text:
Q: Java Dynamically creating objects I am currently writing a JSON parser using Java but I'm having trouble deciding which tactic I should use for this task. Note that answers on this are going to influence future tactics for me, so please try to keep your approach as generic as possible; this is just an example.
First of all we need the parser, but then I thought of the following: why not create an enum for the JSON -array and JSON - objects? Eventually the code will be much more object oriented and if a new type in JSON comes out (which is never going to happen probably) you have to write less code. So my enum would look like this:
public enum Brackets {
  Object( '{', '}', JSONObject.class),
  Array( '[', ']', JSONArray.class);

  public final char startChar;
  public final char endChar;
  public final Class<?> correspondingClass;
  private Brackets(char start, char end, Class<?> corresponding) {
    startChar = start;
    endChar = end;
    correspondingClass = corresponding;
  }
}

Through the standard enum methods one could basically iterate over the actual enumerations and take proper actions on proper situations.
To come back on the 'new JSON types,' it is imaginary. Lets say person X says, lets add '(', ')' objects which stands for Y. I want something where you can add something very easy without a hassle, with this enum I only have to add a new enumeration:
Y( '(', ')', JSONY.class)

To me it really looks hardcoded if you just use those two objects ( so it would look like:
public class Parser {
   // ......
   public Object getJSON(String t) {
      if(/* .... */) {
         return new JSONObject(t);
      } else f ( /* .... */ ) {
          return new JSONArray(t);
      }
      return null;
   }
   // ......
}

Of course the constructors would be different and stuff, but that is not the pont), and if you do it through reflection it is only based on the enumeration and the algorithm should do the rest for you ( So this will look like:
public class Parser {
  //....
  public Object getJSON(String t) {
     for(Brackets b : Brackets.values()) {
        if( /* .... */ ) {
           return b.correspondingClass.getConstructor(String.class).newInstance(t);
        }
     }
     return null;
  }
}

).
So what is a better practise, to hardcode if you know that only those two objects will be available or do it through reflection and make your life easier if a new so-called 'JSON type' comes out?
I want to emphasize that this is not about the algorithm on how to parse it properly, but more about what is better to do.

redpajama_set_name: RedPajamaStackExchange


British Columbia Achievement Foundation Chair, Keith Mitchell announced the 2011 BC Creative Achievement Award recipients for First Nations Art.
Primrose Adams, a Haida artist from Massett, BC was named the recipient of the 2011 Creative Lifetime Achievement Award for First Nations Art, a prestigious award given to an artist who has made a profound impact on the community and First Nations' culture. Adams has been recognized both locally and internationally for practicing the art of spruce root basket weaving.
"I commend these award-winning artists whose work recognizes their proud traditions, each piece telling a story of First Nations' culture," said Mitchell. "We all celebrate the lasting accomplishments, locally, nationally and internationally, of our Province's First Nations' artists."
The five juried award recipients will receive $5,000 and the seal of the British Columbia Creative Achievement Award for First Nations Art.
A special presentation ceremony was held on November 25, 2011 in Vancouver to honour all the 2011 award recipients.
The BC Creative Achievement Awards for First Nations Art are presented with the generous support of Polygon Homes Ltd.
Dr. Robert Belton, Associate Professor of Art History at UBC Okanagan and a director of the BC Achievement Foundation, chaired an independent jury panel that selected the 2011 award recipients. The jurors included Reg Davidson, internationally acclaimed Haida artist and past recipient; Brenda Crabtree, Aboriginal Program Manager, Emily Carr University of Art + Design; Bill McLennan, Curator, Pacific Northwest, UBC Museum of Anthropology; and Cathi Charles Wherry, Art Program Manager, First People's Heritage, Language and Culture Council.
Kwakwaka'wakw artist, Sonny Assu has created a strong voice in the First Nations' artistic community through his innovative technique of combining traditional and contemporary forms. A 2002 graduate of Emily Carr University of Art + Design with a degree in Print Media, Painting and Digital Arts, he displays a respect for older traditions through the lens of popular and contemporary culture in his multi disciplinary art practice. Assu's work can be found in the Museum of Anthropology in BC, the Seattle Art Museum and the National Gallery of Canada.
With formal training at the Kitanmaax School of Northwest Coast Indian Art in Hazelton and an apprenticeship with his uncle, Dempsey Bob, Stan Bevan, for over thirty years, has produced an impressive body of work which includes masks, poles, bowls and frontlets created in the Tsimshian and Tahltan-Tlingit style. Stan is a dedicated instructor at the Freda Diesing School of Northwest Coast Art in Terrace. He has received significant provincial, national and international commissions and his work is widely exhibited.
Vera Edmonds is a master cedar root weaver who practices and teaches traditional Lil'wat weaving. Edmonds learned the art form from her grandmothers and today her contemporary basketry is both technically and aesthetically outstanding. She is committed to keeping the Lil'wat weaving tradition alive by teaching the younger generations. The Lil'wat Cultural Centres in Mount Currie and Whistler house her original works as well as older and valuable pieces she has carefully restored.
Heiltsuk artist Shawn Hunt is a multidisciplinary artist who works in red cedar, sterling silver, paint, glass, water and fire. By engaging the contemporary context with art forms rooted in rich, historical traditions, Hunt tells his stories and challenges his audience. He apprenticed with his father, J. Bradley Hunt, and also received his BFA at UBC and a studio art diploma from Capilano College. Shawn's work has been exhibited at the Museum of Art and Design in New York, the McCord Museum in Montreal, the Royal Ontario Museum in Toronto, as well as the Bill Reid Gallery and Museum of Anthropology in Vancouver.
Jay Simeon is a member of the Haida Nations' Sdast'a'aas Eagle clan from Kiusta. Simeon has built a reputation for meticulously rendered pieces in a variety of scales and materials such as precious metals, wood and argillite. From jewellery to masks to wood carvings and ceremonial regalia, Simeon interprets traditional art form in a contemporary setting. Simeon has participated in many exhibitions, including the 2010 Stonington Gallery's Winter Exhibition in Seattle that featured his unique, argillite totem pole bracelet.


Next, to lavender, peppermint is the second most popular essential oil. Steam distilled from the flowering herb. Much research has been done on this plant, as it has been in the European culture for hundreds of years. It is used for shingles, acne, and dermatitis. Thought to be detoxifying. It may constrict capillaries, relieve itching, inflammation, soften and degrease the skin, water retention in tissue and cool skin. Peppermint is also a decongestant and may stimulate the mind. Apply to bruises, with skin intact to take away the pain. Thought to be useful for some headaches, (those that are helped by cooling down). Avoid in pregnancy and lactation. Keep away from babies and infants, at least up to the age of 6. May cause reflex apnea or laryngospasm in babies. Contact dermatitis. Keep away from eyes and nostrils. Do not use on grafted tissue. Do not take internally.


Seller: gibjerjer (374) 100%, Location: Kokomo, Indiana, Ships to: US, Item: 173838552796 Ancient Egyptian Eye Of Horus Udjat Ring Blue Faience Ring This was tore apart in antiquity and repaired. Comes with certificate of authenticity with ownership history and provenance (see pictures). Beautiful artifact. Dated to the Armana period of Egyptian history: the time when King Tuts father believed in a singluar God and established the city of Armana. Any questions please ask! More pictures available on request!
Popularity - 285 views, 7.0 views per day, 41 days on eBay. Super high amount of views. 1 sold, 0 available.
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text:
Movie News, Movie Trailers, Film Reviews, Short Film Reviews & More | Screen Critix
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14 Days (2014) short film review
April 5, 2015 By Carl Burgess Leave a Comment
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14 Days is a film that features a range of characters in a series of short vignettes spanning the titular fortnight. Directed by Joseph Villapaz, we review 14 Days right here on Screen Critix.
An unusual film, Joseph Villapaz gives us a film made up of short vignettes where a series of people meet up at the same location over 14 days – a park bench. The stories behind each set of characters all differ, yet they somehow tie the film together as one as well.
We meet a lesbian couple wanting a child, a pair of investigators, a woman who longs for her deceased partner and even an alien race. It may sound a bit "out there", but it somehow works. The screenplay is decent and Villapaz knows how to write dialogue well but, due to budget problems, he sometimes has to add a bit of exposition in with him not being able to show the audience.
The acting by all the performers is pretty decent and some effects where good too. I also enjoyed some of the shots – especially the expensive-looking arial shots of the city.
14 Days does have its negatives too though. As expected, and again it is mainly down to money issues, the film can look and sound cheap in parts. Also, as the film is mostly set at the park bench, it can become a little monotonous at times. With the addition of an alien species, you want to see some crazy out-of-this-world visuals, but cash constraints won't allow it.
Credit does have to go out to Joseph though, he has tried very hard with little and come out with something that is watchable and interesting, of which needs to be applauded. The man does basically everything. He wrote, directed and produced 14 Days and, if that wasn't enough, he was also the boom operator too. Madness.
Overall, 14 Days is a decent film that maybe comes in a little too long (1 hour) and has its problems, but it is certainly worth a watch. I look forward to seeing what's next from Mr Villapaz.
Half Time and Down (2014) short film review The Washing Machine short film review (2014) The Man Behind 55,000 Dresses (2014) short film review Marie short film review (2014) Last Day with Lizzy (2014) short film review Schlock Fish (2014) short film review Nerd Forever (2014) short film review Margie: A Retirement Tale (2014) short film review
Filed Under: Movies, Short Film Reviews Tagged With: 14 days, aliens, news, review, short film
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text:
Portugal: Man beaten by more than ten prison officers
27 Jul 2004, 12:00am
The report, Portugal: Attack on a prisoner in Lisbon Prison, raises serious concerns about ill-treatment with impunity in Lisbon prison. Albino Libanio was isolated from other prisoners so that prison officers could beat him without drawing unwanted attention. Prison officers who were not involved in the attack but knew about it, failed to report the incident to their superiors as they should have done. Virtually all prison officers in Lisbon Prison have refused to cooperate with the internal inquiry into the incident.
Amnesty International said:
"This vicious and seemingly-premeditated attack is a cause for serious concern. There may have been a system for ensuring that abuse of prison inmates by prison officers could take place in a climate of complicity and impunity.
"Similar attacks may have happened in Lisbon prison and in other prisons without coming to the attention of investigating and prosecuting authorities. Amnesty International is concerned about systemic failures to ensure the protection of the human rights of prisoners in Portugal."
Amnesty International is also concerned about:
The attack on Albino Libanio, which may amount to torture;
The failure to provide Albino Libanio with medical assistance;
The failure of the prison authorities to protect inmates from abuse of their physical and mental integrity;
The lack of basic understanding on the part of prison officers of their duties and obligations towards prison inmates;
The breaches of international human rights laws and standards and of national laws and Prison Service regulations.
Amnesty International's report calls on the government of Portugal to live up to its obligations under international law to protect detainees from torture and other cruel, inhuman or degrading treatment or punishment. The government must ensure that prompt, thorough and independent investigations are carried out into allegations of such acts and bring the perpetrators to justice. Victims must have access to redress and adequate compensation.
The organisation is also calling on the Portuguese government to ratify and implement the Optional Protocol to the Convention against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment at the earliest opportunity. By becoming a party to the Protocol, Portugal will be obliged to allow independent international inspection of its places for detention.
"The Portuguese government must put an end to a culture that is fostering abuse of power in the prison system.
"All prison officers allegedly involved in the attack on Albino Libanio should be suspended pending the outcome of criminal investigations. The findings of the disciplinary and criminal investigations should be made public.
"Albino Libanio is entitled to justice. He must be given adequate compensation according to the findings of the investigation."
On 11 November 2003, Albino Libanio inquired with a trainee prison officer for a second time about the delivery of a package of food that he was expecting, and in doing so apparently used "inappropriate" language. The trainee prison officer considered his attitude disrespectful and reported the incident to the prison officer in charge of that wing of the prison. Albino Libanio was placed in a cell known as the "waiting room" or "cell 80", which was used for the temporary placement of inmates in transit and as a cell for the separate detention of violent or vulnerable inmates. In the evening, the trainee officer took Albino Libanio to an area where a group of 10 to 15 prison officers had aligned themselves in two rows. Albino Libanio was forced to walk between the rows, while the prison officers pushed, kicked and punched him. Another prison officer noticed the commotion and led the prisoner away. None of the prison officers reported the incident. It became known by chance - on the following day Albino Libanio received a visit and told his visitors about the beating. They informed his lawyer who reported the attack to the Prison Service and the Public Prosecutor.
On 5 July 2004, Amnesty International wrote to the Minister of Justice to express the organisation's concerns about the case, to request information about the criminal and disciplinary investigations which had been opened and to urge her to take action on the organisation's recommendations.
Read the report ...


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I'm seeking a life partner that educated. Should Care my mother and father.


text:
La Journée mondiale du diabète est la principale campagne mondiale de sensibilisation au diabète sucré et a lieu tous les 14 novembre.

Dirigée par la Fédération internationale du diabète (FID), chaque Journée mondiale du diabète se concentre sur un thème lié au diabète. Le diabète de type 2 est une maladie non transmissible largement évitable et traitable dont le nombre augmente rapidement dans le monde entier. Le diabète de type 1 n'est pas évitable mais peut être pris en charge par des injections d'insuline. Si les campagnes durent toute l'année, la journée elle-même marque l'anniversaire de Frederick Banting qui, avec Charles Best et John Macleod, a conçu l'idée qui a conduit à la découverte de l'insuline en 1922.

Histoire
La Journée mondiale du diabète a été lancée en 1991 par la Fédération internationale du diabète et l'Organisation mondiale de la santé (OMS) en réponse à l'augmentation rapide du diabète dans le monde.

En 2016, la Journée mondiale du diabète était commémorée par plus de 230 associations membres de la FID dans plus de 160 pays et territoires, ainsi que par d'autres organisations, des entreprises, des professionnels de la santé, des politiciens, des célébrités, et des personnes vivant avec le diabète et leurs familles. Les activités comprennent des programmes de dépistage du diabète, des campagnes radiophoniques et télévisées, des événements sportifs et autres.

Thèmes
Les thèmes des précédentes campagnes de la Journée mondiale du diabète étaient axés sur différents facteurs qui influencent le risque de diabète et ses complications :

 2013 : Protégeons notre avenir : L'éducation et la prévention du diabète.
 2014 : Allez bleu pour le petit déjeuner.
 2015 : Manger sainement.
 2016 : Les yeux sur le diabète.
 2017 : Les femmes et le diabète - Notre droit à un avenir sain.
 2018-2019 : La famille et le diabète - Le diabète concerne toutes les familles.
 2020 : L'infirmière et le diabète.
 2021-2023 : L'accès aux soins pour le diabète - Si ce n'est pas maintenant, quand ?

Référence

Voir aussi

 Diabète
 Diabète de type 1
 Diabète de type 2
 Insuline

Liens externes

 Wolrd Diabetes Day
 Fédération Française des Diabétiques
 International Diabetes Federation

Médecine interne
Maladie génétique
Trouble nutritionnel
État médical lié à l'obésité

Handicap invisible

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Whatever you are looking for, whether foundations, fencing repair contractors or fence foundations, if it is a Fencing Contractors product or service then John the fencer are the people to speak to. We service a wide area from our main premises at SURREY HILLS, VIC. Email us or call on 0401 82#### to find out more about our Fencing Contractors range of products and services.


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The benefits of a memory foam bed are well documented with human beds selling for thousands of dollars. The attractive cover is removable for washing. The core is ingeniously designed for genuine memory foam comfort while affording ultimate support for any size dog. While the Memory Sleeper is wonderful for pets with bone, hip or joint problems this bed is also the ultimate in comfort for any size dog. While the Memory Sleeper is wonderful for pets with bone, hip or joint problems this bed is also the ultimate in comfort for any pet. Remove the cover and wash it on the gentle cycle with cold water. Line dry or use the no-heat cycle on your dryer.
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Ugh! Forget it: I didn't. I had simply forgotten to rename myaddons.pak back from myaddons.zip after editing those files. Editing out the orphan planets didn't do any good.
you could remove the files 'Asteroids.sc' and 'SolarSys.sc' from the .pak archive, maybe also 'SolarSys3000.sc', and see what is then.
Perhaps, one by one, to see which is the cause. If it is one of these files.
So about 10 more years and engine will be considered done, right? Though, it can be built upon even then.
I think 2045 is more real date. After arising of advanced AI, it will finish SE within 0.1 seconds and start moving humans into VR prison.
Tried 0.974 now and having issues with stutter/lag or what ever that is called in English Main issue is that it all "jumps" a bit every second or so when moving. See Youtube URL below for example.
Do you use "super" planet shine? Try to set it no "normal".
Got a tiny bug (I think): I disabled (removed the tick mark) in the Graphics part for Lens flares. But now it can not be turned on again: when going to the part to mark it again, it is not possible. The pointer does change at the mark but it's the "movement pointer".
Had to go into user.cfg and set EnableLensFlareGhosts to True again and then the tick mark is back also in-game.
This bug has already been mentioned earlier, and it is, as far as I know, already corrected for the next release.
For now, you could create a keyboard shortcut for it.
So you can the lens flares toggle on and off.
Well, I recorded a video that shows three bugs that I found; initially it was just for the flickering bug but since the others were also visible I thought I would point them out too. Here.
Born too early to explore space... But just in time for Space Engine.
Are there two stars eclipsing in the system, or a planet eclipsing a star?
There are a yellow dwarf and a red dwarf orbiting a common barycenter. Now that you mention it, fast-forwarding the time by a few months places the stars further apart (from the point of view of the bugged planet), which in turn "fixes" the flickering bug. Maybe it was caused by the two stars eclipsing each other at a huge distance away, so SE couldn't resolve their illumination properly?
This is an old bug in SE, one of the oldest. Just ignore it.
Does anyone know what causes this problem? I don't think I've ever seen it in previous SE editions.
Edit: Oh, and by the way, how does one enable cheat mode? I want to able to use "Teleport here" for my spaceships again.
Oh, and by the way, how does one enable cheat mode? I want to able to use "Teleport here" for my spaceships again.
Open console, type "enablecheats", press enter.
Does anyone know what causes this problem?
Space Engineer, just for curiosity, what C++ IDE and compiler do you use?
Hey, is it normal that the Shuttle is impossible to dock? I thought the port was on the tail, but it still say I am 15 meters and 90° away, is the port misplaced? The Skylone work well though.
Allright, I sorted out my main issue. Turns out there was, within my addons folder, a very old copy of the solar system definitions, under a different name, which I had used years ago to make some tests and had simply removed from the universe.cfg definitions and completely forgotten. As I copied my addons to the newly installed version, it too got copied, and now that we no longer need to define everything in universe.cfg, it caused trouble.
So the only issue I have left is a bug that turns the central star (whatever its class may be) into a brown dwarf when the system includes a brown dwarf in a planetary orbit. As was the case in the old SolarSys3000 addon. When there's a barycenter defined, all is fine, but some very low mass brown dwarfs shouldn't need a barycenter, since they behave basically as overly massive giant planets.


The personal injury attorneys at Emery Reddy hold negligent parties accountable when innocent consumers are hurt by defective and dangerous products.
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If you believe you have a product liability case, our lawyers can help to ensure you get the compensation you deserve.


text:
Main > Publicity > Publicity Print > Books >
1950 — Behind the Flying Saucers
FROM: BEHIND THE FLYING SAUCERS
CHAPTER 11:
AN AERODYNAMIC CORRECTION
by Frank Scully
THERE'S an aerodynamic proverb, or if there isn't, there ought to be, that everything has an end – except a flying saucer, which has neither a beginning nor an end.
Exceptions to this might be taken by Leo Bentz, George de Bay, and Jacque Fresco, all of whom have either seen or designed flying saucers many years ago. Bentz, an old-time builder of automobiles, said he saw a confidential demonstration of a flying saucer in Griffith Park, California, as long ago as 1928. It was designed by George de Bay. It skipped through the air like a flat stone, or better, a saucer with its curved side toward the earth. Thus it worked on a vacuum principle, which de Bay explained would require ten times less power for propulsion than what was used at that time. It was not, however, designed to carry a pilot or crew. Bentz lost sight of de Bay before the war and believed he had gone to Russia.
In 1938 Jacque Fresco designed a flying saucer but at that time the aircraft companies said the model was too far ahead of anything they could handle and it was shelved while he worked on a more conventional job, which he did at Pearl Harbor, just before the war, and some Buck Rogers contributions which were his lot at Wright Field during the conflict.
A small dark man with the eyes of a fox terrier and a mind as sharp as an arctic wind, Fresco belongs to the "believe only what you can measure" school of science. Flying saucers might be mirages reflecting from round-shaped aluminum-painted oil tanks, he suggested. "They might seem to move in the sky as the sun moved, thus confusing people either on the ground or aboard planes."
But, even so, disk-shaped aerial ships he thought had a sound aerodynamic future. But he wouldn't go beyond hydrogen gas and turbojets as a means of propulsion. In fact when he heard somebody was offering $25,000 for a saucer that would fly he said that would be like taking candy from a baby. "I can build one for $15,000 and make it fly fast enough to pull a pilot out of his skin," he said, "and I'm working on a way to make even him survive the experience."
The first time I hinted to him that the flying saucers under examination were in all likelihood powered by magnetic energy, the remark stopped his stream of speech and turned him for a moment into a mute, inglorious Milton.
"No aircraft engineer will go that far," he warned. "Mind, I am not stressing flying saucers in the first place, for the simple reason the industry doesn't want them, but if they're made in the future, they will have to be along conservative lines." I leave it to readers to judge what he considers conservative lines.
In the aircraft industry Fresco is known as the man who is forever twenty years ahead of his time. Up to the day I consulted him on flying saucers, hoping to use him as a possible control factor, he had been working on what he said would be the forerunner of space ships. These pre-space ship models, he said, would have to be constructed to handle problems within reach of the earth's gravity. They would have to get rid of the nuisance of static electricity, which most ships do today by the use of a tail wire which discharges extraneous electricity picked up by the skin as the ship cuts through the air. His ships of the future will use that static electricity for added propulsion.
The next problem that must be solved is to stop stalls or spins, especially at low speed. Fresco has designed a system of electrostatic controls which would not let the ship stall even if the pilot lost control. A stream of electrons fanning out from the wings will control a banking ship. Electrostatic action will not only control the ship but increase its speed. An electronic rain baffle will keep vision clear and send a positive charge of electricity through the canopy, thus creating a resistance-free passage for the craft. Raindrops would never hit the canopy, thereby giving the pilot clear visibility, rain or shine.
As for Fresco's regular planes of the near future, they will be rocket types, with snug wings for use if and when needed. Shock wave eliminated through the use of electrostatic power, air can be made to flow in any direction. Resistance thus reduced, 3,000 miles per hour will be commonplace, fast service between Los Angeles and New York a matter of perhaps minutes, interplanetary travel, 100,000 miles per hour.
Conventional motors will be used to start a ship and to bring it in. Between times it will use polarized field motors. These will change the polarity of matter and offset the effect of sudden acceleration, which would otherwise kill pilots.
In fact Fresco is of the opinion that the less you give a pilot to do the fewer people are apt to be killed. He is a great believer in a push-button war on the overworking of pilots.
I told him, according to the flying saucers my informants had researched, that had already been accomplished. The ships examined were completely run by push buttons, had no visible motors and apparently could land safely even with dead pilots.
He insisted that any such talk would only annoy aerodynamic engineers. I told him that Hall Hubbard, vice president and chief engineer of Lockheed, was already annoyed. Hubbard conceded that it was possible to build and to fly a ship that looks like a saucer but he didn't believe it possible with our present knowledge to make them fly with the speed that everybody is talking about.
Fresco wanted to know how fast the magnetic research men said that was. I said as fast as light, 186,000 miles per second. In fact, some argued that 282,000 miles per second was possible, despite Einstein's contention that nothing can travel faster than the speed of light. Fresco took a middle position between Hubbard and Einstein. "I believe we will hit 100,000 miles per second outside this atmosphere in the not too distant future," he said, "but I balk at anything faster than that, and you'll only make yourself appear ridiculous if you go beyond that even on paper.
To show me how far it would be safe to go he sketched some saucers that could be built even now. He started out with a modest job that was his model of 1938. It had eight jets spaced around the rim of the saucer like a pinwheel firecracker. The center rotated on a turbine held in position like a helicopter, while the outer rim revolved on a turbine. It was before turbojets and hence considered impractical at the time.
Since then, however, he has gone beyond turbojets in an effort to meet space ships from another planet at least half way. He has designed a hydrogen-powered turbine disk which has ten essential parts. The canopy for the crew is of transparent metal. In the center is a sphere containing liquid hydrogen. Three tubes from the sphere convey hydrogen through a nuclear reactor. The upper tube feeds the hydrogen to the upper turbine. This sets the turbine revolving. The hydrogen is then fed back through a duct to the lower turbine. This turbine moves in the opposite direction to the upper turbine. Between them they neutralize the torque in the center as would a helicopter.
A series of blades are turned so as to propel the air from the upper surface of the disk to the lower. The result would be decreased pressure on top of the disk and increased pressure below, lifting the disk vertically to any desired altitude.
The vents are then closed and a cyclic pitch actuator controls the flight direction of the disk as desired. When flying forward the disk would be tilted nose downward. This would cause the air underneath the disk to slip backward, thus propelling the disk forward. Its speed thereafter could be propelled by the use of interstellar radiation, such as the field polarizing type of motor or the harnessing of cosmic rays, thus forcing the saucer to travel in a manner similar to the way meteors travel through space.
I asked him if he knew what meteors are composed of. "Nickel and iron, mostly. Some cobalt."
"Do you know what makes the best magnet?" "Sure. Steel."
"What about manganese and aluminum?"
"They're nonmagnetic. In fact an electromagnet repels aluminum."
"True, but did you know that 61 per cent copper, 24 per cent manganese, and 15 per cent aluminum when combined as an alloy are strongly magnetic?"
He wanted to know what I was hinting at. I told him the magnetic engineers say a meteor travels on magnetic lines of force and the reason they land here now and then is because they have struck a magnetic fault zone in our atmosphere. In fact they say the same thing must have happened to the flying saucers.
"People will never believe it," he said.
I told him when we got through with them they would.


Matt McAfee is a founding partner at DMHD. He focuses his practice in the area of real estate and banking law. He represents buyers and sellers in commercial real estate law, acquisitions and dispositions, commercial development, and commercial leasing. He has extensive experience in real estate project finance, including securitized debt and mezzanine financing. Mr. McAfee also represents clients in real estate-backed lending and the workout of distressed credits.


Some of Kolkata's most stylish bars can be found in hotels. Based out in Salt Lake, the Hyatt is one of the slickest and biggest hotels in the city. At lobby level, overlooking Guchhi, the hotel's excellent Indian restaurant, you'll find their bar. It's an elegant and attractive place, ideal for a reviver before dinner or dancing or whatever evening activity awaits you. They serve a wide range of creative and classic cocktails as well as beers, both imported and local, and wines from around the globe. Should you require a snack they also do an array of extremely more-ish nibbles.


The caucus chairman, Antonio Sánchez Carrillo, highlights the candidate who "perfectly combines youth with experience and management skills in the administration"
Thursday Tárraga Pepe, president of Fotosenderos, offered in Mazarrón Talk "Blue and White: A virtual tour of the mountains and their environment"
The exhibition will be open until May 4.
ArquitecturaON allows developing practical training of students focusing on issues such as the ordination Bay.
Walkers and new amphibious chairs eliminate barriers.
The first will take place on Wednesday March 11th at 17:00 and will focus on "Risk Prevention in the Home"


Hello lovely! I have swatched the Too Faced Sweet Peach Palette which has quickly become a favorite of mine. It will be perfect for the Spring and Summer months to come though there are no rules to makeup. Wear it whenever, I always say! In my opinion, the color range is quite nice. The Sweet Peach Palette does include nice peachy shades but I love the fact that there are browns and purples to deepen a look. I believe you can really smoke it out with colors like Tempting, Delectable and Talk Derby to Me. The variety of colors makes this palette versatile enough to create numerous different looks. I was not a big fan of the 3 chocolate palette line but this one has got my heart!
From the photos, you can see that the colors mostly swatch very well even when using an eye-shadow brush. I did not use eye-shadow primer underneath any of the colors so I believe they will perform even better over a nice, smooth base. Most colors felt very smooth and creamy though there are several that did not have a similar consistency to the rest. Peaches n Cream is the most powdery and has a lot of fall out while Talk Derby to Me and Delectable had a rougher feel to them. Those are just a few I could remember from memory that stood out in formula.
Overall, I give Too Faced Sweet Peach Palette a big thumbs up! I would love to know your opinion if you have purchased and/or tried this palette. :) I hope you all have a wonderful weekend!


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Pearl Box Co Reviews
Pearl Box Co promises to add some fun back to your online shopping experience with a continually changing collection of curated clothing and lifestyle items, especially leggings.
Discovery Commerce
www.pearlboxco.com
What is Pearl Box Co?
By Lydia Noyes
HighYa Staff
Published on: Apr 30, 2018
Pearl Box Co is an e-commerce company with a constantly-changing collection of clothing items and accessories. Every month, the website offers over 100 different fandom-related products that they claim break the mold set by conventional apparel stores.
According to their website, Pearl Box Co forgoes maintaining a massive, unoriginal collection of lackluster goods to instead carefully curate a selection of unique pieces designed to get browsers excited about shopping again.
While Pearl Box Co offers a variety of products, the company seems to specialize in athleisure clothes and leggings.
How Does Pearl Box Co Work?
Pearl Box Co offers a boutique experience for online shoppers with a continually changing collection of products. Interested customers need only to make an account on the website, add products to their cart, and then proceed with their payment.
The company website states that purchased items will be shipped from their warehouse within 3-5 days of payment and that customers will receive shipping confirmation information and tracking numbers via email.
Though Pearl Box Co acknowledges that shipping times can vary considerably across the globe, the company estimates that most orders arrive within 1-3 weeks of the shipping date.
For every purchase on the website, Pearl Box Co donates $1 to Oxfam International, a confederation of 19 charitable organizations dedicated to fighting global poverty.
What Products are Available from Pearl Box Co?
Pearl Box Co's ever-changing collection consists of a wide variety of wellness products, athletic wear, electronics, and trendy accessories. At the time of publishing, we found that the website had seven categories (cool stuff, beauty, workout, shapewear, teeth whitening, bestsellers, and new), most of which contained 5-15 curated items.
The company is most known for its athleisure collection, which includes push up leggings, booty shorts, sports bras, and other feminine apparel. Pearl Box Co's push up leggings come in a variety of styles that include denim, high waisted, yoga pants, contour, and printed leggings.
The company claims that their leggings are sexy, stylish, and comfortable; and they state that their push up leggings are optimally designed for increased shape and support. But can they give you the figure you crave? Let's look at the details.
Will Push Up Leggings Make Your Butt Look Bigger?
Pearl Box Co's website photos and copy make it clear that a major selling point of the brand's leggings is their promise to boost the impact of your derriere. Will they work? Admittedly, there isn't much research on the web that we could find about whether push up leggings leads to a more hourglass-looking figure.
The aptly named website How To Get a Bigger Butt does tell us that 'butt lift jeans' were first invented in Brazil and became a favorite figure enhancer for women in Latin America and beyond.
These jeans typically rely on strategic dyeing, clever stitching, and compression-style fabrics to produce an illusion of a smaller waist and a more substantial rear, and they often make use of a diagonal seam to form a heart shape that cuts across the hips to further enhance curves.
Pearl Box Co leggings seem to follow similar strategies for contouring, especially the brand's denim leggings. Other models make use of contrasting fabric panels, well-placed stitching, and bright colors to heighten the effect.
While these leggings won't add something to your figure that isn't already there, How To Get a Bigger Butt tells us that they can be thought of as a "push up bra for your tush." But do tight leggings have any benefits need the aesthetics?
Specifically, will they help women improve their athletic performance?
Do Compression Leggings Improve Athletic Performance?
Markets Industry tells us that athletic clothes for women is an enormous industry these days that has dramatically boosted the popularity of spandex in all kinds of clothing.
Many of these items are branded as compression clothing, which postdoctoral researcher Abigail Stickford mentions in a New York Times blog post are designed to purportedly increase blood circulation and oxygen delivery to improve sports performance.
But do they work? We looked through some of the available research to see if compression clothing can improve athletic performance or workout results. One study from The International Journal of Sports Physiology and Performance showed that calf compression sleeves seemingly made no difference in the athletic performance of 16 male distance runners.
Likewise, a 2013 study showed that compression shorts didn't increase blood flow to the legs after exercise. While exercise itself significantly increases blood flow to muscles, compression shorts seemed to make little difference in the process.
A summary of different studies produced by Human Kinetics also revealed that the benefits of compression clothing seemed to be inconsequential for helping athletes improve their performance in the moment or recover faster afterward.
Will compression clothing like Pearl Box Co leggings improve your athletic performance and recovery times? The evidence isn't substantial that they will. However, no studies have yet found any adverse effects from exercising in tight clothing, so feel free to experiment if you are curious.
How Much Does Pearl Box Co Cost?
Because Pearl Box Co's product collection is varied and constantly changing, it's impossible to provide any exact pricing information.
Generally, we found that you can expect to pay between $20-$50 for most apparel and less than $50 for the beauty products, trendy accessories and jewelry options. Our research showed that most leggings from Pearl Box Co cost between $27.99- $39.99.
Shipping costs vary depending on the price and size of your order, as well as where you are shipping it to. We found that the cost is usually between $4.97- $15, and purchases over $60 qualified for free shipping at the time of writing.
We found that the company offers a 30-day return policy from the time of purchase (not shipping arrival date) for unused items in their original packaging. For qualified returns, buyers need to pay the cost of shipping or have the cost deducted from their return.
Once your return makes it back to the company, you will be notified whether the return is approved. If it is, you will be credited the purchase amount to your account (minus return shipping).
Their website states that some products are exempt from returns, including perishable goods, intimate or sanitary items, and hazardous materials like flammable liquids or gases. Sale items also don't qualify for returning.
Likewise, exchanges are only offered for products that are damaged or defective, and you are responsible for paying the return shipping costs.
All returned items should be shipped to 55 Chrisp St, Rapid Creek, NT Australia 0810. You can also contact the company through email at support@pearlboxco.com
What Do Customer Reviews of Pearl Box Co Say?
The Pearl Box Co website contains reviews for several of the brand's products, including their popular push-up leggings. At the time of writing, these reviews were mostly positive, with customers noting that their leggings were a 'great fit,' 'cute and flattering,' and 'a must buy.'
The only reviews we could find off the company website for Pearl Box Co products were on DirtyScam.com and Reviewopedia.com. On both sites, the company is called a scam by numerous customers and receives a low ranking (one out of five stars on Reviewopedia).
Customer comments about the brand included the following:
"I had no one help me when my product went missing at all…. To this day have sent over 20 emails to this company and they have an auto response… I don't recommend ordering from them if you're worried about your product showing up and having someone help you."
"I ordered a pair of black leggings… they were not black; they were dark grey and very see-through (thin material)… their leggings are not good quality."
"[These leggings] are terrible. They took forever to get, and they are not sized right at all, and lastly, they false advertise so bad. They posted a photo of a fitness model wearing this brand; they are not this brand at all…They are so cheaply made & see through."
"Very poor quality + wrong size (XL instead of S)…I realized that the 'Deep grey, Push up leggings' they advertise definitely do not match with the product they ship, as you can clearly see there is a line in the middle of the leg which is lacking."
"These are FAR from squat proof, it's a total farce, and falsely advertised. The ones I received were made with the THINNEST material I've ever seen on "Squat proof" leggings…I can't bend over to do ANYTHING without others seeing right through my leggings…I e-mailed the company a week ago about all of this, and never got a response."
At the time of writing, we found just one positive review off the company website. Most other reviews mentioned that the leggings they received were the wrong size, not true to the website's photos, or made from low-quality fabric.
Our Consensus: Should You Buy from Pearl Box Co?
Pearl Box Co is an e-commerce brand that advertises itself as an attractive alternative to "boring" options from traditional brands. The company promises to provide browsers with an ever-changing collection of quality wellness products, but our research into online reviews for these products shows that customers aren't always coming away happy.
The (admittedly few) online reviews we found about Pearl Box Co made it clear that many customers struggled to contact the company for returns, didn't receive their orders in a timely fashion, and failed to obtain the right size and product that they ordered.
At this time, we weren't able to find any online reviews for the other products currently offered on the company website. Because we haven't tried these products for ourselves, we can't speak to their quality.
Should you order from Pearl Box Co? The wisdom of the crowd might tell you to stay away. Their return policy is stricter than most, and you will be required to pay for shipping both ways.
However, there just isn't enough information online at the time of writing to know for sure, so we are interested in hearing from your experience.
Read 4 Pearl Box Co Customer Reviews and Complaints
Bottom Line: 0% would recommend it to a friend
Updated review
Finally received my purchase
By Jason D.,
It took what felt like forever for the recipient to receive this gift. I have not as yet been advised of its quality. I will update when I find out.
Never received my purchase
I made my purchase on December 5th, I then paid with PayPal and never received the merchandise. All attempts to reach the company have failed and a dispute has been filed with PayPal. Hoping that this will generate a response from the company.
(read moreread less...)
Unethical company
By Colleen S.,
New Port Richey, FL,
I ordered 3 bras from this company. I was unhappy with the merchandise and returned then on June 19th. I have a Customs form and receipt from the post office. The company has not returned my money as of yet.
Terrible experience/quality
By Regina C.,
I placed my order for three pairs of leggings two weeks before Thanksgiving. I didn't get any communication from the company until the second week of December, however, the payment was immediately taken from my account. When I finally got an email from the company, they declined to refund my money and stated they would not be able take the product back. Once the product arrived, there was no information in the package that stated where the package was shipped from or how I could return it. There wasn't even any product information in the package. I would never buy from this company again or recommend it to anyone. If I could give no stars I would.
By Claudia G.,
I received my order today and to say that I'm dissatisfied with my purchase is a huge understatement, the pants are nothing like as advertised. They are not remotely of anything I would ever buy or wear; the quality is just unacceptable. I will expect a full refund, and I will never ever purchase anything from this site again.
Write a Review for Pearl Box Co!


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Home / Gary Peacock / The Beginnings · West Coast Years 1959-1962
Crown CLP 5311
Pacific Jazz STEREO-52
Contemporary S7605
The Beginnings · West Coast Years 1959-1962
Gary Peacock (b), Carmell Jones, Don Ellis (tp), Bud Shank, Jimmy Woods (as), Harold Land (ts), Forrest Westbrook, Clare Fischer, Frank Strazzeri, Dick Whittington, Paul Bley (p), Billy Bean, Dennis Budimir (g), Bill Schwemmer (d) Gary Peacock, Chuck Flores, Gene Stone, Leon Petties, Milt Turner, Nick Martinis, Mel Lewis (d)
Reference: FSRCD 996
Bassist Gary Peacock (1935-2020) made his first recordings in the West Coast between 1959 and 1962. He was in his mid-20s when he arrived in Los Angeles, and although his talent was starting to get some recognition, not many would have counted Peacock among the most proficient young bassists in jazz. After the release of these recordings, there were few who wouldn't have.
Before him, the most prominent new bassists of the early 1960s were Scott LaFaro, followed by Charlie Haden, Steve Swallow and Chuck Israels. LaFaro's unexpected death in 1961 was a great loss because we most likely missed on further developments he would have contributed to the role of bass in jazz. Gary Peacock's push for innovation was a win for the same reason. The Peacock who suddenly burst in 1962 onto recordings with Jimmy Woods, Clare Fischer and with Don Ellis and Paul Bley was among the most challenging young musicians in jazz, a bassist learning to make his way into the most advanced groups. His playing had come far since his recordings with Bud Shank or Carmell Jones two years earlier, in an evolution that had no turning back.
Gary Peacock was sure that "although you may have an idea of where you are in your work, a record will show you where you really are —you and anyone else who hears it." Listening to this compilation of his early recordings, you may find the answer.
Sample this album
Willow Weep for Me (Ann Ronell) 7:28
Blues in the Surf (Bud Shank) 5:02
Stranger (Gary Peacock) 4:01
I'm Gonna Go Fishin' (Peggy Lee, Duke Ellington) 11:13
Donkey (Carla Bley) 4:37
Not yet (Don Ellis) 7:54
Free Too Long (Clare Fischer) 7:31
Liddledabllduya (Gary Peacock) 3:56
Form (Don Ellis) 10:07
I Love You (Cole Porter) 5:15
New Groove (Bud Shank) 6:45
Blues for Home (Clare Fisher) 5:10
Total time: 78:59 min.
01. Willow Weep for Me (Ann Ronell) 7:28
02. Blues in the Surf (Bud Shank) 5:04
03. Stranger (Gary Peacock) 4:02
04. I'm Gonna Go Fishin' (Ellington-Lee) 11:12
05. Donkey (Carla Bley) 4:37
06. Not Yet (Jimmy Woods) 7:58
07. Free Too Long (Clare Fischer) 7:30
08. Liddledabllduya (Gary Peacock) 3:58
09. Form (Don Ellis) 10:12
10. I Love You (Cole Porter) 5:15
11. New Groove (Bud Shank) 6:47
12. Blues for Home (Clare Fisher) 5:12
Track #1, from "Carmell Jones - Previously Unreleased Los Angeles Session (FSRCD 867)
Track #2, from "Bud Shank - Bud Shank with Maynard Ferguson-Stu Williamson & Bob Enevoldsen" (Crown CLP 5311, also on FSRCD 606)
Tracks #3,7,10 & 12, from "Clare Fisher - First Time Out" (Pacific Jazz Stereo 52)
Track #4, from "Carmell Jones - The Remarkable" (Pacific Jazz Stereo-29)
Track #6, from "Jimmy Woods - Awakening!!" (Contemporary S7605)
Tracks #5 & 9, from "Don Ellis - Essence" (Pacific Jazz Stereo-55)
Tracks #8 & 11, from "Bud Shank - New Groove" (Pacific Jazz Stereo-21)
Track #1: CARMELL JONES QUARTET
Carmell Jones (tp), Forrest Westbrook (p), Gary Peacock (b), Bill Schwemmer (d).
Recorded at Forrest Westbrook's studio, at 2021 Santa Monica Blvd, Santa Monica, California, August 1960
Track #2: BUD SHANK QUARTET
Bud Shank (as), Billy Bean (g), Gary Peacock (b), Chuck Flores (d).
Recorded at Pacific Enterprises Inc./ Rex Studios, Los Angeles, April 18, 1959
Tracks #3, 7, 10 & 12: CLARE FISCHER TRIO
Clare Fischer (p), Gary Peacock (b), Gene Stone (d).
Recorded at Pacific Enterprises Inc./ Rex Studios, Los Angeles, April 12 & 14, 1962
Track #4: CARMELL JONES QUINTET
Carmell Jones (tp), Harold Land (ts), Frank Strazzeri (p), G. Peacock (b), Leon Petties (d).
Recorded at Pacific Enterprises Inc./ Rex Studios, Los Angeles, June 30, 1961
Track #6: JIMMY WOODS QUARTET
Jimmy Woods (as), Dick Whittington (p), Gary Peacock (b), Milt Turner (d).
Recorded at Contemporary Records, Los Angeles, February 19, 1962
Tracks #5 & 9: DON ELLIS QUARTET
Don Ellis (tp), Paul Bley (p), Gary Peacock (b), Nick Martinis (d).
Recorded in Los Angeles, July 14 & 16, 1962
Tracks #8 & 11: BUD SHANK QUINTET
Carmell Jones (tp), Bud Shank (as), Dennis Budimir (g), Gary Peacock (b), Mel Lewis (d).
Recorded at Pacific Enterprises Inc./ Rex Studios, Los Angeles, February 22, 1961
Original recordings produced by Dick Bock, except #1 by Forrest Westbrook, and #6 by Lester Koenig
This compilation produced for CD release by Jordi Pujol
Liner notes: Jordi Pujol
© 2020 by Fresh Sound Records
Stereo · 24-Bit Digitally Remastered
Blue Moon Producciones Discograficas S.L.
"Bassist Gary Peacock, who died in September of 2020, was probably best known for Trio '64, his sole album in 1963 with Bill Evans, as well as his work with Albert Ayler, Paul Bley, Marc Copland and Keith Jarrett. But before Trio '64, Peacock spent several years in Los Angeles working as a sideman. On the West Coast, Peacock emerged as part of a school of conversationalist bassists who didn't just keep time but were expected to engage with a point of view.
Now, Fresh Sound has released a wise sampler of Peacock's recordings during this period. The album, The Beginnings: Gary Peacock, West Coast Years (1959-1962), features the bassist with the Carmell Jones Quartet, the Bud Shank Quartet, the Clare Fischer Trio, the Carmell Jones Quintet, the Jimmy Woods Quartet, the Don Ellis Quartet and the Bud Shank Quintet.
All of the tracks have an avant-garde edge, with Peacock driving firmly on top. During this period, Peacock became a rhythmic player with unusual bass patterns and improvised statements, at times provoking and other times supporting. All of these tracks belong to eight terrific albums, which makes this new compilation a smart starting point for experiencing Peacock's roots and playing intellect. Much of the music is ahead of its time, refusing to fit into the era's pop and songbook approach and carving out new territory for small-group jazz. On each track selected by Fresh Sound's Jordi Pujol, Peacock is playing powerfully and distinctly.
You need to hear this album to understand Peacock's approach on future leadership albums and sideman sessions. The tracks are all terrific choices."
—Marc Myers (January 11, 2021)
https://www.jazzwax.com
"The first thing that is going to shock you about this collection of material by legendary bassist Gary Peacock during his early years is that at one time HE ACTUALLY LOOKED YOUNG!
Together with Charlie Haden, Steve Swallow and Chuck Israels, the recently departed Gary Peacock was one of the most important of the up and coming bassists, best known for his work with Keith Jarrett's classic trio alongside Jack DeJohnette, as well as with Albert Ayler and Paul Motian. This retrospective has him in seen different settings, all in Los Angeles (or Santa Monica) in trio or small group formats, showing a wide breath and width of his talents and taste.
There are some surprises here, as Peacock shows a debt to and influence from legend Charles Mingus, giving some clever work in Carmell Jones' Quintet with Harold Land/ts on "I'm Gonna Go Fishin'" and snapping with the trio of Clare Fischer/p and Gene Stone on "Free Too Long". This same trio is quite lively, with Peacock's bass dominating "Stranger" and bopping to the nifty and hip "I Love You". A straight Jazz Messenger-ish "New Groove" and "Liddledabllduya" with Bud Shank/as, Jones/tp, Dennis Budimir/g and Mel Lewis/dr sounds like vintage Blue Note material, while elliptical tones are by the more adventurous team of Peacock with Paul Bley/p and Nick Martinis/dr a Monkish "Form" and sepia "Donkey". West Coast warm."
George W. Harris (December 7, 2020)
https://www.jazzweekly.com
Sings and Swings + The Carless Torch (2 LP on 1 CD)
Jean Hoffman & Dorothy Carless
FSR V129 CD
The Complete Atlantic Singles 1956-1960 (Digipack)
Chris Connor
BMCD 883
Nicholas Brust
FSNT-601
No Method
Bill Goodwin
I See Your Face Before Me + Come Swing with Me (2 LP on 1 CD) + 4 Bonus Tracks
Tony Travis
John Wright Trio & Quartet (4 LP on 2 CD)
Swingin' With Terry Gibbs' Orchestra & Quartet (2 LP on 1 CD)
Terry Gibbs
Holiday in Brazil + Latin Contrasts (2 LP on 1 CD)
UBCD 313
Slippery When Wet - Original Soundtrack
The Remarkable Carmell Jones + Business Meetin' (2 LP on 1 CD)
Carmell Jones
Carmell Jones Quartet: Previously Unreleased Los Angeles Session
The Remarkable Forrest Westbrook - His Trio & Quintet (Previously Unreleased Recordings)
Forrest Westbrook
New Groove & Barefoot Adventure (2 LP on 1 CD) Feat. Carmell Jones & Bob Cooper
Explosion! + All That and This Too (2 LP on 1 CD)
Sam Trippe & Bob Rogers
Plays the Duke (Vinyl)
MG-36128
So Danço Samba (Vinyl)
Clare Fischer


The process of measuring, bag-making, filling, sealing, printing, cutting and counting can be done automatically.
The packaging machines can pack many kinds of materials such as grain, powder, liquid and tablet, etc.
1. Grain: grain, water pill, sugar, coffee, fruit grain, tea, monosodium glutamate, salt, additional drying, seed etc.
2. Fluid and semi-fluid : milk powder, bean powder, flavoring material, can be waterish pesticide.
3. Tablet and Capsule: tablet and capsule ect.
Paper/PE, PT/PE, PET/plated AL/PE, PET/PE BOPP film, tea-leaf filtering paper and other heatable sealed laminates etc.
1. key-press switch with digital display.
2. computer-control, stepper motor drives the bags, high-precision making bags.
3. Auto tracking color sign, intelligently remove the incorrect color sign, auto complete the fixing position, fixing length.
4. Hot-sealing double-controlled temperature, intelligent temperature-control.


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17 February 2019 How To Freelance In Advertising
Posted at 16:50h in Uncategorized by Zac Martin 4 Comments
When you decide to freelance, the most common advice you're given is to expect quiet Januarys. Well, I had a quiet January. So I wrote How to Freelance in Advertising - a practical guide to getting started and not being homeless, by someone who's been doing it a while. It's real long tail stuff. A blog post accidentally became 11,000 words. Turns out I have a lot of advice and a few battle stories. These are my tools and truths for taking the leap. If y'all read it, let me know....
04 February 2019 Don't Sweat The Big Idea
[vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text] There's a famous joke called The Aristocrats: A family walk into a talent agent's office. The agent asks what their act is. The family get on stage, and do the most vile things to each other. Eventually, the agent asks what the act is called. "The Aristocrats." It's a favourite among comedians, a rite of passage. The setup and the punchline always remain the same, but each person can make it their own, riffing on the middle. Usually it's an excuse to be as filthy and offensive as possible. This is South Park's version. Good advertising works the same way. Effective brands find new ways to say the same thing again and again. Gareth Price says "Advertising must find new ways of repeating itself." This is the power of a brand platform, like Specsavers' Should've Gone To Specsavers and Snickers' You're Not You When You're Hungry. Consistent messaging for decades, not weeks. Sadly it's often the first thing a new agency or client kills. I love what UberEats are doing, in the early stages of building their Aristocrats: [/vc_column_text][/vc_column][/vc_row][vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text] [/vc_column_text][vc_video link="https://www.youtube.com/embed/P_-VAm_bhOM"][vc_column_text] [/vc_column_text][/vc_column][/vc_row][vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text] This is good advertising. It's product heavy, uses celebrities to grab attention, and is establishing a clever brand mnemonic in the doorbell. And it has longevity. As sponsors of the Australian Open, the template was adapted with some very cute executions like this: [/vc_column_text][/vc_column][/vc_row][vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text] [/vc_column_text][vc_video link="https://www.youtube.com/watch?v=dSmkBgdDPdE"][vc_column_text] [/vc_column_text][/vc_column][/vc_row][vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text]The effectiveness in these is not a big idea. They aren't creatively sexy. But they are good advertising. It's far from boring and fits their brand platform template. Mark Ritson would call it "disruptively consistent". Not all ads need a big idea. This camping store won't be winning any creative awards, but the campaign will work its guts off. This car ad doesn't have a human insight or big idea, and yet is distinctive and positions them as the fun SUV. Especially if they run quirky ads like this for the next decade. The Nordics have been doing it forever. As I write this we're hours away from Superbowl. There will be plenty of big swings, and many of them will hit. But if you're ever worked in an agency, you know getting to a big idea is hard, and making one is even harder.[/vc_column_text][/vc_column][/vc_row]...
14 January 2019 Is our fetishisation of insights misled?
Occasionally I read something which completely challenges a long held belief. Most recently it was BBH planner Mel Arrow's piece Forget Human Truth, Brands Should Be Talking Human Fiction. She suggests we spend too long obsessing over insights, when humans are just as attracted to fiction and narrative. It's a good argument - Homo sapiens lasted by sharing stories. There is no insight in Justice4Grenfell's 3 Billboard campaign. It's simply a cracking media idea. As a subscriber to "strong opinions, lightly held", I'm suddenly questioning my philosophy on how advertising works. I've long been fascinated by how agencies treat insights. (I'm partial to Mark Pollard's definition: "an unspoken truth that sheds new light on the problem".) One of the great things about freelancing is being exposed to a variety of strategic frameworks. When you flirt with eight agencies in a year, you see their differences in how each uncovers, uses, respects and encourages insightful thinking. (Or rather, how similar everyone is!) Almost always, at the foundation of every brief template is the coveted 'human truth'. Surprisingly no one seems to agree exactly what this is: An evolutionary truth - human behaviour that has always been true and will always be true A pop-cultural truth - a long or short trend to exploit which may only be true right now A target market truth - a unique behaviour true only to our audience and no one else Arrow asks a bigger question - do we need a truth at all? (And no, it's a cop out to say "the human truth is humans like fiction" - I'm talking about writing a useful creative brief). Walmart's Famous Cars campaign is a glorified product demonstration. There's no insight in this work, but it is fame-building excellence. Agencies worship their human insights like deities. Yet there are a number of schools of thought suggesting they may not be as critical as we once believed: Low Involvement Processing theory suggests most comms are processed relatively passively. Simply by being exposed to an ad builds preference through familiarity, irrespective of message (see mere exposure effect). The value of advertising is in its signal as much as its message. Ads create (a self fulfilling) faith in the future popularity of something. Byron Sharp's research on distinctiveness, where being famous for something, even when it's not technically different from competitors, creates memory structures which influence you at purchase. Ads do not need a human truth to be effective. Which is a compelling notion having worked on two automative clients last year, where uncovering an insight on yet another retail brief isn't easy (or necessarily helpful). Instead, perhaps the role of the planner remains simplifying the problem (not to be underestimated), ensuring the approach to advertising is theoretically effective, and then getting out of the way. In many cases the brilliance in an ad comes from a well told story. This is what makes the product or brand famous for something. Like the greatest product demonstration ever made, for Volvo Trucks, which is entirely devoid of truth: John Hegarty said "Advertising is 80% idea and 80% execution." That doesn't leave much room for a human insight. So when do you need one, and when do you not? I don't know. If you're a strategist who's stretched (lol, joking, that's everyone) ditching them on retail campaigns might be somewhere to start. Campaigns that focus on specific product attributes might be another. If you have a thought, let me know in the comments below....
16 September 2018 Purpose is the Symptom of an Embarrassed Industry
Marketers are embarrassed. It's an industry which has become ashamed to admit we influence behaviour and make businesses profit. It's why we call it "content" instead of "ads". Or worse, "films". It's why we set objectives for engagement, despite little evidence it does anything meaningful. Likewise building experiences, brand love and 'having a conversation' all fall under the same banner. On the other side, it's one of the endearing things about Russel Howcroft (Gruen panelist and my first boss). He bloody loves ads. He likes big ideas and big agencies. He gets off on advertising - from Cottee's-jingle-old-school to Koala-mattress-modern. He understands successful businesses grow the economy, keep people employed and fund the nation's retirement. Nothing embarrassing about that. Yet selling is dirty. https://twitter.com/robistyping/status/1029070601225478145 The lack of feel-goods in the industry has led to 2018's most dangerous word: purpose. (Here I use "purpose" in the context of brands aligning with and promoting social causes. Almost always seemingly out of nowhere.) We're offsetting this embarrassment by steering brands to fight for the greater good. We're putting our personal fulfilment ahead of sound marketing strategy. This may be controversial, but when Corona raise awareness for plastic in the ocean, it's off-brand. Likewise when Airbnb fight marriage inequality, it's a distraction. I am, of course, on board with the causes and don't mind either concept. But they do not deliver brand growth. The fad seems to driven by the likes of Simon Sinek, who notoriously said: "People don't buy what you do, they buy why do you it." But Simon is wrong. It's a claim made without substantiation. And with repeated reference to Apple, who he arbitrarily claims have the attribute of 'purpose' (rather than the more realistic 'good at brand building and product development'.) The often-quoted seminal research that goes hand-in-hand with the above suggests brands with purpose outperform those without. But this research is flawed, and Richard Shotton writes a good take down of it. Despite a few millennials claiming purpose is the biggest influence on their decisions (which is stated behaviour only), there are other ways to do brand positioning. Take Koala mattresses. They do not have a noble mission. They simply position themselves as challengers in a category run by old-school conventions. Which is why their ads take the piss. Yes, they donate money to wildlife charities. But this isn't their "why". They spend most of their marketing effort building the brand (reinforcing their positioning), or selling through product demonstrations and five star reviews. If you're doing brand communications, your job to create and refresh memory cues, then reinforce a long term positioning strategy. Anything else is brand noise. There's also the problem with conservative customers, who, while a minority, are finding their voice online which is echoed by the media. Byron Sharp says never give someone a reason not to buy your brand. But none of this offensive marketing - only potentially ineffective. Unlike what must be 2018's worst idea - Ikea's Say No To Bullying. This is more than brand noise. This is desperation to be on trend. And in doing so fabricating an experiment, presenting pseudo science disguised as research. This kind of irresponsibleness is why we have anti-vaxxers. I'm not a fan of the word "authenticity" but this lacks it, and is purpose at its worst. At the same time, don't confuse last week's killer work from Nike as purpose driven. (From the worst ad of 2018 to the best.) It might be progressive, but as seen in the follow up Dream Crazy ad, this is a campaign about self-belief, perseverance and sacrifice. Brought to you by the world's greatest athletes. This is not purpose, this is thirty years of brand positioning reinforcement. The best rebuttal for purpose is its ability to attract talent. When used internally, doing good in the world helps people not hate their job. But that doesn't mean it needs to drive your consumer-facing activity. Not every brand needs a social cause to fight for. In fact, when everyone zigs maybe it's a good time to zag. Andy Whitlock has good advice to keep your positioning grounded, which right now might just be the most effective way to be distinctive....
16 August 2018 Focus On Shit That Matters
Posted at 14:41h in Uncategorized by Zac Martin 1 Comment
A mate and I were working on a killer product idea. We'd come up with the concept, done renders, built prototypes and spoken to factories in China about manufacturing. We even had a killer logo and visual identity done. But all that took us two years - the way side projects tend to inevitably be side tracked. In the end, I killed it. We'd spent time and money getting to a place where we still didn't know if people wanted it. So for my next project, I'm trying something different. Feel Good Socks is an idea I've had for a while. Trendy AF socks, where every pair sold raises money for charity. They feel good on your feet and good in your heart. This time I'm following Justin Jackson's advice. He says before you do anything, prove (if only to yourself) market fit by getting 100 people to give your their email address. Even if it's your Mum, it's people taking action in favour of your idea. And when you launch it, you have an warm audience ready to go. So here it is. If 100 people register their interest for Feel Good Socks, that's enough demand for me to start design and production on the first pair. And if not, I've lost only an hour on the landing page and a few bucks for the temporary crappy logo. It means I'm giving away the idea. And I haven't even registered a domain yet. But at least it won't hang around for two years only to collect dust....
17 July 2018 Seven Things I Learned from 12 Months of Freelancing
12 months ago I took a leap and decided to freelance. One year later, these are some of the things I talk about when people ask me what it's like. #1 Managing your own hours is a superpower. The ability to choose your hours, in terms of when and how many, does incredible things to your happiness. Early on I decided to work no more than four days a week in big agencies. This created time to work on other projects (paid and unpaid), chase new ones or just enjoy a sleep in on a Friday. The changing cadence also keeps you interested and interesting. I did everything from a three month contract to one project which was literally half an hour. You can choose to focus on one big thing, or juggle ten smaller ones. The latter meant I could do a 15km run in March, which was only possible because I dropped everything at 11am and went for a jog when I wanted to. You do need to be buttoned down on your calendar management. Even then sometimes things don't always line up. I've accepted a few days of work, then 10 minutes later had to turn down a bigger gig because you're already committed. Sometimes work just disappears too - I was three days into a month-long pitch which got pushed out by months. Annoying when you've already turned down two other jobs to be there. But that's freelancing life. The contracts always favour the employer (but you only get them from bigger agencies). It's why they pay you more. Despite being the master of my own calendar, my grand plans to work on side projects failed miserably. It's rather easy to take on more paid work or spend time meeting people for coffee while passion projects collect dust. #2 Choosing who you work with and what you work on, helps navigate your career. Freelancing allows you to pick the types of brands, agencies and people you work with. And the projects you want to invest time in. This year I worked with big agencies, small agencies, entrepreneurs, starts up and consulting my own clients. But you also have flexibility in the role you play in the work you say yes to. You can reinvent your job title (and yourself) with every new project, pushing into uncomfortable spaces to play around with. One of my favourite adventures this year was developing the marketing strategy to launch a gluten-free brewery. Not quite my heartland of creative strategy, but a category close to my stomach, and a rewarding project which has become ongoing. Throughout the year I picked up everything from writing content strategies through to delivering full service campaigns white labelling freelance creatives under Pigs Don't Fly. You get to flirt around and try on different hats. One year later I have a much closer idea of where the intersection is between what I like doing, what I'm good at, and where the money is. #3 The market for freelance strategists is good right now. I am fortunate. I have a good-sized network built from nearly a decade in two large agencies. This created most of my opportunities. I also have somewhat of an audience (you suckers) - writing here and on places like Mumbrella helps keep me top of mind as a potential resource. In two cases it also opened new doors which turned into work. I also realise I fell into an attractive role. I'd suggest large parts of my success aren't because of how good I am, but rather a lack of freelancer planners in Melbourne. If I was a designer, I'm not sure if I'd be writing such a romantic post. I also managed the whole year without using a recruiter. They eat a decent piece of your day rate. Without being arrogant, honestly my biggest challenge was learning to say no to work. Especially early when I wasn't sure what my income would average out to. Even still it's bloody challenging turning people down - knowing the opportunity cost and wondering if you can find time after hours to make it happen. Even to this day I wonder if I got lucky and am still in a honeymoon period, and should be making more hay while it shines. With the ebbs and flows you do sometimes find everything crashes at once. I'm doing more weekend work now than in my permanent life (which my former colleagues will tell you wasn't much). Other times it's quieter than you want it to be. I got some advice to make the most of those days - get out of Melbourne and spend time at your beach house. If only I had a beach house. #4 The money is great, but you have to learn how to earn it. The money is really good. I finished the year 36% up on my old salary. But it takes time to learn what you're worth. And even longer to be confident enough to ask for it. I sold myself short for at least my first two gigs. To this day still need to stop negotiating myself down unnecessarily, often before the other person has even responded. Never has your imposter syndrome screamed louder than when someone looks you in the eye and asks your day rate. At least these conversations happen frequently, so you get good at it fast. You learn to throw your number out there and then stop talking. Eventually I worked out to be stupid and arrogant enough to ask for what I thought was a stupidly high day rate. And they said yes. And keep saying yes. I do wonder how this dance impacts men versus women. If you're thinking of freelancing, my advice is to add at least 25% on top of what you think you can get. Push as far as you are comfortable and then a little more. Remember you are covering down time, your own expenses, equipment, annual leave, sick leave, training, work beers, etc. I unsuccessfully gambled with remuneration. Twice on pitches I cut my rate in half, adding 50% on top if we won. Neither paid off (although I did help win other pitches!). I also did one job for cryptocurrency - right now it's down 60%. This year I'll stick to cash. Along with good calendar skills, you also need to run a tight ship with your bookkeeping. I manage mine through an unnecessarily detailed Google Sheet, which works for me. I also manage my own quarterly tax statements (it's easier than you think). Paying your own superannuation and tax annually does take discipline - eventually I created a separate account and moved the money out of sight. The cliché of chasing invoices actually wasn't too bad. The big agencies sometimes drag their feet, but 90% of my invoices would have been paid within three weeks. #5 All big agencies are the same, but some have better culture. Most agencies look and smell the same. The people who work there are kinda the same too. They tend to dislike their clients, work longer-than-healthy hours and think the chaos is unique to their agency. But they are good people who come to work every day wanting to do good work. Culture is distinctive though. You notice it particularly as a freelancer where you see lots of it fast. It's most evident in how much an agency encourages you to get among it or put your head down and work. It's a bit like gravity - you can feel it immediately but it's harder to see the cause. Sometimes you can tell in the first ten minutes, particularly when someone in IT tells you they don't allow freelancers on the WiFi. I didn't realise it until this year, but in my permanent life I was spoiled with access to coffee machines. Seriously agencies, sort this out! #6 It's not all fun and games. Not having a work crew sucks. I miss the daily banter. Having worked in bigger planning teams in the past, it's also tough not having another strategist to throw something around with. Working from home for too many days in a row isn't heathy either. Especially in winter. For my next stint at home I'm going to find a temporary coworking space. Unfortunately you rarely get to see work through. You come in, do your piece, and you're out. You don't often get the opportunity to nurture and help ideas grow. Last week I saw an ad for a strategy I wrote six months ago which I thought got killed. It wasn't a very good ad. It's also challenging not working toward something bigger. Freelancing is constantly short term. You need to be comfortable with not knowing what's happening next week, and not relying on fulfilment from big career-defining moments which take time to build up to. You'll be tempted into permanent work. I had a few full time and part time offers, one including equity. But while it's not all sunshine, there's still plenty to love because...
30 June 2018 Brands Should Stop Asking for Feedback and Start Listening To It
Last year I missed a connection at Heathrow Airport. I sourced the needed documentation, filled in the forms and submitted my $201 travel insurance claim. Four weeks later I got a cheque in the mail for $1. When I enquired why it was so little, they told me there was a $200 excess. I suggested some feedback: Me: You should consider putting a reminder at the start of the process. It would have saved us both a bit of time. Them: It's in the fine print of the Product Discloser Statement. Me: Yeah...
30 April 2018 Five Reasons I Ditched The Word "Digital" From My Title
Nearly 12 months ago I quit my job and started freelancing. With the opportunity for a fresh chapter, I stopped calling myself a Digital Strategist and updated LinkedIn to Creative Strategist. Here's why. 1. Digital Strategy has changed. When I started my career, "digital" was a blurry word. It was a grey area you could carve your own definition into. I've been lucky for most of my career, in agencies where I largely got to shape the kind of work I wanted to do - finding opportunities for ideas on digital channels. But increasingly, Digital Strategy has nothing to do with ideas. It's more "transformation" and "enterprise solutions". These days the role requires a strong understanding of specific technology tools and data platforms. You have a seat at the table, but it's not necessarily with marketers. The consultants would say that's a good thing. And more profitable. But I like writing briefs and working with Creatives. Unless you love CRM or DMPs, there's no longer room in agencies for Digital Advertising-ish Strategists. (And rightly so, see below.) 2. Digital is just a tool. Why do we have Digital departments in agencies? Or Digital Creative Directors? Digital Strategists belong on the same list of obsolesce. Digital is just a channel. Usually for hosting an experience or distributing a message. But it's not always the best place to host an experience or distribute a message. Yet if you have Digital in your title, you have a natural bias. Not making that recommendation makes you less relevant. But Strategists are problem solvers, and they can't have predispositions to certain tools. To a hammer, everything looks like a banner ad. 3. "Digital" makes me feel a bit sticky. There's too many snake oil salesmen out there. And yes they're mostly men. With oil comes their greasiness. Too many entrepreneurs selling courses for Facebook ads. Too many videos of Gary Vaynerchuk telling you to hustle. Too many digital marketing influencers without any influence (or something to say). Of course, I generalise. There's plenty of legit digital thinking legends out there - it just feels like they're getting harder to find. 4. You can charge more. There's more demand for Creative Strategists, and fewer in supply. A Planner who "gets" digital seems to be the sweet spot, more so than a Digital Planner who considers brand or a proposition. People don't like talking about money, but from what I've gleamed, day rates are better for the agnostic problem solvers. 5. I'm finally starting to understand how advertising works. I've worked in advertising for nearly decade, and am only now just starting to feel like I get how it works. And every time I read more, the way brands use digital pulls in the direction opposite of effectiveness. My (ever forming) philosophy is guided by the likes of Byron Sharp, whose work suggests brands grow through mass reach of potential buyers by building and reinforcing memory structures to increase mental availability. Even if there's too many buzzwords in that sentence for my liking - that's not how most brands invest in digital. Likewise I lean toward the notion advertising works because it is a signal. It's an investment received socially. Traditional ads work because they are perceived to be expensive, collective and seen in unison. Digital is the opposite: cheap, individualised and sporadic. As Rory Sutherland says, "We make our wedding vows in front of a large number of people simultaneously." Presumably at an expensive wedding. Generalising again, but it would seem most of the people flogging digital thinking don't have a philosophy on how advertising works, or even believes that it does. --- I don't think we can attribute this one to David, but Ogilvy sum it up best: Digital is dead. And so, I ditched the word from my title. Although you'll still find plenty of mentions in my bio for SEO. You can't take digital out of the boy!...
15 February 2018 Planners Should Write More
If you think for a living, you should write more. For obvious reasons, like to share your wisdom. And build your street cred. Even if you don't have wisdom or hate the phrase 'personal brand', you should spend more time writing things down. Capturing thinking, yours or someone else's, publicly or private, forces you to process it. For me it also takes it out of my head to make room for something else. Thoughts, ideas, frameworks, tools, quotes, presentation material - anything worth remembering. Or stealing. Last year I started freelancing and got organised. Here's how I capture thinking by writing it down: Moleskin Notebook In the past I'd capture all notes in a Moleskin. To Do lists, client data, doodles. But these are almost always disposable. Now I write everything on a white A4 piece of paper, folded in half. At the end of each week I throw it away. The good stuff, I transfer into a single notebook, the front page you can see above. Doug Kleeman calls it writing your own textbook. It's for the timeless stuff - lessons on how advertising works or how to be a better problem solver. Things you might refer to in five years. Strategy Library I have a folder on my MacBook that houses every good report, framework, paper or case study I read. It includes pieces of work from other people/agencies, even well designed decks for inspiration. All of which is carefully filed, building up over nearly a decade in advertising. Strategy Cellar It's an online version of the Library, kind of like my personalised version of Julian Cole's Planning Dirty Cheatsheet. It's a toolkit, with resources and tools I refer to. A Google Sheet works nicely. This Blog Of course, there's this blog. Even if no one reads it, it's where I can distill and build on thoughts. And identify themes in my own thinking. I can't tell you how many times I've done presentations only to later realise they're repackaged blog posts. You might argue Twitter plays this role for micro thoughts too. Where do you write things down?...
08 December 2017 The Return of Good Old Fashioned Advertising (On Modern Channels)
Okay, not that old fashioned. I'm sometimes criticised for stirring the pot without providing an answer. Like my last tirade against brand immaturity on social media. If you didn't disagree with that post but were wondering what to do - here's how I've been strategically thinking about brands on social. I have a love/hate relationship with Facebook. I think their customer service sucks, they lie to brands, they pulled a rug from under us and Mark Zuckerburg is Lex Luthor. But Facebook isn't going anywhere. Despite its flaws, its cannot be dismissed. Most brands know this, and have jumped in head first. But they suck. Since I started freelancing the most common conversation I have with clients is telling them they're social media strategy is bad. They're wasting time, effort and money. Often because of an approach sold to them by parties with vested interests or a limited understanding of how advertising works. Here are some red flags you might raise with your current agency/snake-oil-social-media-expert: You measure success (or worse, invest) based on page growth/likes/followers You measure success on engagement Your strategy is built on 'organic reach' Content is promoted indiscriminately You spend more on content creation than content distribution You're creating more than one piece of content a week Your content consists of stock imagery or is sourced You don't know what a Relevance Score is Facebook, Instagram, Twitter, Snapchat - they are all media channels. And we must treat them as such. This means a return to good old fashion advertising. But using the new opportunities these modern channels bring. The notion of building communities or interaction is a myth. And largely it exists on unproven hypotheses, and a good dollar margin on content production. Content creation can be very profitable, and therefore is an attractive recommendation for vendors. What they won't tell you is to be most effective you should be investing 80% of your budget into media. Because here the margins are a minimal (and continue in their race to the bottom). It's also a skillset that doesn't sit with a traditional creative agency. The truth is, there is no content beast that needs feeding. The most important word in social media is not "social" but "media". Do not invest in high volumes of content, instead focus on reaching potential buyers. Of course, making good content is still important. Facebook rewards brands that do (if you haven't already, research Relevance Score and its role in increasing your reach). Brands should be doing fewer things better. Create only a few killer content pieces and nothing more. You know where the rest of the budget should go. I'm going to take a guess and say you're not at risk of over saturating your audience. If you're feeling bold, make one great piece a content a quarter - setup the media to reach many with a low frequency. There's no need to post daily, or even weekly. This means content calendars are largely redundant. Instead think about programs. One of the key technology benefits in digital is the ability to target people through a marketing funnel towards conversion. Use your marketing plan to build relevant messages for each audience at each stage. Definitely do not worry about International Talk Like A Pirate Day. Another benefit of digital is our ability to measure. Forget about vanity metrics, instead build actually useful plans to measure brand and ad metric uplifts based on exposed versus unexposed audiences. Or use third party shopping data to understand actual buying behaviour. This is how brands should be building social media strategies in 2018. In many ways, it's a return to the basics. Create ads that build saliency and distinctiveness. Then spending money distributing them to refresh memory structures. ...


text:
Tesla Joins Industry Group Responsible for CCS Charging Standards
Tesla has quietly joined CharIN, the European based organization that sets CSS charging standards. It has completed a 150 kW standard and is starting work on a new 300 kW standard.
Tesla Model S charging at Supercharger in St. George, UT
While in Paris earlier this year, Elon Musk made a passing remark about Tesla engaging with other manufacturers about use of its quick charging Supercharger network. Now comes word that Tesla has joined CharIN, the industry group that created and promotes the CCS charging standard commonly found on the SAE-Combo plug.
Well known EV writer and charging expert Tom Moloughney tells InsideEVs, "I was just told something interesting from a contact I have. I'm guessing you guys have heard of the CharIN Association by now. They are basically a group of European Automakers that got together to work on what will eventually be considered (officially) Level 3 charging based on CCS. They have been working on 150kW CCS DC Fast charge for a few years now and experimenting on speeds up to 300kW. [A]bout a month ago, Tesla quietly asked if they can become a "Core Member." Now, I'm certainly not suggesting Tesla is going to switch to CCS, but this is very interesting."
Source: InsideEVs
According to the description from the CharIN website:
The Charging Interface Initiative e. V. – abbreviated to CharIN e. V. – is a registered association founded by Audi, BMW, Daimler, Mennekes, Opel, Phoenix Contact, Porsche, TÜV SÜD and Volkswagen. Based in Berlin, it is open to all interested parties. The three primary aims are:
To develop and establish the Combined Charging System (CCS) as the standard for charging battery-powered electric vehicles of all kinds.
To draw up requirements for the evolution of charging-related standards and develop a certification system for use by manufacturers implementing the CCS in their products.
To promote the CCS standard worldwide.
CharIN has completed work on a 150 kW CCS charging standard and is moving towards the development of a 300 kW standard. The first experimental 150 kW units will be installed soon in California for testing purposes.
What does this mean for Tesla owners? The answer to that question is not entirely clear, but standards are crucial to the adoption of any new technology. The more members of an industry adhere to a given set of standards, the better for all concerned. Since Tesla says its mission is to promote the mass adoption of electric cars, whatever results flow from its association with CharIN have to be good news for current and future Tesla drivers.
Tesla Misses Q1 Goal, Clarifies Model 3 Supercharger Status
Tesla Gigafactory Expansion Caught by Drone (Video)


Behold...this is what a broken foot looks like. And usually the person with the broken foot would not be smiling, but I was home safe and sound with my puppy and even Barley down in the corner there so I was a happy camper.
You may not be able to tell, but my foot is usually pretty slender; however, here, it is a swollen mess.
This photo was taken pre-huge black, steel metal, boot. Now, 2 weeks post incident, I am walking (in the boot) at a semi-normal pace and feeling a lot better. I go back for another appointment on the 19th and will hopefully be able to stop wearing this clunky thing. I can assure you that I will never ever wear platform flip flops again.
And lastly, let's play find the break!
Okay, so I see the break, no mistaking that. Daren's was much further down the metatarsal so now I understand where Dr. C was coming from. So glad you're continuing to improve. No more flip flops!!
i see it. i see it. i see it.