I recently bought a midi controller for my Cluster Flux and Super Delay. The plan is the create pre-sets of my favourite settings so that I can switch them on the fly. I am very new to midi and am learning slowly. What is the most efficient to way to set up the cc value of multiple parameters (cc#) to get the sound I need via midi?
This is the only approach I can come up with given my little knowledge. It does feel like a time-consuming task and I was hoping someone can share a better way of doing it?
Not having done this myself, I would guess that you're pretty much going about it the correct way. One thing I would refine in your example is that since the knobs only go from 7 o'clock to 5 o'clock, 3 o'clock is not halfway between 63 and 127, it's more like 3/5's of the way there. For every 'hour' that the knob changes, increase the MIDI CC by 12.8 (or just round that up to 13).
You could also take a 'screen shot' of your front panel by sending all the info from the Fooger to your computer via MIDI and then having a program like MIDIOX decipher this. Again not having done this myself, I'm only guessing here.
An alternative of doing this is to configure your MIDI controller and search the sound you like from the controller itself rather than moving the MoogerFooger knobs. This way you just have to save the configuration (or patch or whatever it is) for the next time.
I haven't used MIDI this way a lot, but provided loading a configuration (or patch or…) sends the whole MIDI CC# values, you should be able to use presets with your MoogerFooger.
I suppose the first thing to do is to figure out if your midi controller is capable of sending multiple CC's when it's program is changed. Many controllers only send one or two, maybe 4 CC's on a program change. So the trick might be multiple program changes, or a progression of program changes to send all the CC's you want to change. Some of the more complex controllers allow you to send a whole string of CC values based on an event.
If you have a DAW or an iDevice and hardware to send MIDI, you could use the software to set your settings - meaning that in the DAW or software, you would see the value that the controller is set to, without trying to guess based on knob position.
Next, figure out the preset settings values, once you know how to send them.
Edit: I also just did a quick read in the manual, and you can also send MSB / LSB CC messages - basically 0-127 or 0-16383. The second option provides more precise control over the value you actually want, so using your controller to send LSB values would be ideal if you are being picky about needing a setting between 62 & 63 for example.
Alien8 wrote: Some of the more complex controllers allow you to send a whole string of CC values based on an event.
Would you be able to recommend an iOS app for this purpose? I'm not looking for real time touch control over CCs, like TouchOSC. Just a librarian to store presets of multiple program change and CC values across multiple MIDI channels (104M, 105M & 108M).
stiiiiiiive wrote: An alternative of doing this is to configure your MIDI controller and search the sound you like from the controller itself rather than moving the MoogerFooger knobs. This way you just have to save the configuration (or patch or whatever it is) for the next time.
What midi controller(s) are capable of saving and recalling Clusterflux presets?
Id like to if its possible for a midi cc to be initialized to a value like 64, for instance.
In fact, when the FH-1 is turned on, Id like the smoothing already to 64. I dont find that in the script.
"Init to mid-range" doesnt seem to have the effect Im looking for.


text:
package com.gemstone.gemfire.cache;

/**
 * Immutable parameter object for describing how {@linkplain
 * Region.Entry region entries} should be written to disk.
 *
 * @see DiskWriteAttributesFactory
 * @see AttributesFactory#setDiskWriteAttributes
 * @see RegionAttributes#getDiskWriteAttributes
 * @see Region#writeToDisk
 *
 * @author David Whitlock
 * @author Mitul Bid
 *
 * @since 3.2
 * @deprecated as of 6.5 use {@link DiskStore} instead
 */
@Deprecated
public interface DiskWriteAttributes
  extends java.io.Serializable {

  //////////////////////  Instance Methods  //////////////////////

  /**
   * Returns true if this DiskWriteAttributes object
   * configures synchronous writes.
   *
   * @return Returns true if writes to disk are synchronous and false otherwise
   * @deprecated as of 6.5 use {@link RegionAttributes#isDiskSynchronous} instead.
   */
  @Deprecated
  public boolean isSynchronous();

  /**
   * Returns true if the oplogs is to be rolled to a more condensed format (on disk)
   *
   * @return Returns true if the oplogs is to be rolled or false otherwise
   */
  public boolean isRollOplogs();

  /**
   * Get the maximum size in megabytes a single oplog (operation log) file should be
   *
   * @return the maximum size the operations log file can be
   * @deprecated as of 6.5 use {@link DiskStore#getMaxOplogSize()}
   * instead.
   */
  @Deprecated
  public int getMaxOplogSize();

  /**
   * Returns the number of milliseconds that can elapse before
   * unwritten data is written to disk.  If this
   * DiskWriteAttributes configures synchronous writing,
   * then timeInterval has no meaning.
   *
   * @return Returns the time interval in milliseconds that can elapse between two writes to disk
   * @deprecated as of 6.5 use {@link DiskStore#getTimeInterval()}
   * instead.
   */
  @Deprecated
  public long getTimeInterval();

  /**
   * Returns the number of unwritten bytes of data that can be
   * enqueued before being written to disk.  If this
   * DiskWriteAttributes configures synchronous writing,
   * then bytesThreshold has no meaning.
   *
   * @return Returns the number of bytes that can be buffered before being written to disk
   * @deprecated as of 6.5 use {@link DiskStore#getQueueSize()}
   * instead.
   */
  @Deprecated
  public long getBytesThreshold();

  /**
   * Two DiskWriteAttributes are equal if the both
   * specify the synchronous writes, or they both specify asynchronous
   * writes with the same time interval, bytes threshold, maxOplogSize and
   * compaction values
   *
   * @return true if o is equal else false
   */
  public boolean equals(Object o);

}

redpajama_set_name: RedPajamaGithub


…as dinner was being served. Nice!
As it got darker the stars got brighter.
This was exactly why we had to do one more Spitzkoppe camping!
…and a beautiful horizon with the sun just below it.
Toast under way and a bonfire until the sun reached us.
Bye, bye Spitzkoppe, hope to see you again!


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text:
Coelogynopora hamulis är en plattmaskart som beskrevs av Sopott-Ehlers 1980. Coelogynopora hamulis ingår i släktet Coelogynopora och familjen Coelogynoporidae. Inga underarter finns listade i Catalogue of Life.

Källor

Virvelmaskar
hamulis

redpajama_set_name: RedPajamaWikipedia


text:
Researcher Starts Open Access Genome Project in the UK
By Shauna White on July 24, 2014
Since the launch of The Genetic Link blog back in 2009, we've shared dozens of stories from the field highlighting remote DNA collections, innovative approaches to research, and unique event-based collections. Each of these stories was based on a research team searching for the gene or genes responsible for a particular disease or health condition. The story in this article is unique in that it highlights a project that is hoping to attract individuals who are willing to share their personal genome, health information and trait data for a broader application. The goal is to advance scientific progress by inviting willing participants to share their personal genetic data for the greater good.
I recently had the pleasure of speaking with Professor Stephan Beck, PhD, who is the director for Personal Genome Project (PGP) – UK. He is a Professor of Medical Genomics at the University College London Cancer Institute, who has over 30 years experience in genomics and played a leading role in the Human Genome Project. He also has broad interests in genomics and epigenomics of phenotypic plasticity in health and disease.
His PGP-UK project is creating a freely available scientific resource that brings together genomic, environmental and human trait data. PGP-UK is an outgrowth of the Personal Genome Project begun in 2005 by George Church of Harvard University. At the time of the creation of PGP Harvard, genome data were often freely available but health information was not. The absence of this information made it difficult for researchers using the publicly available genomes to link gene variants to specific conditions. The pilot group for the Personal Genome Project is based at Harvard, but it is a global group, with representation from around the world including this one in the UK, and one in Canada along with interest from over 10 additional sites worldwide. Each PGP site in the global network adheres to a set of guidelines and best practices for creating open genomic data.
The PGP-UK is dedicated to creating public genomic resources that everyone can access. Privacy, confidentiality and anonymity are increasingly impossible to guarantee in a context like the PGP where public sharing of genetic data is an explicit goal. Therefore, the PGP collaborates with participants willing to accept the possibility of identification. PGP-UK understands that they must help potential participants understand the risks and protocols of participation in this type of research. To address this issue, the study has a much higher standard of informed consent. The process of participant enrollment is focused on making sure people are aware of the risks of making their genome public, including completion of a test proving that they understand the potential ramifications before signing the 19 page consent form. The increased enrolment requirements have not discouraged people from registering for PGP-UK as so far, more than 10,000 British volunteers have pre-registered for the study.
The first call for full enrolment in PGP-UK opened in May and resulted in 1000 enrolments. Future calls will be made as soon as possible and the first batch of enrolled volunteers will soon be invited to provide a sample, including using Oragene to provide their DNA for genome sequencing. This pilot study is designed to test the infrastructure and see how it will work for participants and researchers alike. PGP-UK aims to maintain lifelong relationships with participants, collaborating on tracking health and other traits as they unfold over the course of a participant's life.
Scientists hope that sequencing the full genomes of volunteers and making them free to access can help speed up the drive for new treatments in areas such as cancer, diabetes and dementia. This will enable medical advancement through meeting science's need for richer data.
Dr. Stephan Beck has just begun this exciting project in the UK and we wish him the best of luck. It will be exciting to follow the progress.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Cosey Fanni Tutti Coil Chris & Cosey
british 6
Throbbing Gristle were an English music and visual arts group formed in 1975 in Kingston upon Hull by Genesis P-Orridge, Cosey Fanni Tutti, Peter Christopherson, and Chris Carter. They are widely regarded as pioneers of industrial music. Evolving from the experimental performance art group COUM Transmissions, Throbbing Gristle made their public debut in October 1976 on COUM exhibition Prostitution, and released their debut single "United/Zyklon B Zombie" and debut album The Second Annual Report the following year. Lyrical themes mainly revolved around mysticism, extremist political ideologies, sexuality, dark or underground aspects of society, and idiosyncratic manipulation of language.
The band released several subsequent studio and live albums—including D.o.A: The Third and Final Report of Throbbing Gristle (1978), 20 Jazz Funk Greats (1979), and Heathen Earth (1980)—on their own record label Industrial Records, building a reputation with their transgressive and confrontational aesthetics; they included the extensive use of disturbing visual imagery (such as ironic fascist and Nazi symbolism and pornography), as well as that of sound manipulation (noise and pre-recorded tape-based samples) influenced by works of William S. Burroughs and Brion Gysin.
Throbbing Gristle dissolved in 1981 due to interpersonal differences; the individual members went on to participate in other projects, such as Psychic TV, Coil, and Chris & Cosey. The band was reformed in 2004, and released three more studio albums—TG Now (2004), Part Two (2007), and The Third Mind Movements (2009)—before disbanding again after P-Orridge's departure and Christopherson's death in November 2010. P-Orridge later died in March 2020. The band's final studio project, a cover version of the 1970 Nico album Desertshore titled The Desertshore Installation, was released in 2012 under the moniker X-TG.
Genesis Breyer P-Orridge from The Quietus
psychedelic rock 10
Cosey Fanni Tutti from The Quietus
Chris Carter from The Quietus
Genesis P-Orridge: fantastic transgressor or sadistic aggressor?
The Guardian (December 2018)
by Lottie Brazier
Limits Of Transgression: Remembering Genesis P-Orridge
The Quietus (March 2020)
by Luke Turner
Remembering the Time Throbbing Gristle Played A Private School
Vice (March 2020)
Genesis P-Orridge on destroying preconceptions
The Creative Independent (December 18, 2017)
with T. Cole Rachel
20 Jazz Funk Greats
by Drew Daniel


"Thanks Gabe for being honest: Let me give you 7 points why I disagree with you in th…"
WAYNE replied Oct 19, 2009 to Interfaith Marriages - The Biggest Danger.
"Gabe has the freedom to express HIS OWN opinion Steve. Even bias judgement and preju…"
"Sis Sylvia: If we use culture of then and now to justify things we need to do today…"
WAYNE replied Oct 14, 2009 to Is wearing jewelries like wedding ring necessary?
"Anyone including pastors may wear their rings in places where it is imperative. Not…"
"Is it real? Tangible one? Or it just a methapor or abstraction of the earthly sanct…"
"That is a very good news. A church that stand as a lighthouse in her community. Do y…"
"Even Aaron failed despite that he had personally experienced God's power and His lea…"
"Well that is your choice. No one questions that. Ripples is very clear with its is c…"
"Well, let see if I made a study of the wedding ring that may gives us better underst…"
"NOTE: Drums is one of the oldest musical instruments yet there is no Biblical refere…"
WAYNE replied Oct 8, 2009 to Drums in Worship-Is it Acceptable?


I wilfully joined the fog, the blur of people defining beauty as the number of products on the shelf and not a genuine way of being. Everyone else looks so happy, though I question what it means to be happy sometimes.
You may have stumbled here by accident or maybe it was planned. What ever it may be, Welcome! I am not a seasoned writer but I like to write what I see and experience. I'm a human being, with just as many good days as bad. I only know what I've learned so far and I'm open to what's to come.
Welcome to my life, or well... parts of it.


You create an amazing video to highlight features, areas, and developments in your city. You get it in front of your targetted audience but what is that doing for you, other than branding?
With interactive video, you can create clickable calls-to-action that let people do more than watch, they become engaged with your city or community from the moment they see it, in your video.
Not only can you better engage your target audience, you get advanced and custom reporting that lets you understand what people are interested in and at what point in your video they start engaging.
You invest in exposure, now invest in action.


Old houses have a multitude of window and door types. We have one overarching piece of advice for anyone with an old house.
External joinery will only deteriorate if it gets wet. And stays wet. Windows and doors can last for hundreds of years if they can breathe, and moisture isn't trapped into them. In the old days, timber was often painted - but with breathable paints - linseed based in the main. Modern joinery is always painted with 'micro porous', 'breathable' paints - all of which are made with varying amounts of plastic emulsion - which is definitely NOT breathable, and traps water - thus rotting the timber. It's why paint flakes - the timber behind it gets wet - tries to dry out - blows the paint off, and starts to dry. Window and door frames are usually fitted with all manner of expanding foams and silicone / acrylic sealants these days. These trap moisture into the frame, and it rots. You cannot use foam or silicone where it is in contact with timber - it is guaranteed to rot. I don't know of a single 'sealant' that comes in a tube, that will work - they are all impermeable, and all rot timber.
We use oakum, which is used to seal the deck planking of boats, to seal around doors and windows. It is twisted into a rope, and hammered tight - then pointed over with a little bit of hot lime putty to seal it, and stop birds from pecking at it. In the photos below, you'll see Dez installing new oak windows in a Shropshire Farmhouse - and twisting the oakum using a bent nail and drill - this makes a rope, which is then hammered into the gap to produce a tight seal, very flexible, and waterproof - but at the same time breathable, so water isnt held against the timber.


Galiano Island is located in the Gulf Islands east of the northern half of Saltspring Island across Trincomali Channel and directly west over the Strait of Georgia from Tsawwassen and north of Mayne Island across Active Pass.
To get here you can take the regular scheduled BC Ferries sailing from either Tsawwassen, Swartz Bay or through the other Gulf Islands. The ferries arrive at the Sturdies Bay Ferry Terminal near the south end of Galiano Island.
The island itself is quite narrow, around 27 km (17 miles) long, with roads travelling north almost to the northern tip of Dionisio Point. Bodega Ridge rises to around 328 metres (1,076 feet) above sea level for about 4 km (2.5 miles) of the island with the land sloping into the ocean on both the east and west sides.
The community of Sturdies Bay is the main centre for Galiano Island. There are a number of commercial enterprises including the Hummingbird Pub, a great place to eat, located right on the water. The rest of the community including the Trincomali Bakery & Deli and Scoops Ice Cream & Burger Bar are located going north along Sturdies Bay Road leaving the community towards Montague Harbour.
Located on the south-west side facing Saltspring Island is Montague Harbour Marine Provincial Park about 10 km (6 miles) north-west of Sturdies Bay. Just a short walking distance from Montague Harbour Marine Provincial Park is Montague Harbour Marina.
Very popular with sail boaters from all over the world, Montague Harbour Marine Provincial Park is a great spot to stay if you are camping and travelling the Gulf Islands. Campground reservations are accepted but because of its popularity, plan to reserve your stay early.
Montague Harbour has great swimming, hiking trails, boating and kayaking. The beach and access to the moorage floats for the boats are tremendous. A plus about Montague Harbour is the famous and friendly bus service on a regular schedule during the summer that is provided by the Hummingbird Pub, an excellent establishment featuring folk music and good food.
For outdoor recreation areas besides Montague Harbour, there are other provincial parks plus a number of CRD-managed trails and community parks protecting ecological zones. Other parks worth visiting feature beautiful ocean landscapes with some remarkable fields of wildflowers and birds including bald eagles found throughout the island.
Named after Dionisio Galiano of Spain to whom the island is named after Dionisio Point Provincial Park provides great access to the ocean waterfront. Dionisio Point is located on the northern tip of Galiano Island overlooking Porlier Pass and Valdes Island and has to be accessed by water only with no-through roads.
With the establishment of Bodega Ridge Provincial Park, you'll have access to some unreal ocean viewpoints. The park features a 4 km (2.5 miles) trail that takes around 30 minutes to the top of Bodega Ridge where you can see all around Vancouver Island, the Strait of Georgia and Trincomali Channel.
For complete pampering and ultimate in relaxation, try visiting the Galiano Inn which is located on 134 Madrona Drive. Operating in one form or another since the early 1900's,the Galiano Inn and Spa features a waterfront location, suites and a very intimate restaurant called Atrevida offering beautiful views of Sturdies Bay and Active Pass.
If you are contemplating retiring to Galiano, there is a small clinic and health facilities that are provided by the Galiano Health Care Centre.
To avoid the crowds and ferry problems with your vehicle one of the easiest ways to see Galiano Island is by using a bicycle. First on and first off you can park your car at either Swartz Bay or Tsawwassen ferry terminals. Once on Galiano Island, unless you are travelling to the far north, everything is very close and handy for viewing most of the island.
If you would prefer to access the Island, besides the ferry there is a regular scheduled floatplane service from Vancouver International Airport seaplane terminal offered by Seair and, from the Vancouver Harbour, by Harbour Air.


Previous award winners were Susan Polgar (2004), Sunil Weeramantry (2005), Erik Anderson (2006), David MacEnulty (2007), and Beatriz Marinello (2008). The 2009 award winner will be announced by press release soon, and will speak at The University of Texas at Dallas on February 24, 2009. Do you have a guess as to the winner?


text:
http://fna.ir/ddq9ou
Tue Dec 03, 2019 3:26
Red Cross Slams 'Unacceptable' Politicization of Aid for Venezuela
TEHRAN (FNA)- The Red Cross censured the "unacceptable" lack of international funding for humanitarian aid to Venezuela.
Francesco Rocca, the President of the International Federation of Red Cross and Red Crescent Societies, made the warning in a statement on Monday, complaining that the organization's emergency appeal in September for 50 million dollars of relief aid for Venezuela had led to the provision of less than 10 percent of the requested fund, World News reported.
"This is not about resources, this is about political will," Rocca stated, stressing that the severe underfunding could affect vital medical treatments and food supplies.
The Red Cross official warned that United Nations (UN) agencies and other humanitarian actors were facing the same lack of funds for Venezuela operations and many people in the Latin American country were "starving and dying" as a result.
Rocca added there were some who wanted "to use the civilian population, their desperation, as a tool to destabilize the country", without clarification.
Venezuela has been shaken by political unrest since January, when opposition politician Juan Guaido declared himself "interim president" of Venezuela, challenging the outcome of last year's presidential election, in which President Nicolas Maduro had emerged victorious.
Washington immediately recognized that self-proclamation. Ever since, the US has been escalating tensions against oil-rich Venezuela, and has not ruled out the military option to take out Maduro's government.
Venezuelans are suffering from a lack of basic necessities under the US sanctions. According to UN statistics, a quarter of Venezuela's 30-million-strong population is in need of humanitarian aid. At least 3.3 million people have left the country since the end of 2015, the data shows.
Rocca noted in the statement that many of those remaining in the Latin American country were "in desperate need," and denounced international donors' unwillingness to offer help.
Last Month, the European Union (EU) also extended its own sanctions against Venezuela for one year.


Journalists have their value. I can think of few other writers who would take on a project where the records and witnesses are so few and the risks so plentiful – of offending everyone in sight, including powerful institutions of the state.
Good journalists are conditioned for this kind of battle and, in Rafael Epstein's case, perhaps are even made for it. In February 2013, when news broke in Australia of the apparent suicide of a mysterious prisoner in an Israeli jail, Epstein was positioned to draw on a wealth of experience negotiating the toughest beat in investigative journalism. In the spy-versus-spy world of international security and counterterrorism there are few reliable sources and Epstein had rare contacts. Even better, when the name Ben Zygier was revealed, the journalist realised he actually knew the victim formerly known as "Prisoner X". In the late 1980s, they belonged to the same Zionist youth group in Melbourne.
The spy story had been broken, unusually these days, not by Chelsea Manning or Edward Snowden but by other journalists, notably Fairfax Media's Jason Koutsoukis and the ABC team of Trevor Bormann and Vivien Altman. In the subsequent months, Epstein must have worked hard, travelling, researching and writing. All the while, the "white-hot" story, as he termed it, continued to make world headlines and radiate intrigue.
Epstein's research began to cast doubt on reports explaining Zygier's imprisonment as a consequence of bungled foreign order spying for the sake of Mossad, the Israeli intelligence agency. In Prisoner X, he persuasively argues that Zygier's sin had been instead to unwisely blab about his work for Mossad when on study leave in Melbourne.
The attributable facts assembled to make his case are, as he admits, spare, but that is the way of these stories. There is more to storytelling than the gathering of facts and Epstein manages to add colour and texture, as well as veracity, through his rendering of the sociology of some familiar worlds.
Some of the best segments in Prisoner X deliver insights from the internal life of a journalist measuring the weight of competing misinformation and wrangling sources. Epstein has astute observations on further moral and intellectual dilemmas that abound in the shadow lands of spying. One small chapter is called "Lying for a living".
Best of all is his study of the diaspora of Jewish identity. Ben Zygier was one of many Jewish Australians who aspired to serve his other homeland with pride.
These interwoven threads of sociology bind well a difficult narrative. If only more shape and strength could have been carried by the other thread of psychology, to help us know better the central character.
For all its 200-plus pages and Epstein's skill and fascination with his subject, the portrait of Ben Zygier is thinly drawn. As the author explains, the Zygier family did not co-operate, and though unnamed friends are interviewed, observations are trite and contradictory. According to these sources, Ben Zygier was unfocused, untrustworthy, unrelaxed and not to be taken seriously. Alternatively, he was patriotic, likeable, normal, a standout guy, dynamic and extremely sharp. That is not to say Zygier couldn't have been all of those things, but as character study, it doesn't reach beyond a bomb burst of superficial commentary.
A similar criticism of a failure to join the dots might have been made of the author's account of events leading to Zygier's arrest and secret incarceration. Prisoner X details a history of Israel's use of foreign passports to provide better cover for clandestine operations. In 2004, Mossad spies were caught harvesting passports in New Zealand. In 2010, following the execution of Palestinian arms dealer Mahmoud al-Mabhouh in Dubai, local police revealed widespread use of false identities by the assassination squad. Four fake passports were Australian. The timing of the Dubai assassination runs close to the arrest of Ben Zygier in Israel. And beforehand, in Australia, Zygier had been drawn into an ASIO investigation of passport abuse.
But sometimes the dots don't join, and it is to Epstein's credit that his story resists conflation. The author finds no direct connection, seeing the occurrences instead running parallel. While Prisoner X occupies a world billowing with conspiracy, Epstein manages a sober distance.
His own reckoning sees the arrest and death of Zygier as the end state of a story more banal than the stuff of most spy thrillers. Although evidence is again spare, Zygier is revealed as unstable, unsuited to high-pressure spying – and even suicidal.
An interview with Israeli lawyer Avigdor Feldman, one of the last to see Zygier alive, offers a telling impression that "one of Ben's biggest fears was that he would be rejected by the Israeli society that he so wanted to join". Join that with the news from his last visitor, his wife and mother of their two children, and you feel some of the despair that began to saturate cell 13. Ben's wife, who goes by the pseudonym "Haya" in Prisoner X, had delivered the devastating news that she was leaving him.
There is a lot of detail outlining Zygier's final hours following his tearful wife's departure from Ayalon Prison. It represents cogent evidence in a story otherwise blackened with redaction, demonstrating that Zygier died by his own hand. You would wish similar transparency applied to so much of what we are not allowed to know.
While there is repetition and a feeling of an author rushing to meet a publisher's deadline, Epstein's command of Prisoner X is strong enough for the reader to see Zygier's punishment of secret imprisonment for an undetermined period as hardly fitting a still uncertain crime.
This article was first published in the print edition of The Saturday Paper on Mar 22, 2014 as "Prisoner X, Rafael Epstein ". Subscribe here.
Cass Moriarty A chat among the books in a Brisbane bookshop institution.


Forget high-end teleconferencing, new generations of mobile devices are priming the pump for reams of hi-def video to be viewed on Android and iOS platforms.
Of all the applications that wreak havoc on enterprise network infrastructure, video takes the cake. And now that new generations of mobile devices are priming the pump for reams of hi-def video to come coursing your way, high throughput solutions are quickly transitioning from optional status to necessary.
According to IDC, enterprise video conferencing and telepresence are expected to see nearly 19 percent growth in 2012, from $2.7 billion to $3.2 billion. In infrastructure terms, the market for MCUs, gateways, video network adapters and other components surged more than 22 percent to $716 million in 2011. Oddly, the market for high-end immersive video platforms saw a 22 percent drop over the past year, which IDC says indicates video is moving down-market where it will have greater impact on workgroup, desktop and mobile infrastructure.
Either way, video is likely to eat into a greater share of networking resources, according to Network Instruments. According to its recent global network study, nearly a quarter of enterprises expect video to consume half of available bandwidth in the coming year, with more than a third looking at a 50 percent growth in video traffic by 2013.
Enthusiasm for enterprise video services is running high in both enterprise and carrier circles alike. Avaya recently bought out Radvision Ltd. to build a soup-to-nuts video platform designed to support collaboration and other services across multiple client devices, including the iPad and Android-compatible units. The package will tie Radvision's Scopia product line to the Aura unified communications platform, where it will support business-to-business, business-to-customer and internal BYOD capabilities that the company vows will be as easy to implement as voice and text services.
Video-friendly infrastructure will not rest solely on wider data pathways, of course. Key enablers include specialized management and monitoring capabilities, preferably featuring standardized metrics for things like latency, packet loss and other qualifiers. Video will also impact traditional applications as well, possibly leading to an entirely new tier of service where video and non-video capabilities can be mixed and matched to suit user needs.
Whether it's plain old conferencing or full-blown telepresence, video services will almost certainly make their way to an enterprise near you very soon, if not already. Unlike normal data loads, however, video is not something you can simply offload to the cloud. Interruptions in video flow are much more readily noticeable than text or application data, so both internal and external infrastructure will need a makeover to keep the images and sound flowing smoothly.


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Tomorrow Is My Turn
Tomorrow Is My Turn by Nonesuch at Silent Rider Music. MPN: 075597956313. Hurry! Limited time offer. Offer valid only while supplies last. Rhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out February 10, 2015, on Nonesuch Records. (The vinyl will follow on March 3.) The album was produced by T Bone Burnett.Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City s Town Hall that was later broadcast on Showtime: Another Day, Another Time:
Rhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out February 10, 2015, on Nonesuch Records. (The vinyl will follow on March 3.) The album was produced by T Bone Burnett.Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City s Town Hall that was later broadcast on Showtime: Another Day, Another Time: Celebrating the Music of Inside Llewyn Davis. Backstage, Burnett was immediately moved to ask if he could produce a record with her. It was clear the first time I heard her at rehearsal that Rhiannon is next in a long line of singers that include Marian Anderson, Odetta, Mahalia Jackson, Rosetta Tharpe, Burnett says. We need that person in our culture. For her first solo disc, Giddens chose a broad range of songs from genres as diverse as gospel, jazz, blues, and country. In addition to the traditional Black Is the Color, tracks include Hank Cochran s She s Got You, made famous by Patsy Cline; Dolly Parton s Don't Let It Trouble Your Mind ; O Love Is Teasin , popularized by the Kentucky-reared mother of folk Jean Ritchie; and Elizabeth Cotton s Shake Sugaree. I had already started putting together a list of songs that didn t really fit into the Chocolate Drops world, Giddens explains. At the top was Tomorrow Is My Turn [immortalized by Nina Simone]. Seeing Nina do it on YouTube was revelatory. I knew she d gone through a lot of hard times, as so many people did in that time period. Watching her sing this song, with the words tomorrow is my turn, I began to think about the struggle of her and women like her. The significance of this song led Giddens to make it the title of the album as well. Other songs started getting on my list and they were all by women or interpreted by women, she says.Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown s renowned Funk Brothers; drummer Jay Bellerose; guitarist Colin Linden; legendary backup singer Tata Vega; veteran Nashville session bassist Dennis Crouch; and Giddens Drops touring band-mates, multi-instrumentalist Hubby Jenkins and beat-boxer Adam Matta.Tomorrow Is My Turn follows Giddens work with Elvis Costello, Taylor Goldsmith, Jim James, and Marcus Mumford on Lost On The River: The New Basement Tapes, an album also produced by Burnett that was released in November 2014. Her contribution was hailed by Rolling Stone magazine as the showstopper...evoking antebellum blues with a magnificent voice that interrogates the myths stirred up at Big Pink. The New York Times agreed, saying On lead vocals she s the album s revelation, singing melodies that hark back to Celtic modes with a decisive presence and a haunting grace.
Manufacturer: Nonesuch
Brand: Nonesuch
Publisher: Nonesuch
Studio: Nonesuch
MPN: 075597956313
Item Size: 0.3 x 5.1 x 5.1 inches
Peace Town
By Music Road Records
The Phosphorescent Blues
By Nonesuch (USA)
To The Sunset
By Silver Knife Records
Introducing the Denver Gentlemen
By Smooch
Shoot Out the Lights
By THOMPSON,RICHARD &
All News That's Fit to Sing / I Ain't Marching
By Rhino/Wea UK
Hold Onto Your Dream
By Wea/Warner
The Flower That Shattered the Stone
By Windstar/American Gramaphone
By Import [Generic]
Billy Joel: Greatest Hits, Volume I and II
By Columbia / CBS


National AMBER Alert Training and Technical Assistance Program. This program provides training and technical assistance to enhance the national AMBER Alert network, a partnership that includes law enforcement, broadcasters and media, and transportation agencies dedicated to recovering endangered, missing, and abducted children. Applications are due by 11:59 p.m. ET on May 13, 2013.
Juvenile Drug Courts Training and Technical Assistance Program. This program supports training and technical assistance for states, state and local courts, units of local government, and Indian tribal governments to develop, maintain, and enhance juvenile drug courts for substance-abusing youth. Applications are due by 11:59 p.m. ET on May 13, 2013.
National Juvenile Justice Data Analysis Program. This program will assist OJJDP in disseminating vital statistical information to the field regarding juvenile justice needs, risk behaviors, victimization, offending, and related issues. Applications are due by 11:59 p.m. ET on May 13, 2013.


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22 July 2019 —
Megan George
Artists, Art Styles, Interviews
Michelle Keighley Interview: Creating Is In My Blood
Gold Coast artist Michelle Keighley is not content if she's not using her hands. Since she was a young child, Michelle has always dug her hands into a project – whether that be painting, sculpting or getting them dirty outside. At the ripe age of 8, she recalls begging her mother to satisfy her need to create with art classes. And she hasn't looked back since.
Michelle was raised by creatives, and so it's no surprise she has followed in her family's footsteps. "I come from a long line of creatives and artists," she explains, "so I guess you could say it's in my blood. Even since childhood I have always painted in a very free and impressionistic style and tended not to labor too long on any one piece." She counts her grandfather, who was a talented landscape painter, as her biggest inspiration. But it doesn't stop there.
Michelle has always painted in a loose, free-flowing way, and often finishes a piece with sgraffito – a technique where the top layer of paint is scraped away to reveal the colours beneath.
She continues: "Many of my childhood memories involve my grandfather painting in his studio and to this day I draw inspiration from him. My grandmother was also an artist, I clearly remember her paintings hanging around her home; paintings of the Glass House Mountains and other stunning Australian scenes. My mother was a floral artist and I still have many of her works in my home and my sister is also a professional full-time artist."
"My journey has taken some interesting turns," explains Michelle, "when I was younger I painted a lot of portraits and in my early 20s I stopped painting altogether after the loss of my mother to breast cancer. It took a number of years to start feeding my creativity again. When I started painting again my style evolved to something quite different from what it was and something that I feel has a lot of emotion. Every painting is an honest representation of how I feel and landscape painting allows me to express myself in the way that I'd like."
"Being able to make my passion for art my means to provide for my family is a dream come true and something I never could have imagined. I am very grateful to be able to be creative everyday and to share this with others is very satisfying." says Michelle.
While Michelle has always considered herself an artist, it's only in recent years that it's become her profession. Joining Bluethumb was integral to this process: "Bluethumb has made it easy for me to transition from hobby artist to professional artist. The support and advice (and the odd pep talk from Sarah) has been invaluable and has given me the confidence that I needed to move forward with my art career and transition to full time artist."
It all starts with a moment of inspiration!
Over the last year, Michelle has become one of Bluethumb's most popular up and coming artists. Her work resonates with emotion, showcasing her love of landscapes and her passion for her local area. She confides, "I have always had a strong connection to nature and the countryside especially the northern rivers of NSW and the gold coast hinterland where I grew up and I hope to express this love through my artwork. The diversity between the lush rolling hills of the northern rivers and the dry rural parts of NSW and QLD continue to inspire me. I love a simple landscape that is uncomplicated but can draw you into the scene."
Simple is something Michelle does well. Her impasto paintings, usually completed with oil paints, capture the beauty of vast skies and rolling mountains in a pastel colour palette. The simplicity of her colour choices and her minimal compositions imbue her work with a peacefulness and tranquility that matches perfectly with the quiet atmosphere of the Australian countryside. Using a combination of brushes, palette knife and her fingers, Michelle uses texture to show the journey each painting has been though, before finishing them off with sgraffito scratchings.
Texture, texture and more texture! Michelle's work is completed using an impasto style – with thick paint that shows off the brushstrokes and becomes almost sculptural.
On her choice of colour palette, Michelle explains, "I love colour but am particularly drawn to softer tones as I find them very soothing and inviting to look at, they draw you in and comfort you. I take my inspiration from the colours I see in the Australian landscape, there are so many soft beautiful tones to inspire me, but I don't shy away from a more vivid colour palette but always strive to keep it true to nature."
While Michelle has painted every kind of landscape, from the sea to the mountains, her heart will always find its way back to the country. She explains, "I love fences and roads and long country driveways, and the odd cow never goes astray." A seaside sunset is a close second though!
The tools of the trade never stay clean when you're constantly inspired!
Each painting is born from a moment of inspiration. Upon feeling that moment of connection to a scene, Michelle then decides how best to capture it. The decisions involved include whether the subject is best suited to a small or large canvas, and what exactly the colour palette will be. Once these choices are made, it doesn't take her long to complete the painting. Working fast is a conscious choice in her practice – "I deliberately try not to labor over a piece for too long as I never want it to look over-worked."
Over the next 12 months, Michelle is hoping to take her practice even further with exhibitions and through networking with fellow artists. Stay tuned for updates on when and where you can see her expressive work in person!
Shop Michelle's work on her Bluethumb profile here and discover more textured art in our impasto curation.
Photos courtesy of the artist.
How To Commission an Artwork
Anne Louise	says:
Hi Michelle, I enjoyed the article and really like your style. So inspirational! 🙂
Michelle keighley	says:
Thank you so much Anne! ☺
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I WAS just drafting my very first Newsletter to GarmaOnHealth Subscribers when it occurred to me that a part of it should find its way on to a blog post; this very one.
Puts a spotlight on an important and helpful post from the Archives.
You may not be a Subscriber, but I'd like to share something with you that I'm preparing for their Newsletter, which is emailed on Sundays.
1. Progression. It's inevitable (and obvious) that you must begin any journey from where you are. Sometimes we don't bother because we think the distance is so far given where we're starting from. But think of it this way: tomorrow is going to come… do you want to be one inch closer to your destination or not? Progression is inching your way to where you want to be, step by step. Take a step in the right direction, and your destination is inevitable.
2. Tiny Habits Build Big Ones. Stanford professor, BJ Fogg has done the research on this, and now has plenty of results to show that tiny habits build big ones. The idea is to adopt a habit that is so easy that it would be near impossible not to do it if you think it could build to something significant. This is covered in article 1, part 1 of the How to Build A Strong and Youthful Body series right here.
3. Grab A Buddy! You'll "hear" me saying this repeatedly. And that's because recruiting a friend (or two) that can commit to taking this journey with you is one of the most proven methods to getting there. Contact someone who may want to strive for the same goal(s) as you. Or share this page with your social platforms and see who may jump aboard.
Mindset is the first of four Pillars that make up the Age-proof Method, a crash course under development about how to age younger.
Well, another way of saying it is that all of your biological "markers" — testosterone/estrogen, thyroid, insulin, pulse, VO2-max, lean muscle mass, telomere length, etc. — can be at the level of someone far younger chronologically than you are.
This doesn't happen magically. You have to do a bunch of things regularly, methodically. And this begins with shaping the right "mindset".
Without setting your mind to it, and having habit-forming skills, nothing else happens. I like to say that most everything you experience in life has to do with your software. Not that in your computer, but in your brain.
You could take the most unhealthy, overweight person you know, and if you could infuse Jack LaLanne's mental software into that person's brain, in some relatively short amount of time, (s)he'd be fit. Jack would know what to do, have the desire and habits. Step by step, the goal would be reached.
Do yourself a favor and read The Four Pillars of A Long and Strong Life. It will get you going.
What if you could experience your 90th year with your 50-year old body? If it's possible, it will take an overhaul of what you think, and what you do. You must clear six hurdles and construct four pillars upon which your life must unfold.
Read it. Get inspired. You might even want to become a Subscriber.


Deadline says Marvel Studios is working hard to convince Disney to rehire Gunn, and are willing to make a few compromises in order to make that happen. It's not clear what these compromises are, and if the strategy will work. But the decision to bring this to the table comes after the cast signed a joint letter asking the studio to rehire him. Additionally, other studios are reportedly very eager to work with the director. Also, Guardians star Dave Bautista laid down an ultimatum that if Disney did not use Gunn's script for Vol. 3, he would walk out of the project altogether. Luckily, Disney and Marvel have confirmed that they will use Gunn's script.
The 11th-hour move is seen as a last-ditch effort to reinstate the former director. In fact, this may be the reason why we haven't heard much from either studio about a possible replacement. Obviously, Gunn's decade-old despicable jokes was the deciding factor that got him fired. But we have to remember that these tweets, as indefensible as they are, were made over a decade ago, and Gunn had apologized for them already. And many see the firing as a knee-jerk reaction. Still, resolving the matter is a very slippery slope – the issue of hypocrisy rears its ugly head. Again, no one is condoning his tweets, but Gunn has apologized for them and has not made any like them in recent years.
No one is condoning these tweets. While they were made over a decade ago, they were made in an effort to be shockingly funny. And while it may have been a different time, Gunn has apologized for them, repeatedly, throughout many interviews during the release of the first Guardians Of The Galaxy. But apparently, that wasn't enough to absolve him of those tweets, which were unearthed by an ultra-conservative group as a hit job in retaliation to Gunn's repeated attacks towards President Donald Trump.
While a decision has yet to be made, Disney and Marvel would want to move on getting Guardians Of The Galaxy Vol. 3 into production soon as Chris Pratt's starring vehicle Cowboy Ninja Viking has been put on an indefinite production hiatus. But it remains to be seen if this last-ditch effort could work. There are some signs of hope, though. The aforementioned support from the cast, Bautista's ultimatum, and the fact that competing studios are eager to work with Gunn are also signs that Disney is being backed into a corner.
Still, Disney had every right to defend their family brand by firing Gunn. But at the same time, they would also be making a bold statement by rehiring him. This would show that they would not concede to an alt-right hit job. Or for better PR, that they are willing to forgive Gunn – have him go through some sort of sensitivity training – and admit that they had made a mistake. Of course, this is all just one man's opinion.
We will keep you posted on the news should any new developments come in.


HONG KONG �� Think of a major city, and you often think of a business. In London, it��s the pub; in Tokyo, the sushi restaurant, and so on.
In Hong Kong, it��s the tailor��s shop, home to a magician with cloth who can take your measurements one morning and produce a finished suit the next day. It sounds like a stereotype, but this city of about 7.4 million has hundreds of such businesses, supported by legions of tailors and seamstresses toiling away in drab industrial workrooms tucked into out-of-the-way neighborhoods or across the border in mainland China.
Residents here are used to visitors who ask for tailor recommendations, along with suggestions for the best dim sum and xiaolongbao (soup dumpling) and how to avoid waiting in lines for the Peak Tram. The usual advice begins with two points to be considered well before starting the hunt for the right shop.
First, what do you want in the finished garment? In detail.
On their own, Hong Kong tailors will produce a standard version of any piece of clothing. That kind of mass-market mind-set has enabled many shops to develop robust e-tail operations and global customer networks, with measurements and fabric selections determined during scheduled visits to major cities and garments made and dispatched from Hong Kong.
But if you want specific features �� topstitching, a watch pocket in trousers or channels for shirt collar stays �� you have to say so when you place the order.
Second, consider your travel schedule. Many tailors can, indeed, produce a suit overnight �� or will measure you just before you dash to the airport train, then send the finished garment by express delivery. But having at least one fitting, and preferably two, will produce a much better result. So maybe it��s worth skipping the Big Buddha on Lantau Island if you don��t have a lot of time.
Once you��re ready to find a tailor, many concierges (even if you��re not staying in his or her hotel) will be happy to make recommendations. Or search online for ��Hong Kong tailors�� and scroll through the scores of blog posts, horror stories and even a few tales of praise.
One common warning: Ignore the men who try to hand you a tailor��s leaflet as you exit the Star Ferry terminal in Kowloon. Most of those operations are low-end businesses with second-rate fabrics and poor quality control.
Thinking about the quality of garment you want may help you narrow your choices.
Central, the cluster of glass-and-metal skyscrapers on Hong Kong Island, is the city��s traditional finance and banking neighborhood, so tailors there primarily cater to executives who want classic styles in top-end suiting materials from Ermenegildo Zegna, Loro Piana, Dormeuil or one of the many heritage woolen brands in Britain. Most customers are men; women can get coats, pantsuits, and jacket and skirt combinations, but they are likely to lack the kind of fashion-forward styling seen on the runways in Paris or Milan.
Several tailors in Tsim Sha Tsui, commonly called TST, the shopping and entertainment center at the tip of the Kowloon peninsula, also serve executive tastes, but many in this tourist haven also have a broad range of lower-end fabrics.
Fabric is a good indicator of price. A suit made from top-quality materials, which will pack with little wrinkling and keep its shape over time, is likely to cost from $1,500 to more than $3,000. Moderately priced fabrics will result in lower-priced garments. But, regardless of what someone on the internet says, a $300 suit that will fit perfectly, wear like a dream and last for decades is a fantasy.
Suzie Wong might have known such a tailor, although that 1960s styling would be awfully dated these days.


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Rolling Loud Goes From Homegrown Festival to Global Brand
Angelic Montero Filters Y2K Aesthetic Through a Gen-Z Lens on You Get Me? Mixtape
Sir Richard Bishop on Pissing Off Miami Punks and Why "Modern Western Music is Sh*t"
Matt Preira
| Interviews |
Matt Preira | September 14, 2011 | 9:38am
Pairing guitarist Sir Richard Bishop with the punishing, grandiose power of Michael Gira's Swans may seem like a curious partnership. But don't forget: The maestro of Swans is all about a swinging pendulum of extremities, from loud to quiet and back again.
These subtle sonic nuances may often go overlooked in lieu of the band's more visceral moments, but it's in the abstract world of aural engineering -- with discussion of sound's hues, auras, and textures -- that Gira most intersects with his tour mate, Sir Richard Bishop.
Bishop made a name for himself with deeply cult, voraciously eclectic trio the Sun City Girls, who were pillars of experimental music in the U.S. from 1981 until 2007's passing of member Charles Goucher. Along the way, he and his brother (and fellow Sun City Girl) Alan Bishop practically launched the '00s obsession with off-beat world music with their Sublime Frequencies label. Not to mention his accomplishments on his own as a solo performer.
New Times caught up with Bishop prior to tonight's show opening up for Swans at Respectable Street and got a tour of Egyptian music and some steak-preparation metaphors out of him.
County Grind: What's your relationship with Michael Gira? Did Sun City Girls and Swans cross paths at some point? How did the tour come about?
I met Michael briefly during a tour I did with Akron/Family a few years back and its been great to reconnect for this tour. I don't think Sun City Girls and Swans ever crossed paths in person back in the 80s. I did listen to some of their music back then and it was just as brutal and powerful as it is today. As for how the tour came about. Michael asked me through his booking agent and I said yes. Plain and simple.
Your music matched with Swans's is an interesting pairing. Aesthetically, what connection or shared motivations, inspirations and mindsets do the respective acts share?
It's hard to say. I don't know the guys in Swans all that well yet, so I don't know what their motivations or mindsets are. I don't really need to know. After the first three shows I really dig what they are doing and I think the match is great for this tour. There is a massive intensity in their music, but I couldn't guess what the source for that is. My music is also intense in many ways just on a slightly different level. Their sound is well-cooked and huge. Mine is medium rare.
Out of the incredibly deep pool of international folk styles you've drawn influence from (in SCG and solo endeavors, and in co-curating Sublime Frequencies) how did you narrow in on the Egyptian guitar focus for the Freak of Araby?
It was sort of by accident. I had been listening to a lot of Omar Khorshid's records and wanted to cover just one of his songs for the album, but I also had a few other Middle Eastern sounding songs plus other songs that were anything but that. After the playback from the first studio day the Eastern songs stood apart from the others I recorded so I decided to make the entire record reflect that sound. I went home that night and learned four more Khorshid songs and then wrote a few more originals in the studio. The whole process was finished in three days.
In the wake of the Sublime Frequencies, and in tandem with niche music blog culture, it seems like previously hard-to-hear folk idioms and recordings are relatively in vogue, particularly in U.S. experimental music scenes. What do you believe accounts for the surge in interest?
I don't know. Maybe its because most of modern western music (pop, indie, rap, etc.) is shit. Hell, I certainly can't listen to it. I think once people get exposed to sounds from elsewhere it just has the potential to catch on because its not from a can. It's a different thing altogether. And if people hear something they like, its easy to track down more of it. But nobody really knows the reason. I guess there doesn't have to be a reason.
A regular observation I've read in reviews and responses to Funeral Mariachi was that it was a notably cohesive, high production value, song-based suite. Was Sun City Girls heading for an arc with the style of songwriting and production evident in that album?
Not really. To us it was just the next record. If we kept on going the follow-up would have probably been something totally different. I agree that it was quite cohesive and it may stand apart from most of our previous recordings but we just weren't looking at it like that. I really like the record myself and I think its a good entry point for any newcomers to SCG but I would also advise them to listen to other SCG material just so they can see the variety and range and at the same time learn to hate us like normal people do.
The Mister Lonely soundtrack is an unusual release because it's a blend of score, soundtrack and abstract "music inspired by." What was the process like for the music you came up with? How much did you draw directly from the film? Was there any communication with J. Spaceman on his side of the split?
We didn't work with J. Spaceman at all. It would have been nice to but that really was never an option. Harmony just contacted us before the film started shooting and sent us a script so we could think about ideas. We sent him some recordings that we thought supported certain parts in the film. While he was still shooting the film he started sending us footage from specific scenes so we could fine tune a few things. And then we continued the process of sending files back and forth until things worked out. We sent him much more music than what he ended up using.
You performed some shows with [ex-Harry Pussy guitarist] Bill Orcutt last year. There were some collaborative sets in there, correct? What were those like, how did they unfold, what was the musical dialogue like?
I really like Bill's playing. He is reinventing the blues and what he does is amazing. We have done a few shows together as separate acts, but each time we played together at the end. At first we were both feeling each other out but the next two shows we did (Portland and Seattle) we let loose way more and it was great. We both know how to listen and that's the most important part of improvising. I would play with him any time!
Did Sun City Girls ever make it down to Miami or the greater South Florida area? Any notable experiences, or performances you saw from anyone down here?
SCG did a few shows in Florida on the 1984 tour with JFA. There was a memorable show in Miami that I think was at a place called Flynns but I can't be sure. It was one of those classic shows where the punks didn't want to have anything to do with us, just hated us with a passion. They literally tried to get us off the stage. They should have known better. We destroyed them and we have the video to prove it.
What material will Wednesday's set be comprised of? Will you be performing with a band or solo?
I'll be performing solo on electric guitar and so far each night has been a little different. I'll most likely play a few SCG songs and a couple of songs from my records and the rest will be improvised.
Sir Richard Bishop with Swans, Axe and The Oak. Tonight. 8PM. Respectable Street, 518 Clematis Street, West Palm Beach, 33140. Tickets are 18.50 in advance through Respectable Street, and 22.50 at the door.
Follow County Grind on Facebook and Twitter: @CountyGrind.
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Daniilidou successfully defended her title at the ASB Classic in 2004, her third WTA singles title.She reached the semifinals at the prestigious NASDAQ-100 Open, beating Jennifer Capriati en route.Their daughter, Martha May Willis, was born in March 2017.
It also brought the end of Henin's 24-match win streak dating back to the beginning of the clay season.
Daniilidou eventually lost in the third round, her best Grand Slam performance of the year.
; born 19 September 1982) is a Greek tennis player from the island of Crete.
She is considered as one of the best Greek tennis players of the Open Era, winning five singles titles and three doubles titles on the WTA Tour.
She won her fifth – and to date, last – WTA singles title at the Hobart International, but missed several months of events from March.
She returned at the Summer Olympics in August, but failed to win a match for the rest of the season, ultimately finishing the year outside the top 100 for the first time since 2000.
She achieved her first ranking in 1998, finishing that year as the world No. In 2001, she broke into the top 100 following a third round appearance at the US Open.
2002 was the best year of Daniilidou's career, finishing it at No. She won her first WTA Tour singles title at the Ordina Open, beating Amélie Mauresmo, Elena Dementieva and Henin; and reached the fourth round of a Grand Slam tournament for the first time at Wimbledon.
By beating Justine Henin in the first round of the 2005 Wimbledon Championships, she became the first player to defeat a reigning French Open champion in the first round of Wimbledon.
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The Hero PR did not have a round barrel if I remember correctly?
At one stage I had all the info and had drawn blueprints on the dimensions and shape, but it seems a harddrive crash a few years back cost me that data and I gave up on it. I had planned to build one and share the info with the board - Thinking we could get someone to do a run. I remember the barrel was wider, which would require a custom triangular barrel support.
I remember there were discussions about the barrel potentially being some sort of industrial valve and someone else had taken direct measurements from the 1:1 scale black and white Bapty photos, but I cannot find them now?!?
Anyone else have info on this??
Last edited by treeboar on Wed Dec 24, 2014 1:51 am, edited 1 time in total.
"Aliens - Pulse Rifle Grips and Barrel Extension: A grip and barrel extension section of a Pulse rifle used on James Camerons sci-fi classic Aliens. The grip is made from resin with a small metal plate on the left side. The barrel extension was used as a restrictor for the Thompson section of the rifle and to also extended its barrel to bring it inline with the front of the rifle. The grip measures 13cm (5") and the barrel extension measures 8cm (3"). £495.00 / $839.00"
The Prop Store definitely had some front-on shots of the barrel.
Do you have those - Lost all mine in the harddrive crash!!!
Those are the only shots that I saved so I'm pretty sure that was all that were posted, but I didn't search that thoroughly. I'll check again when I can.
I gotta say this is all new to me, but its handy info considering I was just mulling how to tackle the barrel on my latest pulse build. I was considering extending the air-soft Thompson instead of replacing it. I was worried about a "seem" and now i am far less concerned with that, as it appears screen accurate. Definitely something to think about.
But it doesnt really jive with the bapty photo of the pulse construction that has been circulating. That seemed to be clearly made from a thompson with the factory extended barrel? No? A clever weld and blend job?
Or is this a case of multiple Thompson's each being built a little different from each other? Perhaps there were not enough factory extended barrels to go around so some got the screw on extension?
This was driving me nuts but I found what I was after... so allow me to share.
Firstly PHOTO CREDITS out to Jon and Stefan!!
"The outline you see is a CAD-Model of an actual, unmodified M1A1 barrel (with the barrel adapter attached) with dimensions taken from the real deal and cross checked with blueprints of the Thompson. As you can see - it matches perfectly to the picture of the photo. So unless they (Bapty) modified the whole length of the Thompson barrel (which I find unlikely) the front diameter is 0.75"/19.05mm.
I guess the problem arises from the perspective that's in the picture. The side wall of the SPAS cage is slightly near to the camera than the barrel. So when the side wall in the picture matches perfectly to the real deal, the barrel will show up slightly smaller in the picture.
You can see the effect at the slots of the SPAS cage too - if it would be a true isometric picture the slots of the rear wall would align perfectly with the front slots. "
Well damn. Learn something knew every day. Cool.
Hope you do not mind me hotlinking your pictures here, but you have some decent images on your site of this barrell too.
I knew I had not imagined it.
Stefan's Barrel cage is built from 3mm thick steel, which started life as 40mm x 40mm steel box section tubing (which unlike aluminium squared tubing is slight rounded, not truly square). This is then machined, before having two sides bent in towards each other to form the triangle.
As he notes the bend inwards does not start in the corners of the square tubing, it actually starts further up, where the Barrel cage has been machined, at the bottom of the milled slots (the weakest point). If you look at the original vents you can see the same effect.
His assessment was that bending the part is actually quite easy for the front part. Just a vice needed to clamp down the bottom to keep it straight. This is especially important for the rear part as the material is not weakened by the cutouts. Luckily, you don't need to bend it much there due to the taper of the barrel. Nevertheless, he had to heat that area with a blowtorch to get it done.
So... Bugstomper... Firstly a million thanks and secondly... can you confirm all of the above? Where any modifications/changes missed? How far did you get with the 8-holer?
I just got back from my X-mas holidays - so I'm a little late to answer your questions.
However, it looks like you did a great job with the search engine.
The dimensions for the barrel extension are indeed the latest version.
Btw.: Where did you find that picture of the cut open barrel with the blank firing adapter? Did it come with any additional info?
The cut away image is of a Thompson barrel with blank adapter added - exactly what we are discussing!
It's interesting that the oriface diameter (4.75mm) of the blank firing adapter is quite a bit smaller than on the PR (7mm).
So in Aliens they were probably using even "hotter" loads than then standard .45 blanks.
Would a hotter load produce a brighter muzzle flash? If so then it's pretty safe to bet they went as hot as they could get.
Yeah bigbisont, bigger flashes! AND bigger bangs!


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}


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In Yemen, this mass contradiction can be seen once more because immediately Obama supported the Saudi Arabia led coalition against this nation based on Riyadh's anti-Shia policy. This reality means that any goodwill with Iran is in disarray and the same applies to the anti-Shia agenda in Bahrain. At the same time, the feudal monarchy of Saudi Arabia is mystified by Washington's dealing with Tehran. Therefore, this mass inconsistency is really adding to an increasing quagmire that is engulfing Libya, Iraq, Syria and Yemen.
Indeed, the Kurds in Kobane understand this reality in the full because so-called NATO Turkey is a conduit for Takfiri jihadists in Iraq and Syria. Despite this, the Obama administration still supports Turkey and doesn't seek to increase pressure on President Erdogan despite the many sectarian ratlines that lead to Ankara. However, the same Turkey did virtually zilch until enormous international pressure based on media images in Kobane made Ankara do the bare minimum. In other words, the ISIS and al-Nusra (al-Nusrah) nightmare that is slaughtering religious minorities and threatening the Kurds is being assisted by the intrigues of Turkey. Despite this, Obama then decided on another mercenary force to threaten Syria by working closely with Turkey while bombing ISIS in and around Kobane.
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Iran also must question the recent thaw in relations with the Obama administration. After all, Shia Muslims are being butchered in vast numbers in Iraq because of the intrigues of various Gulf powers. Now it appears that Shia Houthis and loyalists in Yemen are also expendable to Gulf powers and Turkey. On top of this, various Takfiri Sunni sectarian forces threaten Christians, Alawites, and the Shia in Syria. Given this reality, then how can political leaders in Tehran and Washington deal seriously with each other when anti-Shia intrigues throughout the region are a reality based on the allies of America– and with Obama placating this on the whole, apart from in Iraq where America relies on Iran and various Shia militias in this nation to stem the ISIS tide.
Of course, Iraq and Libya were firstly taken by force by outside nations prior to al-Qaeda affiliates and ISIS entering the equation based on the friends of Washington. Similarly, the same nations are trying to oust the secular government of Syria by force even when this applies to assisting ISIS and al-Qaeda affiliates. Therefore, America is assisting the most draconian nation in the world where not one single Christian church is tolerated in Saudi Arabia. In other words, the estrangement of the Obama administration is on full throttle, whereby so-called friends and foes are confused to the maximum throughout the region.
The irony of the Obama administration is that while the Iraqi armed forces capitulated despite enormous American funding, the armed forces of Syria and the Houthi Shia armed forces in Yemen are taking the fight to al-Qaeda affiliates and ISIS (gradually growing in Yemen). However, the Obama administration is now involved in not only weakening the armed forces of Syria but now is trying to weaken Houthi Shia forces in Yemen. Even al-Qaeda and ISIS must be confused because the madness of the Obama administration is never ending. Therefore, Yemen is the latest fiasco that is leading to utter carnage and confusion throughout the Middle East and North Africa.


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Kraken Daily Market Report for June 11 2021
Total spot trading volume at $1.08 billion, the 30-day average is $2.65 billion.
Total futures notional at $294.5 million.
The top five traded coins were, respectively, Bitcoin (+1.7%), Ethereum (-4.7%), Tether (0%), Cardano (-6.2%), and USDC (0%).
Good returns from The Sandbox (+5.7%), Keep (+4.7%), and Flow (+3.1%).
$1.08B traded across all markets today
Crypto, EUR, USD, JPY, CAD, GBP, CHF, AUD
$37322.
↑1.7%
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↓4.7%
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↓12%
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#####################. Trading Volume by Asset. ##########################################
Trading Volume by Asset
The figures below break down the trading volume of the largest, mid-size, and smallest assets. Cryptos are in purple, fiats are in blue. For each asset, the chart contains the daily trading volume in USD, and the percentage of the total trading volume. The percentages for fiats and cryptos are treated separately, so that they both add up to 100%.
Figure 1: Largest trading assets: trading volume (measured in USD) and its percentage of the total trading volume (June 11 2021)
Figure 2: Mid-size trading assets: (measured in USD) (June 11 2021)
###########. Daily Returns. #################################################
Daily Returns %
Figure 3: Returns over USD and XBT. Relative volume and return size is indicated by the size of the font. (June 11 2021)
###########. Disclaimer #################################################
The values generated in this report are from public market data distributed from Kraken WebSockets api. The total volumes and returns are calculated over the reporting day using UTC time.
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Home/Celebrity Net Worth/Authors/Keith Ferrazzi Net Worth
Keith Ferrazzi Net Worth
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117 1 minute read
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Keith Ferrazzi Wiki Biography
Keith Ferrazzi was born on the 14th July 1966, in Latrobe, Pennsylvania USA and is an author, public speaker and businessman, best known to the world as the founder and CEO of the Ferrazzi Greenlight, a business consulting firm.
Have you ever wondered how rich Keith Ferrazzi is, as of mid- 2017? According to authoritative sources, it has been estimated that Ferrazzi's net worth is as high as $10 million, an amount earned through his successful career in business, which started in the late '80s.
Keith Ferrazzi Net Worth $10 Million
Keith grew up in a working class family; his father was a steelworker, while his mother contributed to the family while working as a cleaning lady. He went to The Kiski School, located just outside of Pittsburgh; his father managed to provide him a full scholarship for the school. After matriculation, Keith enrolled at Yale University, and then Harvard Business School.
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Q: Pyspark : Return all column names of max values I have a DataFrame like this :
from pyspark.sql import functions as f
from pyspark.sql.types import IntegerType, StringType

#import numpy as np

data = [(("ID1", 3, 5,5)), (("ID2", 4, 5,6)), (("ID3", 3, 3,3))]
df = sqlContext.createDataFrame(data, ["ID", "colA", "colB","colC"])
df.show()

cols = df.columns
maxcol = f.udf(lambda row: cols[row.index(max(row)) +1], StringType())

maxDF = df.withColumn("Max_col", maxcol(f.struct([df[x] for x in df.columns[1:]])))
maxDF.show(truncate=False)

+---+----+----+----+
| ID|colA|colB|colC|
+---+----+----+----+
|ID1|   3|   5|   5|
|ID2|   4|   5|   6|
|ID3|   3|   3|   3|
+---+----+----+----+

+---+----+----+----+-------+
|ID |colA|colB|colC|Max_col|
+---+----+----+----+-------+
|ID1|3   |5   |5   |colB   |
|ID2|4   |5   |6   |colC   |
|ID3|3   |3   |3   |colA   |
+---+----+----+----+-------+

I want to return all column names of max values in case there are ties, how can I achieve this in pyspark like this :
+---+----+----+----+--------------+
|ID |colA|colB|colC|Max_col       |
+---+----+----+----+--------------+
|ID1|3   |5   |5   |colB,colC     |
|ID2|4   |5   |6   |colC          |
|ID3|3   |3   |3   |colA,ColB,ColC|
+---+----+----+----+--------------+

Thank you

A: Seems like a udf solution.
iterate over the columns you have (pass them as an input to the class) and perform a python operations to get the max and check who has the same value. return a list (aka array) of the column names.
@udf(returnType=ArrayType(StringType()))
def collect_same_max():
...

Or, maybe if it doable you can try use the transform function
from https://spark.apache.org/docs/latest/api/python/reference/api/pyspark.sql.functions.transform.html

A: Data Engineering, I would say. See code and logic below
new =(df.withColumn('x',F.array(*[F.struct(F.lit(x).alias('col'),F.col(x).alias('num')) for x in df.columns if x!='ID']))#Create Struct Column of columns and their values
      .selectExpr('ID','colA','colB','colC', 'inline(x)')#Explode struct column
      .withColumn('z', first('num').over(Window.partitionBy('ID').orderBy(F.desc('num'))))#Create column with max value for each id
      .where(col('num')==col('z'))#isolate max values in each id
      .groupBy(['ID','colA','colB','colC']).agg(F.collect_list('col').alias('col'))#combine max columns into list

     )

+---+----+----+----+------------------+
| ID|colA|colB|colC|           Max_col|
+---+----+----+----+------------------+
|ID1|   3|   5|   5|      [colB, colC]|
|ID2|   4|   5|   6|            [colC]|
|ID3|   3|   3|   3|[colA, colB, colC]|
+---+----+----+----+------------------+

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