with an even more robust processor Mali-658 GPU. In short, it seeks to achieve superior performance over its predecessors, still like to the most demanding users.
The first rumors about the Samsung Galaxy S4 surfaced a few weeks ago, just when someone pointed to a possible launch at Mobile World Congress 2013, which will probably be held in February. Nothing could be further from the truth. Samsung has officially confirmed the arrival of the Samsung Galaxy S4 occur practically in the middle of next year, thus fulfilling the promotional lifecycle deserves a great piece as the Samsung Galaxy S3 . Other sources suggest that the fourth generation of the Samsung Galaxy S would overcome the technical data on almost all devices. Also in the camera. For the first time in many years, Samsung have decided to change course with the integration of a new thirteen-megapixel camera. At the same time, the company will have to resolve the issue of autonomy, since a processor as we have indicated significantly undermine the duration of energy. We assume that Samsung is already working on the optimization of resources should integrate the next generation of Samsung Galaxy S.


text:
Q: Regarding SUMO Simulator Usage Can SUMO Simulator be used to create a traffic scenario by adding number of vehicles,types of vehicles(car,truck,bus,etc) to create a traffic signal junction using SUMO,OMNet++,Veins Simulator?
Does anyone suggest what is the best place to learn these simulators?

A: The easiest way to get started is probably the Veins tutorial http://veins.car2x.org/tutorial/. SUMO offers some tutorials as well:
http://sumo.dlr.de/wiki/Tutorials

redpajama_set_name: RedPajamaStackExchange


Back in July I warned you about tracking codes that color laser printers embed on documents, ostensibly to help track counterfeiters, but in reality, who knows. The Electronic Frontier Foundation is reverse-engineering the codes, and announced today it had broken the codes produced by the Xerox DocuColor line of printers, commonly used in public copy and print shops.
You can see the dots on color prints from machines made by Xerox, Canon, and other manufacturers. The dots are yellow, less than one millimeter in diameter, and are typically repeated over each page of a document. In order to see the pattern, you need a blue light, a magnifying glass, or a microscope. . . .
You can decode your own Xerox DocuColor prints using EFF's automated program.
The last color document I printed was indeed political in nature. It's frightening to think that it could be traced back to me by codes the manufacturer printed while I was busy printing my own document. This could have a greatly chilling effect on speech, not only in this country, but in others, where speech is even more restricted than it is in the U.S.
If you have a color laser printer, the EFF still needs your help to crack the codes. Specifically they need sample pages printed from your printer.
Liberty Conspiracy 3-29-10 Conspirator Courtney on Feds and Product Placement!


As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200-gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings.
There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.


text:
Former DaBhann Member Michael "Sparkey" Drakes Is Back With A New Single That Is A Tribute To George Floyd And The Black Lives Matter Campaign
May 7, 2021 August 23, 2021 By artistpr
Michael is a Caribbean singer who believes that music and its style can be turned at a three sixty if conscious and meaningful lyrics are added to tunes. He believes that the lyrics of his music set with a unique tone and beat will set his music apart. He wants the readers to feel his music but in a unique way.
New York, New York – Date———- Michael Drakes was born in Guyana which is in South America but because of South America's ties to the British rule, the residents of Guyana are referred to as part of the Caribbean and therefore their musical style is intertwined in the region. Michael sings soca along with ragga soca, dancehall, and reggae. Michael is gifted with a baritone voice which is suited for ragga-soca and dancehall.
Michael wrote and sang the song "Can't breathe" himself. The song was initially released for the public, when Michael participated in an online event on July 6, 2020. The song is a beautiful mixture of a dancehall tune with conscious and meaningful lyrics. The unique mixture of music that Michael comes up with sets him apart from musicians that create music in the soca and ragga-soca genre.
Michael has written a song on the outbreak of COVID – 19 around the world. The song is a blend of calypso and soca; the musical tunes make it touching and appealing to the heart.
Michael plans on releasing a new solo album tentatively in 2022. He intends on making soca a renowned genre in the music industry and to work for the category with all of his passion.
Michael was born in Guyana, South America, he started singing in his church, he could be heard on any given Sunday thrilling the congregation with his heavy baritone voice.
Michael joined the Guyana Defence Force(GDF) it was here that he received the name of Sparkey. Sparkey performed with GDF and several other bands before leaving Guyana at the behest of the Tonik Band to relocate to Antigua in 1997.
After the break-up of Tonik Band, Sparkey did stints with Vision 2000 where he wrote and recorded eleven of the twelve songs that appeared on the Vision 2000 album.
In 2004 as a member of the group Da Bhann, Sparkey toured with Atlantic Recording artist Kevin Lyttle.
In April of 2007, Michael decided to release his first solo CD aptly titled "Sparkey & Friends Back 2 Basics", with fourteen tracks.
In October 2007 Sparkey & Friends Back 2 Basics was nominated for three awards by Toronto Exclusive Magazine in Canada and he was awarded Best International World Male Artist and Best International World CD Album.
Sparkey is now charting his own course on the world stage with his brand of music.
Name: Michael drakes
Facebook: https://facebook.com/sparkeydrakes790
Twitter: https://twitter.com/Sparkeydrakes
YouTube: https://youtu.be/mf5XfGPrzSc
SoundCloud: https://soundcloud.com/sparkeydrakes
ReverbNation: https://www.reverbnation.com/sparkey
Spotify: https://open.spotify.com/artist/5HXnYoxlZ5olKAEpYJB9zS?si=cd6c4ef5db2d4b08
Previous: Real Rap! Is Back! No Caps! The wait's over J Almighty and Spoatymac.
Next: Worlds Collide: El-Jay and LA Buck Collaborate to Unearth New Single Surprising their Fans


The EX-11053 USB 2.0 PCIe bus card provides three external ports which are fully compatible with OHCI specifications 1.1 and USB 2.0 ECHI standards. It has been developed to expand a total of three additional USB high speed ports for PCs, small workstations or servers via the PCIe bus. It also supports older USB 1.1 peripherals. It is the ideal expansion card for external hard drive enclosures, digital cameras, webcams, scanners and many other peripheral devices. The EX-11053 comes with a low profile bracket for narrow computer housings up to 8 cm in height.


This "teacher" is too busy on facebook, texting, and making harassing calls while she is supposed to be teaching a class.
This teacher was placing numerous harassing and vulgar calls and texts to me while she was supposed to be teaching class. She even left voice messages and I heard the childrens voices. This is absolutely unacceptable. I filed charges for harassment but I also think this woman should not be teaching children.
LACKAWANNA County Schools Teacher doesn't know how to teachand hits students!


text:
By Ryan Weeks on 23rd March 2016
Have the seeds of a new alternative lending industry body been sown?
The headlines will rightly go to yesterday's terrific AltFi Europe Summit, but on Monday evening AltFi also quietly hosted a get-together for SME lending platforms that fund loans off balance sheet. The purpose of the meeting was to discuss the idea of forming an industry association – a kind of P2PFA for balance sheet lenders. The roundtable discussion featured chief executives from 10 alternative lending platforms, and was sponsored by Just Cash Flow PLC. Chatham House rules applied, but I've summarised the key talking points below.
I'll begin by stating that nobody at the table was fundamentally opposed to the notion of forming an association, but the purpose and mechanics of such an entity were the subject of spirited debate.
The potential for centralising data – specifically data relating to the prevention of fraud – appeared to pique the interest of the platform bosses. It was suggested that an association could play a role in delivering a centralised data repository for fraudulent borrowers. The idea is that members of the association would be required to commit data on fraudulent applicants to the repository, allowing other members to avoid those borrowers in the future. Here the platform bosses see the potential for some level of Credit Reference Agency (CRA) involvement. Intra-association disclosure could also help to stamp out the process of "stacking", whereby one business takes on debt from a number of different lenders, thus negatively effecting its chances of keeping up with repayment schedules.
If the goal is simply to create a shared data pool, then perhaps there's no need for a trade body. That was the thinking of one of our guests, and his peers agreed that the organisation would need to deliver a far broader set of outcomes to be worth undertaking.
The subject of APRs – which has been cropping up a lot in the news recently – was raised. The platform bosses identified a number of issues with the usage of APRs. "We are not an APR business," said one of the guests, before explaining that the short-term nature of his product means that APRs are in fact a poor reflection of price. The difficulty of calculating APRs was also pointed out. A number of the lenders that were represented at the dinner specialise in credit facilities, that are drawn down by the customer as and when required – with the cost of funds varying depending on when the customer chooses to draw down and repay the money. For some of the platforms, there in fact appears to be legal issues with the publication of APRs.
Membership criteria was a hotly contested point. How broad should such an organisation be? Should peer-to-peer lenders be included? Should the banks be involved? Are we resolved on limiting the association to SME lenders only? The final point received a clear answer: yes. The preceding points proved a touch more difficult to resolve. One contributor – who had played a crucial role in the formation of a similar entity in the US – suggested that broader is better when it comes to membership, so long as the bad eggs are sifted out effectively. To my mind, the problem with mixing P2P and direct lenders within one association is that the two groups will inevitably come under fire for different things (see, for example, the balance sheet risk vs. transparency debate) – making a coordinated defensive strategy tricky to implement. After all, the formation of a unified alternative SME lending front was often pointed to during the discussion as a powerful incentive for forming an association.
Membership of this organisation – were it to form – would clearly come with a certain amount of credibility (provided that the membership criteria are sufficiently stringent). The idea of having an association "Kitemark" – a symbol of trust – was a strong lure, as well as a potential PR angle. What's more, the voice of the organisation (which everybody agreed would have to belong to an independent chair-person of some description) would probably stand a far better chance of being heard by the national press and by government than the individual platforms.
Questions were raised as to whether the session participants should be regulated. Small business lending is generally speaking an unregulated space. The platforms that were present at the meet-up do not raise money from the public through a peer-to-peer exchange, meaning that there are no 36H rules to consider. The overriding sentiment among our guests appeared to be that a formalised style of self-regulation – in which an industry body could play a vital role – would be preferable to FCA oversight. One guest suggested that peer-to-peer lenders were able to actively seek regulation because they don't risk any of their own capital when lending, and thus needn't be as fearful of regulatory restriction.
John Davies (CEO of Just Cash Flow PLC) and Paul Mildenstein (CEO of Liberis) will be working together to advance the idea of an industry body, with some practical next steps expected to emerge over the next few months. Leadership duties will of course be passed to an independent chair should the idea gain traction.
At the moment, there's an association "grey area" for the UK's direct lending platforms. They're too small or not quite right for organisations like the Asset Backed Finance Association, and they don't fit the bill for the P2PFA or UKCFA. Could a direct lending body be the answer?
Just Cash Flow PLC
Paul Mildenstein


text:
/**
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girder.views.UsersView = girder.View.extend({
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            var params = {
                user: this.collection.get(cid)
            };
            girder.router.navigate('user/' + this.collection.get(cid).id, {trigger: true});
        },
        'submit .g-user-search-form': function (event) {
            event.preventDefault();
        }
    },

    initialize: function (settings) {
        girder.cancelRestRequests('fetch');
        this.collection = new girder.collections.UserCollection();
        this.collection.on('g:changed', function () {
            this.render();
        }, this).fetch();

        this.paginateWidget = new girder.views.PaginateWidget({
            collection: this.collection,
            parentView: this
        });

        this.searchWidget = new girder.views.SearchFieldWidget({
            placeholder: 'Search users...',
            types: ['user'],
            parentView: this
        }).on('g:resultClicked', this._gotoUser, this);
    },

    render: function () {
        this.$el.html(girder.templates.userList({
            users: this.collection.models,
            girder: girder
        }));

        this.paginateWidget.setElement(this.$('.g-user-pagination')).render();
        this.searchWidget.setElement(this.$('.g-users-search-container')).render();

        return this;
    },

    /**
     * When the user clicks a search result user, this helper method
     * will navigate them to the view for that specific user.
     */
    _gotoUser: function (result) {
        var user = new girder.models.UserModel();
        user.set('_id', result.id).on('g:fetched', function () {
            girder.router.navigate('user/' + user.get('_id'), {trigger: true});
        }, this).fetch();
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});

girder.router.route('users', 'users', function () {
    girder.events.trigger('g:navigateTo', girder.views.UsersView);
    girder.events.trigger('g:highlightItem', 'UsersView');
});


SS Series (Steel) Suction Strainers offer a reliable, low-cost filtering of petroleum base hydraulic fluids, phosphate esters, water glycols, lubricating oils, coolants, fuels and water in fluid reservoirs, sumps and similar applications.
SSTM Series Tank Mounted Suction Strainers offer easy installation. Access to reservoir interior is not required. You can mount these units through a sidewall.


text:
Well-known coal merchant Joe Kelly passes
Joe Kelly (Snr), Bellurgan Point
The late Joe Kelly Snr
Joe Kelly (snr) Bellurgan Point, who died on Friday May 11 last was a well known and popular coal merchant in the Dundalk area who enjoyed a mutually warm relationship with his customers to whom he always was ready to lend a willing hand.
He was born in Castleblayney, son of the late Edward and Elizabeth Kelly who had two other sons Feilim and Oliver who died at a young age.
Joe headed off to England in his teenage years, and resided and worked in Northhampton as a labourer and then started his own business in the construction trade, involving laying foundations and floors.
He returned to Ireland in the late 70s and started and developed an extensive coal round that took in Dundalk and the outer fringes including Haggardstown, Cooley Peninsula and Inniskeen.
The family home was in Bay Estate for a time until Joe bought a site at Bellurgan Point with a derelict house which he demolished to build a new house with the help of his brothers-in-law.
Later he bought some land in the locality and afforded him the opportunity to make concrete slaps and kerbs, a venture that he conducted in tandem with his coal round.
He was hard working, who always liked to be busy and active, with another of his pastime pursuits making wooden garden houses.
He was always out and about doing something, whether it was with a paint brush touching up in the yard, or restoring farm machinery, with a great pride in his homestead.
He liked to walk the fields with his dog, while also in his leisure time he enjoyed the odd pint and a wager on the horses and playing darts and snooker. He also enjoyed rod fishing in the summer, and trips to Shantonagh and Lough Egish.
His customers were a big part of his life and the hospitality and kindness they showed him, he returned in his own way. In one instance it was to help sort out a flooded garden or more commonly to facilitate customers moving furniture changing house.
He was thoughtful and kind, and the regard in which he was held was underlined by the many of his former customers making their way to his obsequies.
He passed away peacefully surrounded by his family in the loving care of the Louth County Hospital
He will be very sadly missed by his loving son, Joseph, daughters Grace, Carol and Josephine, their partners and nine grandchildren, brothers , Eddie, Eugene and Vincent, sisters, Maureen, Christina and Margaret, brothers and sisters-in-law, nephews, nieces, extended family relatives, neighbours and friends.
After reposing at his residence on Saturday and Sunday, Joe was taken to Saint Nicholas Church for Requiem Mass on Monday afternoon. Father Brian McCreesh was the celebrant and burial took place afterwards in Calvary cemetery, Ravensdale.
Gifts symbolising Joe's life, were laid before the altar by Sonia Bromley, sister Margaret McDonald, Emma Lynch and sister Christina. They comprised a miniature house, pieces of coal, betting slip and a CD and a family photographic album
The Readings were given by Tara Smart and Elizabeth Allen, while the Prayers of the Faithful were led by Elaine Keenan, Nicole McDonald, Ciara Kelly, Thomas Kelly and Anna Lynch.
The Offertory gifts were presented by Carol Casey and Josephine Kelly.
Friend Seamus Keenan spoke warmly of Joe, while Kenneth Smartt read a reflection.
The music was provided by organist Sarah McCourt and singer Mary O'Hanlon.
Joe's Month's Mind Mass was held on Sunday June 10 at 12 noon in Saint Nicholas' Church, Dundalk.


Kraken Strategist/Trader Kevin Zhou is interviewed by Trace Mayer on the Bitcoin Knowledge Podcast. Among the topics discussed are: the interest banks have taken in blockchain technology; the current unusually high price of Bitcoin swaps; how to quantitatively measure the price impact of a spam attack on Bitcoin; the prospects for trading or investing in some altcoins such as Ether, Megacoin, and Quarkcoin; and prediction markets (Augur).
Next Trade Volume Doubles Previous Record – for the 3rd Time in 13 Months!


Halkidiki, sometimes referred to as Chalkidiki, can be found in the Northern part of Greece. The main town of Polygyros is known for its Byzantine & Ottoman influences and many travellers, both domestic and inbound, travel to celebrate festivals like Sani Festival and Poligiros Carnival. Make sure to visit Halkidiki's three peninsula's; Kassandra, Sithonia & Mount Athos. All three are home to strikingly beautiful beaches, markets and rich culture. Our concierge team love this part of Greece, so don't hesitate to ask.


This brand-new two bedroom brick and weatherboard terraced home is a must-see for professionals, downsizers, investors and anyone looking for an enviable 'lock and leave' lifestyle. Coffee, sushi, outlet shopping and a boutique grocer are just moments away - and you can be beachside within minutes.
Set over a generous 115m² (more or less) - on a freehold title - there's a stylish feature at every turn. Tiled floors, high ceilings, SMEG appliances, a carpeted garage and modern timber feature wall are just some examples.
On the first floor, enjoy open plan living and dining - with a kitchen that's made for entertaining. At one end, your own grassy courtyard and at the other, a balcony with expansive views over the reserve. Both bedrooms have pride of place on the top floor, with a well-appointed bathroom. Privacy and security are at the heart of the development, with gated pedestrian entry, extensive fencing, internal access from the ground-floor garage and a built-in alarm system.
This well connected suburb offers great transport options. Bus links and the train station are a short walk away, plus easy motorway access.
This home and location will have you set for the future. Why wait? With just two of these homes left, make this enviable lifestyle yours today.


text:
Candybit Social v2.2 - Beta Snaps Update
The History of Snapchat: a Social Media Giant
The Story and History of WhatsApp
Everything You Need to Know About the History of Reddit
What You Need to Know About the History of Pinterest
A Brief Overview and History of LinkedIn
A Brief History of Instagram and Its Rise to Fame
The Evolution and History of Twitter
The History of Facebook Through the Years
A History of Google Plus, Google's Social Media Site
The History of Social Media: A Walk Down Memory Lane


text:
Sammy's Insights
Have A Game Plan
Betting Fantasy Fantasy Football NFL Odds Sports Betting SportsGrid
Kansas City Chiefs Ink JuJu Smith-Schuster to a 1-Year Deal
by SportsGrid
JuJu Smith-Schuster has found a new home.
ESPN's Field Yates reports the Kansas City Chiefs have signed Smith-Schuster to a one-year contract worth $10.75 million.
JuJu Smith-Schuster is getting a one-year, $10.75M deal with the Chiefs, per source.
— Field Yates (@FieldYates) March 18, 2022
The signing comes a day after the Las Vegas Raiders pulled off a stunning trade with the Green Bay Packers for wideout Davante Adams, as the AFC West continues to stockpile talent.
Speaking with NFL media, Smith-Schuster said, "I am going to play with a future Hall of Fame quarterback. My goal as a player is to win, so I'm going to Kansas City with the hopes of winning a Super Bowl."
The 25-year-old was limited to five games in 2021 due to a dislocated shoulder, ending the regular season with 15 catches for 129 scoreless yards.
Spending his first five years with the Pittsburgh Steelers, Smith-Schuster's best season came in 2018 when he tallied 111 catches for 1,426 yards and seven touchdowns. However, he has failed to reach the 1,000-yard mark since.
Smith-Schuster should settle in as the number-three option in KC's passing game behind Tyreek Hill and Travis Kelce, rendering him a WR3/4 for upcoming fantasy drafts.
FanDuel Sportsbook has the Chiefs holding the third-best Super Bowl odds at +850.
Thumbnail photo via Denny Medley-USA TODAY Sports
Kansas City Chiefs vs. Philadelphia Eagles
Sun 02/12, 6:30 PM
NHL Odds NBA Odds
o6.5
Wed 2/1, 7:30PM EDT
View All NHL Odds
o230.5
u230.5
Wed 2/1, 10:00PM EDT
View All NBA Odds
You May Want To Rethink Betting On Chiefs, Patrick Mahomes In Super Bowl LVII
Julian Edelman Places Huge Celtics Wager In First Massachusetts Bet
Aaron Rodgers To Colts? Coach Praise Sparks Speculation
Ravens Backup QB Tyler Huntley Named to Pro Bowl
DISCLAIMER: This web page is intended to be used for entertainment purposes. Keep sports betting fun by betting responsibly. Visit HaveAGamePlan.org to learn more.
Do you or someone you know have a gambling problem?


Body-on-frame? Check. V-8 engine? Check. Ballistic armor and thermal camera? Check and check.
You'd be forgiven if you haven't thought much about Rezvani Motors these days, the tiny California auto manufacturer founded in 2014 who might be most notable for having once been featured in a Chris Brown music video. But their two models—the Beast and Beast Alpha—are very real, very fast cars that you can buy, and they're about to add a third to their lineup in keeping with the times. Introducing the Rezvani Tank, a military-inspired, V-8-engined monster of an off-road SUV.
The official reveal is scheduled for next week, with the first customer deliveries set to begin by year's end, but we've already got a few details to analyze. While the brothers Beast are undeniably well-styled cars, the combination of boxy traditionalism and sci-fi futurism on display with the Rezvani Tank is bound to be a bit more polarizing. Frankly, the teaser images call to mind something off the set of Starship Troopers. That's either a great look or the worst idea ever to you, but then again, this truck isn't really about middle grounds.
Rezvani promises extreme off-road capability to back that up, mentioning the Tank's body-on-frame construction, "world-class" suspension system, and "massive" tires in its press release. They also toss around the phrase "purpose-built" a lot, though the exact purpose of its optional ballistic armor and night vision camera system goes unstated. Powering the whole package will be a 6.4-liter V-8 engine putting out 500 horsepower. Presumably we'll get all the technical specs as well as interior images at the official unveiling next week.
"We wanted to offer a fresh design for a purpose-built, rugged, off-road capable vehicle that was muscular, well proportioned, and brand new,"CEO Ferris Rezvani said. "The design was inspired by extreme off-road concepts typically never seen on the road, but is completely street legal and ready for production."
A starting price hasn't been announced yet, but considering both the Beast and Beast Alpha start above $100,000, you can bet the Tank will be yet another six-figure truck. If you've got the scratch, though, Rezvani Motors will take it off your hands: $1,000 refundable deposits are being accepted as you read this right now.
Like an Ariel Nomad, but for under $15,000—if you're handy with a wrench, that is.