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Remembering Sharon Jones, Soul Singer And Consummate Performer
Published November 23, 2016 at 10:41 AM PST
TERRY GROSS, HOST:
This is FRESH AIR. I'm Terry Gross. We're going to remember soul singer Sharon Jones, who died last Friday of pancreatic cancer. We have two interviews to play for you. Sharon Jones has been called the female James Brown. She grew up in his hometown Augusta, Ga., and imitated him as a child. She became known for fronting the band the Dap-Kings. The band's retro soul sound was also heard on several tracks of Amy Winehouse's hit album "Back To Black," including the songs "Rehab" and "You Know I'm No Good."
My first interview with Sharon Jones was recorded in 2007. Also joining us for that interview is the founder of the Dap-Kings, Gabriel Roth aka Bosco Mann. He met Jones when he co-owned the now defunct label Desco Records and asked her to record for it. Roth subsequently co-founded Daptone Records. When we spoke, Daptone Records had just released the third album by Sharon Jones and the Dap-Kings. Roth produced the album, plays bass on it and wrote many of the album's songs, including the great title track "100 Days, 100 Nights."
(SOUNDBITE OF SONG, "100 DAYS, 100 NIGHTS")
SHARON JONES: (Singing) One hundred days, 100 nights to know a man's heart. One hundred days, 100 nights to know a man's heart. And a little more before he knows his own. You know a man can play the part of a saint just so long before a day comes when his true, his true self unfolds. Yes, it does. He may be mellow, he may be kind, treat you good all the time. But there's something just beyond what he's told. Hey. One hundred days, 100 nights to know a man's heart.
(SOUNDBITE OF ARCHIVED BROADCAST)
GROSS: That's Sharon Jones and the Dap-Kings. Welcome to both of you. How would you describe...
GABRIEL ROTH: Thanks, good to be here.
GROSS: ...The sound you're going after?
JONES: More of a soul, Stax, '68, '69 sound. Gabe?
ROTH: Yeah, it would - I mean, for me, I've always just tried to make records that sound like the, you know, sound like the records I like. I never had too much of a very specific agenda that we were going to try to, you know, try to ape something or try to pass something off. We just wanted to make records that felt good to us and sounded good to us.
GROSS: James Brown has obviously been a big influence on each of you. I'd like you to each to talk about the influence of James Brown on you. Sharon, let's start with you.
JONES: Well, with me just, I guess, being born in his hometown and my parents - I found out later my mother knew him when he was out there doing his thing, like, in front of the record store - before he owned anything, when he was still dancing and shining shoes and making money, that type of thing, you know, they knew each other from coming up.
And my Uncle Willie (ph) told me that he was like a - my father used to, like, tap with James Brown, used to dance out on the streets. And I was like, wow, you know, so. I don't, you know, you never know these things. You know when the older people get up and they start talking sometime and I just found all this out, like, last year. So I'm like, why I haven't heard this before? So, you know, I'll let that go.
JONES: You know, I think Uncle Willie is one to be talking but, you know. But still, I know that they did grow up. And once he was performing somewhere in Augusta, and I think I was maybe 9, 10, or maybe, you know, younger. And I went to see him. And something happened, he was on the stage with - and I looked at his foot. And all I remember is saying to my father, I turned around, told someone, like, he's floating. His - he's not even touching the floor. And I was like right at the stage, eye level to James Brown's foot and I - feet - and I couldn't tell if that man - it was like he was floating. And that's an experience that I just remember that experience with James.
And then the next was when I saw him last year April in Italy, right before, you know, and he was a little weakened. I got to take the picture and I was trying to get words in to him. Oh, Mr. Brown, you know, my name is Sharon Jones with the Dap-Kings and, you know, and - he was like, looked me right in the eyes, said, God bless you, daughter.
JONES: And I was like - and that was it, you know.
GROSS: Well, while we're talking about James Brown, you know, James Brown was often introduced on stage (laughter) in this, like, great hyperbolic way. And you - I know have done that on record, I don't know if you do that for all the shows. But why don't we play the introduction from the first Sharon Jones and the Dap-Kings album?
GROSS: And this will give a taste of what I mean. Here it comes.
(SOUNDBITE OF SONG, "INTRODUCTION")
BINKY GRIPTITE: Good evening, ladies and gentlemen, and welcome to the Daptones Super Soul Revue. My name is Binky Griptite, and we are the Dap-Kings. Thank you very much. Right now for your enjoyment and pleasure, we would like to introduce to you the funky and dynamic sister who is exciting dance floors across the nation with her dynamic new sound. Soul brothers and sisters from coast-to-coast get up and get down whenever her records are played. They're doing all the funky new dances. They're doing the bump-and-touch, they're doing the dap-dip (ph), everything. Ladies and gentlemen, I'm talking about 110 pounds of soul excitement coming for you. This sister is so bad, she's badder than bad. I'm talking about the same sister that brought you such hits as "The Landlord," "Damn It's Hot," "Ain't It Hard." And now, ladies and gentlemen, the star of our show, the super-soul sister with the magnetic je ne sais quoi, Ms. Sharon Jones.
GROSS: That's the introduction from the first Sharon Jones and the Dap-Kings album. God, can you guys do that for me, like, when I host FRESH AIR? (Laughter) You know, that would just be so great to have that kind of introduction.
ROTH: We can do that, but I'll tell you, you got to hire Binky Griptite, man.
JONES: Binky, got to have Binky.
ROTH: Binky Griptite is a - has been a very integral part of our whole operation for the last, you know, dozen years, you know. And he is not just - I mean, he's a great, great guitar player. But just as far as showmanship, he's kind of the guy that as an emcee kind of brings the show to another level as far as our live show, you know.
But as far as the live show, it is really influenced not just by James Brown but by Stax and all the other kind of soul revues that were going on in the late '60s. There's a sense of showmanship in that and excitement that you don't see in a lot of shows nowadays.
GROSS: Well, let's hear another song from the new Sharon Jones and the Dap-Kings album "100 days, 100 nights." And this is called "When The Other Foot Drops, Uncle." And, Gabe, you wrote this. Do you want to say a few words about the song?
ROTH: Yeah. It's actually funny 'cause I didn't think it was that obscure, but people have thought this song was about some guy that's not treating Sharon right. But it's actually a little political. Uncle - "When The Other Foot Drops, Uncle" is about Uncle Sam. It's just kind of - it's just a song about all the lies and corruption kind of eventually catching up and - you know, the other shoe dropping.
And, you know, obviously when you say Uncle Sam you're talking about, you know, Bush and Cheney and Rumsfeld and all these things and these guys finally going to get caught up in all these lies about everything, about weapons of mass destruction, oil money and the rest, I mean. But that's what the song's about. And I think if you listen to it in that light, you hear the lyrics a little differently.
GROSS: Sharon, did you know that that was what it was about when you were singing it?
JONES: Not really.
JONES: So that's why (unintelligible) say get out of here, my mouth is open. I'm looking at him like this, huh?
ROTH: Yeah.
JONES: I mean, they've asked me about that song. I say, well, you know, it's just about somebody's being slick and they're going to get caught up in what they're doing, you know? You know, their lies and whatever they're doing is being caught up, so now it's good. So when I get interviewed, people ask me, I'll know what to say now.
ROTH: Yeah, there's a line in that song about your crafty little pencil's running out of lead. And everybody thinks that's some kind of impotency thing.
GROSS: Yeah, yeah. So, Sharon, what do you mean about the little crafty little pencil? I'm like, you know, that's really - Gabe wrote the song...
JONES: ...You know.
ROTH: Anyway.
GROSS: Well, I have to say that's what I thought it meant that they have to (unintelligible). And I thought - I was going to ask you, Gabe, like, uncle? I mean, like, this isn't a relationship with her uncle, is it? So I was a little confused. So actually...
ROTH: You know, that's actually...
GROSS: Thanks for the clarification.
ROTH: ...Why we stuck that uncle on the end of the title.
JONES: Yeah.
ROTH: We kind of hung it on there at the end. It was like, well, here you go.
GROSS: I thought this was kind of like expression that only I didn't get.
ROTH: I tell you, it makes a lot more sense than goo, goo g'joob, I guess, so...
GROSS: (Laughter) I'll give you that.
JONES: That's good.
GROSS: I'll give you that. Well, it's a great song no matter how you want to interpret it. So here it is, "When The Other Foot Drops, Uncle." It's Sharon Jones and the Dap-Kings.
(SOUNDBITE OF SONG, "WHEN THE OTHER FOOT DROPS, UNCLE")
SHARON JONES AND THE DAP-KINGS: (Singing) Oh, the way you like to get your taste, uncle. Oh, the things you lay to waste. But every dog has his day, uncle, and it just can't go on. It just can't go on this way, for the day will surely come.
THE DAP-KINGS: (Singing) When the other foot drops, uncle.
SHARON JONES AND THE DAP-KINGS: (Singing) You're going to pay for all you've done.
SHARON JONES AND THE DAP-KINGS: (Singing) There won't be nowhere to run.
SHARON JONES AND THE DAP-KINGS: (Singing) You're going to be found out.
SHARON JONES AND THE DAP-KINGS: (Singing) You can bet you're going to lose your clout. You've been tramping around this world like you're the only one living. But soon enough, you're going to get back some of what you've been given. The lies that you've been spinning up are running out of thread, and your crafty little pencil is running out of lead. The happy day is surely going to come, yeah.
THE DAP-KINGS: (Singing) When the other (inaudible).
SHARON JONES AND THE DAP-KINGS: (Singing) Yeah, your alibi will fail you.
SHARON JONES AND THE DAP-KINGS: (Singing) Ain't nobody, nobody going to make your bed.
SHARON JONES AND THE DAP-KINGS: (Singing) Ain't got no place to hide.
SHARON JONES AND THE DAP-KINGS: (Singing) You're going to pay for every time you lied.
GROSS: That's Sharon Jones and the Dap-Kings. We're listening back to a 2007 interview with soul singer Sharon Jones and Gabriel Roth, a founder of the band the Dap-Kings, which she sang with. Jones died last Friday of cancer. We'll hear more of the interview after a break. This is FRESH AIR.
GROSS: This is FRESH AIR. We're listening back to a 2007 interview with soul singer Sharon Jones, who died last Friday of cancer. Also in this interview is Gabriel Roth, a founder of the band the Dap-Kings, which she performed with.
GROSS: So Sharon, I know you spent some time as a prison guard at Rikers Island. How did you get the job?
JONES: I took the test. There was - I took a lot of tests at that time. I went - I took the police test...
GROSS: What's the test like? I mean, what you really need to do is to be able to, you know...
JONES: No, they...
GROSS: ...Get people to respect you. How do you pass a test on that?
JONES: Oh, they give you a psychological test. You know, the physical test you have to go through, little background check on you, you know? It was great. I think I would've still been there. But it was - just took me away from my singing, you know, the music. I - it was - you know, it was like a career. And after being in there it was like an omen. My first week, I - they stuck me outside and I pulled a groin muscle on the side I fell. Then I came back and I was in a - believe it or not, it's so weird - a car accident. A truck hit me and I was out for another, like, nine months. And they forced me back to work. And at - that same day I came to work, I had a back brace and neck brace, you know, and I'm walking on - and fell on the curve, so now I'm injured again.
GROSS: Oh, no.
JONES: But now it's - I'm telling you, it was an - it wasn't meant for me. I fell on the job. Now it's comped and I'm out again for another couple of months. And so I - when I finally came in, they said, oh - you know, the lawyer said, why don't you just resign? This way they won't fire you.
JONES: And so I resigned for medical reasons. House arrest, that's what they called it.
GROSS: So how many days did you actually work?
JONES: OK, I'm going to say out of the two years, (laughter) from '88 to '90, maybe six, eight months (laughter).
GROSS: So when you were there, given how you kept injuring yourself and you weren't in the best physical shape, how were you able to convince the prisoners that you were strong enough and focused enough to do the job and keep them in line?
JONES: Let me tell you - it's the look in my eyes. You may have, like, 80 inmates to maybe three officers or two officers. So it was really weird. But you could not show fear. And that's one thing I didn't show, you know? And I got the respect from them right there. And they knew that I didn't take stuff - I wasn't scared.
GROSS: Let's hear another track from Sharon Jones and the Dap-Kings (laughter). And this song is called "Humble Me." And this is another song, Gabe, that you wrote. Do you want to say anything about writing or recording this track?
ROTH: Well, it's a very simple song. And it wasn't much to write. It's just a couple of chords and some simple, heartfelt words that Sharon could really get into. I mean, the thing that I learned about writing is that, you know, I've never been a genius or anything, but I learned how to kind of get out of the way of great musicians and great singers. So, you know, if you listen to the song, there's not much to the writing in it, but I think Sharon puts a lot of heart into it, you know?
JONES: It - 'cause actually, I think that song, you - like, you was writing something about me, the inside of me. But I think, you know, by knowing me all these years, Gabe knew that how I am at the church - I'm always saying that, you know, I'm so thankful for what God gave me. So that's why I'm always saying, if you see me, like - I'm, like, higher than everybody else, you know, bring me down. Let me know I'm not. If you see me up here wanting all these here fancy things, which he knows they don't - never see me out here flashing and wanting stuff, but if you see me doing that - I want all these shoes that cost 2,000, 3,000 - think about that man over there who don't even have a - the foot is cut off, you know, don't even have legs, you know? And then I'm all right.
I'm also thankful, humble for when I'm on the road. People come out and pay to come and see me. And I get on that stage and I'm humble for them coming out to see me every night. And I'm so thankful for them, for God, for having me to be able to dance and jump and sing and keep my voice open. So that song is just about me thanking God and being humble for my blessings.
GROSS: All right, here it is, Sharon Jones and the Dap-Kings "Humble Me" from their new CD "100 Days, 100 Nights."
(SOUNDBITE OF SONG, "HUMBLE ME")
SHARON JONES AND THE DAP-KINGS: (Singing) Humble me, humble me. Don't let me forget who I am. Humble me, humble me. Don't let me forget who I am. When I start talking down, like I'm hovering above, oh, yeah, like I'm made of something better, oh, then what you're made of. And when you hear me asking for all kinds of fancy things, things you never had, no, and things you know you can't bring, don't be afraid to humble me...
GROSS: That's Sharon Jones and the Dap-Kings, and with me in the studio is Sharon Jones and Gabe Roth, who's co-founder of the Dap-Kings, leader of the band, writer of most of the songs, including the one we just heard, and bass player. So one more question before we have to end, I haven't had the pleasure of seeing you on stage, only of listening to the recordings. So what do you look like, all of you on stage? How do you dress? I mean, some of the soul reviews you're talking about, like, really loud clothes (laughter).
JONES: Well, I don't think it's loud, but you're good, Gabe, you tell them, come on.
ROTH: Well, no, we keep it sharp. Everybody's got suits and ties and shined shoes and locked in step, man. The whole - the horn section has got some unbelievable steps. The band is always stepping together and playing together. And Sharon always looks unbelievable. She comes out and is usually a blur from the beginning of the show to the end. You've never seen something so much. So, yeah, visually it's definitely - definitely an event, too.
GROSS: I guess those injuries from your prison guard days aren't holding you back.
JONES: No, they're not.
GROSS: OK.
GROSS: Well, thanks to both of you for talking with us. It's really been fun. Thanks a lot.
JONES: Thank you.
ROTH: Thank you.
JONES: My interview with singer Sharon Jones and Gabriel Roth, a founder of the Dap-Kings, was recorded in 2007. Jones died of cancer last Friday. We'll hear the interview I recorded with Jones last July in which we talked about the cancer and other things after we take a short break. I'm Terry Gross, and this is FRESH AIR.
(SOUNDBITE OF SONG, "IF YOU CALL")
SHARON JONES AND THE DAP-KINGS: (Singing) I've been laying alone for hours, but I haven't slept at all. These eyes are closed, but I'm listening for your call, for your call. These feet, too tired for walking. And these knees, too weak to crawl. But these arms are strong enough to hold you if you call, if you call. Am I dead, or am I living? I feel no blood in these veins. But I can live, live and die like this forever if I know I'll taste your lips again. Doctor, doctor, come cut my heart out 'cause it hardly, oh, beats at all. But please, please leave a little potion just in case my baby calls, just in case, oh, my baby calls. If you call, if you call, if you call.
GROSS: This is FRESH AIR. I'm Terry Gross. We're remembering soul singer Sharon Jones. She died last Friday of pancreatic cancer. She was 60 years old. The second interview we're going to hear with her was recorded last July when a documentary about her was released called "Miss Sharon Jones!" The film was shot in 2013 during the first seven months after her initial diagnosis of stage II pancreatic cancer, a period in which she had extensive surgery and chemo treatments. The film ends with her return to the stage. That was followed by a world tour with the band the Dap-Kings, the band that always recorded and performed with her. That tour was pretty remarkable considering what she'd been through. But by the time I interviewed her in July, the cancer had returned. She'd gotten a chemo treatment the day before our interview.
GROSS: Sharon Jones, welcome back to FRESH AIR. Can I start by asking you how your health is now?
JONES: You know, I'm on and off. I take it one day at a time. And being on the stage with them, performing and opening up for Hall & Oates for the last two and a half weeks and then doing three nights in a row, one day off, three - so I did, like, nine straight nights and a day off in between there. So - but I feel pretty good. I think my body...
GROSS: That is an insane schedule when you're in chemo. That's just insane.
JONES: Yeah. You know, but that's my therapy, being on stage. You know, I mean, it's like this cancer is here and I have to take the chemo, but I want to perform. I don't want to be home just taking medicine and waiting to die. You know, I - that's not something I'm about. So as long as I've got my health and the energy to - my voice is great. So there's nothing wrong vocally. I just want to be able to get on stage and move and move around.
GROSS: So making a documentary about you after you were diagnosed with cancer in 2013, that was the idea of your manager, Alex. What did you initially think of the idea? And forgive me for asking something so straightforwardly...
JONES: Excuse me.
GROSS: ...But if I were you, I probably wouldn't know whether this was going to end up as an obituary or a triumphant return to the stage.
JONES: Yeah. Well, you know, I think once Barbara Kopple took it on and the band - my goal was to - I had a February date, and my goal was to be back at that date. And everything in the filming and in the - there's a scene with the church scene. That was my first time - even attempt to sing after months. And that's when I knew, from the church scene, that I was ready. I was going to be ready for February. I knew I was going to have the strength.
And doing the film was also my therapy. And I knew that it would help someone out there with cancer or going through it. Long as I inspired someone because I was - that's where my health came from, my energy came from, knowing my fans was out there and I'm getting back to them and I wanted them to see me go - what I'm going through with.
GROSS: And the impression I take away from the film is that you had a great feeling of responsibility for the band because the band is centered around you. You know, there's horns and drummer and, you know, guitarists and everything, but, like, you're the singer. You're the focal point. So if you're not there, the band's kind of out of work and...
JONES: It's not only...
GROSS: Yeah.
JONES: Oh, it's not only the band, it's the whole - my whole, I mean, management, my whole - you know, we've got...
GROSS: Right.
JONES: ...Posters out. We've got - it's so much. You know, it's a whole big - we've got an LLC. We've got a - it's a company here. And so it was a lot of people not getting paid, including myself. And one of the doctors wasn't included in insurance, so we had to pay out of the pocket money for, you know - so it was - and believe it or not, I didn't know what was going on with all of my members. Thank God they kept that away from me. But I found all that out the night I watched the film for the first time in Canada.
GROSS: Wait, what didn't you know about?
JONES: Like, Binky going through the divorce and then...
JONES: ...You know, losing stuff and, like...
GROSS: Your guitarist, yeah.
JONES: ...Gabe not being - not being able to get that loan and just different people in the band, you know, lost apartments and, you know, had to move in with - so it was a lot that - they didn't put that on me, you know? But I found out about it later, you know, in the filming. So - but I had already knew I had to get back out there. And I knew we had to - you know, our money is when we work.
GROSS: Well, why don't we hear another recording? And...
JONES: All right.
GROSS: ...This is from an album - you had to hold back an album when you got sick. And the album was...
JONES: "Give The People What They Want."
GROSS: Yeah, the album's called "Give The People What They Want." And there's a track from it that's on the soundtrack from the new documentary about you. The documentary is called "Miss Sharon Jones!" And so here's a song from the soundtrack. And it's called "People Don't Get What They Deserve."
(SOUNDBITE OF SONG, "PEOPLE DON'T GET WHAT THEY DESERVE")
SHARON JONES AND THE DAP-KINGS: (Singing) When I was a child, I believed what they told me, to each one shall come what each one shall earn. And if I worked hard, nobody could hold me. And cheaters will fail, that's what we all learned. But there is a man who was born with a fortune, a hard day's work he's never done. He lives from the sweat of other men's labor as he sips his champagne and lays in the sun.
GROSS: That's my guest, Sharon Jones, singing "People Don't Get What They Deserve" from the soundtrack of the new documentary "Miss Sharon Jones!," which was directed by Barbara Kopple. And that featured the Dap-Kings, the band that backs her.
You watched a lot of TV when you were sick, but you don't say anything in the film about listening to a lot of music. Did you listen to a lot of...
JONES: I didn't. I didn't.
GROSS: How come?
JONES: Because I couldn't sing. I couldn't get air because - people didn't realize I was cut across the diaphragm, all the way up from right under the mid - center under my breast, all the way down to top of my navel.
GROSS: So you can only listen to music when you can sing?
JONES: Well, I didn't want to. I was just down. I mean, here I am not performing. I've been working almost 20 years on the stage. And here it is these months, I went from May till - actually September when you saw me in that church scene was the first time I sang in months. You know, and then I had to get prepared to do the Thanksgiving Day Parade in November. You know, I had to get out there, lip sync. Even though I lip synced, I still had to be up and be around, you know?
GROSS: So you mentioned the church. There's a scene in the documentary "Miss Sharon Jones!" when you go to a church in Queens, N.Y., and you sing "His Eye Is On The Sparrow." And it's a really nice scene. I thought we could listen to you singing that. And this is - as you said, this is the first time that you sang after getting the surgery and starting chemo. So why don't we hear that?
JONES: OK.
GROSS: And then we'll talk.
(SOUNDBITE OF DOCUMENTARY, "MISS SHARON JONES!")
JONES: Again, I just want to give my love to God. And right now, I'm going to try to sing a little bit of "His Eye Is On The Sparrow."
(Singing) And I sing because I'm happy. And I sing because I'm free. And God's eye is on a sparrow. And I know, oh, yes I know, he watches over me. Church, I'm...
GROSS: You were not holding back (laughter).
JONES: No, I was - that was letting it all out. And I was - you know, and that's a difference in anointing came over me. I just opened my mouth and they just come out, you know, and the air just flowed. And that was, like I said, from that thing I knew that God had watched over me and he had me ready. I was going to be ready for February.
GROSS: Why did you choose that song to be the first song, to be the song that you sang in this small neighborhood church?
JONES: Because if he watches over little sparrow - you know, if he take care of the birds, a little sparrow, here I am, one of his children, you know? He got so many of us down here, human beings that sent our faith up and believe. And if he watches over a sparrow, I know he watches over me. And that was the song, and it was about I'm singing, you know, because I'm happy and I'm free. When I get in church and I sing and - I mean, singing is my life. And when I can do that, that's when I'm free. That's when I'm at my happiest, I'm at my most.
GROSS: What was the importance of the church in your early singing life?
JONES: I think it just prepared me for what to come out here. I mean, it prepared me for when I was (laughter) told I didn't have what it took, which I knew I was a singer. But y'all was looking - they was looking for looks and style and...
GROSS: Right, you were told you were too short and too black.
JONES: Too fat...
GROSS: Too fat, yeah.
JONES: And I just - I didn't make it there with that young - you know, when I was in that youth, in my late 20s, 30s. And 40 was my first album. I got a chance to record and - and that - and the reason why I got a chance to record that because we built our record label and started Daptone. And then they finally got a label so I can have an album, "Dap Dippin," and we don't have to worry about if I sold five or 5,000 or 500. I wasn't - the record label wasn't going to fold under - fire me because I didn't sell, you know, a million records or whatever. So we started that so we can do our music the way we wanted to and get me out there.
GROSS: Since we just heard you sing in church, tell us about the early churches that you sang in when you were a girl.
JONES: One of my churches was in the South, South Carolina right across the bridge from Augusta, Ga. But that was the church my first time ever attempting to sing for the Nativity Christmas play. I played an angel, and I got to sing "Silent Night." And I was like maybe 8, 9 years old. And I remember, you know, doing that - and I was like, hmm. And those people that - that little girl can sing. And I think right then and there I knew that I was going to be a singer. You know, God had blessed me with a gift to sing.
GROSS: Did you sing in choirs or do you usually sing solo?
JONES: Well, at that time, I was young. I just sang with my sister, my sister Willa. We used to sing a little duet, like (singing) take the love with you, oh. And she'll take a verse and I'll take a verse and, you know, that's how it just go on from there. You know, and then later on in the church in New York, I started going to that church at 14. And I just direct the choir.
I never took any kind of vocal lessons or teachings of how to. I never even took piano lessons. You know, a voice just came to me and said go play the piano in church, and I...
GROSS: (Laughter)...
JONES: And I followed my bass player, my guitar player. And I just started playing piano with two fingers, and I just started playing my chords. And that's where I'm at - and listening to Aretha, who was my biggest inspiration. And when I saw her on the "Amazing Grace" album and she had that dashiki on and she did this song "Mary, Don't You Weep," and that was one of the songs - I said, I'm going to play this piano. And I can actually play a couple of Aretha songs but only can play gospel on the piano and stuff. But that was a big - and "Mary, Don't You Weep" was one of my songs that I learned how to play and sing of Aretha Franklin.
GROSS: We're listening to the interview I recorded last July with soul singer Sharon Jones. She died last Friday of pancreatic cancer. We'll hear more of the interview after a break. This is FRESH AIR.
GROSS: This is FRESH AIR. Let's get back to the interview I recorded in July with soul singer Sharon Jones after the release of a documentary about the first seven months after her diagnosis of pancreatic cancer. By the time we spoke, the cancer had returned and she was back on chemo. She died last Friday at age 60.
GROSS: In the documentary, you say that you feel like a different person than you were before you got sick and that when you started performing again, you wanted - you basically wanted to figure out who you were. Who was this new Sharon Jones, and who was this new Sharon Jones going to be on stage? So do you feel like you've been able to answer that for yourself as a performer?
JONES: The other night I went out there, it was like - it was a different Sharon because the hair was gone. That energy - I mean, everyone said my energy was great. But I didn't feel it at all. Like, Binky always say 110 pounds of soul. I felt like that night maybe I gave, like, 90 of it or, you know, a little less. And even now the days on the stage I'm just not myself. I don't have that energy and that leg stuff to lift up like I want to with the pain. The neuropathy from certain chemo is like - it's a hinder. But I do the shows, but it's not the same.
GROSS: Right, 'cause you - for anybody who hasn't seen you perform, you do a lot of dancing and jumping around on stage. You are not still.
GROSS: So I could see how it would be very difficult to do that with neuropathy.
JONES: Yeah, yeah, some nights it's tough, like I said. And to get past that pain and - you know, and each night it seems like once Binky say Ms. Sharon Jones and I walk out there, all the nerves gone, all the nervousness and the pain, you know, I fight through it. You know, those first first couple of seconds or the first five minutes, you know, is the most that I can get through it.
GROSS: I have to say, though, there's a point in the movie where you say if it comes to a point where you have to sing while sitting in a chair or on a stool, that's when you're going to retire. And I thought that's ridiculous. I mean, there's so many singers I love, like jazz singers who spend so much of their career just sitting in a chair or sitting on a stool singing. And, like, that was great for me. I mean, I - I love your voice. Like, why wouldn't you just sing sitting down if you needed to?
JONES: Well, I guess - I guess I'm going have to if something like that happens the way you just put it, like, OK.
GROSS: I mean, really, like, don't retire if you end up having to sit down and sing.
JONES: Maybe then I'll hire some dancers to come out and start dancing around...
GROSS: Fine.
JONES: ...On stage.
GROSS: I want to go back a little bit to your very early singing career. Before you made it as a singer with the Dap-Kings doing your songs, doing the songs that were really for you, you sang in a wedding band.
JONES: Oh, yeah.
GROSS: Did you do covers?
JONES: Oh, that's all we did was covers in the wedding band. Oh, I did a lot of Whitney. I did Aretha, you know, that was my thing. You know, I had that high - you know, and we did that. And then we would go into, like, the oldies. And I would do stuff like (singing) each night before you go to bed, my baby, you know, and stuff like that and go into "Dancing In The Street" and, you know, just - we just jammed stuff, man. We was a different wedding band. And now it's weird because I would like to see people - because they had 8-tracks back in those days, a little cassette track - I would like to see some of that stuff. I wonder if people think, oh, my God, look, she did my wedding.
GROSS: Is it especially great to have backup singers with you? I mean...
JONES: Oh...
GROSS: ...How many girls dream of, you know, like, being the lead singer or being a backup singer but doing that in a - just having the power that comes with having backup singers, the vocal power.
JONES: Back-up singers are such an important role. I'm just a background singing - no, you're not just a background singer. You - that's why you call it background. You're keeping that back and your grounding - I mean, it's all - we all in that band, every one of us is important to us when we become the band. When we say Sharon Jones and the Dap-Kings, that's who we are. And we're a group. And back-up - I - you know, we did the - like, the "Learned The Hard Way" album. And, you know, you go in the studio, some of the first early recording I did a lot of the backgrounds myself, you know, tripled up on them. And then later we would get a couple of singers in, and I still would sing with them, too. I would be third person in that backing up of the album.
But Saundra and Starr have been singing so long together and the three of us - and after going on the road with I learned the hard way and no harm I have, you know, Binky and Gabe and Fernando, my conga player. They're like, oh, don't worry. We do the background for you. And, you know, Fernando have that little accent. And so we went on the road, and I'm hearing (singing imitating accent) I learned the hard way.
JONES: (Singing imitating accent) I learned the hard way, baby - I'm like, oh, my God, we're going to get some background singers right now. And so we would start traveling, and they would hire some - you know, like, we go over in Europe - over in Australia, they have some sister that got them.
We'd be in the States, I said, look, we've got to get somebody that's permanent, and along came Saundra. And Gabe - and I'm like, this is going to good for Sharon. She needs this, you know? And I'm back on there on that road and there you go.
GROSS: Sharon Jones, it's just been great to talk with you.
JONES: Well, I'm going to keep on keepin' on as long as I've got my health and strength and God give me that will to do it.
GROSS: Sharon Jones recorded last July. She died of pancreatic cancer last Friday at age 60. Coming up, Maureen Corrigan reviews Michael Chabon's new novel inspired by his grandfather's life story. This is FRESH AIR. Transcript provided by NPR, Copyright NPR.


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Rua Bela Cintra é uma importante via situada na cidade de São Paulo, capital do estado de São Paulo.

História
Em 1880, Mariano Antonio Vieira (1826-1901) comprou essas terras e junto com outros açorianos começou a viver lá. No ano seguinte, seu sogro, José Paim Pamplona resolveu fazer uma capela (que atualmente é a igreja localizada na Rua Frei Caneca, 1047) em homenagem ao Divino Espírito Santo de Bella Cintra, pois o local lhe lembrava muito sua cidade natal Sintra (na grafia moderna) que fica próxima a Lisboa.

Localização
Está localizada no distrito Consolação, tendo inicio na rua Dona Antônia de Queirós e terminando junto à rua Estados Unidos. Abrange o bairro de Cerqueira César nos distritos da Consolação e Jardim Paulista.

Abriga edifícios residenciais em sua maioria, flats, hotéis, restaurantes, lanchonetes, confeitarias, floriculturas e um comércio variado de lojas finas de vestuário, acessórios de moda e decoração, dentre outras especialidades, em toda sua abrangências. Conta nas imediações com o serviço da Estação Paulista da Linha 4-Amarela do Metrô de São Paulo.

Ligações externas

 Guia de Ruas Apê11 - Rua Bela Cintra

Bela Cintra

redpajama_set_name: RedPajamaWikipedia


My photography affords me a peacefulness often lacking in our world of instance gratification. The worlds of nature, cities, and rural countryside are all subjects in my images that are about something else. They go beyond the reality portrayed to present alternative ways of seeing the complex existence we share. Images are meant to be a jumping off point into a world of fantasy, memories, and newly created states of being. They become unique to the viewer through contemplation yet remain a shared moment with others.
I have a Bachelor of Fine Art from Eastern Michigan University where I began my journey with a camera and in a darkroom processing black and white film. I now work in digital photography with a Nikon camera and lenses and process with Lightroom, Photoshop, and ON1. Some images are very sharp and detailed while others are very much influenced by Impressionism.
I am an associate member of 6 Bridges in Maynard and Fountain Street Gallery in Boston. I am also a member of the Assabet Valley Camera Club, Plymouth Center for the Arts, and the River's Edge Arts Alliance. You can view more of my work at LDBrownImages.com.


Welcome to Koayworld. The spot for everything Koay...well at least everything from our little corner of the world of Koays.
You'll find a little bit about family, a little bit about Florida, a little bit about tropical fruit, a little bit about commercial real estate and a little bit about food.


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Tag: Child Labor
The 2011 government census reported 10.2 million children between the ages of 5 and 14 are involved in the practice of child labor.
According to UNICEF, a total of 152 million children worldwide are enslaved by child labor. The International Labor Organization put the number at 168 million.
Over 41 million of those live in seven South Asian countries. More than 25% of child laborers in the world live in these seven countries. (No information was available from Afghanistan.) The Children's Rights Atlas recognizes that India alone "has the highest number of child laborers in the world.
Yet, this pock on the human condition is relatively unknown. Mainstream media doesn't report it regularly. Most people checking news online are not going to find news about it unless they are looking for it.
The International Labor Organization adds some fascinating insight into the situation in South Asia.
A substantial share of employment of 15-17 years old is hazardous in nature – 75 percent in Bangladesh, 72 percent in Sri Lanka, 41 percent in Pakistan, 30 percent in Nepal, 20 percent in India.
We published a special report on July 31, entitled "Child Labor Today: Not Gone, But Forgotten." The problem of child labor today is so pervasive that we plan to keep readers regularly informed of progress, or lack thereof, in dealing with the issue around the globe.
Our goal is to raise awareness of the issue so that the rest of the world recognizes the gravity of the situation and has the will to act. Only when that happens will the world be able to see a remedy at work.
Weeding the Children Out of the Fields
HYDERABAD – The International Labor Organization and the Indian state of Telangana are about to take bonafide action to weed child laborers out of the region's cotton fields. The state and the ILO are about to embark on a collaborative mapping of the entire area's cotton supply chain. Their goal? To rid the state's cotton… Continue reading Weeding the Children Out of the Fields
Categorized as News Tagged Child Labor, Child Labor Definition, Child Labor Facts, Child Labor Today, Child Laborers, Child Labour, Children Around the World, Dr KP Yohannan, GFA, Gospel for Asia, KP Yohannan, What is Child Labor
The Terrible Toll of Child Labor
WILLS POINT, TX – According to a recent special report, "Child Labor: Not Gone, But Forgotten," 2.8 million children in forced child labor die annually from work-related injuries. That is the equivalent to the entire population of Chicago and more than twice as many children as the total population of Dallas. The in-depth report, published… Continue reading The Terrible Toll of Child Labor
Categorized as News Tagged Child Labor, Child Labor Definition, Child Labor Facts, Child Labor Statistics, Child Labor Today, Child Labour, Children Around the World, Dr KP Yohannan, GFA, Gospel for Asia, KP Yohannan, What is Child Labor
Child Labor Exploitation & Enslavement Targeted in New Report by Gospel for Asia
THE EXPLOITED GENERATION: An estimated 218 million children worldwide as young as five years old are engaged in labor activities, including forced labor, prostitution and pornography, according to a new report released today by Christian agency Gospel for Asia (GFA, www.gfa.org/press/report-child-labor), urging people to "pray, engage and act."
WILLS POINT, TX — A mind-boggling 218 million children around the world are involved in child labor, with millions trafficked in forced labor and the sex trade, according to a new report just released by Christian organization Gospel for Asia (GFA). Gospel for Asia (GFA) Founder, Dr. KP Yohannan, calls for people to "pray, engage… Continue reading Child Labor Exploitation & Enslavement Targeted in New Report by Gospel for Asia
Categorized as Press Releases Tagged About Gospel for Asia, Bridge of Hope, Child Labor, Child Labor Facts, Child Labor Statistics, Child Labor Today, Child Laborers, Dr KP Yohannan, GFA, Gospel for Asia, India Child Labor, KP Yohannan, What is Child Labor
'Beyond Despicable' Conditions Trap 200 Million Children in Child Labor Industry, According to Gospel for Asia Report
In conjunction with World Day Against Child Labor, Christian humanitarian agency spotlights 'horrible and tragic' plight of children — as young as five — forced to work in horrific conditions. WILLS POINT, TX — More than 200 million children, as young as five years old, are trapped in "despicable" labor conditions, according to a soon-to-be-released… Continue reading 'Beyond Despicable' Conditions Trap 200 Million Children in Child Labor Industry, According to Gospel for Asia Report
Categorized as Press Releases Tagged Abandoned Children, Articles About Child Labor, Bonded Labor, Child Labor, Child Labor Around the World, Child Labor Awareness, Child Labor China, Child Labor Deaths, Child Labor Deaths Statistics, Child Labor Definition, Child Labor Facts, Child Labor in Africa, Child Labor in America, Child Labor in Asia, Child Labor in Asia Facts, Child Labor in China, Child Labor In India, Child Labor in India Statistics, Child Labor in India Today, Child Labor in South Asia, Child Labor in Southeast Asia, Child Labor in the US, Child Labor India, Child Labor Laws in India, Child Labor Picture, Child Labor Statistics, Child Labor Today, Child Laborers, Child Labour, Child Labour Pictures, Child Literacy Rates, Dr KP Yohannan, Gospel for Asia, India Child Labor, What is Child Labor

redpajama_set_name: RedPajamaCommonCrawl


My mom Cheryl is my hero. She does anything for me and my siblings. She is awesome for so many reasons. For starters she loves superheros. Going to comic con was her idea. I am in the hoespital a lot so she always know how to cheer me up. She can make anyone laugh. She is fun and energetic. She always puts her family first. When I find somthing fun to do, even if it is across the county, she will do it. She is the best person you will find on this earth. This is why my mom is my hero.


10-Flavor Patriotic Gift Box from Jelly Belly. Ten assorted flavors of jelly beans with US flag box. Great 4th of July candy!
We've taken our best-selling Jelly Belly 10-Flavor Gift Boxes and dressed them with our classic, patriotic flag sleeves. They are perfect hostess gifts, birthday favors or for that special patriotic person.


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Home > Programmes > Coral Bycatch Programme
SIODFA has prepared a coral bycatch form for use by members. Usually no coral bycatch is taken when targeting alfonsino, the major species taken in the SIO deepwater fishery. When targeting orange roughy, which involves bottom contact with the gear, some form of coral bycatch, e.g. live corals but mainly coral rubble, is usually recorded in about 4% of the tows.
One particular issue has been how to record coral debris. Sometimes depositions on such debris indicate that the 'coral' bycatch has been dead for hundreds of years. This is an issue that requires further attention as it is unclear whether the presence of coral rubble actually indicates the presence of a vulnerable marine ecosystem.
Pictured below is an example of coral rubble whose weight exceeded the threshold amount: this was deemed to be a vulnerable marine ecosystem. As a consequence the SIODFA vessel's captain was required to move 5 nautical miles away, i.e. essentially off the bottom feature where the aimed trawling was taking place.
Also pictured are photos of smaller 'corals' taken as bycatch. Interestingly, examples of coral colonization have also been recorded as the photo shows of coral growing on a piece of discarded wire rope. This photo also shows examples of coral recorded as bycatch.


Video: "Don't touch your d*ck, I've done it!" – Action Bronson loses his high by eating wings that are too damn spicy!
The host of Viceland's "F**k That's Delicious" smokes and drinks his way through the Scoville onslaught, tackling questions about everything from on-stage body slams to legendary TV chefs along the way.
Video: Doctors in China have grown an artificial ear on a man's arm using cartilage from, who lost his in a car accident!


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Why the SNES is Still the Best Console Ever
by Josh Littman on February 28, 2018
Why DRAGON BALL FIGHTER Z Is A Blast!
A Look Back at Year 1: Happy Birthday, Nintendo Switch!
The Super Nintendo Entertainment System (SNES), the successor to Nintendo's wildly popular Nintendo Entertainment System, was initially released in North America on August 23, 1991. Some argued that the release of this console would usher in a golden age of video games — an argument that I support.
While newer consoles with their better hardware have provided us with great experiences that the SNES could not, I would argue that, in terms of the sheer number of absolutely incredible games that changed everything, the SNES has yet to be equaled.
Those who were around in the heyday of the SNES will remember the vicious console wars of the time. Part of the impetus for the SNES being released at all was the fierce competition the NES was receiving from the then-new Sega Genesis (or Mega Drive, as it was known in Europe).
With a slick marketing campaign by Sega, including such gems as "Genesis does what Nintendon't" and "blast processing" (which, to this day, has never been defined), the Genesis had Nintendo on the back foot for the first time. It was clear that Nintendo could not rest on their laurels and expect to maintain the near-total dominance of the video game market they had enjoyed during the NES era.
Enter the SNES. A console that not only was a worthy successor to the NES but which would arguably remain Nintendo's magnum opus even today, almost three decades after its initial release.
(I should mention that I only know the above from a historical perspective. I did not grow up with the SNES; my first console was its successor, the Nintendo 64. I never played a SNES game (barring a couple of remakes on the Game Boy Advance) until I got into the emulation scene as a teenager. So never let it be said that nostalgia for the SNES blinds me!)
Creativity Isn't Dead: What the Gaming Industry Can Learn From THE METRONOMICON
Inside the Beast
From a technical standpoint, SNES was a marvel for its time, an improvement on the NES in basically every way. Just looking at the specs, the SNES was obviously far superior to the NES, and in most aspects, it was superior to the Genesis, too (see here for a detailed comparison between the two consoles).
However, looking at the specs alone doesn't tell the whole story, and doesn't do justice to the ingenious design of the system. The SNES made it easy for developers to include special enhancement chips in SNES cartridges, which allowed for games to achieve things that you wouldn't expect such a console to do. This was more efficient than having a more powerful CPU (as the Genesis did), which would become obsolete in a few years anyway.
SNES used Mode 7 to create pseudo-3D effects, as seen here in F-ZERO
This brought about a system of diverse titles and genres that didn't exist anywhere else. The SNES had 783 officially licensed games, many of which would be impossible to replicate on other consoles in the 16-bit era. And obviously, had Nintendo rested on its laurels and stuck with the NES, these games would never have existed. Games like STAR FOX and F-ZERO, while a little dated today, were breakthroughs that showcased the advanced hardware of the SNES.
And let us not forget the controller. Improving on the NES controller by adding two face buttons and two shoulder buttons, the SNES controller's design is the ancestor of many modern controllers like the PlayStation's.
All in all, the SNES offered experiences that, from a technical standpoint, the hardware of other consoles couldn't have achieved. Needless to say, Sega soon found themselves unable to use the "Genesis does what Nintendon't" slogan anymore.
7 Classic Games That Bring People Together
Game-changing Games
FINAL FANTASY VI (released in North America as FINAL FANTASY III), one of the definitive RPGs of its time
Of course, the best hardware in the world means nothing if you don't have good games to play on it. Lucky for us, the SNES had many of the best games ever made. Games which would set the standards for future games; games that would change gaming forever. There are so many such games on the SNES that it is hard to decide where to start. Some of gaming's most well-known franchises (like MARIO and FINAL FANTASY) began or had their definitive installments on this console.
As an example, let's talk about SUPER METROID. A strong contender for not only best METROID game, or even best SNES game, but the best game ever made.
The title screen for SUPER METROID, one of the best of the best
METROID 1, released on the NES in 1987, was undoubtedly an incredible game for its time. It introduced a number of new concepts, including the radical idea of moving the screen in an unthinkable direction: left. Unfortunately, METROID 1 has aged like milk. It's only worth playing today to experience a piece of gaming history.
The same is not true of 1994's SUPER METROID. To this day, it is the game people think of when they think METROID. In terms of series legacy and popularity, few games come close.
You may have heard of the genre "Metroidvania." It's a genre that emphasizes exploration, non-linearity, and free-form gameplay. SUPER METROID spawned that genre. While later games in the genre such as CASTLEVANIA: SYMPHONY OF THE NIGHT for the PS1 (which is where the "-vania" part comes from) would evolve and improve on the gameplay of SUPER METROID, the latter is, to this day, the gold standard of the genre. Few games can claim to have spawned an entire genre. It's a gaming staple with a level of perfection that no prior console could have achieved.
I first played SUPER METROID on the Wii's Virtual Console in 2008, nearly 15 years after the game's initial release. Long story short: to say I was blown away would be one hell of an understatement. It is just as amazing now as was nearly a quarter-century ago. While some say the controls are weird, it can easily be picked up and enjoyed by gamers of any generation. If you haven't played it, do yourself a favor and fix that. Buy it, rent it, borrow it from a friend. Just play it.
How BREATH OF THE WILD is taking ZELDA back to its roots
Of course, SUPER METROID was hardly the only game to revolutionize gaming that would grace the SNES. Pictured below is an iconic scene from THE LEGEND OF ZELDA: A LINK TO THE PAST, released in 1991. Like METROID, the original ZELDA for NES was great for its day, but it hasn't withstood the ravages of time.
That is not the case with A LINK TO THE PAST. This game codified so many things that we take for granted in the ZELDA series today. The Master Sword? First appeared in this game. Ganon(dorf)'s iconic theme tune (along with many other staple tunes of the series)? Started here. Even the basic plot structure and the overall gameplay formula for virtually every succeeding ZELDA game can trace its origin to A LINK TO THE PAST.
A LINK TO THE PAST, setting the ZELDA standard
In many respects, while THE LEGEND OF ZELDA for the NES was the one that started it all, A LINK TO THE PAST was the true start to one of gaming's most revered and influential franchises. It codified so much that not only ZELDA but action-adventure games as a whole take for granted.
As with SUPER METROID and Metroidvania, A LINK TO THE PAST came to define an entire genre, both for its own time and for future consoles to come. And it could not have been done on any other console before and during the 16-bit era. It's not my favorite ZELDA game, but there's no denying that it's one of the most influential, both for the series and gaming as a whole.
Thank you, SNES
I could go on and on and on. There are so many amazing games for the SNES that revolutionized everything just as much as the ones I listed. And, of course, there are much more that weren't as revolutionary, but were just great games that were fun to play.
I could gush about games such as SUPER MARIO WORLD, EARTHBOUND, SUPER CASTLEVANIA IV, FIRE EMBLEM 4 & 5, but if I were to list everything, I'd be here all night. You're simply spoilt for choice. Suffice to say, the SNES was a watershed in gaming history. While the debate for greatest console ever rages on, it's clear that SNES is definitely up there.
This Makes Me Happy
Consoles, Features, News, Nintendo
classic gamesMetroidSNESTHE LEGEND OF ZELDA
classic games, Metroid, SNES, THE LEGEND OF ZELDA
Josh Littman
SNESTHE LEGEND OF ZELDAConsolesFeatures
Enjoy one of these classic games to bring you and your friends together. Classic games are great to find common ground with a new roommate or an old friend.
Internet Subculture
Analysis Assemble! Looking at MARVEL'S AVENGERS Gameplay Video
Halloween Special: Scary Moments in Video Games
Blizzard's Apology Is Garbage. Here's Why. — PixelPop News
Blizzard Bans Pro Player Over Hong Kong Comments — PixelPop News


So how is AirCTO different from other hiring platforms?
This is a very common question we get from many people day in, day out. The simple answer to this is "the unique hiring strategy we follow at AirCTO".
In this post we'll tell you about our 5 Step Sourcing process to hire top tech talent.
Before sourcing for any company we request our customer to send the JD (Job description). After getting the JD from the customer, our talent experts perform a feasibility check. This is done to see if it's possible to find developers in that particular location or not, with that particular skill at that salary. After the check, our team debates if it's worth the effort to proceed further or not.
Over a period of time, we have built a process and system to source candidates for our customers. It's starts with Discovering the candidates, Nurturing them for a specific role and further Screening them to know how good they are.
At AirCTO, we use a lot of sources to find candidates. The two main categories are internal and external sourcing.
We have got various internal tools and process to source candidates; Discover, Job Board, AirCTO Connect.
Discover is an internal tool that our recruiters use to find developers. It has over twenty two thousand candidates. Our Job Board also accounts for a lot of applicants. As many developers know about AirCTO, they keep checking for relevant job opportunities & even recommend their friends about the same.
Our Developer Community AirCTO Connect, also helps us in finding interested developers. We update our members about the new job opportunities and also request them to share those opportunities among their network.
When it comes to external source, we majorly use LinkedIn, AngelList & GitHub. When it comes to GitHub, we make use of search strings to find developers.
We also post Jobs on our LinkedIn page to attract candidates. When posting we make sure to mention all the details to avoid getting a lot of irrelevant profiles.
The next step to the sourcing process is nurturing of the candidates. This is the most important process in the sourcing process.
We've built bunch of tools to automate this process.
Track is an internal tool we use for managing candidates. It has an integrated FAQ chatbot which we use to nurture the candidates & screen them.
Using this tool we can easily generate a chatbot link that addresses every candidate individually and interacts with them. Candidates can ask questions related to the JD like salary, location, etc with the help of this Chatbot.
In case the candidate is interested, we make use of the chatbot to get details such as current salary, preferred location, ratings etc.
We have got some nifty features such as managing status, filters, sending emails, managing chat reports, pushing interested candidates to AirCTO system.
One of the major challenge we faced was the delay in the response of the candidates and we have seen tremendous engagement between Candidate & Chatbot even in the mid-night when our team is asleep. It has reduced a lot of our manual work and increased our efficiency.
We also rely on LinkedIn messages, emails and calls to nurture candidates. Though the response from emails are quite poor, we still use emails to engage with candidates incase if we are unable to connect with them on LinkedIn.
All our candidates go through manual and automated screening process. This is very important to keep a check on the quality of the candidates.
The LinkedIn profile of the candidate and whether he has got endorsements for particular skills or not.
The projects mentioned on the resume. GitHub & StackOverflow account of the developer.
Personal blogs, websites if any.
To review a profile, we give a chance to the candidate to rate herself/himself on the particular, relevant skills which are required for the job position. The rating is generally out of 5 .
We have also developed CAT (Computerised Adaptive Testing). We use adaptive tests to measure the ability of the candidate in different domains (Python, Front end development, Docker etc).
We use mix of automated screening and manual screening to screen candidates.
After screening the candidate and confirming on the salary and notice period, we forward the profiles to our client. The client then rates the candidates out of a score of 5.
If the client is interested in talking to the candidate, they can initiate "Handshake". To define "Handshake", it is a way of accepting a candidate's profile and agreeing to move ahead for further interview rounds. This is the final step of our sourcing process. Incase the candidate doesn't respond to the intro call for any reason, we replace the profile.
Hope you liked the various insights we shared in this article. We have tried to keep it as brief as possible.
While recruiting developers is indeed a difficult task, if done right, it's not very hard. You just require the right tools and strategy.
More posts by Bharath Kumar.
More posts by Rumi Roy.


The distance between Budapest, Hungary and Kosti, Sudan is approximately 4,023 km or 2,500 mi.
To reach Budapest in this distance one would set out from Kosti bearing 344.3° or NNW and follow the great circles arc to approach Budapest bearing 337.1° or NNW .
Budapest has a marine west coast climate (Cfb) whereas Kosti has a subtropical hot desert climate (BWh).
Budapest is in or near the cool temperate moist forest biome whereas Kosti is in or near the tropical thorn woodland biome.
The mean temperature is 17.4 °C (31.4°F) cooler.
Total annual precipitation averages 211.9 mm (8.3 in) more which is equivalent to 211.9 l/m² (5.2 US gal/ft²) or 2,119,000 l/ha (226,535 US gal/ac) more. About 1 3/5 as much.
The altitude of the sun at midday is overall 30° lower in Budapest than in Kosti.
Relative humidity levels are 23% higher.
The table shows values for Budapest relative to Kosti. You can also view this comparison the other way around from the perspective of Kosti vs Budapest.


Recently microstock iStockphoto has celebrated its 10th anniversary. Meanwhile the whole microstock industry has celebrated this event too cause it's iStockphoto which was the pioneer to bring to the market revolutionary idea of selling cheap images in Internet.
10 years — it's always a remarkable achievement. And it's the right time to analyze past years and try to take a look into the future. That's the way we are going to take in this article.
Of course it's hopeless to make comprehensive analysis of microstock market using just one article. That's why we will pay attention only to pricing. Cause it's the price to be the corner stone of the microstock industry. After all prefix "micro-" is taken originally from the word "micro-payment".
So, what had happened with the pricing and what will happen with it in the near future? Will the prices be raised or lowered? Just to gain insight into this let's take a look into the past.
Let's take iStockphoto as the starting point of our journey cause it was the pioneer as mentioned above.
And it's amazing but in 2003 the most expensive credit at iStockphoto was valued at… $0.50! "Just 50 cents per image? At iStockphoto? You must be crazy" — one can say surfing through a detailed pricing review of iStockphoto. But it's not a joke: paying just $10 one could get 20 credits which could be easily spent for buying 20 images.
As the time passed by the price of 1 credit had been raised to $1. In 2007 1 credit price was at $1.20, in 2008 — $1.30, and now — $1.52. The prices had been multiplied up several times.
And it's all the same for other microstocks too. Though the picture is not so impressive. So, in 2004 monthly subscription plan for buying 750 images was valued at $139 at Shutterstock. Later — $159, and now it's as high as $249.
During the past years prices were raised at Dreamstime too. And Fotolia has raised its prices just few months ago.
These facts underline the tendency of price raising. But this trend is going to be ended soon.
It's well known that every business exists in one of the pricing segments: the bottom, the middle (quite often — "the dead zone") and the top. Microstocks are the brightest examples of businesses which belong to the bottom pricing segment and it's highly dangerous for it to cross the line.
Big raise of prices from their current level is against the very backbone idea of microstocks. Cause they won't be "micros" anymore and will lose great part of their customers. And this part will consist of the customers who buy licensed images at microstocks just because they don't have enough money to spent it on purchasing the same images at traditional photostocks like Getty Images or Corbis. These peoples' business just can't afford such expensive pricing as traditional photostock giants have.
That's why microstocks have no other choice than to follow idea of "one dollar per one image". Otherwise they'll start to lose their customers. Nonetheless minimal prices could be raised by several dollars per one image but this would be a serious challenge to microstocks' stability and profits just because of financial and psychological aspects of human behavior.
As usual regular images will be valued at $1. But along with regular images there always will be collections of premium-class images at microstocks. And prices for images of these collections will be much higher than for regular ones.
And what content will be in such collections? Only high-skilled artists will have an opportunity to submit their work to these collections and earn significant royalties of the high-priced sales microstock make. And it's not about "30 cents per image".
At the present one can see such collections at some microstocks. For example: Vetta at iStockphoto and Evo at 123RF.
Furthermore microstocks have other ways to ensure raise of the prices for images of popular artists. So there are many exclusive contributors at iStockphoto and their work is priced higher than non-exclusive ones.
At Fotolia artists have the right to set the price for their images and they can raise it significantly. At Dreamstime popular images with many sales are priced higher and higher as they are sold more and more.
But the main part of the images at the market won't have its price raised. And this is very important. Just because of that customers of microstocks will always have the choice: to buy images for $1 or to purchase expensive images of maximum possible quality.
If one day large microstocks decide to get out of the bottom pricing segment and raise prices for every image they sell then it always be the newcomer ones which will sell the same images for $1. And the game will get started again.
Prices for subscription packages for buying images at microstocks won't change noticeably. New expensive packages with low price for one image or cheap packages with high price for one image can enter the market but it won't redraw the whole picture for customers of microstocks.
And it's a pity cause it is very useful to have very cheap monthly subscription packages even if the price for one image is much higher than usual.
At the present the cheapest monthly subscription package is offered by 123RF and is valued at $89 ($0.59 for one image). And still it is too much for many of microstock potential customers.
Maybe the time has come to make subscription attractive not only to prominent customers.
"Hand With 50 Cent Coin" by photobuyerguide at iStockphoto.com.


text:
Q: Equivalence of Category of finite dimensional vector spaces to its opposite The duality functor $F=\text{Hom}(-,k) \in Fun(\text{Vect}^{op},\text{Vect})$ (where $k$ is the ground field) gives the equivalence. In fact this maps every finite dimensional vector space $V$ to its dual $V'$. This maps every morphism $T:V\to W$ in $\text{Vect}$ to $T':W'\to V'$ by precomposing morphisms in $W'=\text{Hom}(W,k)$ with $T$.
Now in a bit more concrete term, each $T':W'\to V'$ is the dual map of $T$, and from elementary linear algebra there is bijective correspondence between $T'$ and $T$ because we are in finite dimensional case. So $F$ is fully faithful, and it is also essentially surjective (dense) because for every $V\in \text{Vect}$, $V'$ is isomorphic to $V$.
Hence this functor gives a equivalence.

Some questions I have about this:
It feels like I've done this in a very roundabout way, like I'm missing some obvious observations that would make problem a lot easier. For instance, some of the main advanages of having finite dimensional vector spaces is that $V$ is isomorphic to its bidual $V''$, and it is very tempting to say stuff like $F^2(V)=V''$ is isomorphic to $V$. Except that $F$ is $\text{Vect}^{op}\to \text{Vect}$, so we cannot talk about $F^2$. Is this just a good looking coincidence?
Also, what would be the other functor constituting the equivalence with $F$?

redpajama_set_name: RedPajamaStackExchange


text:
Gerardus Johannes Cornelis (Gerard) van Aalst (Breda, 7 augustus 1896 – aldaar, 4 oktober 1965) was een Nederlandse tekenleraar en beeldhouwer.

Leven en werk
Van Aalst was een zoon van Johannes Jules van Aalst, behanger, en Paulina Francisca Catharina Kessels. Hij was vanaf 1924 docent aan de avondtekenschool in Ginneken en was daar van 1938 tot 1960 directeur. Van Aalst maakte vooral bronzen portretten in de vorm van plaquettes, die werden verwerkt in grotere monumenten. Daarnaast maakte hij een enkel ander werk zoals de engel met het stadswapen aan de watertoren aan de Speelhuislaan in Breda.

Werken in de openbare ruimte (selectie)
 Plaquette notaris A.J.A. Verschraage (1930), Wilhelminapark, Breda
 Gevelbeeld engel (1930), watertoren, Breda
 Plaquette C.M.V. Roothaen (1931), Canisiusziekenhuis, Nijmegen
 Plaquette Egbert ten Cate (1936), Almelo
 Plaquette Coenraad Frederik Stork (1939), C.T. Storkplein in Hengelo
 Plaquette burgemeester Frans Vonk de Both (1939), Paleiszaal, Paleis-Raadhuis in Tilburg
 Plaquette kapelaan Alfred Verhaegen (1946), Hoeven
 Gevelbeelden sint Petrus en Paulus (1952), HH Petrus en Pauluskerk, Boschkapelle
 Plaquette Godfried van der Muelen (1954), Nijverdal

Fotogalerij

Zie ook
 Lijst van Nederlandse beeldhouwers

Nederlands beeldhouwer


© © Copyright Stanley Howe (http://www.geograph.org.uk/profile/7629) and licensed for reuse (http://www.geograph.org.uk/reuse.php?id=3127420) under this Creative Commons Licence (https://creativecommons.org/licenses/by-sa/2.0/).
Banff Links Caravan Park is a brilliant family holiday park on the outskirts of the popular Scottish coastal town of Banff. The park is open from the end of March until the end of October every year, and offers a selection of well-maintained holiday caravans for hire, as well as welcoming guests with touring caravans, tents, and motorhomes. Dogs are welcome at the park, too.
There are four-berth and six-berth holiday caravans for hire at Banff Links Caravan Park and they are all fully equipped with the very best in appliances and conveniences, while also providing full electricity, water, and drainage needs, ensuring guests enjoy a true home away from home while staying at the site. Linen is also provided, with guests only needing to take towels. Some of the accommodation for hire is dog-friendly.
There are 58 touring pitches to use at Banff Links Caravan Park. 38 of these are serviced with electric hook-ups, with 20 more pitches designed to suit tents that do not need electricity. Additional services found on site at Banff Links Caravan Park to ensure guests enjoy a comfortable stay include hot showers, dishwashing facilities, and a laundrette. Calor Gas can also be purchased and canisters exchanged at the site. Wi-Fi internet is also available at the park, while there is an on-site shop with camping essentials and a small selection of groceries.
Plenty of open space is available on the site for ball games and other activities, while there is an excellent children's adventure playground for little ones to enjoy.
Visit Banff and the surrounding area simply because it is a beautiful location that offers something for everyone. If you're looking for family seaside holidays near Banff this is a good place to stay. The park is just a short distance from the beautiful beaches of the region, which are excellent for enjoying activities on the sand such as football and cricket. Guests looking for total relaxation can simply put up their windbreaker and read a good book. The sea is clean and relatively calm on this part of the coast, so it is great for paddling and swimming with your family.
The beach areas also offer many opportunities to try out water sports, with windsurfing and kayaking among the pursuits available.
The Moray coast is renowned as having some of the most beautiful sights anywhere in the United Kingdom. As a guest at Banff Links Caravan Park you will have the choice of exploring the coastal area on the land on foot or bicycle. Take boat trips out into the sea to enjoy dolphin and whale spotting – always popular when people visit Scotland. You can go on sea fishing trips from Banff and several of the other villages found along the coast.
Banff Links Caravan Park makes a great base for cycling holidays in Scotland. So if you are looking to explore further afield on two wheels you will find sections of the National Cycle Network close by, with numerous enjoyable routes waiting to be explored.
If golfing holidays are more your cup of tea, you will soon discover that Scotland's status as the home of golf is alive and well in the area, with numerous courses available within an hour of the park, many of them offering brilliant views of the sea as well as a challenging round.
Banff Museum, Duff House, and the Macduff Marine Aquarium are all close by and are excellent attractions, offering numerous options for fun family days out.
So if you're looking for holiday caravans to rent in Scotland, or family tent, motorhome and caravan holidays near Banff, take a closer look at what's on offer at Banff Links Caravan Park.
By clicking "Submit" you certify that this review is based on your own experience and is your genuine opinion of "Banff Links Caravan Park" and that you have no personal or business relationship with "Banff Links Caravan Park" and have not been offered any incentive or payment originating from "Banff Links Caravan Park" to write this review.


text:
package io.leopard.web.freemarker.template;

import java.util.List;

import javax.servlet.http.HttpServletRequest;

import org.apache.commons.logging.Log;
import org.apache.commons.logging.LogFactory;

import freemarker.ext.beans.StringModel;
import freemarker.template.SimpleDate;
import freemarker.template.SimpleNumber;
import freemarker.template.SimpleScalar;
import freemarker.template.TemplateMethodModelEx;
import freemarker.template.TemplateModelException;
import io.leopard.web.freemarker.TemplateVariable;

public abstract class AbstractTemplateMethod implements TemplateMethodModelEx, TemplateVariable {
	protected Log logger = LogFactory.getLog(this.getClass());

	@Override
	public Object exec(@SuppressWarnings("rawtypes") List arguments) throws TemplateModelException {
		// arguments.toArray();
		Object[] args = new Object[arguments.size()];
		int i = 0;
		for (Object obj : arguments) {
			if (obj != null) {
				if (obj instanceof SimpleDate) {
					args[i] = ((SimpleDate) obj).getAsDate();
				}
				else if (obj instanceof SimpleNumber) {
					args[i] = ((SimpleNumber) obj).getAsNumber();
				}
				else if (obj instanceof SimpleNumber) {
					args[i] = ((SimpleNumber) obj).getAsNumber();
				}
				else if (obj instanceof SimpleScalar) {
					args[i] = ((SimpleScalar) obj).toString();
				}
				else if (obj instanceof StringModel) {
					args[i] = ((StringModel) obj);
				}
				else {
					logger.error("obj:" + obj.getClass());
					args[i] = obj.toString();
				}
			}
			i++;
		}
		try {
			return this.execute(args);
		}
		catch (TemplateModelException e) {
			throw e;
		}
		catch (RuntimeException e) {
			logger.error("key:" + this.getKey() + " clazz:" + this.getClass().getName());
			throw e;
		}
		catch (Exception e) {
			throw new TemplateModelException(e.getMessage(), e);
		}
	}

	public Object execute(Object... args) throws Exception {
		HttpServletRequest request = RequestHolder.getRequest();
		try {
			return this.execute(request, args);
		}
		catch (TemplateModelException e) {
			throw e;
		}
		catch (RuntimeException e) {
			throw e;
		}
		catch (Exception e) {
			throw new TemplateModelException(e);
		}
	}

	public abstract Object execute(HttpServletRequest request, Object... args) throws Exception;

}

redpajama_set_name: RedPajamaGithub


text:
Q: NET-SNMP in Solaris 11.3 -How configure filesystem full and a process down? i have configured the community in one Solaris 11.3 System and it works
But.. for monitoring filesystems full or an application process down,
my question is, how must i add this control in snmp.conf?
for exemple:
rdsk /
disk /var
proc http
??
i have standalone and kernel zone machines
thanx in advance !
Max


When it is hot outside you might find it really difficult to fall asleep at night, especially when you are drenched in sweat and frustrated. Such sleepless night would be common during hot summer nights. Even the thought of sleeping would make you feel uncomfortable. Replace those thoughts about having sleepless nights with yourself having a cool, comfortable and peaceful sleep throughout the whole summer. Because fortunately, there are certain tips that could help you to survive the long hot summer nights. These steps will help you to have a peaceful, comfy sleep during an insufferable night.
Exercising could raise your body temperature and will retain heat therefore, make sure that you exercise several hours before you go to sleep allowing plenty of time for your body to cool down. Drink plenty of water throughout the day to keep yourself hydrated and you might also want to keep a glass of water by your bedside. Avoid eating heavy or spicy meals before going to bed as it could cause you to feel much hotter. Hence, have a light dinner at least 2 hours before you sleep and avoid eating any spices or hot sauce. Having a nice hot bath before the bed will also be of much use to you here. Moreover, maintain the good heating and cooling in Canberra systems in your house in proper order. Use light weight cotton bed sheets and blankets.
There are certain changes that you can make to the room to let you sleep comfortably during hot summer nights. Leave the windows opened during the night to increase the air circulation and to cool down the room. One of the best steps that you can take here is the installation of air conditioning units. In order to keep them ideally functional, you should also direct your attention towards carrying out proper Canberra air conditioning installation to them. In addition to that, you can also go for the option of fans and various other cooling solutions.
Turn on the fans in your room and make sure they face your bed. You could even place an icepack over your forehead or the back of your neck. This will help to cool down the rest of your body as well. In addition to that, the placements of your bed will also effectively contribute towards how cold you can stay. For best results, find that perfect spot that is close to the windows in keeping yourself comfortable.


These snowflakes can be used as Christmas tree ornaments, or any other decorations. You can see some suggestions in the second picture. The snowflakes are available in a smaller and bigger version. The price includes one big OR three small ones. You choose which pattern and colour you want. There are 16 patterns of the small snowflakes (third picture) and 9 patterns of the big ones (fourth picture). A few dozen colours are available (including neons, semitransparent that imitates ice, glow-in-the dark green, red, and blue) – just tell me what colour and shade you are interested in and we will come to an agreement :) The decorations are sold without the string.