Ventilation is the exchange of air between the inside and outside of the greenhouse. It is used to remove heat from solar radiation, to replenish carbon dioxide and to help control the levels of relative humidity.
What is a ventilation rate?
The ventilation rate refers to the amount of ventilation per unit area. It is measured as cubic feet of air‐ per‐minute per square foot of greenhouse floor area (CFM per square foot) because the heat load derives from solar radiation and is directly proportional to floor area.
What is the difference between natural and mechanical ventilation?
Natural ventilation results from the wind and stack action from ventilator sashes. Mechanical ventilation is created by electric fans and related equipment.
What does cooling refer to?
Cooling consists of reducing the air temperature by the evaporation of water into the air‐stream. The system that does this and moves the cooled air through the greenhouse and exhausts the warmed air is the cooling system.
Circulation is the movement and mixing of air in a greenhouse to promote uniformity in temperature and humidity and to provide proper air motion throughout the greenhouse.
Why is circulation important to my plants?
Continuous circulation produces a gentle air movement which maintains a better leaf surface microclimate and prevents pockets of disease‐producing high humidity.
Ventilation allows for the better control of temperature. By allowing an increase in light intensity, which is important to good plant growth, the solar heat can be more effectively removed.
Why should I use exhaust fans?
Exhaust fans are used to provide sufficient airflow through the greenhouse to remove solar heat as fast as it enters. Because the air is warmed gradually as it passes through the house, absorbing heat, the flow rate should be sufficient both to hold the temperature rise to a minimum and to be economically practical.
How do I choose a system?
The selection and arrangement of the ventilating and cooling equipment is determined by the size and type of greenhouse structure, the direction of the airflow through the house, and the velocity of the airflow through the house. Allowances also should be made for air density, light intensity and the permissible temperature variation through the house.
How do I get the best results from my system?
For optimum performance, it is necessary to properly size and arrange air inlet openings to produce a uniformly distributed, non‐turbulent airflow pattern in the growing area to avoid the mixing of the lower air with the hot air in the upper section of the greenhouse. A definite airflow pattern in a given direction requires an air inlet opening continuous for the entire side or end of the greenhouse. The inlet opening should introduce the air in a horizontal direction at crop level, should not be deflected up or down and should have a low velocity to minimize turbulence and mixing.
Do I need to change my system in the summer?
During the summer, mechanical ventilation alone will usually not maintain the desired greenhouse temperature because the outdoor air is too warm. A way to cool the incoming air should be provided.
What happens to the cooled air as it moves through the house?
As the cooled air moves through the house, it picks up solar heat and increases in temperature by the time it reaches the exhaust fans. This temperature increase is a result of the heat removal process and will vary depending on design. Increasing the airflow, or reducing the light intensity can reduce the temperature change. Increased fan capacity can produce increased airflow; shading can reduce light intensity; and good maintenance can minimize the infiltration of air leakage.
Is elevation a factor in creating ventilation and cooling systems?
The air's capacity to remove heat depends on its weight not its volume. Because air is less dense at higher altitudes, the elevation of the greenhouse must be considered in design calculations. At higher elevations a greater volume of air is needed to provide the equivalent weight of air required at elevations that have been established as normal.
How many fans are needed and what do I need to know before having them installed?
The size of fans selected determines the number of fans required. Adequate fans should be used to provide a spacing of not more than 25 feet along the exhaust side of the greenhouse. When possible, the fans should be located on the downwind side of the greenhouse. When three or fewer fans are used in a given installation, one of them should be a two‐speed fan to provide for more flexibility of ventilation. Fans should be guarded properly to prevent workers or animals from coming in contact with any moving parts. For most reliable fan performance, only use fans that have been tested and rated by the Air Movement and Control Association (AMCA) standard test code and which bear the AMCA Certified Rating Seal.
Where should the cooling pad be placed?
The cooling pad should be continuous along the entire side or end of the greenhouse. Pad height is determined by dividing the total pad area by the length. Pads should be confined and secured in a way that provides uniform airflow, prevents sagging, avoids puncturing holes or large openings in them and promotes uniform water flow through the entire length of the pads. The pads should be installed for ease of removal and withstand normal handling and usage. Whenever possible, the air inlet should be constructed in such a way that it can be readily opened and closed without removing the pads. It is preferable to have the pad assembly located inside the air inlet opening; this will produce less turbulent airflow through the house. For such an arrangement the air inlet opening need not be continuous but should be at least well distributed.
What if the pad is located outside the air inlet opening?
If the pad is located outside the air inlet opening, it should be continuous, have no large obstructions and should be centered in elevation on the center of the pad so that the airflow is horizontal as it leaves the opening. When the height of the pad exceeds that of the air inlet opening, the pad will extend above and/or below the opening. When this occurs, the pad should be set back from the wall or sash at a distance of at least half the amount of the extension to provide ample room for air to pass uniformly through the entire pad. If possible the pads should be located on the prevailing wind side of the greenhouse. When the greenhouse is sheltered from prevailing winds by another building or greenhouse located within 25 feet, the location of the pads in relation to prevailing winds is not significant.
How and why should I use baffles?
The cooling air passing through the house will tend to diverge at about a 7‐degree‐angle or one foot in every eight. Vertical baffles usually are installed particularly with the house, to reduce mixing and keep cool air down at plant level. The baffles should be transparent, spaced approximately 30 feet and held in a fixed vertical plane, and their lower edges should be well above plant level. In greenhouses containing raised benches, a substantial volume of air may travel under the benches to the fan without removing much heat. A baffle covering two‐thirds of the distance from the bench to the ground will force most of the cooling air to crop level for more effective plant cooling.
How do I maintain my water system?
All elements of the water system should be kept well covered, to protect it from insects and windborn dirt, which will cause clogging. The water returned to the sump should be screened. The ends of the water distribution pipes should be provided with removable caps or valves to allow easy flushing out for cleaning. Because water is used up in the evaporative cooling process, a supply of makeup water is needed. An automatic float valve should be used for this purpose and also to maintain a proper water level in the sump.
Are winter and summer ventilation systems the same?
Essentially winter and summer ventilation systems are two separate systems having different characteristics and requirements. However, they must tie in with each other to switch from one system to the other during spring and fall. The transition is very important as it determines the inside to outside temperature difference available on a mild, sunny day, and it establishes the airflow design capacity of the winter ventilation system.
Do I need to ventilate differently in the winter?
Mechanical ventilation essentially provides the same benefits regardless of the season, but winter calls for different airflow principals. In the winter, outdoor air is too cold to introduce directly on the plants. The goal of winter ventilation is to introduce the cold air in a turbulent manner. This causes the cold air to mix with the warmer air in the greenhouse, without producing cold drafts at plant level. This mixing is the result of using small high‐velocity jets. In a greenhouse it is desirable to have many small, well‐distributed openings rather than one large one for winter ventilation. It is important that all areas of the greenhouse are at the same temperature. To achieve this, the ventilating system must distribute the air uniformly throughout the house and maintain positive air movement and continuous circulation.
Can I use gravity to circulate the air in my greenhouse?
A powered ventilating system has a real advantage over gravity systems that rely on thermal air currents because it has the energy required to provide uniform air distribution and mixing. Fans that mechanically ventilate greenhouses, combined with perforated transparent plastic tubes, make an ideal system for introducing cold air into a greenhouse in the winter without cold drafts.
What do I use thermostats for in my greenhouse?
Thermostats or controllers are used to turn fans on and off as required to meet changes in outdoor climate conditions and thereby maintain more uniform greenhouse temperatures with lower operation costs.
What do I use a humidistat for?
During warm weather a Humidistat can be used to control the pump of the cooling pad system to help prevent excessive greenhouse humidity. A humidistat that is wired to operate exhaust fans also can help prevent excessive humidity.


text:
To provide you with the best experience, Porth Avallen Hotel uses its own and third-party cookies on its website for technical, analytical and marketing purposes. By continuing to browse our site, you are agreeing to our use of cookies. Please consult our Cookie Notice for more information.
Porth Avallen Hotel
Free public parking is possible on site (reservation is not needed).
Sea Road
PL25 3SG
Address Sea Road, St Austell, PL25 3SG, United Kingdom
Check-in 15:00 - 23:00
Check-out 07:00 - 10:00
Children up to and including 2 years old stay for £10 per person per night when using an available cot.
Children up to and including 11 years old stay for free when using an existing bed.
Children up to and including 11 years old stay for £25 per person per night when using an available extra bed.
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info@porthavallen.co.uk
It's a pity we won't see you at Porth Avallen Hotel

redpajama_set_name: RedPajamaCommonCrawl


text:
Pueblo Llano est le chef-lieu de la municipalité de Pueblo Llano dans l'État de Mérida au Venezuela.

Notes et références

Localité dans l'État de Mérida

redpajama_set_name: RedPajamaWikipedia


text:
\section{Introduction}

Dengue virus inflicts substantial disease burden globally, particularly in lower-middle income countries \cite{bhatt2013,stanaway_2016}, and many organisations have advocated various control measures. However, since these settings have many competing development options to improve quality of life but limited resources, potential control efforts must be evaluated by return value.  One such dengue control tool, and the only currently licensed vaccine, CYD-TDV (commercially: Dengvaxia), presents a complicated assessment: there is potential value, but also safety risks and risk mitigation costs.

Dengue infections elicit a complex immune response, particularly in regions where people typically experience multiple infections over their lifetimes.  There are four known dengue serotypes; infection by one serotype confers apparently lifelong immunity to it, and temporary immunity to others. Disease risk varies substantially: first infections have moderate risk, second infections have relatively high risk, and post-second infections have low risk; this phenomenon is called antibody-dependent enhancement \cite{halstead2008dengue, wilder2019dengue}. To preclude enhancement, vaccine development has focused on creating a product effective against all serotypes. CYD-TDV initially appeared to satisfy this goal \cite{capeding_2014,villar_2015}, but later data suggested it acts more like an asymptomatic natural infection, providing transient immunity, but ultimately contributing only to immune history \cite{ferguson2016}. Presumably because second infections are more likely to cause disease, CYD-TDV appears to enhance disease risk in seronegative recipients (those having no prior dengue infections) while being highly efficacious for recipients with previous infections. These diverging outcomes present an ethics challenge for vaccine deployment.

A multi-model comparison study estimated that the broad use of CYD-TDV in high-burden settings (like those represented in the trials) would reduce the rate of both typical and severe cases\cite{flasche2016}. These findings contributed to the initial World Health Organisation (WHO) guidance: CYD-TDV is acceptable for use in settings with at least 50\% seroprevalence (population fraction with antibodies to at least one dengue serotype) in the target age for routine vaccination, and the vaccine should only be administered to recipients at least 9 years old \cite{who_2016}.

Additional observation in CYD-TDV trial populations confirmed increased risk of hospitalisation and severe dengue in seronegative vaccine recipients \cite{sridhar_2018}. The Strategic Advisory Group of Experts on Immunisation (SAGE) suggested this risk could be avoided by requiring evidence of past dengue infection based on serological testing \cite{WILDERSMITH2019e31}. In 2018, WHO revised their recommendations to follow this advice \cite{who_website_2018,worldhealthorganization_2018}. Practically, the revised guidance entails a point-of-care rapid diagnostic test (RDT); the lack of such a test (as of March 2019) and concerns over price have stalled deployment of the recommended test-then-vaccinate strategy.

At the generally assumed price point of 78 USD, CYD-TDV is a marginal investment \cite{flasche2016}, so adding testing costs would seemingly decrease its attractiveness further. But screening can also enable more optimal vaccine use, potentially preventing more high risk infections and avoiding vaccination when unlikely to be beneficial.  To inform ongoing development of RDT kits and CYD-TDV deployment plans, we investigated this possibility using limiting assumptions. We found pre-screening strategies can provide net benefit compared to both no vaccination and vaccination without testing, but generally have highest returns when started earlier than the recommended 9-year-old threshold. We also often found greater benefits when initially seronegative candidates are periodically re-tested for seroconversion. Our results provide useful cost bounds for tests, and indicate promising areas for further analysis, such as the appropriate timing of repeated testing.

\section{Methods}

We derive cost thresholds using two limiting assumptions. We ignore dengue transmission, and thus any indirect vaccine effect, and assume the test provides perfect information. Treating dengue more like an environmental factor is justified given the setting (\ie*, endemic with high force infection) and prior work estimating limited impact on transmission from CYD-TDV \cite{flasche2016}. The assumption for test performance, while insufficient for detailed cost estimates, can provide a maximum \emph{cost threshold}; real tests will misclassify individuals, thus under-performing on benefit, and so must be within the limiting price to have any prospect of returns.

\subsection{Dengue Disease \&~CYD-TDV Models}

We represent dengue disease as having three infection outcomes: first-like, second-like, and post-second-like. Without vaccination, these correspond to the average burden of first, second, and subsequent infections, respectively. Note this average includes asymptomatic infections, not just observed cases that present clinically. We assume that first-like infections are lowest cost, second-like are highest, and post-second-like have no cost, reflecting their respective disease severity. We assume CYD-TDV replaces one of these outcomes; thus, ideal testing strategies enable replacing additional second-like outcomes. \fref{fig:diagram} shows the possible life trajectories without vaccination, with unconditional vaccination, and with vaccination of only seropositives.

\begin{figure}
\centering
\includegraphics[width=\linewidth]{diagram-mt.png}
\caption{\textbf{Lifetime Outcomes By Intervention}. Trajectories for no vaccination versus vaccination without testing versus vaccination and multiple testing. Each path represents a possible life history, resulting in ultimate outcomes weighted by the probability of following that path. For detailed breakdown of the branching probabilities, see the additional annotations on Supplement diagrams Fig.~S2-4 and S7-8.\label{fig:diagram}}
\end{figure}

\subsection{Vaccination, Testing, and Cost Model}

We calculate costs per individual, using the average costs of first and second infections ($F$, $S$) and probabilities of various life trajectories. We represent those probabilities by $\pA[N]{X}$, meaning the probability of $N$ infections by vaccination age $A$ and $X$ total lifetime infections. We also define $\seroconvert{A}$, the probability of seroconverting between age $A$ and $A+1$, conditional on seronegativity at $A$. We estimate these probabilities with the exposure model described in the next section; the costs are also context-specific. We represent the costs of vaccination ($V$) and testing ($T$) with a \emph{binary} mechanism, which detects any past infection.  We also considered an \emph{ordinal} mechanism, which detects the number of past infections; see the Supplement for more details. Finally, we allow for up to $L$ tests, one each year from age of first consideration for vaccination.

To provide net benefit, a binary test must satisfy the cost constraint in \eref{eqn:del_VLTdag}; the Supplement has the full derivation, as well as results for ordinal tests.  For any intervention with testing in our model, we find that first infection cost, $F$, does not impact these constraints.  Therefore, we are able to generalize our framework across settings by expressing intervention costs as a fraction of secondary infection costs: $\nu=\frac{V}{S}$ and $\tau=\frac{T}{S}$.

\begin{align}
\hat{f}(L) = \pA[0][A{+}L{-}1]{\forall}(L{-}1)\tau &+ \sum_{i=0}^{L-2}\fhatterm{}\\
\tau + \p[1^{{+}}]{\forall}\nu + \hat{f}(L) &\leq \left(\p{2^{{+}}}-\p[2^{{+}}]{\forall}-\pA[0][A+L-1]{2^{{+}}}\right)\label{eqn:del_VLTdag}
\end{align}

All intervention costs are on the left of \eref{eqn:del_VLTdag}; the net benefit is thus the right side minus the left. For results, we report return on investment (ROI), \ie* net benefit over intervention cost:

\begin{align}
\frac{\p{2^{{+}}}-\p[2^{{+}}]{\forall}-\pA[0][A+L-1]{2^{{+}}}}{\tau + \p[1^{{+}}]{\forall}\nu + \hat{f}(L)} - 1 \geq 0,\quad\textrm{for positive returns}\label{eqn:ROI}
\end{align}

To identify circumstances where adding testing increases intervention benefits, we compared vaccination with and without testing, which produces a similar equation, now also dependent on $F$:

\begin{equation}
\tau + \p[1^{{+}}]{\forall}\nu + \hat{f}(L) \leq \left(\p[0]{1^{{+}}}-\pA[0][A+L-1]{2^{{+}}}\right) -\p[0]{1^{{+}}}\frac{F}{S} + \nu
\end{equation}

\subsection{Dengue Infection \& Intervention Model}

We represent dengue exposure in annual increments: each year, an individual is potentially exposed. We divide the population into risk groups, low and high. Thus, the exposure model has three parameters: $p_H$, population fraction at high risk; and $f_X = 1 - s_X$, the exposure (or complementary survival) probability per year for low ($X=L$) and high ($X=H$) risk populations, which means the probability of being seropositive at age $A$ is:

\begin{equation}
\mathbf{P}_{{+}}\left\{A\right\} = \rho_H\left(1-s_H^A\right) + \left(1-\rho_H\right)\left(1-s_L^A\right)
\end{equation}

This model could be fit to age-seroprevalence data with several different techniques; here we used a maximum likelihood based approach (see Supplement for details).  We fit to both yearly \cite{morrison2010} and aggregated \cite{lazou2016} age cohorts of seropositive count and sample size.  Because the model has three parameters, there must be three or more points to constrain the fit.

With exposure parameters, we can simulate infections to estimate life trajectory probabilities. We assume four dengue serotypes; each year we uniformly select one for exposures, then probabilistically expose individuals based on their risk category. Exposure leads to infection, unless the individual (1) has previously been infected by this serotype or (2) was infected in the previous year.

We used data from CYD14 \cite{lazou2016} and long term study of Iquitos, Peru \cite{morrison2010} to develop two practical examples for Malaysia and Peru, and to more generally bound the region of relevant \emph{force of exposure} (represented by seroprevalence in 9-year-olds) and \emph{disparity} (combination of high risk fraction and the odds seropositivity in 9-year-olds).

\section{Results}

Previous work assumed vaccination (all doses plus logistics) costs 78 USD \cite{flasche2016}, and initial test cost estimates are 5 USD. Using the same South East Asian and Latin American societal costs as in previous work, we have for Malaysia $\left\{\tau,\nu\right\}=\left\{0.06,0.91\right\}$ and for Peru $\left\{0.02,0.35\right\}$. Using the transmission parameters derived for these regions, we obtained ROI surfaces for initial and maximum vaccination age (\fref{fig:1}). These two settings highlight very different potential benefits surfaces, as well as the importance of considering age of vaccination when evaluating the strategies.

We also calculated general sensitivity to context; in \fref{fig:2} we show the best possible age and testing duration combination for the parameters (for vaccination of 5- to 20-year-olds, testing at most 10 years).  When we look more closely at particular settings to evaluate general trends in routine testing age and maximum number of tests, there are some nuances.  \fref{fig:testresults} highlights the common trend that testing earlier is better, but this effect is sensitive to detailed context.  This particular region highlights a {\em minimum} number of tests to achieve net benefits; in other areas, there is a maximum.  We found these kind of trend reversions across several parameters.

\begin{figure}
\centering
\includegraphics[width=\linewidth]{detailed_scenarios.png}
\caption{\textbf{Vaccination \& Testing versus Status Quo}. Two settings with seroprevalence between 70 and 80\%. Comparing these two settings using the assumed vaccination and testing costs, we see that in settings where second infection cost $S$ is low and infection disparity is high (as assumed for Malaysia), ROI is negative. However, in settings where $S$ is high and infection disparity is low (as assumed for Peru), ROI is positive over a broad range, when vaccination starts early enough.\label{fig:1}}
\end{figure}

\begin{figure}
\centering
\includegraphics[width=\linewidth]{general_scenarios.png}
\caption{\textbf{General Survey of Settings \& Costs}. Cost-benefit surfaces for a range of settings. In general, more benefit can occur in higher transmission settings. The disparity response is more complicated; disparity is a mix of how small the high risk population is and how much additional exposure they receive. By the mid setting, the high risk population is close to maximum annual exposure rate, so shrinking that population further in the high disparity means the low risk exposure rate must go up to maintain the target seropositive rate.\label{fig:2}}
\end{figure}

\begin{figure}
\centering
\includegraphics[width=0.5\linewidth]{testing_sensitivity.png}
\caption{\textbf{Sensitivity to Number of Tests}. Shows an area of epidemiological and economic parameter space ($\tau=0.01$, $\nu=0.5$) where getting positive or negative returns depends on number of tests allowed by the strategy.\label{fig:testresults}}
\end{figure}

\section{Discussion}

Several promising new dengue vaccines are currently in trials, but CYD-TDV was once similarly promising.  These alternatives may ultimately present better solutions, but rather than waiting on the promise of the next product, we should determine how to use CYD-TDV now.  Given the complex dengue immunology and vaccine development history, the best assumption is that these new vaccines will also have quirks.  However, there may still be utility in flawed vaccines.  We have developed a convenient approach to identify settings and deployment scenarios worthy of more detailed assessment, while clearly precluding some settings or test prices from further consideration.

Our modelling work provides two key insights about using CYD-TDV with RDTs, and potentially other in-development vaccines.  First, multiple testing can improve a program's cost effectiveness, and may even be required to achieve net benefit, depending on test price and realized test performance.  Multiple testing will impose some additional costs (\eg* records keeping), but may enable economies of scale.  Though we assumed a perfect test, a real product will sometimes misclassify potential vaccinees.  The net effects of logistics and test error for multiple testing are not obvious, but the potential merits of multi-test strategies warrants more detailed future work.

Second, given multiple testing, routine test-then-vaccinate programs provide better ROI the younger the age they target for many relevant settings, including below the current recommended threshold of 9 years.  This will also be sensitive to test performance, and particularly how that performance depends on target population seroprevalence, but the current age threshold for vaccination should be revisited.  Despite current licensing, CYD-TDV trials included younger participants and, after controlling for seropositivity, seem to have shown safe and efficacious outcomes.

These insights should inform further work about test-then-vaccinate strategies. More detailed models could address indirect effects (positive and negative) of expanding vaccine coverage, as well as any age-specific effects for younger vaccination. Using estimated test performance will also shrink the positive ROI region; understanding the magnitude of this effect will be critical to final deployment decisions. Though we conclude multiple testing has superior performance in many settings, we did not address the appropriate interval for testing. In our model world, it is impossible to get two infections in a year (the assumed interval for testing), thus testing every other year would be more effective. Varying this periodicity could expand the positive ROI region, though incorporating test performance will complicate this effect.

In summary, though CYD-TDV may not be the hoped-for durable, efficacious, tetravalent dengue vaccine, with the addition of testing it could provide a cost-beneficial intervention and satisfy medical ethics requirements.  In settings where our constraint model indicates testing and vaccinating may be beneficial, more detailed study is warranted to estimate precise ROIs by relaxing our simplifying assumptions.

\section{Acknowledgements}

CABP is supported by EBOVAC3. Contributions by SC and SF are supported by Wellcome Trust. KMA is supported by NIH/NIGMS R01 GM109718. TJH is supported by NIH/NIGMS U54 GM111274.

redpajama_set_name: RedPajamaArXiv


LennCo. Solutions catch basin cleaning and repairs. dracut, ma.
For other relevant searches, you might want to try: storm water drains and inlets for a facility site or for multiple facilities.
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text:
Wall Street Hasn't Been This Skeptical Since 2016
Several sentiment polls are pointing to a blanket of fear over the stock market
INDEXCBOE:SPX
But these sentiment signals have preceded short-term outperformance for stocks
Despite stocks scoring their best week in over a year last week, active money managers once again reduced their exposure to the stock market. In fact, the National Association of Active Investment Managers (NAAIM) exposure index fell to its lowest reading since the week prior to the November 2016 election, and has dropped roughly 34% since Jan. 24. However, previous such sharp reductions in equity exposure during the current bull market have been short-term buy signals for S&P 500 Index (SPX) stocks.
Biggest One-Month Drop in NAAIM in Nearly a Year
Specifically, Schaeffer's Quantitative Analyst Chris Prybal looked at times the NAAIM index fell 30% or more in a month, looking at only one signal per month. The last time this happened was nearly a year ago, in March 2017. Prior to that, you'd have to go back to September 2016 for a signal. Since 2009 -- the stock market bottom -- there have been 27 of these signals, with the frequency tapering off after 2011.
S&P Has Outperformed After Sentiment Signals
In a nutshell, the S&P 500 has outperformed in the near-to-intermediate term after previous signals. Two weeks after a steep drop in the NAAIM exposure index, the SPX was up 0.64%, on average, and higher 65% of the time. That's compared to an average anytime two-week gain of 0.52%, with a 63% win rate, looking at data since 2009.
One and two months out, the SPX also sported bigger-than-usual returns of 1.81% and 3.39%, respectively, and was higher more than two-thirds of the time. Three months after an NAAIM signal, the index was up 6.29%, on average -- almost twice its average anytime three-month return of 3.61% -- and higher 81% of the time. Six months later, the SPX was higher 85% of the time after a signal, and up an average of 10.21%, compared to 7.03% anytime.
Blanket of Fear Over Wall Street
In conclusion, the NAAIM data is just the latest evidence that Wall Street is still shaken up from the recent stock market correction. Echoing that, CNN Money's Fear & Greed Index is pointing to "extreme fear," and recently touched its lowest point since early 2016. Likewise, the percentage of self-identified bulls in the latest Investors Intelligence (II) survey fell beneath 50% for the first time since September last week, with 36.9% of II respondents expecting a correction -- the highest in at least a year.
It's clear that sentiment is nowhere near the euphoria found at market tops. Should the equities market continue to pick up steam after the early February pullback, a flood of recently sidelined buyers could add fuel to the proverbial fire.


The RCA VHB655X RG6 Digital Coaxial Cable is a perfect companion for the digital components of your TV. The Black Coaxial Cable features gold plated F connectors for easy connectivity to your digital components. Both the audio and video signals are carried by this F Connector Coaxial Cable. The 50-foot cable allows for flexible placement of the components. Video transmission to the TV is excellent with this RG6 75 Ohm Coaxial Cable, which connects the 75 ohm coaxial output from an antenna, VCR, cable TV, satellite receiver to the 75 ohm coaxial output of TV or VCR. The quality of the picture on your TV improves with the use of this cable so you can enjoy uninterrupted entertainment at home with outstanding audio and video signals.


According to The Guardian, at least four in 10 children consume sugary beverages daily. One in three don't eat fruit every day.
This information was released in a global report that brings to attention the fact that most countries are at risk of not meeting nutrition targets.
"What we highlight in this report is just how important and just how diabolical the state of diets are — whether it's for infants, young children, adolescents and adults," said Professor Corinna Hawkes, director of the centre for food policy at City University of London and one of the lead authors of the nutrition report.
She adds that attention has been mostly on the issue of stunting growth, but has widely ignored obesity.
"The world simply has not been paying sufficient attention to diet from the perspective of malnutrition in all its forms," she stated.
Hawkes went on to say that adults who suffer from stunted growth are more susceptible to obesity, particularly if they live in a country that has a disproportionate amount of unhealthy and processed foods.
According to the study, about 30% of students don't eat fruit daily, while 44% drink soft drinks on a daily basis.
When over 23,000 packaged food items were analysed, it was found that approximately 69% of them were low in nutritional quality and that low and middle-income countries had lower nutritional standards.
Accessibility to healthier options oftentimes depends upon facets like time, money, and location.
If you have the money and time to prepare dishes at home rather than eating fast food, and if you live near a grocery store that stocks organic ingredients, you're more likely to shell out the extra pounds to buy them.


Hear some of Queen's finest share their discoveries and passion for research! Our annual Celebrating Graduate Studies Research Showcase features mini lectures by graduate students and post-doctoral fellows. Join us and be inspired!
Light refreshments will be served after the presentations (and labeled to accommodate dietary requirements). If you have accessibility requirements, please contact Rebecca Huegler at sgscomms@queensu.ca.


text:
Accessible by public transport (14)
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Caerlaverock Castle
Cross the moat to find yourself in a fairytale setting, complete twin-towered gatehouse and lofty battlements.
Cardoness Castle
Learn about the lawlessness of the McCullochs, for whom this elegant six-storey tower house was built.
Dundrennan Abbey
Visit the secluded spot where Mary Queen of Scots sheltered during her last hours in Scotland.
MacLellan's Castle
See in the remains of Sir Thomas MacLellan's tower house how castle building had evolved by the late 1500s to favour comfort over cannons.
Visit the final resting place of the heart of Robert the Bruce, a magnificent ruin in the Scottish Borders.
New Abbey Corn Mill
See this water-powered mill spring to life in the summer months when it's put to work to show how oatmeal is made.
Contrast the beauty of this rediscovered treasure with the notoriety of its most famous noble resident.
Rothesay Castle
Survey a fortress famous for its long and close association with the Stewart kings of Scotland.


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then you've found a mother to be praised.
then she is a mother to be praised.
a mother to be praised.
She fills the room with light.
She's a mother and a wife.
She's a mother to be praised.
Soundtrack (physical CD) 9 different keys Same soundtrack as featured in the above demo video (without any vocals). Also, includes a copy of the lyric, and an additional track featuring the demo.
Soundtrack (digital version) 9 different keys Same soundtrack as featured in the above demo video (without any vocals). Also, includes a PDF copy of the lyric, and an additional mp3 of the featured demo.


text:
Marty Fahey
Quotes & Quips
In Print & The Written Word
Furniture & Objects
Music (Non-Irish)
Music (Irish)
Thoughts about "HOME"
IRELAND Crossroads CD
Purchase the CD
The Musicians
Liz Knowles
Kieran O'Hare
Tríona Ní Dhomhnaill
Catriona McKay
Jackie Moran
Trevor Hutchinson
Emer Mayock
Mick O'Brien & Aoife Ní Bhriain
About the exhibit and the recording
The exhibit, a first of its kind, featured over 300 examples of Irish furniture, paintings and decorative arts from the time period 1690-1840. The exhibit also featured other "firsts" at the Art Institute: the creation of an album of music specifically crafted to coordinate with the themes of an exhibit and the playing of this music as a background soundtrack within the galleries themselves.
The album features an even distribution of old and new music: melodies that were published in tune books during the time period of the exhibit -- where we were led chiefly by Liz Knowles -- as well as newly composed music by Liz Carroll to correspond to the seven major themes of the exhibit:
Portraiture and Theater
Dublin and Bookbindings
Religion, Metalwork, and Ceramics
Textiles, Glass, Musical Instruments, and Fancy Work
Landscapes and Tourism
The Irish Country House
The enclosed booklet also features detailed liner notes with backgrounds on the melodies and where applicable, the composers or collectors. Selected images from the exhibit also accompany the notes so that, together with the music, you might be able to get a sense for the incredible artistry and craftsmanship that was presented there.
Evocative CD creates sense of majesty
Irish Echo
by Dan Neely
There is exhibition happening right now at the Art Institute of Chicago called "Ireland: Crossroads Of Art And Design, 1690-1840." It opened on St. Patrick's Day, will run through June 7 and includes over 300 objects from public and private collections that showcase the decorative and fine arts of Ireland of that period. Although I've not been to the institute to see it, I have heard its companion album, "Ireland: Crossroads Of Art And Design, 1690-1840 – The Music," which was made specially for the exhibition. It is a breathtaking companion piece and it's my great pleasure to write about it here this week.
The CD is a blend of old and new intended to reflect the exhibition's themes as well as the period it covers. The musicians charged with making this album happen were the great fiddler Liz Knowles (www.lizknowles.com), who curated a number of compositions from period manuscript collections, and the legendary Liz Carroll (www.lizcarroll.com), who contributed a number of specially commissioned original compositions. Both have exquisite taste and throughout the album create a sense of majesty that I feel successfully evokes the spirit of the time.
Joining them in this endeavor is a powerful lineup of musicians, including harpist Catriona McKay, keyboardist Tríona Ní Dhomhnaill (Bothy Band), flute player / uilleann piper Kieran O'Hare (who, like Knowles, is a member of Open the Door For Three), pianist Martin Fahey (who, like Knowles and Carroll, was involved in the album's production), bassist Trevor Hutchinson (Lúnasa), and percussionist Jackie Moran (Ensemble Galilei). These musicians appear in various solo and group combinations throughout the album and deliver brilliantly.
As one might imagine for an exhibit that explores eighteenth century Ireland, the music of Turlough Carolan figures prominently. McKay's take on "Carolan's Concerto" is graceful and captivating, Ní Dhomhnaill version of "Carolan's Farewell to Music" is deeply compelling and Knowles's work on the lament "Sir Ulick Burke" is utterly beautiful. Although each of these tracks is thoroughly enjoyable on its own, together they indeed tell a compelling story in music about eighteenth century Ireland that surely fulfills the exhibition's aims.
The album's ensemble tracks complement these solo features well. Tracks like "The Lough Derg Cross / A Tale Of A Tub / The Potter's Wheel," "Irishtown" and "Planxty Charles Bunworth / Rose And Kathleen's Slip Jig" (all Carroll originals, btw) all have great energy, are smartly arranged and do an excellent job of expressing the values and sentiment of the time. They are well done and wonderful to listen to.
One of the album's most hauntingly beautiful tracks is "[It Was] A Magic Mist That Came Over Me One Night And Put Me Astray," performed by Emer Mayock (flute), Aoife Ní Bhriain (fiddle) and Mick O'Brien (uilleann pipes). This piece appeared on that trio's 2013 album "Tunes from the Goodman Manuscripts" as "Ceó Draoigheachta Sheól Oidhche chum Fághain mé," although this version (if I've understood correctly) was recorded for TG4's 2014 Gradam Ceoil broadcast. It has a slightly different feel, but rivals the other recording in terms of quality.
The CD comes with a wonderfully informative booklet. Most of it was written by Fahey, although Knowles, Carroll and O'Hare contribute tune notes for select tracks, Nancy Hurrell and Ann Heymann offer short statements about harps in the exhibition and Karol Mullaney-Dignam provides an interesting essay about the Irish country house. Included in the booklet are beautiful photographs of objects in the collection, arranged to match their place in the exhibition. (Incidentally, Fahey told me that the use of sound in this exhibit was first at the Art Institute and that all the feedback on the role of the music thus far has been overwhelmingly positive.)
This is a spectacular album. It features a beautiful mixture of old and new music from one of the most elite gatherings of musicians you're likely to find. While this album easily stands alone on its own musical merits, it's a wonderful thing that an album of this incredibly high standard was produced for a museum exhibit – it sets an important example.
I highly recommend this album.
IRISH MUSIC MAGAZINE: MARCH, 2016: CD REVIEWS
by Seán Laffey
IRELAND: Crossroads of Art and Design, 1690 – 1840 THE MUSIC
Liz Carroll, Liz Knowles, Catriona McKay, Tríona Ní Dhomhnaill, Kieran O'Hare, Marty Fahey, Trevor Hutchinson, Emer Mayock, Jackie Moran, Aoife Ní Bhriain, Mick O'Brien
(O'Brien International) 15 Tracks, 59 minutes
www.irelandcrossroads.com
This CD's recording was inspired by a 300 item exhibition held at the Art Institute of Chicago in 2015. The objects in the exhibit made their way to America over a 300 year period, both as family heirlooms and wise investments. They represent the high point of Irish design and craftsmanship from the Irish Georgian age, when Dublin was the "Second City" of the Empire, when its churches and civic buildings were designed in the latest European fashion, and those who could afford quality–whether in decorative objects, furniture or fine art–found that all was to-hand in Ireland.
You can view a crossroads in two ways: as an intersection at which to make choices, or, in the classic Irish sense, as a meeting point where something special happens. It is in the latter meaning that this metaphor prevails on this fascinating CD. It was produced alongside that exhibition of Irish art, furniture and decorative objects, all selected from the period referred to as "the Long 18th century". This era was so–called because it represented a period of time, longer than a century, when relative peace prevailed alongside overwhelming artistic and artisanal talent in Ireland. Though it may seem strange to end as late as 1840, there is good reason, as both Bunting and Petrie published their collections years after they had noted down the tunes and because the Famine(s) brought an abrupt end to this era.
Musically, this album stretches from Carolan to Bunting to Goodman, from the last days of the retained harper to the new fangled piano–forte and piano, as well as to the homemade music of the Protestant and Catholic gentry alike. It also represents the span of time when Irish music was not only being recorded in print but its character and its popular parameters were first being established. The CD sets out an ambitious agenda: to offer examples of contemporary music of the age, researched by fiddler Liz Knowles, as well as to present new compositions from Liz Carroll, inspired largely by the seven major themes of the exhibition itself. Both ladies succeed in their endeavors, and by careful reading of the excellent booklet that is packaged with this album, we get a feel for the far more complex musical milieu of the 18th century in Ireland, where the boundaries between what we now call "classical" and "traditional" music were blurred, or more correctly, had not yet been snapped into separate focus.
The music can be appreciated in chronological order, from Carolan's famous Concerto–played here from the Bunting transcription by Catriona McKay–to Marty Fahey's rendition of Hampsey's Soft Mild Morning. Herein lies a paradox: though Hampsey considered Carolan's music to be too modern in 1792, his own music was transcribed by Bunting and was written to be played for the avant–garde 18th century instruments, the piano–forte and piano.
Seven of the tracks on this album are original compositions from Liz Carroll, and she is in grand form here. Two noteworthy examples are The True Love of My Heart, a lovely ensemble piece by Carroll, with Liz Knowles (hardanger d'amore 5+5), Catriona McKay (harp) and Tríona Ní Dhomhnaill (keyboards); and Planxty Charles Bunworth, in honor of the noted Anglo-Irish champion of Irish music in the 18th century whose personal harp (c1734) was featured in the exhibit. The latter melody is taken at a sedate pace, as a fiddle and flute duet. The planxty is then followed by a jaunty slip jig named in honor of 21st century players, Rose Conway Flanagan and Kathleen Conneely: it is an infectious melody.
The other half of the CD is made up of tunes from various period collections, such as those by Bunting, George Petrie, O'Farrell and Canon Goodman, including the spirited Lady Gordon's Minuet, an unexpected period ballroom dance in 3/4 time. We have further selections from the Goodman manuscripts and O'Farrell Collection in the pairing of the jig The Droning Old Aged Woman and Byrn's March: featuring piping here by Kieran O'Hare, it is full of long notes and deep emotion.
The booklet alone is worth the price of the CD: it not only provides extensive background to the tunes but also includes excellent photography of key objects from the exhibition, beautifully crafted essays on the 18th century harp and an end piece on the unique role of the Irish country house in preserving and fostering music in what, indeed, could be called a cultural Golden Age of art and creativity.
Liz Carroll- Ireland: Crossroads of Art and Design, 1690-1840: a meeting of past and present, Siobhan Long
Thu, Mar 10, 2016,
Ireland Crossroads of Art and Design, 1690-1840: The Music
O'Brien International
Much is made of how past and present collide and coalesce, particularly in the current climate of remembrance, but this collection renders invisible the space and time that separates music from a distant era from contemporary tunes. Music of the 17th to 19th century evolved during a vibrant period when Continental influences (including those from operatic and dance music) colored melodies in ways which were markedly different to those played today. Chicago fiddler and prolific composer Liz Carroll and fiddler and hardanger d'amore player Liz Knowles collaborate on this remarkable collection to create an accompaniment to the titular design exhibition, staged at the Art Institute of Chicago last year. Carroll's new compositions shimmer alongside their elder cousins, and the intuitive playing of Catriona McKay, Tríona Ní Dhomhnaill and Kieran O'Hare are a joy. A multi-layered delight. irelandcrossroads.com
Click here to purchase the CD
For more information please visit Ireland Crossroads
(c) 2016 Marty Fahey


text:
Chancellor of West Germany and reunified Germany (1930–2017)
Helmut Josef Michael Kohl (3 April 1930 – 16 June 2017) was a German CDU politician. He was the last Chancellor of West Germany, and he stayed in office after reunification as the first Chancellor of a united Germany.
Chancellor of Germany
(West Germany until 1990)
1 October 1982 – 27 October 1998[a]
Roman Herzog
Hans-Dietrich Genscher
Jürgen Möllemann
Klaus Kinkel
Gerhard Schröder
Leader of the Christian Democratic Union
12 June 1973 – 7 November 1998
Kurt Biedenkopf
Heiner Geißler
Volker Rühe
Peter Hintze
Rainer Barzel
Leader of the CDU/CSU Group in the Bundestag
13 December 1976 – 4 October 1982
First Deputy
Friedrich Zimmermann
Minister President of Rhineland-Palatinate
19 May 1969 – 2 December 1976
Otto Meyer
Peter Altmeier
Bernhard Vogel
Member of the Bundestag
for Rhineland-Palatinate
26 October 1998 – 17 October 2002
14 December 1976 – 20 December 1990
for Ludwigshafen/Frankenthal
20 December 1990 – 26 October 1998
Manfred Reimann
Doris Barnett
Helmut Josef Michael Kohl
Ludwigshafen, Bavaria, Weimar Republic
16 June 2017(2017-06-16) (aged 87)
Ludwigshafen, Rhineland-Palatinate, Germany
Cathedral Chapter Cemetery, Speyer
Christian Democratic Union
Hannelore Renner
(m. 1960; died 2001)
Maike Richter (m. 2008)
Walter Kohl
From 1969 to 1976 he was the Minister President of the state of Rhineland-Palatinate and from 1982 to 1998 Chancellor of the Federal Republic of Germany. Kohl helped to arrange the process of German reunification and participated considerably in the European unity process. A pro-EU conservative, he was often compared to Ronald Reagan and Margaret Thatcher, two other leaders with similar views in the 1980s. In 1998, he retired as Chancellor, as the SPD won the election. His replacement was Gerhard Schröeder.
His involvement with the CDU donation affair, and in particular offences against party law is open to question.
Kohl died on the morning of Friday, 16 June 2017 in his hometown of Ludwigshafen, aged 87.[1]
↑ "Obituary: Helmut Kohl". BBC News. 16 June 2017.
↑ From 1 October 1982 to 2 October 1990, Helmut Kohl was Federal Chancellor of West Germany only. From 3 October 1990 until 27 October 1998, he was Federal Chancellor of the reunified Germany.
Wikimedia Commons has media related to Helmut Kohl.
Retrieved from "https://simple.wikipedia.org/w/index.php?title=Helmut_Kohl&oldid=7211467"


Robert Parris "Bob" Moses is an educator and civil rights activist.
A cornerstone of the Civil Rights Movement, this song has been performed by numerous artists, including Odetta, Mahalia Jackson, and Pete Seeger. It is derived from the traditional folk tune, "Gospel Plow," which was first credited to Elihu Trusty of Paintsville, Kentucky. The words for the Civil Rights version of the song are usually attributed to Alice Wine of Johns Island, South Carolina. The song is performed here by Robert Parris Morris for the 1990 Smithsonian Folkways album, Sing For Freedom.


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text:
The future of health care
by Nancy Ryerson, Staff Writer | October 10, 2013
From the October 2013 issue of HealthCare Business News magazine
The health care industry and the media world have a few things in common. Both are roiling with changes in funding, staffing and technology. And neither group lacks gaggles of critics proclaiming their demise. Chuck Lauer, a health care media veteran, for one, is tired of the "doom and gloomers" on both sides. If 30-plus years working as publisher of Modern Healthcare taught him anything, it's that times change — and that's almost always a good thing. He spoke with DOTmed Business News about hopes and predictions for health care media, regardless of form.
Filling a need
When Lauer first became publisher of Modern Healthcare in 1976, the industry lacked a news source for the business side of health care, he says. By filling that need with experienced business reporters and strong leadership, he built a brand that powered through the decades and lives on after his tenure there ended in 2007. He sees a similar lack of useful information in health care media today as the U.S. health care system faces its most significant changes to date. "I think there's more need for health care publishing today than any time in our history, because there's so much confusion," says Lauer. He says he hopes to see more publications, online or otherwise, emerge that cater to different niches within the health care industry and address how reform will impact them. "If I were in the business today, I'd be starting different publications to address the needs of physicians, administrators, CEOs and others within the industry," says Lauer. Though many publications today struggle to make ends meet — American Medical News, the publication of the American Medical Association, folded in September — Lauer still thinks smart journalists can and will find effective ways to deliver timely information.
One problem Lauer notes in health care reporting today is a lack of clarity and conciseness. "A lot of articles I read, I'm more confused after I read the article that I was before, and I'm fairly conversant in all of this," he says. "I think there has to be a simplification of information." Even more troubling, he sometimes spots factual errors in health care reporting. "There's a lot of misinformation and quackery in the field, people who are selling things to the public who should really be in jail," Lauer says. "Reporters are listening to them and aren't checking their facts."
October 2013 Magazine
Read more stories from the October 2013 issue
More Future of Healthcare
Deep learning is having a deep impact on imaging
AI's still-to-do list
The future of MR imaging
COVID boosts adoption of digital delivery of equipment services
The future of reducing breast cancer disparities


text:
Fairyland: A Memoir of My Father
Alysia Abbott
3,598 ratings515 reviews
Nominee for Best Memoir & Autobiography (2013)
A beautiful, vibrant memoir about growing up motherless in 1970s and '80s San Francisco with an openly gay father.
After his wife dies in a car accident, bisexual writer and activist Steve Abbott moves with his two-year-old daughter to San Francisco. There they discover a city in the midst of revolution, bustling with gay men in search of liberation—few of whom are raising a child.
Steve throws himself into San Francisco's vibrant cultural scene. He takes Alysia to raucous parties, pushes her in front of the microphone at poetry readings, and introduces her to a world of artists, thinkers, and writers. But the pair live like nomads, moving from apartment to apartment, with a revolving cast of roommates and little structure. As a child Alysia views her father as a loving playmate who can transform the ordinary into magic, but as she gets older Alysia wants more than anything to fit in. The world, she learns, is hostile to difference.
In Alysia's teens, Steve's friends—several of whom she has befriended—fall ill as AIDS starts its rampage through their community. While Alysia is studying in New York and then in France, her father tells her it's time to come home; he's sick with AIDS. Alysia must choose whether to take on the responsibility of caring for her father or continue the independent life she has worked so hard to create.
Reconstructing their life together from a remarkable cache of her father's journals, letters, and writings, Alysia Abbott gives us an unforgettable portrait of a tumultuous, historic time in San Francisco as well as an exquisitely moving account of a father's legacy and a daughter's love.
It has been named a Stonewall Book Award-Israel Fishman Non-Fiction Award Honor Book for 2014.
GenresMemoirNonfictionBiographyQueerLGBTBiography MemoirFamily
First published June 3, 2013
6 books121 followers
Alysia Abbott's debut book, Fairyland, A Memoir of My Father (W.W. Norton) was a New York Times Editor's Choice, and an O, The Oprah Magazine pick for summer 2013. Her work has appeared in Vogue, Real Simple, Slate, Salon, TheAtlantic.com, and Psychology Today, among other publications.
Alysia grew up in San Francisco's Haight-Ashbury, the only child of gay poet and writer, Steve Abbott. After he died, she relocated to New York City, where she worked at the New York Public Library and received an MFA in Creative Non-Fiction from New School University.
In 2009 she moved to Cambridge, Massachusetts, where she lives today with her husband and two children.


Could you please supply a sample of the code of how you modified the Expect timeout.
We programmed an sFTP system using Expect because our sFTP partner will not allow key exchange.
We had to modify the Expect timeout on large files as Scott suggests below.
products", HTTPAPI, FTPAPI, TN5250, HSSFR4, XLPARSER4, JDBCR4, etc.
2) I do not have any other versions of it, I haven't needed them.
PASE if you are so inclined.
timeout completely, etc as you like.
version of the OS really shouldn't come into play, here.
products), which is not supported by IBM.
the ssh_config and sshd_config files are not used.
keys, only user and password.
different servers using V7R1 as the client.
no "set timeout" is coded.
Sending to the Remote Local Linux CENTOS 6.7, "set timeout 119"
me before seeing your recent messages, but it makes a lot of sense.
automate any user interaction with a PASE command-line environment.
covers, it only knows what's displayed to the screen.
input script, I was successful in resolving this issue.
mysteriously, the transfer is cut off after 45 seconds.
never cut you off in the middle of a file transfer that's progressing!
seconds, it would not occur.
that it was cutting you off while the transfer was successfully going..
you off" timeout, which is very different.
default transfer timeout value is 420 seconds. Inactivity timeout .
to set up anything in particular, it just worked.
the data to get screwed up somewhere, causing the transfer to abort.
limit being set up somewhere, most likely on the server-side.
Previous by thread: RE: SFTP client Expect 5.43 via PASE,	maximum times allowed dependingon remote OS.


text:
Q: getting router log routing ERROR [7f258b169700] classic::loop() processor failed: Bad message (generic:74) while connect and close using mysqlsh getting below error while connect and close using Mysqsh with socket file for every min.
Details:
mysql version: 8.0.32
router version: 8.0.32
shell version: 8.0.32
OS version: centos 7
error in router log:
2023-02-09 16:00:01 routing INFO [7f258c18c700] [routing:bootstrap_rw] incrementing error counter for host of /opt/mysqlrouter/mysql.sock (now 0)
2023-02-09 16:00:01 routing ERROR [7f258c18c700] classic::loop() processor failed: Bad message (generic:74)
2023-02-09 16:02:01 routing INFO [7f258b169700] [routing:bootstrap_rw] /opt/mysqlrouter/mysql.sock closed connection before finishing handshake
2023-02-09 16:02:01 routing INFO [7f258b169700] [routing:bootstrap_rw] incrementing error counter for host of /opt/mysqlrouter/mysql.sock (now 0)
2023-02-09 16:02:01 routing ERROR [7f258b169700] classic::loop() processor failed: Bad message (generic:74)
2023-02-09 16:04:01 routing INFO [7f258a167700] [routing:bootstrap_rw] /opt/mysqlrouter/mysql.sock closed connection before finishing handshake
2023-02-09 16:04:01 routing INFO [7f258a167700] [routing:bootstrap_rw] incrementing error counter for host of /opt/mysqlrouter/mysql.sock (now 0)
2023-02-09 16:04:01 routing ERROR [7f258a167700] classic::loop() processor failed: Bad message (generic:74)
2023-02-09 16:06:01 routing INFO [7f2589144700] [routing:bootstrap_rw] /opt/mysqlrouter/mysql.sock closed connection before finishing handshake
2023-02-09 16:06:01 routing INFO [7f2589144700] [routing:bootstrap_rw] incrementing error counter for host of /opt/mysqlrouter/mysql.sock (now 0)
2023-02-09 16:06:01 routing ERROR [7f2589144700] classic::loop() processor failed: Bad message (generic:74)
2023-02-09 16:08:02 routing INFO [7f258c18c700] [routing:bootstrap_rw] /opt/mysqlrouter/mysql.sock closed connection before finishing handshake
2023-02-09 16:08:02 routing INFO [7f258c18c700] [routing:bootstrap_rw] incrementing error counter for host of /opt/mysqlrouter/mysql.sock (now 0)
2023-02-09 16:08:02 routing ERROR [7f258c18c700] classic::loop() processor failed: Bad message (generic:74)
Why this error getting ? is any way to fix this error ?

redpajama_set_name: RedPajamaStackExchange


text:
The Already-Colored-In Coloring Book
Published on June 4, 2015 in Books & Movies, Inspiration, Leadership, Love & Family
by guest blogger Jacob Lief, cofounder and CEO of Ubuntu Education Fund and author of I Am Because You Are: How the Spirit of Ubuntu Inspired an Unlikely Friendship and Transformed a Community (cowritten with Andrea Thompson; Rodale Books), from which the essay below is adapted
In late 2001, my organization, Ubuntu Education Fund—a nonprofit that helps vulnerable children in Port Elizabeth, South Africa—started developing our plans to begin building school libraries. We called it the Siyafunda ("We Are Reading") Library Initiative.
I was in the office interviewing people for a computer resource job and soon met a charismatic young man named Qondakele Sompondo. As he was waiting, he looked over some of our materials about our upcoming programs, and told me, "I'd really like to apply for this library job." His degree was in library science, and he felt passionate about the idea of bringing books into the schools—something that had never been done before in the townships. I told him that job didn't exist, that the library program wasn't going to get started for another six months.
"I'll wait," he said.
I was won over. We brought him on, and over the next few years, he helped us build eight school libraries. Qondakele was from the townships, and he felt driven to make a change for the children who lived there. "I was born in the community, and went to school here, with broken windows, no tables, no chairs," he told me. He'd graduated in 1993, but even now, the school was the same. "It took me 15 years to shake off the bad education I got. That's what's killing South Africa," he said. "You can't really change the system. But you can take a small group and change that."
As with any working relationship, sometimes tension built between Ubuntu and the community, particularly as we tried to work with the principal and teachers at Emfundweni Primary School, while my cofounder, Banks, continued to teach and we both worked on Ubuntu out of our little office there.
The teachers didn't seem committed to working in the computer center, and I had grown frustrated with the dull incompetence that seemed to characterize so many of our interactions with the school personnel. I often had a difficult time biting my tongue when someone appeared to be acting inappropriately or undermined our work in some way. Banks would step in to calm me down. He knew how to absorb blows without striking back, to wait until emotions had cooled and it was possible to have a reasonable discussion.
The nadir of our relationship with the school came in 2002, when we opened the Irving Lief Siyafunda Library, a small, sturdy building set in the back courtyard of Emfundweni. A student had painted the entire building with a mural depicting scenes of learning and storytelling, and the bright exterior reflected the energy and hope that had gone into its construction.
We'd named it after my grandfather, a tough-as-nails Bostonian who definitely believed in the school of hard knocks. He was the kind of guy's guy who believed in watching baseball and enjoying a good whiskey, and I'm not sure he ever understood my desire to go to Africa. While I was living with Banks in the town's railroad flats that first summer, he'd died. I didn't have a reliable means of communicating with my family, so I didn't know about it until after the burial. Banks was with me when I heard the news, and he told me solemnly, "Jake, we must honor the ancestors. We must do something for him." And so, four years later, we named this library for the students of Emfundweni after him.
Given its connection to my grandfather, this library, our first, had particular emotional weight for me. My wife, Lindsay, and my parents traveled to Port Elizabeth for the opening, and the days were filled with nervous anticipation.
The first sign of trouble came in a shipping container full of books. A few months before the library opened, National Geographic had written a short piece about Ubuntu, and a high school student in Seattle read it and decided to organize a book drive. She worked very hard to gather as many books as possible so that we could fill the shelves, but she clearly hadn't realized that she could reject some donations.
When the shipping container arrived, it contained 25 copies of a PhD dissertation on agriculture in Western Australia, encyclopedias so outdated they identified a region of Africa as the Belgian Congo, and coloring books that had already been filled in. Imagine how devastated you'd be as a child to open a coloring book and find that it was already done!
Yet people at Emfundweni were so thrilled that a shipping container of books had been sent to them, they didn't care. They put all these books in the library and thought it was wonderful. I wasn't happy about it—I didn't think that these books were worthy. Donating a book or clothing isn't charitable if it's something you'd otherwise throw away. It should be an investment, of the same quality you'd want for yourself. I took the principal aside and asked him, "How can you put books like this out for the children? They aren't useful, they aren't in good shape. The students deserve better."
The answer he gave devastated me. He looked at me and said coolly, "Beggars can't be choosers."
The opening ceremony arrived a few days later. I stood in the courtyard under a beautiful blue sky and there, covering an entire wall, was a huge banner thanking the girl who had sent the books. Ubuntu had put hundreds of hours into this library, trying to provide a quality resource. Yet the school deliberately chose to celebrate a donation that was subpar. I realized that this was the way that the school had decided to put us in our place, and I was angry.
I calmed down, and we stayed there for another year before moving to a larger office. But my heart and soul left that day. That moment made me sad and angry in equal measures: sad that so many in the community truly believed they deserved no better than already-filled-in coloring books and out-of-date encyclopedias, and angry that a man in the position to change that attitude sought only to reinforce it.
As Ubuntu grows, we always refer back to an aspect of our guiding ethos: If it's not good enough for your own child, then is it good enough?
Jacob Lief is cofounder and CEO of Ubuntu Education Fund, a nonprofit organization that takes vulnerable children in Port Elizabeth, South Africa, from cradle to career. Ubuntu redefined the theory of "going to scale" used of traditional development models; instead of expanding geographically, the group focuses on the depth rather than breadth of their programs within a community of 400,000 people. In 2010, he was named a Young Global Leader by the World Economic Forum, and in 2012 was selected as a member of the Clinton Global Initiative advisory board. He splits his time between Brooklyn, New York, and Port Elizabeth, South Africa
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Africa, education, I Am Because You Are, Jacob Lief, Rodale Authors, Rodale books, Ubuntu, Ubuntu Education Fund
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2 Responses to The Already-Colored-In Coloring Book
Vanessa June 4, 2015 at 9:30 am #
I think Jacob took a very simplistic view of things, without actually factoring in the historical aspect.
Apartheid lasted 42 years. The most a native SA child could hope for was a middle school education and then a life of serving whites. 1994 was the first year classes were integrated and I believe it is still a work in progress in terms of what native South Africans believe they can aspire to and achieve. When you, your father and his father have been subjugated for decades, and then you are declared 'free', it is still a tenuous line you walk between understanding with your head and understanding with your heart. Daring to hope for a better life for your child, your community, when you could have been punished/killed by the government for believing it 10 years prior? I'm not surprised the teacher was reticent.
Bones Of The Foot June 19, 2015 at 10:07 pm #
I am genuinely grateful to the owner of this site who has shared this impressive post at


Smartphone ownership has become the new standard in America. As of 2017, 77 percent of U.S. adults owned a smartphone. In 2011, 35 percent did.
We're dependent on our cell phones. If something happened to our phones, then it would be harder to work, shop, and even drive to the other side of town.
Despite that, cell phone insurance still isn't as common as it perhaps should be. It can save you a lot of time and hassle if your phone gets damaged or lost.
Keep reading to get details on the best phone insurance plan for your situation.
Cell phone insurance is like just about every other type of insurance. There are limitations and restrictions on what it covers.
There are also time limits worth keeping in mind. In many cases, you can't purchase and activate a cell phone, then decide six months later you want to buy insurance for it.
Open enrollment periods for cell phones are kind of like open enrollment periods for insurance. You often have a few weeks to sign up for cell phone insurance. If you miss that window, then you're out of luck.
Your phone should come with a basic warranty. But that typically only covers manufacturing defects. In other words, your iPhone will be repaired for free if a part gets recalled, but that's it.
Comprehensive phone insurance covers a wider range of calamities. If you drop your phone and crack your screen, phone insurance will often cover it.
But even then, the type of drop matters. For instance, dropping your phone three feet makes you eligible to file a claim. But dropping your phone 100 feet off a pedestrian bridge isn't covered.
In general, we talk more about other types of insurance than we do cell phone insurance. You'd be wise to learn more about this coverage before you sign up for a plan and fork over money every month.
The best phone insurance plans will still charge a deductible. But the deductible should be affordable. In other words, the deductible should still be a better deal than paying for repairs out of your own pocket.
If your deductible is $75 or even $100, that may feel steep. But if you look at the cost of paying for repairs without insurance, you'll find that it can easily cost several hundred dollars.
It's common to go for the cheapest smartphone insurance without looking at the fine print. Don't do that. A $10 premium with a $25 deductible isn't going to do you any good if the list of limitations is longer than the list of things covered.
Phone insurance companies have a business to run, after all. If a deal sounds too good to be true, then that's all the more reason to comb through the contract with a fine-tooth comb before signing.
If all else fails, you should ask your friends about their cell phone insurance. Reading reviews is useful, but word-of-mouth from people you trust can be even more beneficial.
If you're looking for more information on cell phones and other devices that improve your life, we've got you covered like an extended warranty. Check out our technology archives for more on this topic.


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Velano taps $25M in new funding for its needle-free, bedside blood draw system
Dec 17, 2019 7:00am
Velano's PIVO device allows practitioners to collect as much blood as needed while the patient is in the hospital without additional needle sticks. (Wikimedia Commons)
Velano Vascular, maker of a needle-free blood draw system, has closed a second tranche of new financing with $25 million to put toward its commercialization and launch of additional access products and medical devices for the inpatient setting.
The funding follows up on an initial tranche of $10 million, secured by the company this past May. That included backing from Intermountain Healthcare—which previously rolled out the former Fierce 15 winner's blood collection technology across all 22 of its Utah-area hospitals—as well as from other investors, entrepreneurs and philanthropists.
"We are thrilled to welcome new and returning investors as we continue to establish a more humane global standard for hospital practice at the intersection of blood collection, vascular access and infection prevention," Velano CEO Eric Stone said in a statement. A list of investors for the latest raise was not disclosed.
Cleared by the FDA in 2017, Velano's PIVO device attaches to a patient's IV and pushes a small flexible catheter through the line and into the vein—past the debris, medication and fluids that may collect at the end of the tube and otherwise taint or block a blood sample.
The device allows practitioners to collect as many tubes or syringes of blood as needed while the patient is in the hospital without additional needle sticks.
RELATED: FierceMedTech's 2017 Fierce 15 | Velano Vascular
"Commercial demand for PIVO and our family of novel solutions is being driven by a move to One-Stick Hospitalization and a growing realization that removing needles from blood draws improves the patient experience, protects practitioners and boosts the bottom line," Stone added. This year, the San Francisco-based company marked its one-millionth PIVO procedure.
The funding this year also helped support the construction of a new U.S. manufacturing line, after Velano expanded the use of its blood collection technologies to 10 states and dozens of hospitals in 2018.
venture capital (VC) blood test fundraising Velano Vascular


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'The Witcher' Review: Henry Cavill's Netflix Series Is Absolutely Nuts
The former Superman's surly, magical monster hunter makes for a solid lead in this extremely strange but oddly enjoyable action-fantasy adaptation.
Ben Travers
@BenTTravers
Henry Cavill in "The Witcher"
Katalin Vermes
Piecing together what's going on at any given time in "The Witcher" is both impossible and insignificant. Netflix's big-budget fantasy adaptation looks like "Game of Thrones" and plays like "The OA" — an extravagant budget fueling a ludicrous premise. Frankly, it should be a catastrophe, and yet the batshit energy driving a slew of increasingly odd choices makes for a pretty entertaining spectacle.
Based on Andrzej Sapkowski's books (which have already been adapted into a popular video game series), "The Witcher" tells the wild tales of Geralt of Rivia, the eponymous witcher played by "Witcher" enthusiast Henry Cavill, who travels from town to town accepting missions in exchange for "coin." Usually his quests are focused on killing a monster. Sometimes they involve taking baths — which are, surprisingly, an extremely important act for anyone who loves the "Witcher" video games and books.
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Whatever Geralt does, he does with a lovable bluntness, made even more appealing by Cavill's growly performance — and the absolute mess that makes up the rest of the show. You see, Geralt's storylines are pretty much episodic; each new episode brings a new mission, just like sections of a video game. It's easy to track what he's doing because the goals are explained to him by whatever weirdo hires ol' Gerry. In the second entry, he's helping shoo away a grain-stealing devil. In the third, he's chasing a rare creature that likes eating people's guts.
But when not focused on Geralt, "The Witcher" gets very, very messy. There's a mage-in-training named Yennefer (yes, Yennefer!), who just kind of hovers in the B-plot for the first four episodes. Played with startling conviction by Anya Chalotra, Yen-eh-fur's plot holds together with a kind of dream logic, where you may not know exactly how things are happening, but you get the gist as to why. The same cannot be said for Princess Ciri (Freya Allan), a little girl who escapes a crumbling castle with only two words of advice: Find Geralt.
That it takes more than the five episodes provided to critics for her to do so — or even find people, places, or things connected to Geralt — disconnects Ciri from the core story in what feels like an irretrievable way. Maybe she'll form a Baby Yoda-like partnership with her witcher-destiny by Season 2, learning the witcher tricks of the trade while being protected by her witcher at all costs. But for now, she's just kind of weird, hard-to-connect-with baggage in a show that's so freaking strange that anything extra risks turning everyone but the die-hard fans off.
And "strange" is an understatement. For newcomers, there's a lot to absorb, starting with Geralt's name. A witcher isn't a witch, but a species that's shunned aside by humanity and forced to fend for themselves by fighting monsters and performing other unwanted tasks. He's got powers, but they're not that powerful — Geralt will let off a burst of energy when in a close-quarters battle, but he doesn't do it that often, and it's unclear if the blast equates to more than a shove. Like the actor embodying him, Geralt's most telling attribute is his towering physique and sword skills. He seems like a really good warrior, who can sometimes do magic when the story requires it.
Yennefer, meanwhile, goes through a physical and spiritual transformation that's so bonkers I dare not spoil it here. I also can't spoil it here, because even explaining it to my curious friends proved impossible. There are a lot of parts in "The Witcher" like that; scenes that feel too absurd to be spoken aloud, let alone taken as seriously as the "Witcher" team does, but it's exactly that dedication to the series' fantastical elements that make it work. Cavill has spoken at length about how badly he wanted this role, and his commitment not only makes the show that much better, but it's clearly mirrored by everyone on set.
"The Witcher" isn't for everyone, and it's not trying to be. The soapy scheming that drove people to choose sides in "Game of Thrones" isn't here. Neither is the tender romance of "Outlander," the big-minded ambition of "The OA," or the coherence of, I don't know, "Vikings." But that's OK. "The Witcher" is "The Witcher," and nothing else matters. Just go with it.
"The Witcher" Season 1 premieres Friday, December 20 on Netflix.
This Article is related to: Television and tagged Netflix, The Witcher, TV Reviews


Jill Stansfield explores the possibilities and implications of Age Friendly Cities based upon a WHO publication .
Chris Ellis talks about issues of law for the community served by the Whiteria Community Law Centre.
Interviews with people on what motivates them, their passions, their interests..


Beautiful WE, at Instinct Berlin, is a collection of work that explores queer masculinity and makes us question our assumptions around identity. The exhibition is curated by Eric LeRouge aims to revisit and update the tribal politics of the 1980s and '90s. In this blog post, ROMEO takes a sneak peak at some of the works selected for Beautiful WE.
Beautiful WE challenges our capacity to affect and to be affected. The art explores sensual experiences that illustrate each artist's own thirst for beauty, and hunger for intimacy.
Each piece in this new collection celebrates the exhilarating nature of brief encounters, and the potential nourishment found in community.
This artists in this collection come from, Argentina, Cyprus, France, Germany, Israel, and the USA – most have made Berlin their home. Beautiful WE investigates processes of inclusion and exclusion. It also celebrates the energy and creativity of Berlin.
instinct.berlin is an art organization that explores queer identity and plays with masculinity. The gallery hosts two exhibitions yearly – one at Easter time, and the second in September. This year the Easter exhibition is called, Instinct 7 – Beautiful WE.
Send your story to social@planetromeo.com.
Are You as Gay as the Irish?


A guy.. with some cameras... and a specific eye. I mostly shoot photos and video for fetish models that are friends of mine for their own portfolios and publication, but am open to anything that I find interesting or artistic. I prefer shots that capture moments, action and movement rather than specific poses and try to create a fun, creative and collaborative atmosphere when working. Finally, because this is really about the creation of the art and promotion for friends, I give ownership and publishing rights to all photos to the models I work with but do retain non-commercial rights to publish individual shots I like to sites like this.


A Long Island girl walking home from school gets struck by not one, but three vehicles. The first vehicle fled the scene and police are on the hunt for the driver.
Nassau County police are on the hunt for the driver who struck a 14-year-old girl in Levittown on Thursday and then fled the scene.
The incident occurred at 3:52 p.m. while the victim was crossing Hempstead Turnpike at the corner of Shelter Lane. She was walking home from school with friends. She had proceeded to cross while her friends waited at the curb.
After being struck by an eastbound brown or tan four- door vehicle that fled the scene, the victim was thrown into the air and then struck by two other vehicles that remained at the scene.
The teen has been identified as ninth grader Theresa Vargas who was walking from Division Avenue High School. She is now hospitalized, suffering from multiple trauma injuries, including broken bones.
The location where the incident happened is known for trouble, with as many as 12 fatalities in the past two years, according to reporting from CBS New York.
Anyone with information about this incident or the whereabouts of the driver who fled the scene is asked to call Crime Stoppers at (800) 244-TIPS.
Subject: LongIsland.com - Your Name sent you Article details of "Long Island Teen Gets Struck By Three Cars While Walking Home From School, Police Seeking Driver"


At the intersection of Anderson and Calloway continue straight on Calloway and KIPP - Turner Middle School Gym will be the last building on your left.
Turn Left at bottom of Ramp and continue straight through light and go under bridge. Once you go under the bridge.


When many people think of accountants, they might imagine the bespectacled fellow with an office on Main Street who does their taxes, but that's only a small aspect of the field. There are about 1.3 million accountants and auditors in the U.S., according to the Bureau of Labor Statistics. The reach and scale of the profession touches everything.
In essence, accountants help businesses, government entities and nonprofits track their income, expenditures and assets. They prepare financial statements, record transactions, measure the effect of new technologies and healthcare benefits on an organization, help them in planning, and search out fraud and waste. Accounting is known as "the language of business" because it communicates the successes, failures and overall state of organizations.
Accountants need to be detail-oriented and well-organized analytical thinkers to do their job correctly. They also need good communications skills to help in marketing, arguing before the IRS in hearings, and to write clear and concise memos and opinion letters to clients.
The math involved is not especially difficult – accountants need to calculate depreciation, interest, stockholder's equity and the like. None of this is beyond the scale of basic algebra, but it calls for thoroughness, problem solving ability, and research skills.
By making financial information easily accessible, accounting is often described as the language of business. Having a background in accounting does not mean you actually work as an accountant. Plenty work in management and finance, and some rise to the controller position, or even serve as chief financial officers, setting budgets and drawing financial plans for an entire firm.
There are other sub-fields within accounting that might intrigue those with particular interests. Those who like working with computers could consider becoming an accounting information systems auditor – where they'd get to manage software for financial professionals. There are also accountants that specialize in sports – monitoring a team's finances, and entertainment – amortize the production costs for film and television or handling royalty distributions. Merger and acquisition accountants help when a business is trying to acquire another firm. They need to research and understand what the acquired firm's assets and liabilities are, what effect golden parachutes and stay bonuses will likely have on liabilities, and how to factor in those parts of the acquired company that the purchaser may not want or need.
A fairly new sub-field is environmental accountants, who help businesses budget for pollution management while maintaining profitability, and assist government agencies report on natural resources. An older one is mortgage credit – professionals who oversee the underwriting process for mortgages and loans.
Of course, there's nothing wrong with setting up a small accounting office on Main Street. Many people enjoy being their own boss, though this might be a struggle for a younger person just starting out.
The accounting field pays well too. The Bureau of Labor Statistics pegged the median salary for an accountant at $63,550 in 2012. Those living in metropolitan areas such as New York earned more than that, on average, as did those employed by the federal executive branch and for securities and commodity exchanges.
New accountants usually earn more at large firms than at smaller companies. The largest accounting and advisory organizations are known as the Big Four – KPMG, Deloitte Touche Tohmatsu Limited, Ernst & Young, and PricewaterhouseCoopers. Each of these globe-spanning professional service networks employs nearly 200,000 people, on average. (To give a sense of scale to the Big Four, note that the fifth smallest firm, BDO, has 1200 offices around the world and its still less than a third the average size of a Big Four.) An incoming accountant at the Big Four will make about $50,000. If they do well, and stick around enough years to become partners they'll earn well into the six-figure range (and even seven figures for senior partners and division leadership).
Don't want to work at an accounting firm? No problem. Almost every company larger than a lemonade stand uses an accountant. If they have annual revenue exceeding $10 million, those accountants are likely to be on staff. The staffing firm Robert Half International says that senior internal auditors at large companies – those with more than $250 million in annual sales – will make from $76,500 to $102,500. Once they reach the vice president/internal audit director level, salaries can exceed $250,000 a year.
You can buy a lot of spectacles with that.
Accounting is a field that offers a great deal of flexibility and a broader range of job options than you might imagine.


We belong to a couple of Photo Clubs, well maybe four but whose counting? One we rarely go to, so I suppose we belong to three in reality. The Brighton Photo Group organized a day trip for last Monday and even though it rained off and on all day, who cares? we went anyways. There were only nine of us that went out but we had a great day with a lot of fun and a good lunch and what more can you ask for on a nice autumn day.
Petting Zoo – Who doesn't love a pony wearing a Pumpkin Hat?


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Davy Cowan -
Davy Cowan grew up in a house where Folk music & Country & Western took centre stage - with the likes of Hank Williams, Charlie Pride, The Dubliners & Johnny Cash all regulars on the turntable. Earliest memories of musical inspiration came from the traditional Hogmanay party's in the family home; his mother at the core playing the organ to a sing along session that lasted well into the next day!
Born in Dingwall in the Scottish Highlands, Davy was brought up in the nearby town of Invergordon.
He attended Invergordon Academy, and it was here that he and his friends formed their first band "The Yobs", a Punk inspired Clash/ Stranglers type outfit. They played their first gig at the school disco to an audience of enthusiastic kids & bewildered teachers on a rainy Monday evening in 1980. (Other incarnations were "The Borstal Residents" and "The Royal Family".)
Davy played in various different bands throughout his teenage years, one of the more popular being a 4-piece band called "Proto Call". They had a 'New Wave meets New Romantic' thing going on, sporting the usual array of dodgy hair do's around at the time; mullets & flat tops, etc, with shiny shirts & trench coats! In 2010 the band reunited to play a couple of nostalgic gigs and it was fantastic to hear the old songs again, as well as catch up with some of the ghosts (and groupies) from the past!
In the early 90's, Davy returned to his Folk Roots & was an original member of the Highland Celtic Rock Band COINNEACH. This became his musical quest over the next decade.
With three critically acclaimed studio albums ( Life In A Scottish Greenhouse, Ice Trees & Lullabies & Protected?)and many tours and festivals at home and abroad, Coinneach built up a solid fan base - and in the process earned themselves the reputation as one of the best Kick-Ass Celtic Rock bands on the circuit.
The band finished on a high note at the end of 2004 with a live performance at the Aberdeen Hogmanay celebration along side Deacon Blue & Hue & Cry in Union Street, Aberdeen to around 40.000 revellers.
In recent times Davy has had the pleasure of sharing the bill with some of his favourite artists including: The Levellers, The Blockheads, Miles Hunt (The Wonder Stuff), Tom Hingley (Inspiral Carpets), Hugh Cornwall, Deacon Blue & also toured with Gaelic Rockers Runrig during their "Proterra" tour.
2005 saw the release of Davy's debut solo album "Fragile People" which showed an unpretentious and straight to the point approach to his song writing.
Around 2007 Davy was introduced to the ex-Alarm guitarist Dave Sharp during a gig they did together in the middle of no-where, somewhere in the Highlands to a crowd of around six people including the bar staff!!! - Sharpy was a great help to Davy during the recording of his second album "The Journey" - The two musicians also played some momentous shows together as well.
In 2008 Davy gathered together a bunch of fine musicians to form a group he called "The Storm Chasers". The band features Robin Abbott on Bass & Derek Urquhart on drums, (both from Inverness Alt country combo "Lush Rollers"). Also Rachael Parker - ex COINNEACH fiddler, Alan Leckie (organ) and Steve Spence, another ex COINNEACH man on keyboards. Each of them bring their own subtle flavour to the brew.
The Storm Chasers draw upon a range of material featuring songs from both Davy's solo work and COINNEACH, adding a new & refreshing twist to many of the old favourites. With performances at Rock Ness, Belladrum and the Loopallu Festival the band have become firm favourites on the Highland festival trail.
2011 saw the release of Davy's long awaited second solo album entitled "The Journey". For this recording Davy returned to engineer Pete Rawson ("Fragile People") at Redwood Studios, Ross-Shire. Davy was joined in the studio by his band "The Storm Chasers", who provided some truly magical musical moments throughout the record.The album was unveiled at a launch held at The Ironworks venue in Inverness on 16th April 2011 to an army of loyal supporters young & old from as far flung as The Highlands to Germany!
2013 was another busy busy year for Davy - with the release of his album entitled 'Working man's Dream' which was produce by the legendary 'Martin Stephenson from The Daintees' & It was released on Martin's own 'Barbaraville Records'... to great critical acclaim.. at home & abroad
On the live front Davy keeps up a busy schedule - sometimes as a solo artist, sometimes with his band 'The Storm Chasers & also with his Acoustic Punk duo "Davy & The Hosebeast" He still makes frequent trips back and fore to Germany, where he built up a reliable fan base and made a lot of good friends over the years.
Davy's life long friend and drummer Graeme Hosie aka (The Hosebeast) sadly passed away in October 2016.. Davy & Hosie played many momentous shows and gigs together under their Davy & The Hosebeast Banner over the past few years, something Davy cherish's with many fond memories.. RIP Graeme Hosie. (Hosebeast)
Due to a rare Illness back in September 2016.. Hosie asked Davy's son Sam who was only 12 years old at the time to stand in at The Loopallu festival in Ullapool for him which he did with great pride.. Sadly in October that year Hosie passed away.. Davy & Sam have played many gigs together since and played at the Final Loopllu festival in 2017.. Billed as one last pogo with Davy & The Hosebeast, a tribute to the great man himself..
Davy & Sam have decided to carry on with the Punk/ ska party duo and have named themselves "Acoustic Punk"
Over the past few years Davy & Sam have been busy gigging & touring with many Festival appearances up & down the UK.. They recently opened up for the legendary Martin Stephenson & The Daintees as well as the highland phenomena that is Peat & Diesel on some dates during their sell out tours..
Davy's new solo album entitled 'Life's Just Fine" is due out this Spring.. The album comprises of 10 original songs & 1 cover (Bob Marleys Redemption Songs) Subject matter ranges from: Love, Loss & loneliness, homelessness & displacement, Haunted Hotels & old Pianos as well as a good measure of Life's trials & tribulations with more than a hint of hope & belief of the Human condition..
This album will be available on CD as well as the usual on-line streaming & download websites..
- With Davy's hard work ethic he continues to map out a positive & creative journey through our ever-changing times with his own vibrant energy & passion!