Our team of knowledgeable HVAC technicians at Commonwealth Cooling and Heating understands the importance of choosing proper ductwork design for your home or business. It is one of the most important factors that affects the overall efficiency of your HVAC unit. A duckwork system that is designed well decreases the chances of poor connections and leaks.
A very important step in choosing your ductwork design is the calculation of your heating and cooling load. The heating and cooling load measures the amount of energy needed to be removed or added to a room by your HVAC system to make the space more comfortable. Also, an accurate load calculation has an influence on the equipment selection and the needed duct design to deliver conditioned air to the rooms of your home efficiently.
The trunk and branch configuration. It is a popular design that resembles a tree trunk with several branches. The design uses a large primary supply trunk that's connected directly to the air handler's supply plenum. There are also several smaller branch ducts and runouts that are connected to the trunk. These smaller ducts provide heat and AC to the individual rooms throughout the house.
The radial design, which doesn't use a main supply trunk. It consists of several branches of ductwork that stem off the furnace and runs individually to each room. This ductwork design is great for smaller buildings and single-story homes. However, because of the large amount of ductwork needed, it would be an inefficient design for larger buildings.
The spider configuration, which is similar to the radial design. This option has a few main ducts that stem off the furnace; however, once these ducts come near the rooms, they split off in multiple directions to reach the designated vent. This configuration is considered more efficient than the radial design.
The perimeter loop configuration. It uses the radial design, which has individual ducts that leads to every room. However, each duct is connected around the outside of the building with additional ducts making a loop that circulates excess cool or hot air to the next vent. This is one of the least used designs by HVAC professionals because it is difficult to design and install.
Design your ductwork distribution system so that it is located inside conditioned spaces of your home or building. Ducts placed in conditioned spaces are more efficient in keeping your home comfortable.
If you're designing a ductwork system for large, two-story homes or buildings, consider using multiple heating and cooling systems so that each story has its own duct system. Using at least two or more heating and cooling systems for your home will provide the best performance and comfort on the upper and lower levels of your home.
At Commonwealth Cooling and Heating, we are not only experts in AC installations, but we are also a Bryant Factory Authorized Dealer that understands the importance of quality workmanship. Choosing a knowledgeable HVAC company is essential for proper duct installations. If you would like AC installation services or your home's duckwork design assessed, contact us. We've been helping Alexandria, VA residents improve their home's HVAC efficiency for many years.


Best seasoned wood block for foundation making.
Our Canvas covered head blocks are designated for styling and storing wigs. They are constructed of three layers of foam, have a natural head shaape and top quality finishing with canvas material. This makes them strong,but only 734g in weight.
Lightweight,strong and portable this stand is idea for those who need to travel. The stand has a height adjustment from 90cm to 178cm and weighs only 2.10kg. Comes in a handy travel bag. Fits all sizes of training haed and wig blocks.


text:
Рихард Крајичек је освојио турнир. У финалу је победио Себастијан Грожан резултатом 4-6, 6-1, 6-2, 7-5.

Носиоци

  Карлос Моја (четврто коло)
  Пит Сампрас (четвртфинале)
  Јевгениј Кафељников (друго коло)
  Алекс Коређа (четврто коло)
  Патрик Рафтер (треће коло)
  Тим Хенман (треће коло)
  'Рихард Крајичек (победник)
  Марсело Риос (четврто коло)
  Андре Агаси (друго коло)
  Марк Филипусис (треће коло)
  Карол Кучера (четврто коло)
  Грег Руседски (четврто коло)
  Горан Иванишевић (друго коло)
  Томас Енквист (полуфинале)
  Алберт Коста (четврто коло)
  Густаво Киртен (друго коло)
|
<ol start=17>
  Томас Јохансон ''(друго коло)
  Томи Хас ''(друго коло)
  Феликс Мантиља ''(треће коло)
  Франсиско Клавет ''(полуфинале)
  Вејн Фереира ''(друго коло)
  Марк Росе ''(друго коло)
  Марат Сафин ''(четврто коло)
  Алберто Берасатеги ''(друго коло)
  Бајрон Блек ''(треће коло)
  Јан Симеринк ''(треће коло)
  Никола Кифер ''(четвртфинале)
  Жером Голмар ''(четвртфинале)
  Фабрис Санторо ''(треће коло)
  Бохдан Улихрах ''(друго коло)
  Јонас Бјеркман ''(треће коло)
  Џејсон Столтенберг ''(треће коло)
</ol>
|}

Жреб

Финала
{{Тенис-8 играча и 3 сета финале 5 сетова
| RD1=Четвртфинале
| RD2=Полуфинале
| RD3=Финале
| RD1-seed1=
| RD1-team1={{nowrap| Себастијан Грожан}}
| RD1-score1-1=6
| RD1-score1-2=5
| RD1-score1-3=6
| RD1-seed2=
| RD1-team2= Доминик Хрбати
| RD1-score2-1=3
| RD1-score2-2=7
| RD1-score2-3=1
| RD1-seed3=20
| RD1-team3= Франсиско Клавет
| RD1-score3-1=7
| RD1-score3-2=6
| RD1-score3-3=
| RD1-seed4=27
| RD1-team4= Никола Кифер
| RD1-score4-1=5
| RD1-score4-2=3
| RD1-score4-3=
| RD1-seed5=28
| RD1-team5= Жером Голмар
| RD1-score5-1=3
| RD1-score5-2=5
| RD1-score5-3=
| RD1-seed6=14
| RD1-team6= Томас Енквист
| RD1-score6-1=6
| RD1-score6-2=7
| RD1-score6-3=
| RD1-seed7=7
| RD1-team7= Рихард Крајичек
| RD1-score7-1=6
| RD1-score7-2='''78
| RD1-score7-3=
| RD1-seed8=2
| RD1-team8= Пит Сампрас
| RD1-score8-1=2
| RD1-score8-2=66
| RD1-score8-3=
| RD2-seed1=
| RD2-team1=

Горња половина

Група 1

Група 2

Група 3

Група 4

Доња половина

Група 5

Група 6

Група 7

Група 8

Спољашње везе
 Жреб турнира на сајту atpworldtour.com

Отворено првенство Мајамија – мушкарци појединачно
Тенис 1999.

redpajama_set_name: RedPajamaWikipedia


Western Financials Systems, including ROLA, will be unavailable from Friday September 8 at 4:00 pm to Monday September 11 for a system upgrade. All processing will be on hold during this time.
Proposals cannot be created, submitted, reviewed or approved until after the system freeze.
New research accounts will not be activated.
New user access will not be initiated or activated.
Note: Any last-minute ROLA proposal submissions for CIHR Foundation Grant applications must be approved online by 3:30 p.m. on September 8.
Be the first to comment on "ROLA (PeopleSoft Grants) and PeopleSoft Financials – Unavailable September 8-11"


Search through our database of Lezhe body rubs from backpage, craigslist and eros where you can meet the best adult service providers for free. Body Rub Massage is a free adult massage network, registration is quick, free and discreet. Select your closest city within Lezhe or click a profile to browse local body rubs masseuses directly.


we have a network printer in our domain. When ever we are giving the print out to the network printer it is showin paused - printing. Restarted the print spooler service also. But there is no use.
Check in the printers properties wheather it is online or paused. Its paused tab must be selected so the printer has paused printing. See the setting on the terminal where it is installed.
However to run this script manually (as is sometimes required) you have to log in to the remote machine via terminal services and this can be slow if your machine is not fast.


940, Hugh born in France, s/o 6051528792. Hugues, Duc des Francs & 6051528793. Hedwig of Germany.
6/16/956, Hugh's father died; Hugh a minor.
956, Hugues suceeded as Count of Paris, and to Orleans, Senlis, and Dreaux; and all of Nuestria.
960, Hugh installed as Duc des Francs/dux Francorum by Lothaire, King of the West Franks.
968, Richard I of Normandy [married to Hugh's sister Emma] recognized Hugh Capet as his overlord.
974, Duc Hugh the primary ruler of West France under King Lothair.
977, Duc Hugh gave the towns of Couvin, Fraisne, Nîme, Eve and Bens [Belgium] as her dowry on the marriage of his daughter Hedwige [Avoie] to Reginar IV, comte de Hainaut.
978, Duc Hugh commanded the army which retook the kingdom of Lotharingia from Otto II King of Germany.
980, King Lothair, without Hugh's input, made a peace agreement with King Otto II of Germany.
981, Duc Hugh became an ally of Otto II.
5/981, Duke Hugh Capet captured Montreuil from Arnulf II of Flanders. (S) Friends, Family and Allies, Tanner, 2004, P42.
12/7/983, Otto II King of Germany died; leaving a 3-year old as his successor. King Lothair attacked Lotharingia; but Duke Hugh refused to participate.
984, Duke Hugh sent his son Robert to school at Reims. (S) Rethinking France, V4, Nora, 2010, P10.
5/985 at Compiegne, King Lothair tried Archbishop Aldalbero of Reims for treason. Duke Hugh arrived with a army, rescued the archbishop, and dispersed the assembly.
985, Hugues' widowed sister Beatrice, intervened with Hugues over the capture of her son by French troops during the siege of Verdun, and actively attempted to resolve the Franco/German conflict over Lotharingia by diplomatic means.
5/22/987 at Compiegne, During another trial of Archbishop Aldalbero of Reims for treason, King Louis V died [end of the Carolingian line.] Duke Hugh took charge of the assembly and declared the archbishop aquitted.
6/1/987, King Hugh 'Capet' crowned at Noyon.
5/988, Charles Duke of Lotharingia captured Laon [and then Reims] from King Hugh.
5/988, At the court of King Hugh at Braine-le-Compte, King Hugh Capet championed Baldwin IV's succession in Flanders, which was challenged by his cousin Count Arnulf of Gent.
988, By arrangement of King Hugh, his son Robert II married widow Rosalie di Ivrea. Rosalie was given Montreuil-sur-Mer by the county of Flanders as her dowry.
989, Hugh traveled to Reims to see Archbishop Aldalbero, who had become ill. Hugh arrived the day the archbishop died. Hugh appointed Arnulf, s/o King Lothair, and nephew of Charles, Duke of Lotharingia, as archbishop – hoping to appease Charles.
990, A peace agreement between King Hugues of France, and Duke William IV of Aquitaine and Odo I of Blois.
990-1, Archbishop Arnulf arranged for his uncle Charles, Duke of Lotharingia, to capture Reims.
6/991, King Hugh invoked a synod at Reims [in the abbey of St-Basile at Vierzy] which deposed Arnulf. Hugh replaced Arnulf with Gerbert of Aurillac.
991, King Hugh Capet gave Odo of Blois the county of Dreux. (S) Capetians, Bradbury, 2007, P77.
991-2, King Hugh of France, with Fulk Nerra, Bouchard of Vendome, and Richard, count of Normandy, captured Melun and Chateaudun [where the defeated were treated severely].
993 at Chelles, King Hugh called a new council and re-affirmed the appointment of Gerbert of Aurillac at Reims.
4-5/993, Odo I of Blois and Bishop Adalbero of Laon arranged a meeting at Metz with King Hugh of France and his son Robert, intending to take them prisoner [which was unsuccessful because the conspiracy was uncovered by the King].
9/994, King Hugh of France supported Fulk Nerra's campaigning by relieving the siege of Langeais by Odo I of Blois.
7/4/995, King Hugh's nemesis Odo I of Blois died.
10/24/996, King Hugh died at villa 'Les Juifs', near Prasville, Eure-et-Loire; returning from a pilgrimage to the tomb of Saint Maieul; buried église de l'Abbaye royale de Saint-Denis.
(S) Foundation for Medieval Genealogy. (S) The Capetians, Bradbury, 2007.
· Adelaide is usually given as d/o William III 'Tête d'Etoupes', aka 'William I, comte de Poitou.' However, there is strong circumstantial evidence that William IV was not her brother.
i. Robert II of France (1512882198), born 3/27/972 at Château de Melun in France.


Stories of Stupidity from the Life of a Professional Musician.
Hey friends. I wanted to say a few quick words about the #ConfederateFlag and all its goings ons of late. Obviously, it has become a hot button item, and I feel like I've read just about everything both sides has had to say about it.
The Confederate Flag is NOT racist! The Confederate Flag is just a flag. It has no feelings, thoughts, ability to reason, or communicate. It is not capable of hate, nor of love. It cannot own a firearm, vote in a democratic election, hold a position of power, or anything of the sort. It is merely a flag.
Flags cannot hurt you. Flags originated as a way to symbolically represent the ownership of land. They have since been used more often than not to symbolize the land, or geographical area, from which one, or one's people originated. So again, a symbol which signifies a geographical area of land from a certain period of time, in this case, the Southeastern United States during the American Civil War, is incapable of causing harm.
The same cannot be said for the men and women who have wielded the flag throughout the years. Those people have feelings, thoughts, and the ability to reason and communicate. They are capable of hate and love. They can own firearms, vote in democratic elections, and hold positions of power. Those people absolutely can hurt you, and absolutely can be held accountable for any racism and wrongdoing for which they are guilty.
All that being said, banning, burning, or otherwise forbidding the presence of the Confederate Flag does absolutely nothing, whatsoever, to counteract racism, and other types of hate and intolerance in our society. In fact, I'd be willing to say it makes matters worse.
If the Confederate Flag cannot hang sideways over the front porches of those who still choose to wield it generations after its relevancy, how is an honest, possibly slightly lost, black person in the South supposed to recognize the neighborhoods in which they should not find themselves?
If the Confederate Flag cannot fly freely over the historic buildings of old southern towns, how are people who continually choose to live more than 160 years behind the times supposed to find each other?
If the Confederate Flag is not prominently displayed on belt buckles, bandanas, hats, license plate holders, gun racks, cowboy boots, beer coozies, and anything else you can buy in the hunting section at Walmart, how are we, the rest of humanity, supposed to identify the source of ignorance, inbreeding, hatred, and intolerance in today's world?
Alas, I think it would be a great disservice to humankind to do away with this type of absolute identifier; a marker indicating the type of people living under the "Stars N' Bars" as it flutters in the humid, southern, summer breeze, and all for which they stand.
I say let the Confederate Flag fly. There is nothing more free than a nation of people who bare the right to advertise their own excommunicable offenses. To do away with such a right, would be anti-American.
Flags can't hurt people. People can. Burn Ban the person, not the flag.


text:
American Bar Association (ABA) Centre for Human Rights
US Bar: Sedition Act more restrictive than others
The American Bar's Centre for Human Rights, in its report, says the application of Malaysia's Sedition Act violates international standards and is far more restrictive than other Commonwealth nations with similar laws.
PETALING JAYA: The American Bar Association's (ABA) Centre for Human Rights has stated that the application of Malaysia's Sedition Act violates international standards and is far more restrictive than other Commonwealth nations with similar laws to reign in seditious behaviour.
"Malaysia's Sedition Act is far more onerous than international norms proscribe and fellow Commonwealth countries currently employ," the report stated.
The statement coincided with ABA's report titled, "Malaysia's Sedition Act Unlawfully Restricts Free Expression."
The statement was also released in anticipation of the Kuala Lumpur High Court's hearing on the constitutional challenge to the Sedition Act of 1948 slated for March 9, 2016. Read more →
Reports & Memorandums	American Bar Association (ABA) Centre for Human Rights, freedom of information, human rights defenders, national security, Sedition Act 1948

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to Receive Http-request in a ruby program I know several gems for example net or faraday that can make http-request. But is there something to recieve Http-requests in a ruby program? Thanks

A: To receive a HTTP request you need a way to listen for HTTP requests on some port - HTTP server.
You can write your own, or chose one from many that are already available, or you can use WEBrick which is included in Ruby standard library.
To give you an idea, here is a simple example of using WEBrick:
require 'webrick'

server = WEBrick::HTTPServer.new(:Port => 8000)

class MyServlet < WEBrick::HTTPServlet::AbstractServlet
  def do_GET(request, response)
    response.body = "You requested '#{request.path}'"
  end
end

server.mount('', MyServlet)
trap('INT') {server.shutdown} # so you can stop the server using Ctrl-C
server.start

Then you can make some requests:
curl localhost:8000           # => You requested '/'
curl localhost:8000/something # => You requested '/something'

redpajama_set_name: RedPajamaStackExchange


text:
package eu.f3rog.blade.mvp;

/**
 * Interface {@link WeavedMvpFragment}
 * <p/>
 * NOTE: This class is only for internal usage of this library.
 *
 * @author FrantisekGazo
 */
public interface WeavedMvpFragment
        extends WeavedMvpUi {
}

redpajama_set_name: RedPajamaGithub


text:
Lou Reed 1942-2013 (2)
You might feel you've read enough about Lou Reed in the last couple of days (and here is my Guardian obituary), but here are a few last thoughts.
You'll have heard a lot about how difficult it was to interview Lou successfully. Without wishing to criticise my colleagues, it always seemed to me that the journalists who had a hard time with him were the ones who felt he owed them answers to questions he had already been asked a million times. I mean, "Were you really on heroin when you wrote 'Heroin'?" — asked 40 years after the fact — was unlikely to elicit a positive reaction.
Not to say that he was a little ray of sunshine even in the most propitious circumstances. But, like a lot of artists, he preferred contemplating the present and anticipating the future to raking over the past. He was proud of the early stuff, but you can tell just by reading the later interviews that he didn't want to spend his life discussing it. He usually responded well to people who showed that they had taken the trouble to keep track of what he had been up to in the years since the achievements that brought him his legendary status. If an interviewer wanted to talk about Ornette Coleman (as Bob Elms did on Radio London) or Tibetan philosophy (as Mick Brown did in the Telegraph), he was likely to show genuine enthusiasm and engage in something resembling a real dialogue.
I suppose I was lucky to get to him before the period that began when Transformer and "Walk on the Wild Side" made him a hot act, the point at which large numbers of reporters started to interrogate him. He hadn't yet met David Bowie — and might not even have heard of him — when I sat down with him at the Inn on the Park in London one day in mid-January, 1972.
He was in London to record his first solo album, accompanied by his producer, Richard Robinson, and Richard's wife, Lisa, then the New York correspondent of Disc and Music Echo. The Robinsons were friends of mine and they knew I was a Velvet Underground fan of long standing, and soon after their arrival we all had lunch together at the hotel. Lou was quiet and a little preoccupied but perfectly good company.
A few weeks later, after they'd recorded and mixed most of the album with a very heterogeneous bunch of English musicians at Morgan Studios in Willesden (where Rod Stewart had cut Every Picture Tells a Story), I sat down with Lou in his room to listen to some of the near-completed tracks, with the intention of writing a piece for the Melody Maker. It was a very congenial experience. He was so relaxed and willing to talk about his past that when I read the piece now, I feel guilty that I didn't convey more of his thoughts about the new material. As things turned out, the album — called Lou Reed — created barely a ripple of public interest; soon to be overshadowed by Transformer and his liaison with Bowie, it acquired the dismal aura of a failed project. Give it a proper listen today, however, and you'll find that "Wild Child", "Love Makes You Feel" and "Ride into the Sun" are more than worth their place in his canon.
At one point I asked him about the Velvets' third album, and if he would be willing to support my theory, aired in a review when it came out in 1969, that its 10 songs constituted a single narrative. He seemed delighted. "I've never known whether it worked for other people," he said. "I've always written with the idea of putting songs into concepts so that they relate to one another. I always thought of these like chapters in a novel, and that if you played the first three albums all in order, it would really make huge total sense. No one ever seemed to pick up on that, and why should they? I don't put out that many albums anyway, so by the time Chapter Three arrived, you had to go running back to the archives to find where Chapter Two left off."
When the song on Lou Reed called "Berlin" mutated, a couple of years later, into the entire album called Berlin, with its cast of characters and single continuous and coherent narrative, he seemed to have achieved his ambition to make a rock and roll album that worked like a novel.
No doubt there will be a great deal of reassessment of Reed's work in the coming years. Given the way the once-despised Berlin was rehabilitated, don't bet against something similar happening to Lulu — his recent album with Metallica, even more voceriferously despised by US critics — one day. I've been listening to it over the past 24 hours, and it seems to me that anyone who claims to adore the harsher moments of White Light/White Heat yet dismisses this one needs to have a serious rethink.
A more likely beneficiary, however, could be Songs for Drella, the album he made with John Cale for Sire in 1990 as a farewell to Andy Warhol, their former patron. Originally performed at the Brooklyn Academy of Music, it's a biography in music, beginning with Warhol's origins as a youthful misfit in Pittsburgh and tracing the story through his early days as an advertising artist and his rise to prominence as a succes de scandale in the New York art world of the 1960s to Valerie Solanas's attempt to kill him and his eventual death from a heart attack following gallbladder surgery in 1987.
Reed and Cale were close to Warhol, but their view of his world is as clear-sighted and illuminating as it is generous and affectionate. Musically, it gains impact from its sense of intimacy: the instrumentation is restricted to Reed's guitars and Cale's various keyboards and viola. They both sing, the simplicity of the surroundings highlighting the restrained emotion in their voices. There's a lot of contrast, effectively employed, like the jump from the elegance of Cale accompanied by strings on the delicate "Style It Takes" to Reed's rapid-fire delivery over the chattering keyboard and buzz-saw guitar of "Work", but the whole song-cycle coheres beautifully, forming a perceptive and touching tribute to a man who played a significant role in their careers. It's easy to imagine its reputation increasing as the years pass.
If you don't already know it, try to hear Lou's version of Doc Pomus and Mort Shuman's "This Magic Moment", included in a CD called Till the Night Is Gone: A Tribute to Doc Pomus, issued in 1998 by Forward/Rhino. The album features a stellar cast — Dylan, B.B. King, Brian Wilson, Irma Thomas, Los Lobos, Roseanne Cash, Dr John, Aaron Neville, Dion, Solomon Burke, etc — but his track is a standout. Originally a Top 20 hit for the Drifters in 1960, it allows him to demonstrate both his deep affection for R&B and his gift for stripped-down rock and roll, his two guitar parts — one skirling, the other snarling — accompanied by Fernando Saunders on bass and George Recile on drums. And he really was among the most unorthodox and creative of rock guitarists, a fact often overlooked in the desire to acclaim his more headline-friendly characteristics.
The Byrd who fell to earth
Somehow Gene Clark never looked young, even when "Mr Tambourine Man" was hitting the charts before he had turned 21. Unlike the other members of the Byrds, or of their rival groups breaking through on both sides of the Atlantic in 1965, he didn't look like a boy. He had a face that seemed to have seen things, a face of premature experience.
We learn a lot about the background to the way he looked in The Byrd Who Flew Alone: The Triumphs and Tragedy of Gene Clark, a two-hour documentary by Jack and Paul Kendall, released on DVD this week, in which the two English film makers talk to just about everyone involved in the story of a great singer-songwriter who didn't begin to receive proper attention as a solo artist until after his untimely death in 1991. Chris Hillman, Roger McGuinn and David Crosby from the Byrds, the producer Larry Marks, the record company president Jerry Moss, the singer Carla Olson, his wife Carlie, members of his family and many others are among those providing testimony, interspersed with snatches of music from the various phases of his career.
Gene Clark's face turns out to have been that of a person who grew up in a small community in rural Missouri, in circumstances described by one his brothers as "austere". He began playing in bands at the age of 14, moved to Los Angeles while still in his teens, joined the New Christy Minstrels, and decamped to the fledgling Byrds in 1964. Just over a year later he was receiving a first royalty cheque. Because he wrote songs that the group recorded as B-sides and album tracks (such as the wonderful "Feel a Whole Lot Better" and "Set You Free This Time"), he earned more money than the other four members. That first cheque was for $47,000. The others got $4,000 each. "The rest of us were still taking buses and walking around LA," Roger McGuinn remembers, "and he had a little MG. That created a bit of tension."
The MG was followed by a Porsche and then a very nice maroon vintage Ferrari. And there were other factors. "You take a group of young men, very different young men, give 'em some money, introduce them to drugs… I don't think there was anything wrong with the fact that we all of a sudden got laid a lot… but the money and the drugs… that'll do it every time," says David Crosby, one who knows whereof he speaks.
Clark's departure from the group and the various chapters of his solo career are dealt with in fascinating detail. I always loved the two Dillard & Clark albums, particularly The Fantastic Expedition, and it was sad to listen to the reasons behind the disintegration of that pioneering project in 1969, followed by many more false starts.
"He had great songs," Hillman says, "and he sang from the heart. Why didn't it work? That's the question." Chronic indiscipline when under the influence of drink or drugs seems to have been the simple answer. Perhaps the happiest period of his life began in 1970, when he moved out of LA to Mendocino with Carrie McCummings and enjoyed a return to his roots in rural surroundings. It was there that he wrote the songs for the album White Light, produced by Jesse Ed Davis and released in 1971, which I consider to be the highlight of his career: the recording in which his gifts find the best balance and the most sympathetic environment.
Many of his admirers would nominate No Other, the album that followed in 1974, recorded for David Geffen's Asylum label and produced by Thomas Jefferson Kaye with a huge budget and a cast of thousands. It's a cult classic, to be sure, and it contains some fine songs that only Clark could have written, but I find it overproduced, overarranged, overplayed, overpackaged — just overwrought in every direction. Its commercial failure more or less put an end to his prospects of once again experiencing the success he had all too briefly known with the Byrds.
He wasn't entirely finished. I wouldn't be without the album he made with Olson, called So Rebellious a Lover, released the year after his death and containing two real classics: his own "Gypsy Rider" ("Crank her over once again / Put your face into the wind / Find another road where you've never been") and the most gorgeously compelling version of "Come All You Fair and Tender Ladies" I've ever heard. But the life did for him when he was only 46.
There are some sad and illuminating reflections in the course of the film. "I watched him go from an innocent country boy to road-weary and just… tired of it all," McGuinn says. Marks, who produced his first solo album, says: "You couldn't help but just feel the energy that Gene put out whenever you were with him. It wasn't all good. That energy carried some danger with it."
Luckily, bits and pieces of his music continue to emerge. The latest is Here Tonight: The White Light Demos, released on Universal/A&M's Omnivore label, containing bare-bones versions of some of the great songs — "For a Spanish Guitar", "The Virgin", Where My Lover Lies Asleep" — plus others than didn't make the cut, including the lovely "Here Tonight", which turned up on the restored version of an abandoned album called Roadmaster, which was to have been his next A&M release after White Light. The demos are touching in their plainness. You wouldn't swap them for the original album, but they're very welcome. And the documentary is highly recommended.
* The photograph of Gene Clark is from the insert with Here Tonight: The White Light Demos, and was taken by Henry Diltz.
The death of Lou Reed has just been announced. I'm thinking back to the early weeks of 1967, and the release of The Velvet Underground and Nico, which had such a profound impact on all who were prepared to be receptive to such provocative music: "I'm Waiting for the Man", "All Tomorrow's Parties", "I'll Be Your Mirror", "Black Angel's Death Song" and, of course, "Heroin". And then White Light/White Heat and the third album. Each of them a map leading to a different future. He was a strange, difficult and brilliant man.
Forty five years ago I managed to get an extended review of the first album into the local paper for which I was working as a junior reporter, serving my apprenticeship. It made a change from covering juvenile court and golden weddings. And now I have to sit down and write his obituary for the Guardian. So although I'll keep any further thoughts for that, I didn't want his passing to go unmarked on this blog. The pages above are from the copy of Screen Tests (Kulchur Press) I bought in the year that The Velvet Underground and Nico was released. Words: Gerard Malanga. Photograph: Andy Warhol.
Two kinds of modern beauty
It was my friend and erstwhile Guardian colleague John L Walters who made the neat comparison between the experience of listening to the Necks and a stroll through an art gallery, during which the attention might wax and wane as the eye is caught, becomes absorbed, moves on, glances briefly at something else and moves on again. While listening to the Australian trio's new CD, Open, which consists of a single 68-minute piece, I thought of a different analogy, one that works better for me. It's like being on a long train journey, perhaps through several countries: the view can change many times in the course of the trip, gradually but inexorably, perhaps from vast wheatfields to industrial landscapes to valleys between snow-capped mountains, and the weather modulates along with the scenery. Occasionally you might dive into a tunnel, requiring the senses to adapt, and the landscape might have changed again when you re-emerge.
"Open", which is also the name of the piece, starts with the gentle clanging of something that sounds like (but almost certainly isn't) the strings of an abandoned piano being struck with a rubber mallet. Little cymbals are struck, a double bass enters (with the sort of sparse, sonorous, simple figure that so often provides an underpinning to the Necks' long-form pieces), and a real piano makes its appearance, sounding a series of vaguely oriental arpeggios with the sustain pedal held down. Tony Buck, Lloyd Swanton and Chris Abrahams are all aboard, and we're on our way.
The landscape changes pretty slowly on this trip. As it does, there's always one element — perhaps the bass figure, or the tapping of a closed hi-hat, or the piano holding the key centre — to maintain a sense of continuity. There are quiet periods when nothing much seems to be happening, and passages of great intensity. In the first third there's some fine drumming from Buck, whose ability to draw a lovely tone from his instruments reminds me of the young Tony Williams; around about the mid-point the oscillations of a single octave-doubled note held on a Hammond organ blend with a baleful industrial noise; there are several passages in which Abrahams moves between the quietly ecstatic approaches of Alice Coltrane and Charlemagne Palestine; and the gentle final stages feature what sounds like a choir of Swanton's overdubbed basses.
It's their 17th album, and even at this early stage of listening it sounds like one of their best, up there with Aquatic and Silverwater, in my view. And there are UK gigs — including three nights at Cafe Oto — to look forward to next month.
Arve Henriksen is also visiting the UK in November, to play Andrew Smith's Requiem (inspired by the Utoya massacre) with a choir and the organist Stale Storlokken at St Luke's in London and elsewhere. In the meantime there's his new CD, Places of Worship, a work of very special beauty.
I've never heard Henriksen's trumpet (or his counter-tenor vocals, for that matter) sound as profoundly and consistently expressive, that ability to mutate tone and attack matched by some wonderful phrase-making and a powerful sense of continuity. Nor has he ever benefited from more lustrous electronic backgrounds, the samples and programming mostly manipulated by Jan Bang and Erik Honore, with occasional help from Eivind Aarset's guitar and Jon Balke's keyboards. As a tailpiece, there's a pretty song called "Shelter from the Storm" (not that one), sung by Honore.
In his five-star review in this morning's Guardian, John Fordham drew a comparison with Sketches of Spain. That had been going through my head, too, particularly when listening to "Le Cimetiere Marin" and "Bayon", two of the album's 10 tracks. I was also reminded of Siesta, Miles Davis's soundtrack to a 1987 film (directed by Mary Lambert) that nobody seemed to like but for which Miles, with the help of Marcus Miller, produced some beautiful moments at a time when conventional ideas of beauty did not seem to be high on his agenda.
Where Open demands a proper degree of commitment, Places of Worship opens its arms to any listener. In their different but equally wonderful ways, these are likely to be the albums by which I'll remember the year.
* The photograph of the Necks — left to right: Lloyd Swanton, Tony Buck and Chris Abrahams — is by Camille Walsh. Their album is released on the RnR MEGACORP label. Henriksen's album is on Rune Grammofon.
No one influenced the way jazz has been played on the guitar for the last 40 years more profoundly than Jimi Hendrix, who wasn't a jazz musician in any way but nevertheless exerted an influence as profound as that of Charlie Parker or John Coltrane on saxophone players.
Hendrix's example granted guitarists a licence to exploit the variations in tone and attack made possible by their electronic equipment, to break away from the restrained approach of earlier giants, from Charlie Christian to Wes Montgomery, and to spend more time exploring colour and texture in sound. A list of those players whose conception was touched by his influence to a greater or lesser degree might include such figures as Larry Coryell, Sonny Sharrock, John McLaughlin, Terje Rypdal, David Torn, Vernon Reid, Bill Frisell, Pat Metheny and the man we saw in London last week, Marc Ribot.
So it makes a nice change to listen to a young guitarist whose playing, while thoroughly modern, shows no traces whatsoever of a similar inclination. Romain Pilon was born in Grenoble, spent four years studying at Berklee, lived in New York for a year and is now based in Paris. The Whirlwind label released his first album, by a trio, last year, and now comes its successor, called Colorfield. This one features a quartet in which Pilon is joined by three Americans: the tenor saxophonist Walter Smith III, the double bassist Michael Janisch and the drummer Jamire Williams. Recorded in London, the album contains seven of Pilon's absorbing compositions plus Horace Silver's lovely ballad "Lonely Woman" (not to be confused with Ornette Coleman's oft-performed piece of the same title).
Here is an hour of music in which substance triumphs over style. The tunes are attractive and varied but never flamboyant, and they inspire solos which have no ambition beyond a thorough exploration of their themes and structures. Pilon plays with a small, rounded, soft-edged tone reminiscent of the great Jim Hall, and uses absolutely no effects other than his great ear for harmonically acute, melodically elegant, rhythmically fluid improvisation. His colleagues are equally outstanding, particularly Smith, who confirms the impression he made last year on the trumpeter Ambrose Akinmusire's much praised debut album — he's another unshowy player, avoiding the customary influences in favour of an approach that might be what you'd get if you blended Warne Marsh with Sam Rivers and added a dash of Joe Henderson.
Janisch and Williams play a full part in these outstanding conversations, in which everyone has something worth saying and no one tries to shout anyone down. If you want a lesson in how to swing very hard indeed without raising the voice above a civilised murmur, listen to the final track, "7th Hour". All in all, highly recommended.
John Abercrombie is a guitarist of an earlier generation, similarly unflashy and always worth hearing. His 39 Steps caught my eye before it caught my ear. It's on ECM, whose releases are noted for the quality of the photography adorning their covers. But where there's usually a moody land- or sea- or cityscape, with this one there's an aerial picture of part of a football pitch: just the mown grass and the whitewash of the halfway line, the centre circle, the penalty area and the D. No players, however. In this context the image has more to do with geometry than sport; it seems to have no relationship to the music, which is by the American guitarist's quartet, including Marc Copeland on piano, Drew Gress on double bass and Joey Baron on drums. Or, indeed, to the album's title, which is reflected in several tunes named after other films by Alfred Hitchcock.
This is an even quieter album than Pilon's. With six compositions from Abercrombie and two from Copeland, plus the standard "Melancholy Baby" and one short collective improvisation, it barely disturbs the air in the room. A form of chamber music, certainly, but of a very high order when the four men are exploring the nuances of tunes as elegantly appealing as the guitarist's "Vertigo" or the pianist's "Spellbound". Copeland occasionally inserts a hint of astringency that I suppose you could call noir-ish, but no violence is committed. For those prepared to listen closely, the relatively circumscribed emotional range will be no barrier to enjoyment of another exceptional album.
* The drawing is from the cover of Colorfield. It is uncredited.
Willie and the women
Did Willie Nelson ever encounter a female singer with whom he didn't think he could bring off a passable duet? I very much doubt it. His new album, To All the Girls…, is full of successful new collaborations with Rosanne Cash, Alison Krauss, Dolly Parton, Sheryl Crow, Emmylou Harris, Shelby Lynne and a dozen others. It can't fail, and it doesn't.
My all-time favourite Nelson album is Stardust (1978), which I'd class with Billie Holiday's Lady in Satin and Frank Sinatra Sings For Only the Lonely among the most exalted recitals of the great American songbook. My second favourite is Across the Borderline (1993), in which he tackled standards of more recent vintage from the pens of Bob Dylan, Paul Simon, Lyle Lovett, John Hiatt and others with equal success; maybe its most striking track is Peter Gabriel's "Don't Give Up", in which Willie and Sinead O'Connor sing the parts originally recorded by Gabriel and Kate Bush. Now Willie, who turned 80 in April, might just have presented me with a new candidate for third favourite.
If there's nothing adventurous about To All the Girls…, that's in no way to the new album's discredit. Produced by Buddy Cannon, it's a spare, unassuming collection of fine songs performed by terrific singers working in a sensitive environment. Willie's voice, as ever, is the essence of understatement, as comfortable as a much-washed raw cotton shirt. The arrangements represent the essence of restraint and economy: a steel guitar here, a Hammond organ there, a hint of strings or harmonica, all subordinate to Willie's unmistakeable gut-string guitar. It's the pattern set by Booker T Jones on Stardust 35 years ago, and it can't be beaten.
The highlights include Kris Kristofferson's "Please Don't Tell Me How the Story Ends" with Cash, Waylon Jennings's "She Was No Good For Me" with Miranda Lambert, Bruce Springsteen's "Dry Lightning" with Harris and the imperishable "Always on My Mind" (by Johnny Christopher, Mark James and Wayne Carson) with Carrie Underwood. Norah Jones does beautifully with Willie's "Walkin'" (containing one of my favourite openings: "After carefully considering the whole situation / I stand with my back to the wall…"), Mavis Staples manoeuvres Nelson into a slightly funkier area on Bill Withers' gorgeous "Grandma's Hands", and Paula Nelson has the good fortune to be featured on a lovely version of John Fogerty's "Have You Ever Seen the Rain?". The surprise for me is Lily Meola, a young Hawaiian singer who sounds as perfect partner as any on Willie's "Will You Still Remember Mine", a sultry last waltz on which a six-decade age gap is closed to nothing.
But the one I can't get out of my head is "No Mas Amor", another Willie song, on which he's joined by the divine Krauss and a mariachi trumpet: there's almost nothing to it, but it won't go away. Just like the whole album, which is likely to remain close to the top of the pile for as long as there's a pile to be close to the top of.
* The photograph of Willie Nelson is from the cover of To All the Girls… There's a rather sweet seven-minute promo video here.
** An early version of this piece credited Willie as the writer of "Always on My Mind". Thanks go to Phil Shaw for putting me straight.
Ribot, Grimes & Taylor
On a small table in front of the chair on which he sat to play guitar at the Cafe Oto last night, Marc Ribot had a large egg-timer. I've often wonderered how musicians — improvising musicians in particular — know when they're reached the end of their alloted time. Most of them seem to have an internal clock, its calibration refined over the years. But I'll never forget the morning after a particularly mesmerising performance by Art Pepper at St Paul's Church in Hammersmith at the end of the '70s, when a photographer came into the Melody Maker's office with a set of pictures from the concert, including one that showed the great saxophonist taking a surreptitious look at his wristwatch.
I'd be surprised if anyone was clock-watching last night. The trio of Ribot, the bassist Henry Grimes and the drummer Chad Taylor started with a medley of Albert Ayler tunes, providing the guitarist (who is probably best known for his work with Tom Waits and Marianne Faithfull) with a canvas for the scrabbling, string-scrubbing, sound-splintering techniques that place him somewhere on the spectrum between Jimi Hendrix and Derek Bailey. As he eased away from adding country inflections to Ayler's march-hymn structures and wound himself up into a state of near-catharsis, I was reminded of Robert Fripp's startling solo on King Crimson's "A Sailor's Tale" (from the album Islands), one of my favourite guitar improvisations.
There can't have been more than a handful among the capacity crowd who were born when Grimes disappeared off the jazz map in 1970, having spent a dozen years establishing himself — via such important recordings as Don Cherry's Complete Communion, Cecil Taylor's Unit Structures and Albert Ayler's Live in Greenwich Village — as one of the foremost members of an unusually gifted generation of double bassists. The story of his rediscovery more than 30 years later, living in Los Angeles, surviving on non-musical jobs, writing poetry and unaware of any developments in the music during the intervening period, has passed into legend. Now, at 77, he overflows with energy, ideas and purpose, the strength and fluidity of his playing absolutely unscarred by that extended lay-off.
The second tune of a long set began with a less than convincing rock beat but soon doubled up into fast bebop time and felt all the better for it. The third and last item opened with a slow, abstract passage in which Grimes played the violin, reminding us of his Juilliard training in the '50s, before the adroit use of a volume pedal enabled Ribot to produce jolting note-cluster explosions. Taylor concluded the piece with a marvellous solo reminiscent of the immortal Elvin Jones, suggesting rhythm without specific metre or pulse and building excitement without the use of licks or repetition.
If Grimes's tale reminds us how many years have passed since this music first turned the jazz world on its ear, a gig such as last night's demonstrates how much scope it still offers to the creative mind.
* Before the first set, the audience was asked not to use recording or photographic equipment. The picture above was taken 20 minutes earlier, while the musicians were setting up their instruments. No protocols were breached.
The Band: London to New York
The Band came to London for the first time in the early summer of 1971. At 2.30pm on Monday, May 17 a handful of us gathered at the Inn on the Park, near Hyde Park Corner, where EMI Records had booked the Hamilton Suite, rooms 206-210, for Robbie Robertson, Levon Helm, Rick Danko, Richard Manuel and Garth Hudson to meet journalists. I talked to Robertson and Danko for a feature that appeared in the next week's Melody Maker, a few days ahead of their two dates at the Albert Hall on June 2 and 3.
They were enjoyable interviews. Robbie talked about the early days with Ronnie Hawkins, and about their influences. Among the names he mentioned were those of Jimmy Reed, Charlie Rich, Sanford Clark and Billie Lee Riley, which reminded him of his first visit to London, along with Rick, Garth and Richard, for Bob Dylan's Albert Hall shows in 1966, when they stayed at the Savoy.
"A bunch of people came by the hotel," he said, "a bunch of rough-looking characters. I don't know what you'd call them, but they were into pure rock 'n' roll. They didn't like Bob's music at all. They were into Ronnie Hawkins, and they were giving me this whole story about giving up this Bob Dylan shit and getting back to the real meat of things. They were very sincere, actually. What do you call them? Do you have a name for them?"
"Rockers," I said.
"Rockers? I told Ronnie about them. I mean, they had people named after his songs, even."
"Wild Little Willie?"
"Yeah, that was one of the guys. Are they still around?"
They were indeed, a bunch of superannuated Teddy Boys still trying to convince the world that any rock 'n' roll that sounded as though it had been made after Elvis went into the army wasn't worth a teaspoon of oil for a Triumph Bonneville. I happened to know that Wild Little Willie was one of the leading members of their coterie, named after one of Hawkins's best known songs.
Talking to Danko, I asked why their performance at Woodstock two years earlier hadn't been included in the subsequent movie. "I just didn't feel that their sound was together," he said, "and I didn't believe it was the sort of film that I'd want to look at myself in 20 years' time, because I'm sure all that comes back, at one time or another. It was not our PA system. We were using other people's facilities, which means that we didn't have any control over it, and if you can't control it then I don't consider the people are getting their money's worth. The Isle of Wight impressed me in 1969. The people there were very orderly. I thought it was like being in a giant high-school gymnasium. But it's hard. We limit our PA system, like you do in a studio, which cleans it up for the people, so it sounds more like a record."
They hadn't brought their own system to Europe, relying instead on a system supplied by Charlie Watkins, the South London amplification expert and inventor of the great Copicat tape-echo unit. According to Danko, Watkins had been to see them in the US, examined their system, and promised to create something equally effective.
He was as good as his word, and those of us present at the Albert Hall still talk about the pin-sharp but very warm quality of the sound, and how they were the first rock band to master the acoustics of a venue that had been notoriously unfriendly to amplified music. As Danko promised, the sound was just like the records, allowing us to appreciate the astonishing quality of their playing. It was one of the great gigs, and three of the songs from the first night — "Strawberry Wine", "Rockin' Chair" and "Look Out, Cleveland" — were unearthed for A Musical History, the handsome boxed set released by Capitol in 2005. Which must mean that the rest of the concert is in the vault somewhere, and it would be nice to hear it all one day.
After finishing their European dates they spent the remainder of 1971 finishing and releasing their fourth album, Cahoots, and touring the US, winding up the year with four nights at the Academy of Music in New York, where they were augmented by a five-piece horn section under the direction of the New Orleans master Allen Toussaint. Those shows were initially commemorated in Rock of Ages, a vinyl double album released the following year. Now Robbie Robertson has gone back to the archive, unearthed the original master tapes, remixed and remastered them, and put together a new boxed set including three CDs and a DVD, plus a more modest two-CD package.
The latter, for which I opted, includes the Band's full 25-song set — eight more than could be squeezed on to the two vinyl discs of the original release, and two more ("Smoke Signal" and "Strawberry Wine") than appeared on the last CD version, plus four songs with Dylan — "Down in the Flood", "When I Paint My Masterpiece", "Don't Ta Tell Henry" and "Like a Rolling Stone", all of which appeared on the earlier expanded CD release.
They sound better than ever, and they sounded pretty good in the first place. It reminds me of the extraordinary finesse and flexibility that became apparent during the Albert Hall concert, not least when — as you see them in the photograph above — Levon picked up a mandolin, Garth strapped on an accordion and Richard settled himself behind that beautiful old-fashioned drum kit. Back at his Lowrey organ, Garth played an astonishing extended solo introduction to "Chest Fever", known as "The Genetic Method"; a friend of mine claims he played it on the Albert Hall's mighty pipe organ, but that's not my memory of it.
Everything about that concert was perfect, except for the interval, when I went for a drink and found myself accosted at the bar by Peter Grant, Led Zeppelin's manager and a master of the art of intimidation, who approached me, with Jimmy Page lurking in his shadow, and accused me of trying to break up his band. That's another story, but it was a relief to get back to my seat and listen to some more from the greatest combo of their era, functioning at their peak.
* The photograph is taken from the insert to The Band: Live at the Academy of Music 1971. It is uncredited.
A song for a friend
Paul McCartney has a new album out. I was shut in a room with it for a morning the other week, in order to write a review for Uncut magazine, and I came out feeling it contains five songs — "Early Days", "On My Way to Work", "Looking at Her", "Scared" and the title track, "New" — that would make a fabulous EP, if such things still existed. Five really good new songs: not a bad return at this stage of the game.
None of them, however, comes within a mile of matching my favourite McCartney track, which is one that hardly anybody, outside the realm of the fanatics, seems to have heard, or at least to remember. Perhaps that's because it's hidden away on Wings' Wild Life, one of his least memorable albums, recorded in 1971, when his credibility was not exactly at its apogee.
It's called "Dear Friend". It's a six-minute ballad with a simple but beautifully contoured melody: two four-line verses, repeated in sequence to make four verses in all, each 12 bars long and each separated by a pause or a moment's hesitation. No chorus. A haunting lyric: "Dear friend, what's the time? / Is this really the borderline? / Does it really mean so much to you? / Are you afraid, or is it true?" — and then: "Dear friend, throw the wine / I'm in love with a friend of mine / Really, truly, young and newly wed / Are you a fool, or is it true?" And the most gloriously subtle arrangement, based on a laconic piano, a bass guitar, minimal drumming and the dark glimmer of a vibraphone (all of which I imagine he played himself), each verse individually coloured by a small string orchestra, a couple of oboes, or briefly, in the final minute, a gorgeously grainy horn section that sounds like a brass band who've walked in off the street.
The whole thing is so plain, so underplayed, so brilliantly understated by whoever worked with him on the arrangement, that you can hardly believe it's Paul McCartney in his solo guise at all. His singing, some of it in his falsetto register, is perfectly attuned to the sobriety of the arrangement, not least when he introduces a dozen bars of scat-singing in which his tone and note-choice are as eloquent as words. I don't think he's ever sounded so unselfconsciously introspective.
You only have to read the lyric to see why most people assume the song is about John Lennon, with whom his relationship was then at its most difficult. Perhaps that's true. I prefer to take the Bob Dylan line, which is that it's an artist's job to take the particular and turn it into the universal, to play fast and loose with the truth in order to create a new and greater one. So when I hear "Dear Friend", I encounter an emotion that isn't tied to whatever its factual origin may or may not have been, and which somehow illuminates and expands feelings of my own. That's art for you.
And for some reason he chose to hide it away towards the end of the second side of a mediocre LP. You can't believe he wasn't proud of it. If I had to take a Beatle-related record to a desert island, it wouldn't be "I'll Be Back" or "In My Life": it would be this.
* The photograph of Wings — Denny Seiwell, Paul McCartney, Linda McCartney and Denny Laine — is from the cover of Wild Life and was taken by Barry Lategan.
Huntsville in Dalston
The Cafe Oto wasn't exactly thronged for the return of Huntsville to Dalston last night, but the audience was highly attentive and rewarded the Norwegian trio with warm and sustained applause at the end of their unbroken 75-minute set. Those of us who had missed their previous visit to London in their present incarnation, when they played the nearby Vortex in 2009, and knew their music only from records, couldn't help but be impressed by the sense of interplay developed by these three improvisers over the course of their years together, and by their command of the music's overall shape and its intimate textures.
Ivar Grydeland plays guitar and laptop, Tonny Kluften plays bass guitar and Ingar Zach plays percussion — including, as the publicity puts it, "sruti box, tabla machine and drone commander", as well as several of the basic elements of a conventional drum kit. Stig Ringen, their sound engineer, acts as a fourth member of the group.
If the process of Huntsville's music is a little bit like that of the Necks, in that both groups tend to use the slow modification of regular pulses and repeated figurations as the basis of extended collective improvisations, the sound they make is very different. Grydeland's Jazzmaster is not just plucked and strummed but struck with a small mallet, modified with various devices and otherwise manipulated to produce a dramatic variety of metallic clanging and whining sounds (when he lets single notes hang in the air or bends an arpeggio out of shape, the effect is like that a Japanese koto). Kluften makes considerable use foot pedals to adjust the tone and volume of his nimble lines. Zach spends a lot of time occupying himself with arcane devices — one of them attached to an iPad — whose effects are often difficult to disentangle from the overall mass of the sound to which he is contributing, but there were two lengthy passages last night in which he used wire brushes on his snare drum to produce an up-tempo shuffle rhythm of phenomenal momentum.
Their first two albums, For the Middle Class (2006) and Echo, Arches & Eras (2008, featuring the singer Sidsel Endresen on one tune and Wilco's Nels Cline and Glenn Kotche on a long improvisation recorded at the Kongsberg Jazz Festival), were released by Rune Grammofon. A couple of years ago they moved to the Hubro label, which shares an office in Oslo with Rune Grammofon, and for whom they made their debut with For Flowers, Cars and Merry Wars (2011), which also featured the voice of Hanne Hukkelberg. Their fourth album, released a couple of weeks ago, is just the three of them. Called Past Increasing Future Receding, it was recorded in Oslo in a dimly lit barrel-vaulted studio (formerly an artist's mausoleum) with a 20-second reverberation. There are three tracks: the opener, "Presence in Absence", contains one or two violent shocks for the unwary listener who might be lulled by its apparent quietness into turning up the volume control; "The Flow of Sand" explores their fondness for playing over tamboura-like drones; and "In an Hourglass" is glowingly contemplative, featuring that koto effect from Grydeland.
Here's a two-minute clip that gives some idea of the making of the album and a tiny glimpse into what they're about (there are more extended examples to be found on their website: http://www.huntsville.no). I left Cafe Oto feeling my time had been well spent; it's always a pleasure to be with musicians whose imagination, spirit of inquiry and disdain for generic boundaries ensure that the future will be as exciting as the past.


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The Purchasing Department coordinates all procurement and contracting activities for the City of Bristol, provides support to other departments and to the community. Purchasing manages the delivery of all supplies, equipment, and services, and is responsible for the management and reporting of city owned assets.
The City of Bristol is subject to policies and procedures set forth in the Purchasing Manual updated through June 1, 2018. Please feel free to contact the Purchasing Department if there are any questions relative to said guidelines.
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The Purchasing Department additionally sells surplus property on behalf of the City of Bristol.


Arundel Castle in West Sussex is set to begin its 2015 open season with a flourish – by hosting Life in a Medieval Castle.
The two day event will give visitors a taste of life in the 12th Century. Encapsulating elements of life in and around the statuesque Castle in the 1100s, this event invites visitors to explore the ancient Keep, Barbican and Dry Moat; as well as Arundel Castle's beautifully preserved interior.
Life in a Medieval Castle will transport visitors to the time of William D'Albini, Earl of Arundel. The skilled performers of Raven Tor Living History Group will re-enliven characters from the late Norman period, showcasing the fashions and costumes of the time as well as combat techniques and crafts.
During the event, Arundel Castle's 30-foot tall Keep will play host to combat and archery demonstrations, showcasing the techniques and tactics of the battles of the period. Craft displays will be positioned in the Barbican including an upright loom on show for the first time at Arundel Castle as part of this event. In addition, The Yarnsmith of Norwich will be weaving tales from the past throughout the weekend.
One of the most fascinating elements of the weekend will undoubtedly be the costumes on show. Raven Tor Living History Group go to great lengths to ensure the authenticity and accuracy of their costumes, meaning that visitors to Arundel Castle will be enjoy a glimpse of Norman fashions.
Castle Manager Bryan McDonald commented: "We are looking forward to opening our doors to visitors once again and could not wish for a more enlightening event to kick-start our season!
"Life in a Medieval Castle is a pre-cursor to Arundel Castle's Easter weekend extravaganza – Normans and Crusaders, which will explore the turbulent power struggle between King John and the nobility.
Report contributed by Poppie Sharman. Picture by Victoria Dawe.


The operatives of Rapid Response Squad of the Lagos State Police Command early Thursday morning busted two motor bike robbery gangs in Ajah and Mushin and arrested some members of the gangs.
The suspects: Muyideen Adegboye, 25, a furniture maker in Idi-Oro, Mushin, and Idris Farouk, 26, an okada rider in Ikate Area, were arrested at separate incidents while using motor cycles to rob.
Muyideen Adegboye was arrested at about 3:00 a.m. with a stolen keke and two live cartridges while his other gang member escaped leaving behind the motorcycle the gang used for the operation.
Farouk on his part was arrested at Ikate Roundabout around 4:35 a.m. after himself and his gang member on okada with the aid of a cutlass robbed one Samsudeen Abiola of his phone and money.
Farouk added that himself and his accomplice, Wale, still at large, were robbers. He added that they operate around Ikate and Small Kuramo stealing okada.
Confirming the arrest of the two gangs, the Police PRO, ASP Olarinde Famous-Cole, said that police are on the heels of other members of the gangs. He added that those arrested have been transferred to FSARS for further investigation.


Hi, I like your site. I have a photo of me with some old-fashioned bb players taken at Gettysburg Eddie's restaurant in May!
Forgot to mention that the photo is on my blog at http://www.judyroutson.wordpress.com!
Louise and I spent several days touring the Civil War Battle sights. She tolerates my love of history. We are Canadian and I salute what you folks do to keep this part of history alive.
We were having supper in a small restaurant in Gettysburg when we heard of the Baseball tournament scheduled for the next day. i am an amateur photographer and I took several awesome shots of the game that I would like to share with folks on the teams. who do I send them to.


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to webpack.config.json
I get this error on build (I get multiple) :
ERROR in ./~/css-loader?{"sourceMap":false,"importLoaders":1}!./~/postcss-loader?{"ident":"postcss"}!./~/sass-loader/lib/loader.js?{"sourceMap":false,"precision":8,"includePaths":[]}!./~/materialize-css/sass/materialize.scss
Module not found: Error: Can't resolve '../fonts/roboto/Roboto-Thin.woff2' in 'C:\Users\Administrateur\Documents\dev\git\front-ptc-angular\node_modules\materialize-css\sass'
 @ ./~/css-loader?{"sourceMap":false,"importLoaders":1}!./~/postcss-loader?{"ident":"postcss"}!./~/sass-loader/lib/loader.js?{"sourceMap":false,"precision":8,"includePaths":[]}!./~/materialize-css/sass/materialize.scss 6:77358-77402
 @ ./~/materialize-css/sass/materialize.scss
 @ multi ./~/materialize-css/sass/materialize.scss ./src/assets/scss/main.scss

Any idea ?
EDIT :
I added angular2-materialize and materialize-css by npm
then added the two lines to my webpack config

A: I used materialize with bower and it gave me the same problem, I resolved it by copying the folder / fonts / roboto to the level of where the css and js folders of materialize are.

A: If you use the angular2-materialize you have to check if you're using the materialize version 0.100.2 because that version is the only compatible


0b05:17ba is referred to as a USB-N10 within ASUS's driver set - it is presumed to be for this dongle.
The driver set is for 81(88/92)cu based dongles, 8188cus is presumed to be used ??
Bus 001 Device 002: ID 0b05:17ba ASUSTek Computer, Inc.
and bases on the Realtek RTL8188CUS chipset.
is not known to this driver and therefore the driver is not loaded automatically..
Alternatively, a modified driver can be downloaded from GitHub, which already includes the USB ID.
An alternative might also be doing the following (suggested by the REAFME of rtl8192cu-fixes): Sometimes Network Manager also sets a device in a power-saving mode where it doesn't use enough power to connect. You can fix it by editing `/etc/NetworkManager/conf.d/default-wifi-powersave-on.conf` and setting `wifi.powersave` to 2. And then reboot.
A detailed installation instruction for OpenSuSE can be found at blog (in German).
17ba	USB-N10 Nano	11n USB Adapter [Realtek RTL8192CU] ??
This page was last edited on 25 October 2018, at 14:01.


text:
Morgunblaðið ( i.e. El Periódico de la Mañana) es un periódico de Islandia, fundado en noviembre de 1913. Desde 2009, lo dirige el ex primer ministro, Davíð Oddsson.

Véase también
24 stundir

Referencias

Enlaces externos
 Morgunblaðið web oficial
  - Hemeroteca (de 1913-1993)

Diarios de Islandia
Publicaciones fundadas en 1913
Periódicos en islandés


text:
Reading Fringe Festival – Stuart Henderson's Remix Jazz Orchestra | Buy tickets
Jazz in Reading is putting on this concert with sponsorship from
The Remix Jazz Orchestra, led by Stuart Henderson, in a concert of 'The Evolution of the Big Band – from the Birth of Jazz' at Reading Minster, Tuesday 23 July 2019, 8pm. With guests Simon Allen saxes and Fleur Stevenson vocals.
The Remix Jazz Orchestra is a super swinging big band, led by local trumpet and flugelhorn star Stuart Henderson (ex lead trumpeter in Her Majesty's Scots Guard Band), and they will be playing a century of jazz classics in this concert of 'The Evolution of the Big Band – from the Birth Of Jazz'. The band has two guests for this concert: Simon Allen on saxes, and Fleur Stevenson vocals who will be singing one or two Billie Holiday and Ella Fitzgerald songs.
Remix Jazz Orchestra is a roasting hot 17 piece big band boasting many fine jazz soloists who will be playing classics from the earliest days of the big bands, through the Swing Era up to contemporary arrangers and composers. Ellington, Basie, Kenton, Rich and many more!
The venue for this concert is the stunning Reading Minster with its amazing acoustics. This will be an evening at the Reading Fringe Festival not to be missed.
Venue: Reading Minster Church of St. Mary the Virgin, St. Mary's Gate, Chain Street, Reading RG1 2XH
More about the band
The Remix Jazz Orchestra is a hard swinging and exciting big band that was formed in September 2010 by bass player John Deemer. The band had previously been known as The Chosen Few Jazz Orchestra, which had been playing locally since 1998, and luckily most of the original band members were more than happy to continue under the new management!
John was lucky enough to enlist the help of professional jazz trumpeter Stuart Henderson as Musical Director. He was also delighted to retain the 'in-house' expertise and musicianship of arrangers Jonathan Lewis (tenor sax), Alex Brown (trumpet) and the technical know how of trombonist Brian Haddock.
Since then the band has gone from strength to strength playing to packed out audiences of loyal fans and big band aficionados at its monthly Finchampstead concerts.
All the band members are experienced musicians who enjoy working on a diverse range of big band music and the repertoire is more varied and challenging than many other big bands.
The band often features nationally acclaimed jazz stars as special guests and in recent years these have included Derek Nash, Pete Long, Mark Nightingale, Tina May and Simon Spillett.
The ethos is to never stand still and to always strive to keep the musicians (and the audience) on their toes! Concert programs include selections from the golden age of Swing through to more contemporary arrangers and composers.
A sample of just some composers and arrangers that the band features are:
Basie, Ellington, Kenton, Herman, Goodman, Nestico, Hefti, Heath, Dankworth, Francy Boland, Thad Jones, Dave Wolpe, Mark Taylor, Gordon Goodwin along with contemporary arrangements from Jonathan Lewis and Alex Brown.
The band plays regularly on the last Friday of the month 8.30pm-11pm at The Memorial Hall, Finchampstead Sports Club, The Village, Finchampstead, Wokingham RG40 4JU
For information about The Remix Jazz Orchestra please contact John Deemer on 07976 727985 or via the bands website
or call 0333 666 4466 between 9am and 5pm, or tickets on the door on the night.
Reading Fringe Festival – Full Programme here


text:
Chonbuk Buffalo was a South Korean professional football club, based in Jeonbuk. Lasting only one year in the K League, the club was the root of the Jeonbuk Hyundai Motors. However, K League and Jeonbuk Hyundai Motors officially considers Chonbuk Buffalo as a different club.

History
Predecessor of Chonbuk Buffalo was established in January 1993 as Wansan Puma FC. Wansan Puma was scheduled to join the 1993 season of K League, but was postponed for one year due to draft boycott.

In 1994, Wansan Puma changed its name to Chonbuk Buffalo. Their one and only season in 1994 saw them gather only 14 points from their 30 matches, winning just three times and finishing last, before the club folded.

References

K League clubs
K
Association football clubs established in 1993
Association football clubs disestablished in 1994
Sport in North Jeolla Province
1993 establishments in South Korea
1994 disestablishments in South Korea


I found an awesome sounding Rice Krispy square recipe at https://oureatinghabits.wordpress.com/2011/08/19/mars-bars-squares/ that I just had to try. Thank you to Our Eating Habits for this recipe idea!
While I didn't follow it exactly it still turned out great with comments from anyone that tried them.
I changed the recipe to suit what I had and how I wanted to do the cooking part of the recipe so I could make them in the microwave and they still turned out perfect!
Here are the ingredients I used to make the squares.
First I chopped up the Mars bars and put them in a large microwave safe bowl.
I added the first amount of butter/margarine and 1 cup of chocolate chips.
I microwaved it on high heat for about 90 seconds until melted and it could be stirred smooth.
Next I put the second amounts of butter/ margarine into a microwave safe bowl and microwaved it on high until melted and smooth, about 60 seconds.
I spread this chocolate mixture over the top of the rice Krispy squares in the pan and put it in the fridge to chill until the chocolate was set before cutting into squares.
Chop Mars bars and place in microwave safe bowl.
Add first amount of butter/ margarine and chocolate chips to bowl.
Microwave on high heat for about 90 seconds until melted and can be stirred smooth.
Add rice Krispy cereal to chocolate mixture and stir to fully coat cereal.
Press into prepared baking pan.
Add second amounts of chocolate chips and butter/margarine to microwave safe bowl.
Microwave on high heat for a bout 60 seconds, until melted and smooth.
Spread melted chocolate mixture over top of rice Krispies in pan.
Chill until chocolate is set and cut into squares.
3 cups Rice Krispies 1 cup Semi-sweet chocolate chips 1/4 cup butter.
This entry was posted in Baking, desserts, lunch box snacks, Our Posts, Reblog, recipes and tagged lunch box snacks, Mars rice Krispy squares, postaday, rice krispie recipe, squares recipe. Bookmark the permalink.


A federal appeals court looked at Colorado's so-called Amazon Tax law and said overturning it would create a tax shelter for online retailers, according to a decision published Monday by the 10th U.S. Circuit Court of Appeals.
The state law passed in 2010 doesn't force Internet retailers to charge sales tax on purchases made by Colorado residents. But those that don't must notify customers to pay sales tax and report customer purchases to the state's revenue department.
Judge Neil M. Gorsuch said the now 5-year-old case hinges on the requirement the law places on retailers. Colorado brick-and-mortar retailers have their own burden to report sales and collect taxes.
"If anything, by asking us to strike down Colorado's law, out-of-state mail order and Internet retailers don't seek comparable treatment to their in-state, brick-and-mortar rivals, they seek more favorable treatment, a competitive advantage, a sort of judicially sponsored arbitrage opportunity or 'tax shelter,' " Judge Neil M. Gorsuch wrote.
The ruling could lead to a national effort to make all Internet retailers collect sales tax, policy experts said.
Colorado Attorney General Cynthia H. Coffman called the ruling a victory for state residents. "The law we successfully defended will promote the collection of tax revenue owed to the state and level the economic playing field for businesses based in Colorado," she wrote in an e-mail.
At issue was a law that targeted out-of-state Internet retailers, such as Amazon, that did not collect sales tax on online purchases by Colorado residents. The law required such companies to advise customers of taxable items and give them an annual notice of taxes owed. The retailer also must share customer information and purchases with the state revenue department.
The Direct Marketing Association called the law unconstitutional because it put an undue burden on Internet retailers. DMA challenged the law using the 1992 U.S. Supreme Court decision in a case known as Quill Corp. vs. North Dakota, which ruled that states cannot require retailers with no physical presence in the state to collect sales taxes.
Seattle-based Amazon cut off its affiliate program in Colorado at the same time. Affiliates received commissions for referring customers from their own websites to the online retailer.
The DMA on Tuesday said it was reviewing the decision and has not decided whether to appeal. If it does, the case could end up at the U.S. Supreme Court.
"DMA's five-year battle on behalf of its membership and the entire marketing industry has been grounded on the idea that the Colorado notice-and-reporting requirements are unconstitutional under the Commerce Clause and unduly break the bond of trust between marketers and their customers," DMA's vice president of advocacy, Christopher Oswald, said.
Retailer Amazon, which has not had a physical presence in Colorado, began collecting taxes from local shoppers Feb. 1 but would not say why. It also welcomed Colorado residents back to its affiliate program, effective Feb. 3 .
On Tuesday, a spokeswoman declined to comment beyond the statement she provided earlier in the month acknowledging the company had begun collecting taxes.
The state doesn't know what triggered Amazon's decision either.
But Michael Mazerov, a senior fellow at the Center on Budget and Policy Priorities, who has followed the Colorado case for years, says it could be many things.
"They may be putting some kind of facility in the state. Or they may have seen the handwriting on the wall based on the oral arguments, and they thought there was a good chance for the state to prevail," Mazerov said.
But another trigger could be a recent move to hire in Colorado. Amazon posted a job for a position based in Colorado on Feb. 12.
"If they have employees in the state, that's sufficient knowledge that they have to collect the tax," Mazerov said.
The implications of the court ruling likely will trigger similar laws in other states where Amazon and other Internet retailers currently do not collect sales tax.
"The decision has national significance. Retailers, both local and national retail chains, are very frustrated that federal legislation to address this problem has been pending for many years," Mazerov said.
Consumers won't be happy if they find they must self-report online purchases and pay sales tax each year.
"With consumers saying 'I don't want to be burdened with paying this tax myself, I want the retailer to charge it to me,' that could have the political effect of putting more pressure on legislators," Mazerov said.


text:
Kompatibilitätsbedingungen sind in der Kontinuumsmechanik Bedingungen, die erfüllt sein müssen, damit aus Ableitungen eines Bewegungsfeldes nach dem Ort gebildeten Größen, das Bewegungsfeld rekonstruiert werden kann. Die abgeleiteten Größen sind dann kompatibel mit einem Bewegungsfeld.

Anwendung finden die Kompatibilitätsbedingungen in der Theorie der Spannungsfunktionen, mit deren Hilfe analytische Lösungen der ebenen und räumlichen, linearen Elastostatik berechnet werden können, z. B. bei der Airy'schen Spannungsfunktion.

Einführung

Motivation

Bei der Bewegung eines Körpers durch den Raum treten in den für die Kontinuumsmechanik interessanten Fällen Verformungen auf, die sich durch die Verzerrungen quantifizieren lassen, die aus Ableitungen des Bewegungsfeldes nach dem Ort berechnet werden. Von den Verzerrungen gibt es im allgemeinen dreidimensionalen Fall sechs Komponenten. Sollen aus ihnen die drei Komponenten der Bewegung in x-, y- bzw. z-Richtung rekonstruiert werden, ist klar, dass die Verzerrungen nicht voneinander unabhängig sein können. Bei einer ebenen Bewegung liegen drei Verzerrungsfelder  und  vor, die zwei Verschiebungskomponenten in x- bzw. y-Richtung entsprechen (nach Umbenennung gemäß dem Schema 1 → x und 2 → y). Einen solchen Fall zeigt die nebenstehende Abbildung. Nun kann sich die Frage stellen, ob sich aus den Verzerrungsfeldern die Bewegung rekonstruieren lässt. Dies kann genau dann gelingen, wenn die Verzerrungen die für sie formulierten Kompatibilitätsbedingungen einhalten.

Indem die drei Komponenten der Bewegung in x-, y- und z-Richtung nach den drei Ortskoordinaten in x-, y- bzw. z-Richtung abgeleitet werden, entstehen insgesamt neun Ableitungen, die die Komponenten des Deformationsgradienten bilden. Auch für die neun Komponenten des Deformationsgradienten existieren Kompatibilitätsbedingungen, die diese einhalten müssen, damit aus ihnen die Bewegung wieder hergestellt werden kann.

Bewegungen
Um die Bewegung eines Körpers zu beschreiben, wird zunächst jedem Partikel des Körpers über die Referenzkonfiguration eineindeutig ein "Name" oder "Etikett" zugeordnet. Dieser "Name" soll hier die Position

des Partikels zu einem bestimmten Zeitpunkt  sein. Die Zahlen  werden materielle Koordinaten des Partikels genannt und gelten in Bezug auf die Standardbasis  des euklidischen Vektorraumes . Zumeist wird  so gewählt, dass zu diesem Zeitpunkt der Körper undeformiert und in Ruhe ist und die Bewegung beginnt. Im Zuge seiner Bewegung durch den Raum wandert jedes Partikel auf seiner Bahnlinie vorwärts, die die Bewegungsfunktion

mathematisch beschreibt. In Bezug auf die Standardbasis hat nun jedes Partikel zu einer Zeit  räumliche Koordinaten .

Kompatibilitätsbedingungen

Linearisierter Verzerrungstensor
Der linearisierte Verzerrungstensor entsteht aus Ableitungen des Verschiebungsfeldes. Die Verschiebung  eines Partikels ist sein zurückgelegter Weg, mathematisch der Differenzvektor zwischen seiner aktuellen Position und seiner Position in der Ausgangskonfiguration:

.

Häufig kann, vor allem in technischen Anwendungen, angenommen werden, dass erstens diese Verschiebung im Vergleich zu Abmessungen des Körpers klein ist und zweitens auch die Ableitungen der Verschiebungen nach dem Ort klein gegen eins sind. Dann brauchen die materiellen Koordinaten  und die räumlichen  nicht mehr auseinandergehalten zu werden und die Verzerrungen des Körpers werden mit dem linearisierten Verzerrungstensor gemessen, der die Darstellung

besitzt. Darin ist "grad" der Gradienten- und  𝜵 der Nabla-Operator, das hochgestellte Zeichen ⊤ steht für die Transposition, das Rechenzeichen "⊗" bildet das dyadische Produkt und in den letzten beiden Gleichungen wurde die Einsteinsche Summenkonvention angewendet. Hier wie im Folgenden ist über in einem Produkt doppelt vorkommende Indizes, oben i und j, von eins bis drei zu summieren. Des Weiteren ist ein Index nach einem Komma eine abkürzende Schreibweise für die Ableitung nach der genannten Koordinate:

.

Berechnung der Rotation des Verzerrungstensors liefert:

Der obere rechte Term verschwindet, weil Komponenten mit vertauschten Indizes i und k gleich groß aber umgekehrtes Vorzeichen haben, so dass sie sich in der Summe aufheben, oder bei i = k verschwinden, was in der letzten Gleichung auch für die Indizes j und l in analoger Weise zutrifft. Die aus dem Verschiebungsfeld abgeleiteten Verzerrungen erfüllen also

ϵijk = (êi × êj) · êk ist das Permutationssymbol. Die Gleichungen sind die Kompatibilitätsbedingungen der Verzerrungen, denn werden diese Gleichungen von einem Verzerrungsfeld eingehalten, dann gibt es ein Verschiebungsfeld, das die gegebenen Verzerrungen hervorruft.

In ebenen Problemen, wie bei der Airy'schen Spannungsfunktion, wo nur zwei Koordinaten involviert sind, reduzieren sich diese Kompatibilitätsbedingungen weiter auf nur eine von den drei ersten skalaren Gleichungen.

Die Kompatibilitätsbedingung kann auch ohne die Rotation geschrieben werden:

Der Operator "Sp" gibt die Spur eines Tensors und "sym" liefert den symmetrischen Anteil .

Spannungen
Beim Lösungsansatz für die Bewegungsgleichungen über Spannungsfunktionen, sind die Spannungen die primären Unbekannten. Sind diese für gegebene Randbedingungen gefunden, dann gilt es aus ihnen das Bewegungsfeld zu rekonstruieren. Das gelingt bei linearer, isotroper Elastizität, wenn die Spannungen σ in einem Schwerefeld  wie es die Schwerkraft eines ist die folgenden für sie formulierten Kompatibilitätsbedingungen erfüllen:

oder in Abwesenheit einer Schwerkraft:

Das Symbol  ist das Kronecker-Delta und  ist die Querkontraktionszahl.

Diese Kompatibilitätsbedingungen werden als Beltrami-Michell Gleichungen bezeichnet.

Es existieren auch Kompatibilitätsbedingungen bei kubisch anisotroper (Albrecht 1951) und transversal isotroper (von Moisil 1952) linearer Elastizität.

Deformationsgradient
Die Komponenten des Deformationsgradienten werden aus den Ableitungen der Bewegungskomponenten  nach den materiellen Koordinaten  berechnet:

.

Nun liegen also  Komponenten  des Deformationsgradienten vor, die aus den drei Bewegungsfunktionen  abgeleitet wurden.

Sollen umgekehrt aus neun Komponenten  des Deformationsgradienten die drei Bewegungsfunktionen  bezogen werden können, müssen die Komponenten des Deformationsgradienten die folgenden, für sie formulieren Kompatibilitätsbedingungen einhalten:

wo ϵijk = (êi × êj) · êk ist das Permutationssymbol ist, oder

Falls das zutrifft, stellt das Poincaré-Lemma in der Form

sicher, dass es ein Vektorfeld  gibt, dessen Gradient das Tensorfeld  ist.

Strecktensor
Der Deformationsgradient kann wegen

mit den Tangentenvektoren

dargestellt werden. Die Komponenten  des rechten Cauchy-Green Tensors  berechnen sich wegen

aus den Skalarprodukten dieser Tangentenvektoren:

.

Mit den Christoffelsymbolen der ersten Art

kann gezeigt werden, dass bei gegebenen Komponenten  des rechten Cauchy-Green Tensors die Bewegung genau dann rekonstruierbar ist, wenn

gilt. Die Komponenten  gehören zum Inversen des rechten Cauchy-Green Tensors

und  sind die Komponenten des Riemann-Christoffel Krümmungstensors. Von den obigen Gleichungen für die 81 Komponenten des Riemann-Christoffel Tensors sind nur sechs unabhängig. Wegen des linearen Zusammenhangs

zwischen dem rechten Cauchy-Green Tensor  und dem Green-Lagrange'schen Verzerrungstensor  können daraus auch Kompatibilitätsbedingungen für die Komponenten

des Green-Lagrange'schen Verzerrungstensors abgeleitet werden, die aber weitaus schwieriger zu lösen sind als im geometrisch linearen Fall, wo  in den linearisierten Verzerrungstensor ε übergeht, siehe oben und folgendes Beispiel.

Beispiel

Auf einen in x-Richtung ausgerichteten, linear elastischen Balken wirke ausschließlich eine zur z-Koordinate proportionale Spannung

mit Proportionalitätsfaktor  und Elastizitätsmodul  des Materials des Balkens, siehe Abbildung rechts. Gemäß dem Hooke'schen Gesetz entsprechen die Spannungen den Dehnungen

denn Schubspannungen sind nicht vorgegeben, weswegen auch keine Scherungen auftreten. Die Größe  ist die Querdehnzahl des Materials des Balkens. Weil sämtliche zweiten Ableitungen der Dehnungen verschwinden, sind die Kompatibilitätsbedingungen erfüllt: es gibt also ein Verschiebungsfeld, das die vorgegebenen Dehnungen hervorruft. Mit den im Bild skizzierten Randbedingungen lauten diese Verschiebungen

denn:

und

Im Beispiel bei den Spannungsfunktionen zeigt sich, dass dieses Bewegungsfeld auch im Gleichgewicht ist.

Siehe auch
 Integrabilitätsbedingung
 Formelsammlung Tensoralgebra
 Formelsammlung Tensoranalysis

Fußnoten

Einzelnachweise

Literatur

Kontinuumsmechanik


I finished my MoonWalk and was second to last over the finish line, in spite of walking for hours, the feeling of proving to myself I was capable of anything, has inspired me every day since... Good Luck MoonWalkers 2018!
An ode to all my fellow MoonWalkers:I'm not a skinny minny,An athlete or a pro,I'm merely here to prove a point,Merely here to show,That no matter what your shape and size,The colour of your skin,What matters is your spirit,Your resolve deep within.
On Saturday night we'll walk the walk,Through London in our bras,Every colour shape and size!Gathered from afar,For everyone that's taking part,A story each we tell,So let's march on into the night,And when Big Ben strikes his bell,With head held high and hand on heart,Put to one side the pain,And march on proud remembering,That our efforts aren't in vain.
For every penny that we raise,Is for such a good cause,So spread the word and let's raise lots,Your spirit I applause!
"My dear friend was diagnosed with breast cancer and she is a survivor but sadly all too many beautiful souls lose their lives to this disease.
It made me realise that we all only have one life so why not just live it love it and laugh every day.
So I made my bucket list and signed up for this year's Full Moon at The Moonwalk London.
I made this poster to inspire me!
I wanted to raise awareness for breast cancer but also prove to myself that if you put your mind to it, anything is possible.
I'm a big girl with a big heart and nothing was going to stop me getting my medal.
I did the London Moonwalk... it took me nearly 13 hours following a fall at mile 10, I was lucky to have two friends who walked with me to the Finish Line.
I was second to last home but I crossed that line with a smile.
Thank you for the experience of a lifetime... here's to next year!
For every one of us that takes part we help others to live their lives too.
I'm a big girl but my heart is bigger, if I can do it anyone can!
Sign up guys and girls let's unite in the fight against this cruel disease."
Thank you for sharing your story Sonia and congratulations on completing your first MoonWalk London... happy Walking!
If you feel inspired to unite with us against breast cancer... check out our challenges here!
You can still be apart of The MoonWalk London by joining our amazing team of Volunteers!


Back in July, my office hosted their annual potluck. I was blown away by the culinary talent that existed in an architecture firm. I tasted this potato salad that day, and knew I would have to recreate it when the time was right. Lobster BBQ was definitely the right time.
Cut the potatoes into chunks, put them in a large pot and cover with salted cold water.
Bring to a boil over high heat, cover with a lid and remove from the heat.
Leave the potatoes to sit, covered, for roughly 30 minutes.
Mix the remaining ingredients all together in a bowl.
Once the potatoes are cooked (test with a sharp knife - tender but not flaky), drain them, and add them to the herby mixture.
Toss well, making sure to coat all the potatoes.


text:
GROWTH HEALTHY AT REXALL
GLENN SINGER Staff WriterSUN-SENTINEL
Rexall Sundown stockholders on Wednesday applauded the vitamin and food supplement company's explosive growth in the past five years and heard management predict a continuing trend of greater sales and profits.
Meeting at the Marriott Hotel in Boca Raton, the stockholders approved doubling the number of authorized shares of common stock, to 200 million from 100 million.
Officials of the Boca Raton-based company said proceeds from the stock would be used largely for acquisitions, though they did not indicate what firms are being targeted. They said they want businesses with proprietary rights to products produced through science-based research, much like recently acquired Richardson Laboratories.
"I feel truly blessed by our success and our prospects," said Carl DeSantis, Rexall Sundown chairman. "This company was founded on a dream and now we are the leading vitamin seller in the nation."
DeSantis received heavy applause when he told more than 250 people who packed a ballroom that $10,000 invested at the time of the company's initial public offering in 1993 was worth $130,000 today.
As part of their presentation and in response to audience questions, company officials said:
* Dividends will not be paid in the near future; rather, profits will be used to spur growth and increase the stock price. Rexall shares, traded under the symbol RXSD on Nasdaq, fell 75 cents to $37.31 on Wednesday.
* Rexall Sundown plans to launch a product line in Japan in April, while the Rexall Showcase International division, which operates with independent distributors, plans to expand in Asia with Hong Kong as a base of operations.
* The company will continue heavy promotion of its Osteo-Bi-Flex product, a combination of glucosanine and chrondroidin sulfate used to counteract the effects of osteoarthritis.
* More than 75 products were introduced in fiscal 1997, and many more products are envisioned for coming years, including an as-yet-to-be-determined natural preparation to suppress the appetite or treat obesity.