Moira McNamara joined Kid's Carpentry in the summer of 2004. She teaches five days a week with programs in San Francisco and the East Bay. Previous to becoming a carpentry teacher, her work included building large-scale children's playhouses, cabinet-making for a few Bay Area woodshops, as well as doing a stint as a museum carpenter at the Guggenheim Museum in New York. She has a B.A. from the University of Wisconsin-Madison and a certificate in Wood Technology from Laney College in Oakland, Ca.


Contact Information About RICHARD ERTTER, M.A.
RICHARD ERTTER has an office in HEDGESVILLE, West Virginia and provides counseling and/or therapy for their clientele. RICHARD ERTTER is listed as a M.A., but may provide additional support.
For detailed questions about RICHARD ERTTER's therapy practice, you should contact their HEDGESVILLE offices at 5403311152.
RICHARD ERTTER is local to the 25427-7166 area.
The Fix definitely wants its readers to submit authentic RICHARD ERTTER reviews, if you had a real-life experience as their client, or know a person who has. If you've gone to RICHARD ERTTER in HEDGESVILLE, West Virginia you are encouraged to share details about your experience, as long as you do not break confidentiality.
We also do not want you to reveal personal information or data about RICHARD ERTTER or any of their staff members, employees, clientele, or patients.
If you are the business owner or an authorized representative of RICHARD ERTTER, you may contact us to resolve problematic or false information, but we ask that you not write, copy, paste, or otherwise contribute promotional material about your own place of business (or the business that employs you).
If you live in West Virginia and have more details that might boost the quality of the information in our directory, you can contact us directly.


Amazon I remember I began to use How Stuff Works in 2005. I was amazed at this website for providing such rich information on a wide variety of subjects!
Its founder, Marshall Brain, truly has a big brain who I remember once claimed he acquired such wealth of knowledge all by osmosis. I love the word 'osmosis'.
This wonderful website is certainly one of the very BEST websites I have ever visited my whole life. You get to learn how things work without having to go to a library or buying a book! It's right in front of your eyes!!
I learned how a fridge works, how diamond works, how human immune system works, how a toilet works. I mean, hey, you are getting this insanely useful information without having to pay a dime.
I don't think I've ever seen a greater deal. Well, with all said I bet not many of you will become a regular patron of that site simply because you are too busy or not interested.
It's amazing how knowledge can change one's life, yet hardly few are willing to put forth the effort to obtain it even when it is just a few clicks away.
Hm...maybe it's human nature to be lazy, right? Speaking of human nature it is curious how people work, something this website doesn't have an article on...yet. Pay attention to those around you and you are bound to know more about yourself.
This website helps C++ programmers improve their programming skills!	 This website is for a Taiwanese company who produces quality end mills and cutters.	 This software allows hundreds of participants to hold a meeting online.	 This is a 3D slime war board game with computer AI.


The shade is deep acid etched. It measures 6 3/4 inches tall, has a 4 1/4 inch opening on top and it has a 10 inch fitter.
The item "10 Antique Deep Acid Etched Oil Kerosene Lamp Shade Aladdin B&H Rayo" is in sale since Saturday, March 30, 2019. This item is in the category "Collectibles\Lamps, Lighting\Shades".
The seller is "dcorbis6x85" and is located in Cincinnati, Ohio. This item can be shipped to United States.


Originally a teaching aid for electrical engineering students. This is highly visual & features 9 analogue scale electrical meters & numerous colourful wiring terminals. Great for technical laboratory, factory etc scenes or kids TV etc. We can supply dressing cable and force the meters to non zero values if required.


Brendan Gaughan must have picked up a four-leaf clover in the Irish Hills of Michigan because midway through the Paramount Health Insurance 200 he caught the lucky break that kept him from becoming an also ran in the tenth race of the 2005 season.
Gaughan qualified 33rd at the 2.0-mile race track just outside Motor City but was making his way patiently toward the front when he noticed that his right, front tire was getting soft on Lap 50.
The No. 77 Jasper Engines & Transmissions Dodge dropped off the pace dramatically and just when it looked like Gaughan would have to pit under green flag conditions, Robert Huffman spun off Turn 4 and brought out the fourth caution of the afternoon.
That allowed Gaughan to hit pit road and remain running on the lead lap.
When the race got back underway, Gaughan was 27th in the running order and immediately resumed his march toward the front.
A late race crash involving Gaughan's teammate Steve Park, set up a two-lap shootout for the checkers -- but there was one more anxious moment for Gaughan and the rest of the front-runners.
As the green flag flew for the final time, Ted Musgrave lost an engine and sent the field scrambling as drivers desperately tried to avoid Musgrave's slowing truck and the oil that it spewed all over the track surface.
When the dust settled and upon further review by NASCAR officials, Gaughan was given credit for an 11th place finish.
"You've got to give the credit for that finish to Rambo and the guys", said Gaughan of the magic his crew chief Tony Liberati pulled out of his hat of tricks. "Early in the event the changes Rambo was calling for could have made a list as long as my arm. Nothing went untouched --- shocks, wedge and trackbar --- and not just once. He kept hitting the adjustments all day long."
"Drastic times call for drastic measures," said a grinning Liberati after the race. "We needed to get that truck handling better and it wasn't going to happen with a little air pressure change. So we dug in and got after it."
In one of the early race stops Liberati called for so many changes to the Jasper Engines Dodge he wasn't sure if he could get the windshield cleaned for his driver. Keying the mic. on the team's two-way radios a chuckling Rambo told Gaughan, "I'm not sure if we've got enough guys to get that tear away." Gaughan, more interested in a good handling truck, ceded a clean windshield. The Jasper Engines Dodge left pit road with a clean windshield --- and five other adjustments that helped Gaughan finish the race in respectable fashion.


All are invited to the Bebe Winans Story "Born For This" at Arena Stage August 14th @ 2pm. If we have a group of at least 10 people group discount tickets can be purchased for $68 each. Purchase tickets online at https://www.thelifedc.org/get-connected/event-registration/ by July 31st.
Sponsored by The Life's Women of Excellence.


>they took it off of that Macintosh.
>security at the database level.
address is remote, sounds like a safe bet.
ability of the users, this may work too.
back to you. It's only the honest people you keep out.
it. Backups are a must if you encrypt files directly.


text:
Pedestrians pass by the Museo Soumaya in the Polanco district of Mexico City.
Photograph by benedek, Getty Images
Everything to Know About Mexico City
Here's how to plan the best possible trip to Mexico's capital.
ByMatthew Kinsey
Vibrant, elegant, and chill are appropriate descriptors for the largest city in North America. The pulse of Mexico City's more than 75 neighborhoods, and the storybook Chapultepec forest at its center, reflect a shifting landscape built by the Aztecs, influenced by the Spanish and French, and informed by its own storied revolution. This city beats to the twin hearts of commerce and creativity.
As a global financial and cultural hub, there's never a wrong time to visit Mexico City. Spring and fall are lovely—March and November are ideal—and if you want fewer tourists, avoid major holidays like Christmas and Easter. The hottest month is May, when temps top out in the 80s, and rainy season lasts June through September. Flights from the United States are accessible year-round, but hotels will be cheapest after Easter and through mid-December.
If the recent human-caused "seismic event" in Mexico City prompted by Mexico's early win over Germany in the 2018 World Cup is anything to go by, these locals know how to party. March's two-week-long Festival de Mexico en el Centro Historico brings a must-see cultural program to downtown, with proceeds going to the area's restoration. On September 16, Mexico's Independence Day, more than half a million people gather in El Zócalo, the main square outside Palacio Nacional, to hear the president deliver the famous El Grito de la Independencia (Cry of Independence) commemorating Mexico's freedom from Spain.
The flavor profile of Mexico City is unique, ancient, and uncompromising. You will remember this place for its tastes alone. Begin the day with spicy chilaquiles and eggs, a concha pastry, or licuado smoothie. Then hit the streets, where the vendor scene rivals the best of Asia. Try the local pambazo—Mexico City's version of the torta sandwich, with bread soaked in guajillo chili sauce—and tlacoyos, a loaded blue-corn tortilla topped with nopales (cactus) and cheese. Save room for camote, a sweet potato dish served piping hot with condensed milk and jam. Buen provecho!
Souvenir to Take Home
Markets like La Ciudadela, in Centro Histórico, are the place to buy traditional Mexican artisanry, especially if your itinerary doesn't allow time to collect textiles from nearby Oaxaca, talavera pottery from Puebla, or silver from the famed jewelry producers of Guerrero. Antiques abound at La Langunilla on Sunday, and at Mercado Coyoacan, you can work in a visit to the Frida Kahlo Museum after picking up your Mexican coffee beans and favorite mole paste—quite easily two of the best souvenirs.
Sustainable Travel Tip
In a city that's larger than New York and represents just under 25 percent of Mexico's GDP, pollution control is a hot topic. Since 2005, government officials have launched a series of sustainable initiatives aimed at greening the city through its public transit channels. Do your part by taking the city's inexpensive underground subway (STR) or above-ground Metrobús system when exploring. Travel from the northern edge to the southern tip for about a quarter.
Instagram-Worthy View
For the perfect selfie backdrop, it's a tale of two museums. The Palacio de Bellas Artes anchors historic downtown with its dramatic façade of white Carrara marble—a morph of Neoclassical, Art Deco, and Art Nouveau styles. At night, its crystal rooftops are illuminated. Across town, in the affluent Nuevo Polanco district, the Museo Soumaya's geometric, aluminum-clad form echoes the organic influence of Frank Gehry. This private collection of 66,000 works extending from Mesoamerica to modern day was founded, relocated, and housed at the expense billionaire Carlos Slim, who's also made admission free.

redpajama_set_name: RedPajamaCommonCrawl


text:
Self-Publishing News: 1.11.2021
news from the world of
Kindle Lending Library to close on January 4th 2021 by Michael Kozlowski
The end of an era has arrived. The Kindle Lending Library has been one of Amazon's longest-running services, having been launched in 2011 in part to help boost readership of the self-published works in its collection. The loss of access to this service will be a blow to those authors who have listed their titles in the Kindle Store, in that it will lower the circulation of their books, and will be deprived of the algorithmic benefits of proving popular in the lending library––once upon a time at least, if a book became popular in the Kindle Lending Library, it gained both word-of-mouth benefits in its offline sales and in exposure to new readers on Amazon by way of the "If you liked [x] you might also like [y]" algorithm. Writes Kozlowski, "This program was basically supplanted in 2016, when Amazon released Prime Reading. […] You can borrow up to 8 titles at a time, so it makes sense to use this over the Lending Library. Prime Reading is also available in way more markets, such as Canada, US, most of Europe and even China." His next paragraph is even more telling:
Amazon hardly ever announces the discontinuation of products or services, but they did it for this one. With the Lending Library now officially over, in a couple of weeks, where do you get content now? Amazon is continuing to hype up Prime Reading for members, just like Prime Video is free for subscribers. Amazon also has Kindle Unlimited, which has way more titles than PR, but you have to pay a monthly fee.
Michael Kozlowski, Good eReader
If Kozlowski is correct, most readers who use Amazon as their point source for new reading material will already have crossed over from the lending library to the Prime Reading option, so the end of the service may have no further negative impact on self-publishing authors. That said, it marks both the end of an era and reflects Amazon's overall shift away from its early days of author advocacy to a de-prioritization of those same authors' best interests.
Navigating the Parallel but Uneven Ecosystems of Traditional Publishing and Self-Publishing by Evan Winter
Evan Winter, a traditionally published fantasy author, originally published this think piece in the SFWA Bulletin, a publication of the Science Fiction and Fantasy Writers of America, and one of the premiere SF&F-related publications out there. Even though Winter himself has chosen to publish exclusively by way of the traditional route, he structures his article as a sort of exposé of the publishing industry overall and comparing both traditional and self-published "ecosystems." Writes Winter, "Not long ago, I was asked where traditional publishing spaces are failing self-published writers, and I think I may have an answer: everywhere." His decision, he writes, was informed by the democratizing influence of self-publishing and the power of traditional publishing to promote his books' visibility––spliced with a healthy abundance of representat
This is because traditional publishing spaces aren't structured in form or objectives to value the needs of self-published writers and their works. The ecosystem in which these spaces operate isn't set up for self-published books and so the books have an extremely difficult time gaining the attention and acceptance of enough traditional publishing spaces to maintain a virtuous cycle of visibility, which is a primary benefit that these spaces offer.
Evan Winter, SFWA Bulletin
While he goes on to define the benefits to self-publishing for diverse authors who have not had a chance to see characters like them on the page––"Today, self-published writers can be read, make a living, and put out stories that might have an ardent audience even if those same stories wouldn't attract an advocate in traditional publishing"––Winter admits that he chose to publish traditionally for commercial reasons. Even though this article is a testimony to that choice, it also, we believe, poses an important question to authors wavering in their own decision-making: How much do you value the preservation of your original perfect vision for your book's content? That's the trade-off: visibility for creative control. It's a tough choice for many, we know.
As a self-publishing author, you may find it helpful to stay up-to-date on the trends and news related to the self-publishing industry.This will help you make informed decisions before, during and after the self-publishing process, which will lead to a greater self-publishing experience. To help you stay current on self-publishing topics, simply visit our blog each month to find out the hottest news. If you have other big news to share, please comment below.
January 11, 2021 January 16, 2021 news, news from the self publishing world, self publishing news, self-publishing news
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Next Next post: In Your Corner: Here's to 2021, the year you publish a book!


text:
Fortune Chooses The World's Greatest Leaders
Story from Work & Money
Fortune's 50 Greatest Leaders Includes A Record 23 Women
Marshall Bright
Fortune released its list of the world's 50 greatest leaders today. Every year, the list highlights trailblazers in both the private and public sector, but 2016's list stands apart for a very special reason.
This year, nearly 50% — a record-breaking 23 spots — were awarded to women. Last year, there were only 15. While Fortune says there's no "concrete reason" that 2016's list is record-setting, there are some trends. Female politicians, both domestic and global, made headlines this year, from number 17, Nikki Haley, to number 2, Angela Merkel. Many headline-making activists on the list are also female, include the three women behind the Black Lives Matter movement.
You can go to Fortune to see the full list of impressive women included (and, you know, the men). Ahead, we rounded up 10 that we find particularly amazing — click through to get some major inspiration.
Fortune Greatest Women Leaders List
Work & Money • The Latest • Living
written by Marshall Bright
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A Week Unemployed In Washington, D.C.
Welcome to Money Diaries where we are tackling the ever-present taboo that is money. We're asking real people how they spend their hard-earned money
by Refinery29
Actually, $1,400 Is Not $2,000
On Thursday, days before his inauguration, President-elect Joe Biden unveiled the details of the American Rescue Plan: his $1.9 trillion emergency COVID-19
by Lydia Wang
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A growing body of research shows that chess improves students' thinking and problem-solving skills as well as their math and reading test scores. Chess also helps students' visual memory, attention span, and spatial-reasoning ability. Players actually begin to develop new neural pathways in the brain which help them to reason more effectively, and even overcome mental disabilities. Because chess requires players to make a series of decisions, each move helps the student learn to plan ahead, evaluate alternatives, and use logic to make sound choices. This is more than a game. It is a catalyst for thinking strategically about life's many choices. What's more, students generally love playing chess.
The Newman chess program is supported by Dr. Ebenezer Joseph, one of the best chess players in the world! He is the chess champion of India and has beaten the world champion three times. He has spent much of his adult life training young people to play chess, specifically for the purposes of helping them achieve greater cognitive capacity and greater opportunity. We are thankful to have his regular and intimate involvement with our program such that we may help our students become better, more strategic chess players and thinkers.
Please click here for a video of Ebenezer Joseph giving a chess workshop.


On July 8, Dallas-based Omni Hotels & Resorts appear that some of its properties' point-of-sales-systems were afresh attacked by crooked malware.
The company, which has 60 hotels throughout the U.S., Canada, and Mexico, did not say which backdrop were afflicted or absolutely which point-of-sales systems, but those systems could accommodate on-property shops, restaurants, and the like.
According to Omni, accessible afflicted advice includes guests' names, acclaim and debit agenda numbers, agenda cessation dates, and agenda aegis codes. The aggregation additionally said it does not accept any added claimed chump advice was involved, including abstracts accompanying to anxiety or associates systems.
Omni brash guests who are anxious about the abstracts aperture to carefully adviser their acquittal agenda statements, abnormally if they acclimated a concrete acclaim or debit agenda at an Omni auberge during the aeon of Dec. 23, 2015 to June 14. Guests who did not present a concrete agenda at point of sale, Omni said, were best acceptable not afflicted by the malware attack.
The auberge has additionally set up a folio on is site that provides added advice for guest, including advice on how they can accept a year's account of chargeless character annexation aegis and repair.
Omni isn't the alone auberge aggregation that's had to accord with a abstracts aperture this year. Trump Hotels and the Hard Rock Auberge Las Vegas accept both suffered from two abstracts breaches aural the accomplished year. Last fall, Hilton Hotels launched an analysis into a abstracts aperture as well. In all of these cases, chump credit/debit agenda advice may accept been compromised.


text:
Italy presents details of its EXPO 2017 pavilion
By Zhazira Dyussembekova in EXPO 2017 on 7 June 2017
ASTANA – Italian officials revealed a few details of Italy's EXPO 2017 pavilion during a June 2 press conference in Astana devoted to Italy's National Day. Among the details revealed was that the pavilion's walls will include visual and audio effects.
"As a designer, I chose to create the physical squares that would represent the cities of Italy, historic cities based on their resources as a first theme. In our pavilion, the historic cities of Italy will speak via walls. Walls will talk due to our visual content. And there will be a constant broadcast," said pavilion architect Paolo Desideri.
Translations will be provided, as well as English and Russian subtitles.
"This is done for visitors to hear the music of our language. The catalogue with information is almost done, it will be presented in three languages: Russian, Kazakh and English," the designer said.
The pavilion is 900 square metres and its four main halls are named after prominent Italian scientists, such as Leonardo da Vinci, Alessandro Volta, Enrico Fermi and Antonio Pacinotti.
The pavilion concept is based on the question 'What is energy and what does it serve?' Moving from one room to another, visitors will plunge into the history of Italy and see the future for which the homeland of poets and sea travellers is striving today, says the press release.
According to Ambassador of Italy to Kazakhstan and Italy's EXPO 2017 Commissioner Stefano Ravagnan, a fascinating journey to the natural places and cultural and historical places of Italy is awaiting visitors to the pavilion. Guests will see technologies, which were developed and applied by Italian innovators. All that will be possible due to a unique 360-degree panorama.
During the press conference, Italian officials gave a video presentation noting that Italy's 15 regions, 11 private companies and five national institutes will participate in the expo.
"Our regions have developed hundreds of promising projects, turned to the future, and are aiming to develop new ways of obtaining and using energy with greater environmental friendliness and efficiency," said Ravagnan.
He added that each region will also showcase its unique offerings. For instance, the Veneto region will bring Murano glass. The region of Tuscany will present ceramics. The region of Lazio and the city of Rome will show models of Roman ruins. Also, there will be 15 objects of art.


text:
Q: Interpreting weird box plot with reversed whiskers Although I'm fairly new to box plots, I thought I had got the hang of them, until I came upon this one today. I don't know what to make of that bottom "whisker" drawn inside the box.

This population is composed by only four values: 16.5, 17.14, 13.5, 16.75
Granted, the small size of this population is probably not ideal for this kind of diagram. But this is just one among several ones that I'm plotting, and the others make a bit more sense.
My question is two-fold:

*

*Is this even a valid representation or is the software that I'm using to draw it misbehaving? (I'm using python and matplotlib)

*If it is valid, how do I go about interpreting it?

Edit:
Including a figure created with a whis=3 parameter (see answers below):

A: In R I've done the boxplot and plotted the individual points so you can see what it's doing:
> x<-c(16.5, 17.14, 13.5, 16.75)
> boxplot(x,boxwex=.2)
> points(x~rep(1,4),pch="x",col=2)

As you see, it's not like the one you have.
In particular, after I stretch your bitmap out to approximately match the range (assuming the range of the two matches!), the box you have is shorter, as well as the whisker being inside the box.

You need to check how they've defined the boxplot (definitions vary - but I think they're not using Tukey's definition of how hinges or whiskers work).
I've played about in various ways but I can't work out for sure how they're getting their hinges. They seem to be half the distance from the median that they should be.
(Aside from a different definition, it may be that their code simply assumes there's always more than four points somewhere in it, and that maybe has caused a problem.)

A: It is impossible to know without knowing more about what your software thinks is the right way to draw a box and whisker plot.  It is even more difficult without a numeric scale to anchor the results on.  Regardless, there are a number of different guidelines in this regard (in general).  However, we can always resort to reading the documentation

*

*boxes: the main body of the boxplot showing the quartiles and the
  median's confidence intervals if enabled.

*medians: horizonal lines at
  the median of each box.

*whiskers: the vertical lines extending to the
  most extreme, n-outlier data points.

*caps: the horizontal lines at the
  ends of the whiskers.

*fliers: points representing data that extend
  beyone (sic) the whiskers (outliers).

Given the values of 16.5, 17.14, 13.5, and 16.75, the value of 13.5 is being treated as a 'flier'.  The boxes are stretching from Q1 to Q3.  The horizontal line is the median (aka Q2).  The exact calculation of these values has a number of different approaches, but I'll just grab the handy values from R (quantile defaults) of 15.75 for Q1, 16.625 for Q2, and 16.8475 for Q3.  Although the documentation cited above is unclear, it appears that the whiskers and caps extend to the most extreme, n-outlier data points excluding the 'fliers' (more on this later).  Therefore, we can expect them to extend from 16.50 to 17.14.  That is, they will extend to a value closer to the median than Q1 (at the bottom) and slightly beyond Q3 (at the top)... which is exactly what we see.
However, given the circular definition of whiskers and fliers... you have to look further up in the docs to see that whiskers are "a function of the inner quartile range. They extend to the most extreme data point within ( whis*(75%-25%) ) data range" where 'whis' has a default of 1.5.  Combining these sources of information, we can see that whiskers would plot points 1.5 times the interquartile range, but they stop at the most extreme data point inside that range.  Data points beyond that range are dubbed fliers and plotted as such.
So, in response to the second question it is 'valid'...it isn't my preferred way of seeing boxplots drawn, but that doesn't make it invalid. As I mentioned there is no one convention in this regard.  So long as you know what the boxplot is drawing, and it draws it in that way - then it is at least reliable.  Valid will be a value judgement you have to make for yourself.
My descriptions above, plus the docs should help you interpret your boxplot, but just in case:

*

*Central Line:  Median

*Edges of Boxes:  Q1 and Q3

*Limits of Whiskers:  The minimum and maximum values inside the inflated inter-quartile range (e.g. whis*(75%-25%) where whis defaults to 1.5)

*Little plus signs:  'fliers', data-points beyond the limits of the whiskers

redpajama_set_name: RedPajamaStackExchange


text:
A Academia Chinesa de Tecnologia Espacial  (em mandarim: 中国空间技术研究院; em inglês: China Academy of Space Technology, abreviado para CAST) fundada em 20 de Fevereiro de 1968, é uma unidade organizacional da Corporação de Ciência e Tecnologia Aeroespacial da China (CASC).

Através de suas subsidiárias (vários institutos de pesquisas e algumas fábricas), a CAST está envolvida na pesquisa e desenvolvimento de todos os itens que compõem um satélite moderno.

Entre outros (mais de cem), a CAST é responsável pelo projeto e fabricação dos satélites da longa série Dong Fang Hong, com pesos variando entre 173 (no Dong Fang Hong I) e mais de 1 800 kg (nos modelos mais recentes).

Ver também
 Corporação de Ciência e Indústria Aeroespacial da China
 Corporação Industrial Grande Muralha da China
 Satélite Sino-Brasileiro de Recursos Terrestres

Ligações externas
 Site oficial da CAST
 Página de satélites do Site Dragon in Space

Agências espaciais
Programa espacial chinês
Instituições governamentais da China

redpajama_set_name: RedPajamaWikipedia


If you're looking to find out if there is an Evans Cycles student discount then you've come to the right place.
We know it's confusing so we've researched into what student discounts you can get from Evans Cycles.co.uk, what additional NUS offers there are and extra tips and codes so you can save even more.
We know time is short, so if you need an answer straight away use our helpful index below. Otherwise read on and learn how students can make the biggest savings when you shop at Evans Cycles.
Does Evans Cycles do a student discount?
Are there any student codes for Evans Cycles?
Can I get a student code for Evans Cycles?
What are good buys for students at Evans Cycles?
Evans Cycles has some excellent lines in fashion and homewares.


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Do you currently run a medical practice and just happen to have your own website? Does that website generate very little, if any, traffic? You've got a problem on your hands. While you might not be able to solve this riddle easily, we can. You should begin taking advantage of SEO Blitz's medical SEO services. Our SEO techniques are cutting edge and they'll be able to deliver you with astronomical results. If you've already got a website, you've already taken one step in the right direction.
Today, it is undeniably true that many consumers attempt to find medical providers by using the Internet. They need access to medical services and they'll use the Internet to find a professional that can deliver. If you work in the medical industry and you have failed to acquire an online presence, you're missing out on a huge opportunity to generate more income and to expand to more customers. You need to begin implementing reliable and effective SEO techniques right away, so you can squash the competition and conquer your local market.
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text:
El Water Polo Arena es una piscina construida en el Parque Olímpico, Londres para los Juegos Olímpicos de 2012.  Tiene una capacidad para 5.000 personas. Su construcción se inició en la primavera de 2011 y terminó en el 2012.

Es la primera piscina construida únicamente para waterpolo en unos Juegos Olímpicos. La instalación será demolida tras los juegos, sus partes serán aprovechadas y recolocadas en otros lugares.

Referencias

Instalaciones deportivas desaparecidas de Londres
Instalaciones para practicar waterpolo
Instalaciones en los Juegos Olímpicos de Londres 2012
Waterpolo en los Juegos Olímpicos de Londres 2012
Instalaciones deportivas de Inglaterra del siglo XXI
Arquitectura de Reino Unido de 2012
Natación en Reino Unido
Deporte en Reino Unido en 2012


text:
Do you remember LimeWire revived to create NFT market
LimeWire raised $10 million to launch LMWR token.
Dozens of investors are interested in LimeWire's NFT Market project.
Long-running torrent platform LimeWire has taken a step in favor of the cryptocurrency ecosystem. It will fully enter the non-fungible tokens (NFT) market, relying on the music industry and companies tied to Bitcoin (BTC) and other digital assets.
In a press release, the company, little heard of since its boom a few years ago, reported raising $10 million for the private sale of the LMWR token, a negotiation led by Kraken Ventures, Arrington Capital and GSR.
As indicated, based on the investment, they intend to launch their own NFT market, which will see the light of day by the end of 2022.
"Our goal at LimeWire is to make digital collectibles available to everyone, regardless of budget or tech experience. Our digital collectibles marketplace will be launching in the coming months, with more details and signed artists to be announced soon."
For Akshi Federici, partner at Kraken Ventures, LimeWire has developed a complete platform that has the potential to increase token engagement in the music industry, "where there are still many use cases to explore."
"As artists return to performing for live audiences, position NFTs as exclusive behind-the-scenes pathways or access to previously unreleased content; they will become an invaluable way to build direct interaction and loyalty with fans. LimeWire's digital collectibles marketplace provides artists with a powerful set of tools to tap into of this tremendous opportunity."
Akshay Federici, Partner at Kraken Ventures
LimeWire raised $10 million to purchase its LMWR token. Source: LimeWire.
LimeWire is a torrenting platform that in the past allowed direct downloading of music and other items. It was identified at that time as one of the most important P2P platforms, where various files could be accessed without much problems, as they were shared between users through the LimeWire server.
Dozens of investors
According to LimeWire, in addition to the three main investors mentioned above, other companies were also present, such as Crypto.com Capital, CMCC Global, Hivemind, Hard Yaka, Red Beard Ventures, FiveT Fintech, DeepTech Venture and SwissBorg Ventures.
The amazing thing is that among the investors, 720Mau5, the fund behind Canadian music producer Deadmau5, also stood out. There was also DAO Jones, an investment group made up of such notable figures in the music industry as electronic music producer Steve Aoki.
LimeWire maintains that the money and "strong connections" they made from the tour will be used to grow the team, expand partnerships, support artists, and curate high-quality content to be offered on the long-running platform.
Bobby Bao, CEO of the Crypto.com exchange, says there is a "huge opportunity" in the market for collectible tokens that has not been fully exploited. Because of this, he argues, the LimeWire team "has the skill and dedication to build a trusted platform that can take the mainstream in the market and bring significant benefits to artists and fans."
Anyway, and if the NFT market for LimeWire materializes, the company has massive competition ahead. A prime example is OpenSea, one of the largest markets in this collectible ecosystem. As of March 31, there was a capitalization of $840 million in NFTs listed on that site.
LMWR is at the 'heart' of the ecosystem
According to information from LimeWire, the LMWR token will run "at the heart of the torrent platform" ecosystem. Therefore, it looks like they will have their own currency, which they will give the movement with the services and NFT to offer. In addition, those who own these assets will have the opportunity to be part of the token rewards program.
They will also be able to reduce their prices within that platform, as they say, "enjoy the exclusive benefits." They can then decide which emerging music artists LimeWire should support.
LimeWire announced its plans on social media as well. Source: LimeWire / Twitter.
Although it is still a project in development, LimeWire expects the launch campaign to begin at the end of May 2022, opening up the NFT market within that platform, focusing first on music collectibles.
"The platform is designed to significantly reduce barriers to entry into the world of NFTs and make it easier to buy, collect and trade collectibles," they say from LimeWire.


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text:
Home People Literature and the Arts Music: Popular and Jazz: Biographies Pete Townshend
Contemporary Musicians
COPYRIGHT 2004 Gale, a part of Cengage Learning
Singer, songwriter, guitarist
Pete Townshend, the Who's principal songwriter and lead guitarist, is among the most mercurial figures in rock. As a raging young mod in the late 1960s, Townshend made concert history by smashing his guitar in frenzied moments onstage; his music mirrored the anger and alienation of a whole generation. Townshend first rose to prominence with the songs he wrote for and performed with the Who, including the rock operas Tommy and Quadrophenia, and the anthemic singles "Won't Get Fooled Again," "My Generation," "I Can See for Miles," "Who Are You," and "Eminence Front." While his output with the Who reflected blustering male adolescent angst, Townshend's later solo material showed the mature and well-rounded artistic side of the guitarist, singer, and songwriter. His bestselling 1980 solo album Empty Glass, for example, contains songs that deal frankly with the onset of middle age, the media treatment of rock stars, the death of Who drummer Keith Moon, overt homosexual references, and a reliance on spiritual themes culled from the Old Testament book of Ecclesiastes and the philosophical teachings of Townshend's guru, Meher Baba. Outside the Who, Townshend also worked as a rock impresario, producing such songs as "Fire" by the Crazy World of Arthur Brown and the album Hollywood Dream by Thunderclap Newman, and organizing the all-star Rainbow Concert to commemorate Eric Clapton's return to performing after overcoming heroin addiction in 1973.
Peter Townshend was born in London on May 19, 1945. His parents were both professional musicians, and as a child he accompanied them on dance band tours. By the age of 12 Townshend was experimenting with a guitar; he was quite taken with rock 'n' roll, especially Bill Haley and the Comets. A shy teenager, he spent hours by himself practicing the guitar, and later the banjo, which he performed in a Dixieland-style band founded by his friend John Entwistle. Initially Townshend preferred jazz to rock, but his high school friends—Entwistle and a maverick named Roger Daltrey—were gravitating toward a rock style that incorporated R&B elements in their music. Soon after graduating from high school, Townshend, Entwistle, and Daltrey formed a band called the Detours. They held daytime jobs while performing in small London clubs at night.
England's youth scene in the early 1960s featured sometimes bloody clashes between "mods," dandyish middle-class teens, and the rowdier "rockers" or "skinheads." The manager of Townshend's group decided to direct his musicians toward the mod audience. Soon the Detours were known as the High Numbers and were playing in Soho's Wardour Street clubs. During this time the group picked up its fourth member, drummer Keith Moon. Fortunately for the High Numbers, their contract was bought out by new management, Kit Lambert and Chris Stamp. Townshend in particular benefited from the management transition; Lambert introduced the young artist to traditional musical forms and state-of-the-art recording techniques. Lambert also allowed the group to change its name to the Who, and he promoted his charges tirelessly. By 1965 the band had an enormous following in England, especially among mods. The Who also broke through in America with two songs, "Can't Explain" and "My Generation." Some critics feel that in the latter song, with its stuttered phrases, hard beat, and defiant "hope I die before I get old," Townshend and the Who created nothing less than an anthem for the times.
Following the drug-overdose death of drummer Keith Moon in 1978, the band soldiered on with replacement drummer Kenney Jones. In 1984 Townshend officially disbanded the Who, although the three original members of the band periodically reunited for highly successful tours, including a 1988 venture that showcased the 1969 rock opera Tommy and a 1996-97 tour that showcased the 1973 rock opera Quadrophenia. In 2003 the band was on the verge of another monster tour when Entwistle died in a Las Vegas hotel room.
Throughout their history, the group reigned as a premier rock attraction—even though none of its songs ever went to number one on the Billboard charts. Analyzing his band's constant popularity, Townshend told Rolling Stone: "Always, always, there is a very, very strong grab —a deep, instant grab—which lasts … forever. It's not like a fad. People who get into The Who when they're thirteen, fourteen, fifteen, sixteen, never stop being fans. The Who don't necessarily captivate the whole teenage generation—as each batch comes up every year—but we certainly hit a percentage of them, and we hold them."
A Who Alone
Townshend's solo albums never generated the sales that his Who albums did, but critics have praised them as significant steps in the evolution of a mature artist. By many critic's standards, Townshend's initial solo release, Who Came First, is a tentative affair, featuring demo recordings of songs that he wrote for the Who, songs inspired by his devotion to Meher Baba, and a collaboration with fellow Baba acolyte Ronnie Lane. Like the songs that appeared on the Who's landmark Who's Next, many of the songs on Who Came First were written for Townshend's aborted follow-up to his 1969 rock opera Tommy, which Townshend titled Lifehouse.
For the Record …
Born Peter Dennis Blandford Townshend on May 19, 1945, in London, England; son of Clifford (a musician) and Betty (a singer; maiden name, Dennis) Townshend; married Karen Astley, 1968 (divorced); children: Emma, Aminta. Education: Attended Ealing Art College, England.
Professional musician, 1960–; with John Entwistle and Roger Daltrey, formed the Detours, 1962; added drum mer Keith Moon, changed band name to the High Num ber, 1963, and the Who, 1964; member of the Who, 1964-84; released debut solo album, Who Came First, 1971; established Eel Pie Recording Ltd. 1972; founded Eel Pie publishing company, 1976; appeared in film version of rock opera Tommy, 1975; released collabo rative effort with former Faces bass player Ronnie Lane, Rough Mix, 1977; solo contract with Atlantic Records, 1979–; coproduced film version of rock opera Quadrophenia, 1979; released Empty Glass, 1980; released All the Best Cowboys Have Chinese Eyes, 1982; released White City and published Horse's Neck: Lyrical Prose, 1985; released Iron Man song cycle inspired by poet Ted Hughes children's book, 1988; released solo album PsychoDerelict and premiered stage version of Tommy, 1993; arrested and released for downloading child pornography from the Web, 2002; toured with Who, 2003.
Addresses: Home— The Boathouse, Ranelagh Dr., Twickenham, TW1 1QZ, England. Office— Entertain ment Corporation of America, 99 Park Ave., 16th Fl., New York, NY 10016-1502. Website— Pete Townsh end Official Website: http://www.petetownshend.com.
A multimedia science fiction extravaganza that ultimately contributed to Townshend's nervous breakdown, Lifehouse confused producers, rock journalists, and his Who band mates with the complexity of its plot and thematic elements. Nevertheless, this period remains Townshend's most productive in terms of the amount of commercially and critically successful songs he wrote. Who Came First includes the Lifehouse composition "Pure and Easy," which had appeared in an abbreviated version as a coda to the Who's Next track, "Song Is Over." Discussing the origins of "Pure and Easy," Geoffrey Giuliano quoted Townshend in the biography Behind Blue Eyes : "From the peace of the original note, the single unmultiplied breath of life, the eternal silent singing that pervaded all, came this.… What are we supposed to be doing? Here am I, in suburban Twickenham, skinny, vain, and obsessed with the word 'forward'; how am I equipped to begin to understand Infinite Love?"
Another album track is "Nothing Is Everything (Let's See Action)," his original demo of the Who single "Let's See Action." Giuliano finds Townshend's solo recording far more satisfying than the blustering, macho version recorded with his band: "Only Townshend's version hits the mark with an intricate web of complex lyrical assaults heralding the cause of spiritual freedom as well as the profound hypocrisy of everyday society, the collective power of the individual, the apathy of ignorance, man's quest to see God face-to-face, the hope of expanded consciousness, the eternality and majesty of the soul, the expansive nature of nothingness, surrender to the finite ego of the Great Oversoul, and finally the simple, plaintive, pitiful pleas for some kind of direction home. Quite a lot to be accomplished by one three-minute [actually six-minute, 21-second] so-called pop tune!"
Rough Mix and "Rough Boys"
In 1973 Townshend helped organize Eric Clapton's return to live performing at the all-star Rainbow Concert, which featured Clapton's former Blind Faith bandmates Steve Winwood and Rick Grech, Traffic drummer Jim Capaldi, and Faces lead guitarist Ron Wood on bass guitar, who collectively called themselves Eric Clapton and the Palpitations. Townshend released the Who's double album rock opera Quadrophenia that same year, which was followed up by 1975's Who By Numbers. His next project apart from the Who, 1977's Rough Mix, began as a request to produce a solo effort by Ronnie Lane. The duo enlisted guest musicians Clapton, Entwistle, Charlie Watts, Bad Company bass guitarist Boz Burrell, keyboardist John "Rabbit" Bundrick, drummer Henry Spinetti, harmonica player Peter Hope Evans, and former Slim Chance band members Graham Lyle, Benny Gallagher, and Charlie Hart. The result was a collaborative effort that is a panoply of rock musical forms encompassing the Appalachian and English folk, American R&B, the irony of Townshend's "Misunderstood, and the art rock ambitions of Townshend's "Street in the City." While the Lane and Townshend play on each other's songs, the only two songs they sing together are a cover of the Don Williams' country chestnut, "Til the Rivers All Run Dry" and the Townshend composition "Heart to Hang Onto." "I wanted to do something with Ronnie and I knew he would stir me up from my veritable complacency," Townshend told Gig interviewer Bart Mills. "I felt sure my writing, and ultimately the Who, would benefit." While Gig and New Musical Express gave the album mild reviews, Dave Marsh hailed it as "a triumph" in the Rolling Stone Record Guide. Marsh awarded the album the five-star status that describes a recording as "indispensable: a record that must be included in any comprehensive collection."
The three years following the release of Rough Mix were dedicated to the release of the film version of the Who rock opera Quadrophenia, the Who documentary The Kids Are Alright, the release of the Who album Who Are You, and a worldwide Who tour that was delayed a year due to the death of drummer Keith Moon, and was subsequently marred by the deaths of eleven fans who were stampeded in Cincinnati, Ohio, in 1979.
In the meantime, Townshend obsessed over middle age, his marriage, his sexuality, spirituality, the punk and New Wave music movements, and media coverage of the death of Moon. These subjects inform the prevalent themes on his 1980 solo release, Empty Glass, which takes its title from the Bible's book of Ecclesiastes. "When you hold out an empty cup to God, and demand that he fill it with wine," Townshend wrote in New Musical Express, "He fills it faster than you can ever drink. Then you know that the fault lies in your own incapacity to receive His infinite Love, rather than His capacity to give it." Produced by Chris Thomas, who also produced the Pretenders debut album, Empty Glass also features members of the band Big Country as instrumental backup. Townshend dedicated the album's first single, "Rough Boys," to his two daughters and the Sex Pistols.
In a New Musical Express conversation with Charles Shaar Murray reprinted in Trouser Press, Townshend explained his views of rock star sexuality: "People in rock imagine that they're so incredibly f***ing liberated and anarchistic, but they're not. They're so incredibly closed up and macho. In many ways rock is more reactionary than the rest of society, because the business side of it is so super-corporate, the money flow of it so controlled, and the forefront of it is so commando-trained, so macho, so concerned with uniforms and hardness. I would never do a [overtly homosexual rock performer] Tom Robinson, but it was refreshing that he nearly managed to do it within a rock framework. But it's easier in rock 'n' roll to look tough rather than be tough, since everyone in rock 'n' roll believes what you look like anyway."
The song "Jools and Jim" refers to rock critics Julie Burchill and Tony Parsons, who had raised Townshend's ire by casually suggesting that Keith Moon's life and death were essentially pointless. "Typewriter tappers/You're all just crappers … Everybody's human 'cept Jools and Jim," sang Townshend in response. He also added a retort to the duo's disparagement of Moon for his penchant for violently rearranging hotel rooms: "Morality ain't measured in a room he wrecked." Empty Glass reached platinum sales partially due to the hit single, "Let My Love Open the Door," which introduced the singer to a new generation of popular music fans who may or may not have ever listened to the Who.
From Self Destruction to Redemption
Moon's death, Townshend's frequent close calls with drugs himself, a catastrophic 1979 event in which eleven people were trampled to death at a Who concert, and the onset of middle age, threw Townshend into a binge of cocaine, tranquilizer, and alcohol abuse. During the recording of Empty Glass and the Who's tour and recording of the 1981 release Face Dances, Townshend separated from his wife, and descended further into drug addiction and alcoholism. In addition, his finances were in disarray—he was close to bankruptcy. During this period, he overdosed on heroin while nightclubbing with Jam front man Paul Weller, but began using the drug again despite the incident. "From the moment I touched smack," Giuliano quoted Townshend, "I felt as if I'd joined forces with the devil. I went from being unbeatably lucky to becoming a powerful foe, my own worst enemy. I had opted for self-destruction."
Townshend sought a cure from his addictions with Dr. Margaret Patterson, the same doctor who had helped cure Eric Clapton's heroin addiction in the early 1970s. Rejuvenated in 1982, Townshend recorded and released the critically lambasted It's Hard with the Who and his solo album, All the Best Cowboys Have Chinese Eyes. The latter album is perhaps Townshend in his most self-conscious and pretentious artistic mode. However, the net effect is of an artist experiencing a creative rebirth. Such songs as "The Sea Refuses No River," "Somebody Saved Me," and "Slit Skits" deal with the redemption possible for even the most decadent individual through spiritual and human love. "For all its wordiness, its trad-Townshend sound, its frequent moments of bathos and its return to perennial themes, it remains an astonishing record: painful, awkward and boundlessly courageous," wrote Murray in New Musical Express. "Pete Townshend has compounded all his faults and virtues into one record, made no concessions to stadium rock nor to what's supposedly 'relevent.' He's risked making a fool of himself and provided one of the year's most inspiring albums." Townshend dedicated the album to Dr. Patterson.
In 1983 Townshend announced he would no longer record and tour with the Who. He was appointed assistant editor at the prestigious London publishing house Faber and Faber, where he was able to write and publish his 1985 short story collection, Horse's Neck, which Mick Brown described in the London Sunday Times as "a series of elliptical commentaries on childhood, the tribulations and degradations of fame and the obsessiveness which lies at the heart of the contract between star and fan." In 1985 Townshend scored another hit single with "Face the Face" from the album White City. The album's themes and accompanying gritty short film caused many critics and listeners to infer that the album's main character is a grownup version of the protagonist Jimmy from the 1973 rock opera Quadrophenia. Other critics have interpreted the estranged relationship depicted on the album to be a metaphor for the repressive system of apartheid in South Africa. The album features guitar work from Pink Floyd guitarist Dave Gilmour, who also cowrote one of the album's several standout tracks, "White City Fighting," and whose own 1984 solo album, About Face featured the song "Murder," which was, in turn, cowritten by Townshend.
Taking the Who to Broadway
In 1985 the Who reunited for an appearance at Live Aid. They also regrouped to tour in 1989 and several times in the 1990s. On the 1989 tour the band played Tommy in its entirety while also focusing on songs from Townshend's 1989 solo album The Iron Man, which drew its inspiration from the children's novel by Ted Hughes. The album also featured Daltry and Entwistle performing a remake of the hit single Townshend produced in the 1960s for the Crazy World of Arthur Brown, "Fire," as well as the song "Dig." Other guests on the album include singers John Lee Hooker, Nina Simone, Chyna, and Deborah Conway.
In 1992 Townshend collaborated with director Des McAnuff on a theatrical version of Tommy, which went on to become an enormously successfulTony Award-winning production. In 1993 a stage version of Iron Man debuted in London with Daltry starring. This play, however, was less successful and closed after only a few performances. In that same year Townshend released PsychoDerelict, a radio play that incorporates the story of an aging rocker and the vagaries of stardom with music Townshend had recorded in the 1970s for his Lifehouse project. While eliciting positive critical reviews, the album sold poorly. "I sell records in much smaller numbers, but to a much more exclusive crowd, but that's the apology of a dying act," he was quoted by Giuliano. "Some of the things I write about in middle age and will probably continue to write about in late middle age are not quite so palatable as some of the slightly more raunchy, more distasteful problems of being adolescent."
Following the release of PsychoDerelict, Townshend continued to issue releases of his home demo recordings, which began with the release of Scoop in 1983, and continued with Another Scoop in 1987, Lifehouse Elements in 2000, and the six-disc set The Lifehouse Chronicles in 2000, which also features the 1999 radio play adaptation by Jeff Young from a script by Townshend. He also released recordings of live performances such as the 1970s The Oceanic Concerts to raise money for the Meher Baba Institute and Pete Townshend Live: A Benefit for Maryville Academy, which features reworkings of such Who classics as "Won't Get Fooled Again" and "Anyway, Anyhow, Anywhere," as well as a collaboration with Pearl Jam's Eddie Vedder on the Rough Mix song "Heart to Hang Onto."
In 2002 Townshend was arrested for downloading child pornography on his home computer. He defended his actions as research for a project he was working on in which he explored his claim that he was molested as a child. After a four-month investigation the charges were dropped. In 2003 the Who reunited for a world tour. When bassist Entwistle died from a cocaine-induced heart attack in his Las Vegas hotel room, Townshend and Daltrey cancelled several dates but continued the tour despite negative reaction to their supposedly mercenary motivations. In 2004, Townshend and Daltry released another anthology of Who hits, which included bonus songs that represent the first new songs by the Who since the release of It's Hard.
Whether playing with the Who or recording solo albums, Townshend has remained one of the most articulate purveyors of rock music. His songwriting captured first the frustrations of male adolescence and then the equally frustrating progression of middle age compounded by substance abuse, spiritual questioning, and sexual exploration. As a guitar player, he consistently earned critical accolades and appearances on lists denoting the best guitarists of rock and roll. His singing voice, which he has compared to that of Andy Williams, is by turns plaintive and playful, taunting and regretful, masculine and feminine. His stage persona, punctuated with smashed guitars and gravity-defying leaps, set the tone for many of the rock stars who followed him, including Jimi Hendrix. Pete Townshend is, simply put, among rock music's most celebrated performers and writers.
Selected discography
With the Who
Happy Jack, MCA, 1966.
My Generation, Decca, 1966.
The Who Sell Out, Decca, 1967.
Magic Bus, Decca, 1968.
Tommy, Decca, 1969.
Live at Leeds, Decca, 1970.
Meaty, Beaty, Big and Bouncy, Decca, 1971.
Who's Next, Decca, 1971.
Quadrophenia, MCA, 1973.
Odds and Sods, MCA, 1974.
The Who by Numbers, MCA, 1975.
Who Are You, MCA, 1978.
The Kids Are Alright (soundtrack), Polydor, 1979.
Hooligans, MCA, 1981.
Face Dances, Warner Brothers, 1982.
It's Hard, Polydor, 1982.
Who's Missing, MCA, 1986.
Two's Missing, MCA, 1987.
Who Came First, MCA, 1972; reissued, Rykodisc, 1992.
Rough Mix (with Ronnie Lane), MCA, 1977.
Empty Glass, Atco, 1980.
All the Best Cowboys Have Chinese Eyes, Atco, 1982.
Scoop, Atco, 1983.
White City: A Novel, Atco, 1985.
Another Scoop, Atco, 1987.
Deep End Live, Atco, 1987.
The Iron Man: A Musical, Atlantic, 1989.
PsychoDerelict, Atlantic, 1993.
The Best of Pete Townshend, Atlantic, 1996.
Pete Townshend Live: A Benefit for Maryville Academy, Platinum, 1999.
Lifehouse Chronicles, Redline, 2000.
Lifehouse Elements, Redline, 2000.
Oceanic Concerts, Rhino, 2001.
Barnes, Richard, The Who: Maximum R & B, Plexus, 1982.
Giuliano, Geoffrey, Behind Blue Eyes: The Life of Pete Townshend, Dutton, 1996.
Herman, Gary, The Who, November Books, 1971.
Marsh, Dave, Before I Get Old: The Story of The Who, Plexus, 1983.
Marsh, Dave, and John Swenson, The Rolling Stone Record Guide, Random House, 1979.
Pareles, Jon, and Patricia Romanowski, editors, The Rolling Stone Encyclopedia of Rock 'n' Roll, Summit, 1983.
Simon, George T., The Best of the Music Makers, Doubleday, 1979.
Stambler, Irwin, The Encyclopedia of Pop, Rock, and Soul, St. Martin's, 1974.
Chicago Tribune, October 3, 1982.
Creem, November 1980, p. 25.
Gig, December 1977, p. 22.
Los Angeles Times, 1999.
Mojo, December 1999.
Musician, August 1982, p. 48; July 1989, p. 64; February 1993, p. 47; July 1993, p. 34.
New Musical Express, November 5, 1977; July 3, 1982; July 23, 1994.
Newsday, October 24, 1982.
Other, August 1992.
People, May 12, 1980.
Rolling Stone, July 13–27, 1989, p. 86.
Sunday Times (London, England), 1985.
Trouser Press, July 1980, p. 16; August 1980, p. 20.
ZigZag, June 1974.
"Townshend, Pete." Contemporary Musicians. . Encyclopedia.com. 6 Jul. 2019 <https://www.encyclopedia.com>.
"Townshend, Pete." Contemporary Musicians. . Encyclopedia.com. (July 6, 2019). https://www.encyclopedia.com/education/news-wires-white-papers-and-books/townshend-pete-0
"Townshend, Pete." Contemporary Musicians. . Retrieved July 06, 2019 from Encyclopedia.com: https://www.encyclopedia.com/education/news-wires-white-papers-and-books/townshend-pete-0
Pete Townshend, The Who's principal songwriter and lead guitarist, is a respected seminal figure in modern rock 'n' roll. As a raging young rocker in the late 1960s, Townshend made concert history by smashing his guitar in frenzied moments onstage; his music both mocked and mirrored the anger and alienation of a whole generation. Townshend is practically canonized for the songs he wrote for and performed with The Who, including the rock operas Tommy and Quadrophenia, and the driving singles "Won't Get Fooled Again," "My Generation," "Behind Blue Eyes," "Who Are You," and "You Better You Bet."
According to a Rolling Stone Record Guide contributor, Townshend and The Who were initially considered "much better in live performance than on record," but today the group's albums "transcend their flaws" and rank among "the most influential rock albums ever released." Speaking directly to Townshend's contribution to modern music, the critic adds: "Using a few standard … chord progressions as motifs, Townshend constructed a virtual theory of essential rock forms, running each progression through its possibilities." Now well into his forties, Townshend continues to write and record as a solo performer. His more recent work deals with "the problems faced by an aging rocker who wonders if he can still keep it together," to quote the Rolling Stone Record Guide, as well as the political and social malaise of the late 1980s.
Peter Townshend was born in London on May 19, 1945. His parents were both professional musicians, and as a child he accompanied them on dance band tours. By the age of twelve Townshend was experimenting with a guitar; he was quite taken with rock 'n' roll, especially Bill Haley and the Comets. A shy teenager, he spent hours by himself practicing the guitar, and later the banjo, which he performed in a Dixieland-style band founded by his friend John Entwhistle. Initially Townshend preferred jazz to rock, but his high school friends—Entwhistle and a maverick named Roger Daltrey—were gravitating toward rock and incorporating elements of rhythm & blues in their music. Soon after graduating from high school, Townshend, Entwhistle, and Daltrey formed a band called The Detours. They held daytime jobs while performing in small London clubs at night.
England's youth scene in the early 1960s featured sometimes bloody clashes between "Mods," dandyish middle-class teens, and the rowdier "Rockers," or "skinheads." The manager of Townshend's group decided to direct his musicians toward the Mod audience. Soon The Detours were known as The High Numbers and were playing in Soho in the Wardour Street clubs. During this time the group picked up its fourth member,
Full name, Peter Dennis BlandfordTownshend; born May19, 1945, in London, England; son of Clifford (a musician) and Betty (a singer; maiden name, Dennis) Townshend; married KarenAstley, 1968; children:Emma, Aminta. Education: Attended Ealing Art College, England.
Professional musician, 1960—; with John Entwhistle and Roger Daltrey, formed band The Detours, 1962; added drummer Keith Moon, changed band name to The High Number, 1963, and The Who, 1964; member of The Who, 1964-84; solo contract with Atlantic Records, 1979—; owner, Eel Pie Recording Ltd. 1972—; established Eel Pie (book publishing company), 1976; composed and appeared in motion pictures "Tommy" (rock opera) and "Quadrophenia" (rock opera); author of Horse's Neck: Lyrical Prose, 1985.
Awards : With The Who, numerous gold and platinum records; Academy award nomination for soundtrack to movie "Tommy," 1975.
Addresses : Home—The Boathouse, Ranelagh Drive, Twickenham, TW1 1QZ, England. Office –Entertainment Corporation of America, 99 Park Avenue, 16th Floor, New York, N.Y. 10016-1502.
drummer Keith Moon. Fortunately for The High Numbers, their contract was bought out by new management, Kit Lambert and Chris Stamp. Townshend in particular benefitted from the management transition; Lambert introduced the young artist to traditional musical forms and state-of-the-art recording techniques. Lambert also allowed the group to change its name to The Who, and he promoted his charges tirelessly. By 1965 the band had an enormous following in England, especially among the Mods. The Who also broke through in America with two songs, "Can't Explain" and "My Generation." Some critics feel that in the latter song, with its stuttered phrases, hard beat, and defiant "hope I di e before I get old," Townshend and The Who created nothing less than an anthem for the times.
The Who's first tour of America was in 1967. The last was late in 1982. Throughout that fifteen-year period the group reigned as a premier rock attraction—even though none of its songs ever went to number one on the Billboard charts. Analyzing his band's constant popularity, Townshend told Rolling Stone: "Always, always, there is a very, very strong grab—a deep, instant grab—which lasts … forever. It'snot like a fad. People who get into The Who when they're thirteen, fourteen, fifteen, sixteen, never stop being fans. The Who don't necessarily captivate the whole teenage generation—as each batch comes up every year—but we certainly hit a percentage of them, and we hold them." Fans were fascinated first by the sheer physical catharsis of the live performances, then by the albums featuring Townshend's melodic hard rock and emotionally-charged lyrics. As with many rock groups, however, problems beset the band almost from day one. Moon died of a drug overdose, Townshend had several close calls with drugs himself, and in 1979 eleven people were trampled to death at aWho concert. Those events, coupled with the onset of middle age, forced Townshend into what he describes in Rolling Stone as a "two year binge" of cocaine, tranquilizer, and alcohol abuse, from which he emerged, more introspective than ever, in1983.
"I ultimately had to stop using [The Who] as a vehicle for my songwriting," Townshend told Rolling Stone. "In a way, I'vegot the punk explosion to thank for making that decision. Commercially, leaving the Who was the dumbest thing I've ever done in my life. But artistically, it was undeniably the most logical thing for me to do. It was the most important thing I'veever done for me—to allow me to have a new beginning, to actually grow." Certainly Townshend's solo albums have not generated the sales that his Who albums did, but critics have praised them as a step in the evolution of a mature artist. A reviewer in the Rolling Stone Encyclopedia of Rock 'n' Roll argues that Townshend, "now a generation older than the fans he had initially spoken for," has begun to "agonize over his role as an elder statesman of rock." This is not to suggest that Townshend's work has lost its bite, however. His recent single "Give Blood" is an angry denunciation of violence in all its forms—state-supported and otherwise. Having sworn off drugs and alcohol, and having somewhat regretfully ended his tenure with The Who, Townshend plans to continue making music on his own. He is also becoming better known as a prose writer, contributing essays and short stories to periodicals in England and America.
Townshend reflected on his singular career in Rolling Stone : "At [one] time, rock & roll to me was another word for life.'… What I was experiencing in rock then was a great introduction to what might have been a closeted and isolated, protected view of life, but one that I wouldn't have swapped for all the world…. I still feel I hold that key. I am one of those characterswho, like a teenager, sits at home witha guitar infront of a full-length mirror, and I do it. And I can do it nowjust as well as Idid it then. And it gives mejust as much pleasure as it did then…. Once you're in, you'rein."
Who's Next, Decca, 1971.
It's Hard, Polydor, 1982.
Who's Missing, MCA, 1986.
Two's Missing, MCA, 1987J.
Also recorded Greatest Hits, MCA.
Who Came First, MCA, 1972.
White City: A Novel (soundtrack), Atco, 1986.
Barnes, Richard, The Who: Maximum R & B, 1982.
Marsh, Dave, Before I Get Old: The Story of The Who, 1983.
Stambler, Irwin, The Encyclopedia of Pop, Rock, and Soul, St. Martin's, 1974.
The Rolling Stone Encyclopedia of Rock 'n' Roll, Summit Books, 1983.
The Rolling Stone Record Guide, Random House, 1979.
Rolling Stone, November 17, 1977; June 26, 1980;June 24, 1982; November 5, 1987.
—Anne Janette Johnson
"Townshend, Pete." Contemporary Musicians. . Encyclopedia.com. (July 6, 2019). https://www.encyclopedia.com/education/news-wires-white-papers-and-books/townshend-pete
"Townshend, Pete." Contemporary Musicians. . Retrieved July 06, 2019 from Encyclopedia.com: https://www.encyclopedia.com/education/news-wires-white-papers-and-books/townshend-pete
Baker's Biographical Dictionary of Popular Musicians Since 1990
Born: Peter Dennis Blandford Townshend; London, England, 19 May 1945
Best-selling album since 1990: The Best of Pete Townshend: Coolwalkingsmoothtalkingstraightsmokingfirestoking (1996)
Pete Townshend is one of the most revered songwriters in rock and a founding member of the Who, a classic rock band. He created the rock opera, which combines the storytelling skills of Broadway musicals with contemporary rock music. As much as Townshend is known as a conceptualist who is responsible for dozens of endurable hit songs, he is also an influential rock guitarist. With the Who he created the type of guitar thunder and violent stage behavior most would associate with the punk rock of the 1970s. The tremendous energy Townshend threw into his playing complemented his songwriting, which celebrated the power of individuality and the importance of spiritual wholeness in the face of adversity. The Who formally broke up in 1982, prompting Townshend to launch a full-time solo career. In the 1990s he looked back at his large body of work and repackaged it for a new audience.
In 1965 Townshend wrote the Who's three defining hit singles: "I Can't Explain," "Anyway, Anyhow, Anywhere," and "My Generation." In packages of just three minutes, they announced the arrival of a new wave of teenage rebellion, one that was self-assured and intense. Townshend was anointed as the spokesperson of his generation and was a hit with the "Mods," a British youth movement that embraced modern trends in music, fashion, and attitude. The Who capsulated this energy into their chaotic live shows. After Townshend happened to destroy a guitar in frustration, guitar-smashing quickly became an awaited climax of Who shows.
Townshend used the Who as a vehicle to address an array of serious subjects in his songwriting. He began writing longer songs that incorporated classical and baroque structures and themes. In 1969 he released Tommy, a double-album rock opera that told the story of a boy who goes deaf, dumb, and blind due to a childhood trauma and ends up a messianic idol. Tommy was a smash hit and paved the way for Quadrophenia (1973), an epic rock opera about the harrowing life of a Mod youth. During this period Townshend worked on a third rock opera about virtual reality called Lifehouse but could not finish it. The remaining songs ended up becoming Who's Next (1971), the Who's best-known album, which brought in synthesizers and dramatic guitar hooks.
At the height of the Who's success, Townshend began studying with the Eastern mystic Meher Baba, who inspired him to write gentler and more personally introspective songs. The first result of Baba's teachings was Townshend's debut solo album, Who Came First (1971). He followed it up years later with Rough Mix (1977), a breezy and intimate collaboration with folk songwriter and fellow Meher follower Ronnie Laine.
The Who suffered a major setback with the death of drummer Keith Moon in 1978. Although drummer Kenny Jones was recruited to fill Moon's spot and two more albums were released, the band played its farewell tour in 1982.
After the Who
In the meantime, Townshend was already actively engaged in a solo career. His most successful and most critically praised non-Who album is Empty Glass (1980). Featuring his first solo hit, "Let My Love Open the Door," the album is deeply introspective and hints at his struggles with alcohol and drugs. Without the swaggering vocal power of the Who's lead singer Roger Daltrey, Townshend was free to explore his metaphysical side, with several songs hinting at bisexuality. All the Best Cowboys Have Chinese Eyes (1982) deals with the malaise of stardom and the quest for salvation.
After that creative endeavor, Townshend retreated from making albums about his own personal demons and, once again, moved toward more conceptual music. White City (1985) is subtitled A Novel. It accompanied a short film he wrote about life in a West London public housing complex. He followed up with an elaborate album, The Iron Man (1989). Based on a children's story by the English poet Ted Hughes, it features songs sung by guest vocalists including Daltrey, blues legend John Lee Hooker, and jazz diva Nina Simone. It sold poorly.
Even so, the album prompted a Who reunion tour the same year, in what would become a routine occurrence throughout the 1990s. The reunited group (later featuring Zak Starkey, son of Beatles drummer Ringo Starr, on drums) would play greatest hits shows to mixed reviews over the years. Psychoderelict (1993) remains Townshend's last solo album as of 2003. Another semi-autobiographical look at the trappings of celebrity, it tells the story of Ray High, a rock musician on the comeback who is fighting alcoholism and the disdain of a rock journalist bent on destroying him. Interspersed with spoken dramatic segments, the music includes instrumental passages that pay tribute to Meher Baba as well as self-deprecating rock songs ("Let's Get Pretentious") mocking the cult of fame. It yielded the minor hit single, "English Boy." For the most part, Psychoderelict confused Townshend's audience and failed to break into the Top 100. The album was accompanied by a tour that featured multimedia visuals and actors who performed between songs.
Tommy and Beyond
Townshend's energies during the 1990s focused on the past. He broke ground on Broadway with a restaging of Tommy in 1993. Although it had already been a film and a concert tour, its Broadway incarnation exceeded expectations. It was a box office blockbuster. Featuring a cast of unknown musical theater singers and dancers, it received mixed reviews with some critics accusing Townshend of shamelessly exploiting his past for the sake of nostalgia and a quick buck. Nevertheless, The Who's Tommy (its new title) received five Tony Awards in 1993 and toured the world. The same year Townshend staged The Iron Man in London. He later regrouped the Who in 1996 to resurrect Quadrophenia. The band embarked on a tour to perform the rock opera in its entirety. By this point, his guitar playing had diminished due to ear damage and he stuck mainly to playing rhythm, not lead. Townshend also finally got around to completing Lifehouse, the musical project he had abandoned nearly thirty years earlier. He adapted it into a radio play for the BBC in 1999 and the next year released The Lifehouse Chronicles (2000), a six-CD set of songs and spoken word that he released on his own Eel Pie label.
In January 2003 Scotland Yard arrested Townshend under suspicion of possessing child pornography. Townshend admitted he had visited child porn websites but maintained it was only for research for an autobiography he was writing that explored sexual abuse in his childhood. He was later released and never charged.
Townshend is one of rock's most complex figures. He broke out of the conventional pop song mold and created the rock opera. With the Who, he delivered classic rock anthems, yet when he retreated to his solo work, he freely explored a sensitive and philosophical side.
SELECTIVE DISCOGRAPHY:
Who Came First (Decca, 1972); Rough Mix (Decca, 1977); Empty Glass (Atco, 1980); All the Best Cowboys Have Chinese Eyes (Atco, 1982); White City—A Novel (Atco, 1985); Pete Townshend's Deep End Live! (Atco, 1986); The Iron Man (Atco, 1989); Psychoderelict (Atlantic, 1993); The Best of Pete Townshend: Coolwalkingsmoothtalkingstraightsmokingfirestoking (Atlantic, 1996); The Lifehouse Chronicles (Eel Pie, 2000). With the Who: The Who Sings My Generation (Decca, 1965); Tommy (Decca, 1969); Live at Leeds (Decca, 1970); Quadrophenia (MCA, 1973); Who Are You (MCA, 1978).
www.petetownshend.com.
mark guarino
"Townshend, Pete." Baker's Biographical Dictionary of Popular Musicians Since 1990. . Encyclopedia.com. 6 Jul. 2019 <https://www.encyclopedia.com>.
"Townshend, Pete." Baker's Biographical Dictionary of Popular Musicians Since 1990. . Encyclopedia.com. (July 6, 2019). https://www.encyclopedia.com/education/dictionaries-thesauruses-pictures-and-press-releases/townshend-pete
"Townshend, Pete." Baker's Biographical Dictionary of Popular Musicians Since 1990. . Retrieved July 06, 2019 from Encyclopedia.com: https://www.encyclopedia.com/education/dictionaries-thesauruses-pictures-and-press-releases/townshend-pete


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text:
Q: Recursive call stack depth I have a recursive function that works for input where the call stack depth is up to 1000, but fails for bigger inputs. I converted the function to be tail recursive and that allowed it to get to about 1350.
What are the limits and is there any way to increase that limit?
I am working with pure functions and would like to avoid having to use operations. I have a solution that breaks up the problem into a composition of steps, each of which has a smaller stack depth, but it is rather contrived since its only purpose is to avoid the issue and it is more complex.

A: This is my mistake again... the setting for the Java stack is -Xss (the -Xms setting is the starting heap size), sorry. So if you use the JVM Arguments section in the Debugger tab of the launcher, and set something like -Xss5m, you should get further.
In a simple experiment with a recursive function, the default stack allowed me a depth of 227 calls. Using -Xss5m gave me 4020 calls, and -Xss10m gave me 8050 calls. Note that these stack sizes are somewhat less that the Gb sizes you were trying - 5Mb of stack is a lot of calls!

A: Overture does not impose a stack limit over the underlying Java stack limit, so it will simply respect the -Xms JVM argument. I think the regular execution stack for the interpreter comes from the Overture.ini file (top level), where you see the -Xmx argument to set the maximum heap. Can you try adding (say) -Xms128m, or a size of your choice, and see whether that gets you further?

A: It sounds like you are asking about how to increase the Java Stack Limit in the Overture debugger and not in the Overture IDE (overture.ini).
To change pass additional arguments to the Overture debugger you need to add them to the launch configuration:

*

*Open the launch configuration

*Select the "Debugger" tab

*The add your arguments to the box shown next to "Arguments:" in the top

Overture Launch configuration

A: I have tried with -Xms and -Xmx both set up to 2048m but without any impact. I have also tried on Overture 2.3.0 on both Mac OSX and Windows 10 with the same result.
To take my project out of the loop, I created a new project with one very simple function:
  countdown(n:nat) res:nat
  == if n=0 then n else countdown(n-1)

On both Windows and Mac I can call this with value 807 and be successful, while with 808 it fails with error:
internal error

Main 206: Error evaluating code
Detailed Message: internal error


I would like to share a sales prospecting technique with you that has worked well for my sales men and girls. We call it the sales actions points system.
Using this sales training game you give sales people something to aim at as well as just closing sales and signing orders.
It motivates sales teams to do all the actions that will lead to collecting and qualifying sales prospects, making sales appointments, and increasing sales.
The idea is to put a points value to every action you take that works towards closing a sale, making a sales appointment, or gaining a good sales prospect.
The best action you can do is to close a sale, and so that gets the best score of 5 points.
The next best action is to have a really good sales meeting with a potential customer that looks like you have a chance of winning the sale. That scores 4 points.
Then you have, making a sales appointment, and that's worth 3 points. Followed by qualifying a prospect which is worth 2 points.
The lowest scoring action is to find a potential sales prospect that you haven't qualified, and that's only scored at 1 point.
The aim of this sales training game is for every sales person on your team to score 20 points everyday.
That could be 4 closed sales, or 2 closed sales 2 sales appointments and a qualified prospect.
What we find really good about this game is how even if you don't close a sale you still have a target to aim at. You can still go home feeling successful and knowing that you have done some worthwhile sales actions that will lead to closing sales in the future.
Try it out for yourself and perhaps you could let me know how it goes on the sales blog here.
Joe, what a great idea!
I can see how this will drive those actions you need to collect sales prospects and make sales appointments.
It's great to see an idea I've not used myself before, and I will definately give this one a try.
I think this is such a great post that I'm sending you a free copy of the sales training workbook: How to make Sales Appointments by Telephone.
If anyone else tries out this sales motivation game please add your comments and let us know how it goes.
I have tried this with my sales team and the motivation to make more sales appointments, and gather sales prospects, has gone through the roof.
In the past we have always measured the different sales team activities seperately. So we looked at the number of sales closed, always the most important.
Then we would have a seperate report on sales appointments completed, appointments planned, and prospects lined up in the pipeline and qualified for sales appointment scheduling.
Blind prospects not yet qualified was another seperate report, and all these were focused on as individual actions and activity.
I like this points sales game because it brings all these seperate sales activities together into one measurable score.
We now have a league table based on the points we give for all the different activities a sales person does in the month.
So now they don not just go out and sell, they want the smaller point scorers as well so they are not at the bottom of the sales league table.
Joe, thank you for showing me this wonderful sales prospecting idea. I am fnding it very motivational. I now feel good when I have scored some points for the day even if I have not closed a sale.
I know that the points I am scoring will lead to me increasing my sales in the near future.
I hope many others try this sales prospecting motivation idea.