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Death, Angels & Magic: Daniel Spicer On Elvis Presley's Way Down
Daniel Spicer , June 14th, 2021 06:13
In our monthly subscriber-only essay Daniel Spicer has a Proustian rush listening to Elvis Presley's career concluding single Way Down, is reminded of the fragility of existence and is catapulted back into a childhood of ageing teds, biker gangs and wyrd Cornish magic...
My copy of Elvis Presley's The 50 Greatest Hits doesn't get played very often. In fact, it really only gets a spin on Christmas Day, somewhere between Frank Sinatra's Twenty Golden Greats and a four-CD box set of Remember Then: Vocal Group Classics From The Doo Wop Era. Yet it contains multitudes. A double CD, bought around the turn of the millennium, it traces Elvis's career chronologically, from the explosive young rebel forging a shocking new hybrid of country and R&B in the mid-50s with 'That's All Right' and 'Mystery Train', to unassailable rock & roll touchstones such as 'Hound Dog' and 'Jailhouse Rock', and through subsequent years of superstardom all the way up to the sad dissolution of his powers, fizzling out with the last single released in his lifetime, 1977's 'Way Down'.
Whichever way you slice it – and especially compared to the eternal triumphs that precede it – 'Way Down' is a clunker. The final song on the second CD, it's a strangely anticlimactic end to the collection, and painfully emblematic of the tragic conclusion to Elvis's almost mythologically resonant tale of consuming fame and failure. But, more than that, due to a complex tangle of dim childhood memories and sociohistorical circumstance, in my mind, it represents something far deeper and more profound: it's a reminder of the fragility of existence, a trigger signal for the uncanny and unexplained, and a harbinger of cosmic entropy.
'Way Down' was recorded at home in Elvis's Graceland mansion in 1976. Much to his label RCA's chagrin, he'd spent just a handful of days in a recording studio in 74 and 75 and showed little enthusiasm for returning any time soon. RCA's solution was to bring the studio to him, setting up a mobile facility in his garishly decorated, tiki-themed den, built as an annexe at the rear of Graceland in 1965, and later nicknamed the Jungle Room. Two recording sessions took place there in 1976. Six nights in February yielded his penultimate album From Elvis Presley Boulevard, Memphis, Tennessee, released later that year. Two more nights of recording in October generated about half of the tracks included on his final album, 1977's Moody Blue. 'Way Down' was recorded during this last session, on 29 October.
Elvis was 41 years old and in extremely bad shape. Years of addiction to prescription drugs and high-fat binge-eating had ravaged his body. He was suffering from diabetes, glaucoma and hypertension. He had an enlarged heart and was chronically constipated. It's no surprise that his performance on 'Way Down' sounds tired and uninspired, with little of the smouldering magnetism of previous years. The song itself, written by Layng Martine Jr, feels jarringly unsuitable for a performer long past his heyday as a sex symbol, and lyrically suspect on so many levels. (Let's not even dwell on the song's title and lines such as "Way down where it feels so good / Way down where I hoped it would / Way down where I never could.") In the opening verse, Elvis's attempt to sound seductive comes across instead as if he's succumbing to unconsciousness as he sings:
"Babe, you're getting closer
The lights are goin' dim
The sound of your breathin
Made the mood I'm in
All of my resistance
Lyin' on the floor
Taking me to places
I've never been before."
Perhaps most off-key, given Elvis's hopelessly damaging abuse of barbiturates, amphetamines and opioids prescribed by his personal physician, George Nichopoulos – aka Dr Nick – are the lines:
"The medicine within me
No doctor could prescribe
Your love is doing something
That I just can't describe."
Sex, drugs and rock 'n' roll never sounded so unappealing.
Musically, 'Way Down' is not much more convincing. It begins with a low synthesizer throb (weirdly reminiscent of the theme to Doctor Who) and a slippery electric bass guitar signalling slick modernity, before settling into a lumpen rock beat with drums and piano, then erupting into a jaunty rock & roll chorus with female backing vocals adding a gospel-tinged coda. Its most distinctive feature is the phrase "way on down", sung at the end of each chorus in a sepulchral low C by JD Sumner. Active since the mid-40s in vocal groups including The Sunshine Boys, The Blackwood Brothers Quartet and The Stamps Quartet, and a friend of Elvis since the early 50s, Sumner was a celebrated southern gospel singer with a famously bottomless bass range. Though undeniably impressive, Sumner's improbably deep voice was also something of a novelty act, and that's how it sounds here: just one more ill-considered element in a tune that stubbornly refuses to hang together. Though only two minutes and 39 seconds long, 'Way Down' is – just like Elvis in 76 – a bloated mess.
None of which changes the fact that, as a six-year-old boy, I loved it. 'Way Down' was the last single of Elvis's lifetime – and the only one that directly overlapped with my consciousness. It was originally released in June 1977, just as I was beginning to pay attention to chart music. Around the same time, I also professed a liking for David Soul's saccharine hit 'Silver Lady,' until my dad, quite rightly, pointed out that I only liked it because Soul was Hutch from Starsky & Hutch. But 'Way Down' was different. Sumner's otherworldly bass drawl fascinated me and, besides, Elvis felt like a friend.
It's easy to forget that, at this time, Elvis was still a big part of the culture at large. During the school holidays, the BBC would regularly run films such as King Creole (1958) and Blue Hawaii (1961). If kids didn't stop to wonder why they were being shown these dated artefacts, it's largely because they weren't even the oldest oldies being served up: Tom And Jerry cartoons from the 1940s and 50s, the original Flash Gordon serial from 1936 starring Buster Crabbe, and even Harold Lloyd's silent movies from the 1920s were all routinely screened in child-friendly slots. By comparison, Elvis seemed positively contemporary.
It hardly seemed to matter that he hadn't had a No 1 hit in the UK since 'The Wonder Of You' in August 1970. Listen again to the gleaming production on 'Way Down', the sinuous throb of the electric bass and synth's opening fanfare, and the piano-led rock stomp that wouldn't have sounded too out of place on a mid-70s Elton John track. It's just possible that, if things had gone differently for Elvis, this might have marked the beginning of another stab at relevance, like his famous comeback in 1968. Even so, it's not entirely clear who 'Way Down' was aimed at. In 1977, just who was supposed to be buying this ponderous single by the ailing King of Rock & Roll? Closer consideration of this question shines a light on strange cul-de-sacs of UK sociocultural history that have absolutely nothing to do with the well-worn, familiar narratives of punk and disco.
The Author, 2021
In fact, with a 1950s revival in full swing in the late 70s, rock & roll was more popular than it had been for almost two decades. In the US, a reactionary longing for a cultural landscape uncomplicated by Vietnam and Watergate spawned the hit movies American Graffiti (released 1973, set in 1962 but effectively an ode to the teenage cultures of the late 1950s) and Grease (set in 1958 and based on a 1971 stage musical, the movie was released in 1978). On TV, Happy Days ran from 1974-1984, presenting an idealised version of white-bread teenage middle America from the mid-50s to the mid-60s.
In the UK, this retro-fascination manifested in the form of some of the decade's strangest pop acts. Formed in Leicester in 1973, Showaddywaddy were hugely successful rock & roll revivalists who scored a No 1 hit with 'Under The Moon Of Love' in 1976, and were regularly seen on TV sporting bright satin suits and crepe-soled shoes like latter-day superstar teddy boys. If Showaddywaddy had an aura of primetime approachability, their London-based counterparts, Darts, had a slightly more raw appeal. Founded in 1976, they had a string of hits revisiting doo-wop and R&B tunes including 1978's 'The Boy From New York City'. Darts' co-founder and bass vocalist, Den Hegarty, was a kinetic and charismatic performer who also became a familiar face to British children, appearing on ITV's anarchic Saturday morning TV show Tiswas, inexplicably sitting in a bathtub full of baked beans or providing loud "BONG"s in his booming bass tones for a section aping the 10 o'clock news called News At Den .
It wasn't hard to detect a self-conscious silliness about the upbeat 50s sounds and fashions pastiched and paraded by Showaddywaddy and Darts. Yet, away from the glare of the TV studios, authentic 50s originals were still very much alive, and deadly serious. Around this time, it was quite common to see groups of middle-aged teddy boys hanging around outside the amusement arcades at seaside resorts or lurking at the funfair near the coconut shy or duck shot, where you could win a prize of a small mirror decorated with a painted portrait of Elvis, James Dean, Marilyn Monroe or The Fonz from Happy Days. Even as a small child, I could sense an air of vague menace emanating from these ageing hooligans with their greasy quiffs, grubby suits and tattooed knuckles. These were remnants of a working-class British subculture that, from its emergence in the mid-50s, was synonymous with violence – and deeply in love with Elvis's rebel rock & roll.
The artist and social historian Jeff Nuttall, in his 1968 study of the rise of the counterculture in Britain, Bomb Culture, claims: "The first showings of Elvis Presley films were celebrated by rows of razored seats in the theatres concerned. These… did not indicate dissatisfaction with the performance or anger with the management. They were signatures... The teddy boys were waiting for Elvis Presley." If anyone was still invested in buying Elvis's records in 1977, we might safely assume that these teddy boy survivors were among them.
But the teds weren't the only tribe with a love of original rock & roll. From the late 50s, leather- and denim-clad biker gangs began to form in the UK, inspired in part by Marlon Brando's performance as the existential biker outlaw in the 1953 movie The Wild One. By the turn of the 60s, they had become known as rockers, indicating, as Nuttall points out, "a defensive adherence to the simple early forms of rock & roll". This devotion to the basic tenets remained absolutely central to the rockers' identity, particularly as a way of differentiating themselves from an emerging rival tribe and resisting their modernist agenda. While the mods were exploring soul, ska and modern jazz, rockers venerated Elvis and other rock & roll originals such as Gene Vincent and Eddie Cochran.
By the early 70s, the rocker subculture had faded, diluted by the influence of the psychedelic counterculture and the allure of even more extreme outlaw biker groups such as the Hells Angels. This is neatly illustrated by an unintentionally hilarious BBC documentary about the British chapter of the Hells Angels first screened in 1973. It follows the misadventures of a group of down-at-heel Angels – Pappy, Karl Sad Happy, Mad John and his dog, Hitler – on an ill-fated "run" to the countryside where they decide not to smash up a café and end up on a dilapidated, rain-soaked canal boat, drinking beer and watching Doctor Who on a portable black and white TV. Rather than the fierce road warriors they aspire to be, they come across as slightly pathetic, bedraggled and drug-addled losers who have never learned how to take care of themselves.
Whereas the original rockers were, at least to begin with, vehemently anti-drugs (which they perceived as effeminate), according to the documentary's exquisitely portentous narration "a really righteous Angel will consume almost anything in any quantity, combination or sequence" including LSD, alcohol, marijuana and amphetamines, "as much as they can get, as often as they can get it". Perhaps not surprisingly, the psychedelicised Angels' music tastes differed from those of the rockers, too. When they are first boarding the boat, Karl Sad Happy is seen clutching a stack of LPs, clearly showing the cover of Family's 1968 psych-prog classic, Music In A Doll's House. Still, maybe there was room for just a little rock & roll in their lives: later that night, as they sat around drinking and smoking, the portable record player pumped out Jimi Hendrix's version of Chuck Berry's 'Johnny B Goode', as featured on the posthumous 1972 live album Hendrix In The West.
Of course, these weren't the only bikers in the UK at the time. The documentary voiceover states that, in 1973, there were one million motorbike owners in Britain, with only 32 of them calling themselves Hells Angels and a further 2,000 classed as "pretty regular hellraisers". I clearly remember how, from time to time, a local biker gang known as the Viking Nomads would descend en masse on The Britannia, the local pub near where I grew up in Guildford, Surrey. As far as I know, they never caused any trouble, but the rows of gleaming bikes parked outside seemed an implicit threat, a snarling eyesore in this otherwise genteel and peaceful riverside locale, with ducks and swans drifting by, blue-rinsed elderly ladies taking tea in the Debenhams café over the river and audiences attending middle-brow whodunnits and farces at the Yvonne Arnaud Theatre just around the corner.
The idea of the biker was also imprinted on my consciousness around this time by the release of Meat Loaf's Bat Out Of Hell in 1977. The title track is an operatic tale of a misfit rebel leaving his lover behind as he makes his escape from a stifling society on a "silver-black phantom bike", only to crash and end up "torn and twisted at the foot of a burning bike". It's essentially an update on 'teen tragedy' songs such as The Shangri-Las' 'Leader Of The Pack' and Twinkle's 'Terry' (both 1964), told from the perspective of the male biker hero rather than the bereaved girlfriend. Guitarist Todd Rundgren's astonishing stunt-guitar simulation of the sound of a revving engine in 'Bat Out Of Hell' can even be seen as direct homage to the genuine motorcycle engine heard towards the end of 'Leader Of The Pack'. My parents owned the record – it was a favourite at home – and I used to spend hours lying on the sofa, reading the lyrics along to 'Bat Out Of Hell'' completely absorbed in the roaring momentum of this gloriously overblown, blue-collar American melodrama.
But the real biker heroes in my life were much closer to home. When I was a small boy, my family would, from time to time, be descended upon by our very own rebel chapter. I remember being outside the house, aged maybe five or six, kicking a ball against a wall on one of those endless afternoons of early childhood, the soft smack of the plastic ball hitting red brick the only sound in the quiet street. I hear a low hum, which becomes a distant rumble, which explodes into a deep roar as four large motorcycles round the bend at the end of the street, piloted by young men barely out of their teens, with long hair, clad in denims and leather. Leading the pack is my cousin Stephen, just five years younger than my mum, his auntie Linda. Behind him, is cousin Michael, just a couple of years younger. Next is, Tony, the loyal friend, and, at the rear, Pip, the fool and butt of all their jokes.
This tight little brotherhood had a habit of arriving unannounced and staying the weekend, throwing the house into a whirl of festivity. One Easter they arrived with dinner in the form of an enormous turkey, too big to fit in the oven, and an industrial-sized barrel of baked beans. They would stay up late and crash out in the living room in their denims. In the morning, I'd sneak in before they woke, breathing in the sweet, stale fug of beer, leather and farts. They laughed a lot, too, cracking each other up with their own made-up backward language in which a beefburger was a "regrubfeeb" and a beer gut was a "reeb tug". By hanging about near them, I was able to discern a few of the core beliefs that defined their world: unlike the old rockers, they weren't fussed about customising classic British bikes, but preferred big, new Japanese machines like the Honda Gold Wing; as for music, they were into heavy rock by Nazareth and AC/DC. They were, in short, about as much fun and excitement as a young boy could possibly imagine.
Perhaps it was because of an overload of excitement that I remember relatively little of the time we all went on holiday together. August 1977. I'm six years old. We travel in convoy: Stephen and the pack on their bikes; me, my mum and dad, younger brother and baby sister in Dad's van. Uncle Russ, Dad's younger brother, is there too. We set off early and, along the way, stop in a Little Chef. The ubiquitous restaurant is usually a motorway mirage, whizzing by, forever out of reach like an unattainable roadside paradise, but today – oh, special day – we are going inside for breakfast. I ask for a milkshake, which arrives in a tall, ornate glass. It's a dream come true. I'm less than halfway through when I knock it to the floor, broken glass and milkshake spattering on the tiles. No one has enough money to buy me another. It's almost unbearably disappointing, like only childhood can be.
We spend a week or so in a static caravan in Cornwall. It's a hot summer. There are a handful of other children of varying ages, all from different parts of the country, staying in the caravan park and we form a temporary holiday gang. One afternoon, something strange happens. We are playing in a small copse somewhere near or perhaps on the campsite. An older boy and girl are in charge. I'm one of the youngest of the troupe. The woods feel charged with static and imaginative potential. Suddenly we see several large sticks and fallen branches rise up out of the leafy undergrowth and hover, dancing in the air. No one questions it. We know earth magic is real. More than 40 years later, I can no longer tell if this was daydream, reverie or revelation. But the memory is as real as it is baffling.
Some recollections are more reliable. I'm sitting on the parched grass outside the caravan in the afternoon heat, hearing a hidden radio play a song I know. It's 'Way Down' by Elvis Presley. The radio says Elvis has just died. It's the first time I've ever been aware of somebody dying. Death has alchemised Elvis's appeal and 'Way Down' is now racing up the UK charts, on its way to a long, posthumous stay at No 1. I can hear the final moments of 'Way Down' lingering like smoke in the still air, JD Sumner's ancient voice singing "way on down" once, then once again, this final time plunging down an octave to a barely audible double low C. It feels like atoms falling apart, the slow, tired dissolution of matter. Rock & roll is dead. Almost exactly one year later, in August 1978, cousin Stephen is killed in a motorbike crash. Riding fast one night, another bike with an unlicensed teen rider comes too close and too fast in the opposite direction. Wing mirrors clip and Stephen is thrown to his death. He is 21 years old. It's the first time someone I know has died. JD Sumner's voice is still trembling in a vacuum. Rock & roll is still dead, its memory fading. Enchanted branches still bob and turn weightless in the summer air. 'Way Down' is still playing somewhere, imprinting the cold breath of mortality on my innocent brain, showing me that lights can be snuffed out and all things dwindle. It's a song that never ends. It remains two and a half minutes of the most powerful vibrations I have ever known.
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Great dividends. Great margins. Low debt. Are these Footsie shares the best bargains out there?
Ian Pierce | Friday, 19th August, 2016 | More on: ADN JUP SDR
It doesn't matter if your portfolio is worth £5,000 or £5bn, volatile markets make investors jumpy and often cause them to liquidate holdings. Some of the UK's largest asset managers are finding this out the hard way as collapsing confidence in emerging markets, Brexit and Eurozone stagnation send institutional investors withdrawing their money at a rapid clip.
But with astounding margins, healthy balance sheets and substantial dividends, is now the time for investors to take a closer look at these companies?
The woes at Aberdeen Asset Management (LSE: ADN) stem from its focus on emerging markets, which has sent share prices on a one-way roller coaster ride of late as rising US interest rates and slowing Chinese growth send shock waves throughout the developing world.
Spooked investors withdrew £8.9bn last quarter, marking the 13th straight quarter of net outflows. Unsurprisingly, this hit Aberdeen's bottom line hard and revenue shrunk 20% and operating profits fell a full 50% year-on-year at interim results.
Net operating margins also collapsed rather spectacularly, down from 31.2% to 19.2% over the same period. However, with no debt on the books and dividends yielding 6% should contrarian investors dip their toes in the water?
I don't think it's time for that yet. Emerging markets will turn around eventually and boost Aberdeen's fortunes. But with falling earnings not expected to cover dividend payouts this year, the company may not be able to maintain shareholder payouts during what could be a sustained downturn in markets from Brazil to China.
Aberdeen's shares could have further to fall if dividends are slashed and at 17 times forward earnings aren't yet in bargain basement territory.
Bashed by Brexit
Dividends are also reaching impressive heights at Jupiter Fund Management (LSE: JUP), where analysts are forecasting a 5.7% yield for shareholders this year. Even better, relatively resilient earnings are expected to cover dividends for the next two years.
So, with a great yield, net cash and net operating margins an eye-watering 50.8% in June, why are shares trading at a relatively sedate 14 times forward earnings? The answer is… Brexit.
If retail and institutional investors begin withdrawing cash from their portfolios as happened at Aberdeen, then shares of Jupiter can be expected to follow a similar downward trajectory in the coming quarters.
While the effects of Brexit on investors' psyches won't be fully clear for many, many months, Q3 results in October should give us some indication as to how Jupiter's funds are holding up. If investor confidence can be maintained, this well-run company could be a stellar long-term holding.
Despite its storied name Schroders (LSE: SDR) hasn't been immune to industry headwinds and in the three months to June it saw £2bn in net outflows from its funds. However, margins remained steady year-on-year and earnings still covered dividends 2 times over last year.
This is a prime example of Schroders' more staid and long-term approach to business, driven largely by the fact that the Schroder family retains a 47% stake. This is something that Foolish investors should love to see as family-controlled companies, while bringing their own corporate governance headaches, can often be relied on to ignore short-term fads and focus on long-term wealth generation.
That's why, despite the company's 3.12% yield lagging competitors, Schroders' mix of institutional and retail clients, geographic diversification and high margins still set it up to be a long-term winner in my eyes.
But what did Schroders' management blame for outflows last quarter? You guessed it, Brexit. However, that doesn't mean you should follow the crowd and let Brexit stop you from investing.
The Motley Fool believes this period of market turbulence has created a great opportunity to snap up quality companies at bargain prices and re-examine your whole portfolio.
That's why their top analysts have put together this free report, Five Steps To Surviving Brexit, filled with great advice to help your portfolio in this volatile time.
Your free, no obligation copy of the report is available now by simply following this link.
Ian Pierce has no position in any shares mentioned. The Motley Fool UK has recommended Aberdeen Asset Management. We Fools don't all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors.
See all posts by Ian Pierce

redpajama_set_name: RedPajamaCommonCrawl


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Photo: Badminton Estonia/Oleg Hartsenko
CoE in Estonia
Date: 1/10/2020 3:33 PM
Published by : Emilie Sommer (BEC)
Some of the CoE players have found their way to Kalevi Spordihall, where they are playing the Estonian International, the first European tournament of the year.
Milan Ludik from Czech Republic was the first CoE player to go on court in Estonia. He was playing Danylo Bosniuk from Ukraine. First game went to the Ukrainian player, but Ludik managed to win the second game sending the match into a third game. Unfortunately, due to a lot of mistakes and a strong Ukrainian performance ended with Ludik losing the match 15-21 21-19 13-21.
Irina Amalie Andersen from Denmark was on court shortly after Ludik, where also she faced a Ukrainian player, Maria Ulitina. Andersen struggled with the Ukrainian player and she did not manage to make enough points to win the match. She narrowly lost 20-22 19-21.
Kate Foo Kune, the women's singles player from Mauritius, was the last CoE player to go on court, and the pressure for a CoE player in the second round, was now on her. She played Wiktoria Dabczynska from Poland. Foo Kune was leading almost the entire match and also ended up winning 21-16 21-11 sending her through to the second round, where she will play Kristin Kuuba.
- It is a very slow hall here, because it is quite big. So, it was my tactics to really move my opponent. I am quite a small player, but she was even smaller, so that was an advantage for me.
As it is the first tournament of the year, not a lot of the players have the biggest expectations. The same goes for Foo Kune.
- Not really as I am back on the circuit very recently, so right now it is just about trying my best and get back into my game and to enjoy the badminton, she ends.
For further results, click here.


does work at other scenery's that do use autogate. any reason why this maybe?
I am also unable to get this working.
please check the manual once on Page14 there are some information about the safegates and how to activate it.
OK, renaming the DSF fixed it, hadn't seen it done that way before. RTFM.
In this folder there are two dsf files.
For the safegates the plugin AutoGate V 1.60 must be correct installed.
I've also been having issues. Please clarify if the jetway works or just the guidance system.
only the Guidance System is implemented. Not the jetways.
Who do we have to sleep with to get the jetways working then?
Moreover, you need the "AutoGate kit" from the same website. Please put it into your CustomScenery-folder.
Then you can open the airport in OE and exchange the default jetways by the those in the AutoGate kit. As placing these objects is tricky, I recommend creating a backup of your airport folder.
How about Aerosoft does that once and updates the Product? It is strange and unexpected to just have the guidance, not the Jetways, and for a Pay product it is surely not indented to manually Exchange all Jetways myself?
Oh my GOD. I can't believe you lied to me, Aerosoft! I'm so angry, I could scream.
I just bought this scenery today -- before I bought, I went and looked to be absolutely sure it had autogate functionality. What a big huge lie!
I just wasted $26 and 2 hours on this bullcrap. I am so angry, really, this is ridiculous.
I read 4 times in the description that it worked with Autogate. I never *once* thought that working with Autogate meant that it literally just worked with it. Not that it actually *had* automatic gates. My GOD you people are liars and evil and I will never buy another thing from you as long as I live.
I wasted so much time on this. I sat there, over and over, turning off the engines, putting it in park. NOTHING. Then I realized I needed to RTFM and I found the (stupid) manual instructions for (stupidly) having to manually edit the (stupid) file names myself manually (stupidly). OMG.
Then I renamed the file, re-ran X-Plane (each time I had to troubleshoot like this, for something I paid for, I was starting to see more and more steam come out of my ears). Waiting, waiting waiting for the simulator to start up, waiting for it to get everything going so I could try yet again to make the gates function. NOTHING. Then I even re-installed Autogate even though I already had it and have it with many many other (FREE, might I add?!)! airports.
But no, I re-started X-Plane yet again with the "latest" (same) Autogate plugin, and *no*, nothing. NOTHING.
Then I find this thread. So far, this is the ONLY place (and then only in a later post in a comment, basically), where the TRUTH comes out: in fact, there *are no autogates* in this scenery.
OMG you people drive me insane. Please -- for the Love of All That is Right -- PLEASE fix this. Please just fricking change all your stupid non-autogates to be fricking autogates. Or take the stupid bullcrap LIES in your product information saying you work with Autogates out. It's a LIE.
Steve, a person who will NEVER trust your idiot company again.
This is really hard to believe. First, you would say so casually that only the marshalling system, not the actual gates, are in the product .. then you say there is more information on the link you posted to another thread.
But that thread you linked says absolutely nothing about the fact that there are no actual autogates in the product.. It misleads users to say this. The post on that other page simply tells users who to rename the .dsf file to get the version that has the marshalling features. But a "guidance system" (aka marshalling feature) is *not* an autogate, and there's really no value at all in offering this if you're not going to also offer actual moving gates.
It's really hard to understand how you can so casually state that "only the guidance system is implemented" when it's so clear *everyone* here is asking for the feature that was advertised (autogate support, not brain-dead marshalling support with static jetways). You so casually explain that. How are you being so casual about it? Why isn't this documented anywhere else? Why is Heinz just telling us this here and only here? This post was written in 2015, and as I write here in 2017, between then and now, nobody at Aerosoft thought, "Hey, we should really fix this problem. I mean, we're lying to our customers about having autogate support, when in fact, we only give them a brain-dead marshalling feature"?
I know there's *some* value in the guidance system. Great, that's awesome for those out there who want that. But then you should not say you offer autogate functionality. You should say you offer a guidance system (and you should not require not refer to autogates in your description anywhere). I know the autogate plugin provides that functionality, but honestly, you *know* full well you are misleading people like me who have sworn to never buy scenery again that doesn't have moving jetways.
So, yeah, I don't know what else to say.
Or take the stupid bullcrap LIES in your product information saying you work with Autogates out. It's a LIE.
This means nothing else than there are safegates modelled ("safegate" is just the name of the company which creates LED guidance system and is not related to the jetways as a whole), and these only work with AutoGate installed. Nowhere in the description we state that the scenery actually has animated jetways. You just assumed it because you read "AutoGate". Probably like: "Well, if they use AutoGate for Safegate, they must use AutoGate also for the jetways".
It's not a lie. It's a misunderstanding.
"It's not a lie. It's a misunderstanding"
Yes yes its a misunderstanding that was entirely too easy for the consumer to make based on the ads language.
You are correct but "misunderstandings" like that are not easily forgotten. (as I remove no less than 12 Aerosoft airports and airplanes from my Steam wish-list.) As I said in a message to support, enjoy that $27 you all got for Heathrow. Its the last penny you will get from me.
Customer trust is hard to gain and easy to lose.
- "Hello, this sweater is in cachmire?"
- "Of course, he is in cahmire".
- "So, I buy it by what is indeformable and will last a long time."
I, too, believed in "autogates" when I bought Heathrow.
It is certain that I will not buy any more products via Aerosoft. It's not a lie, it's not a misunderstanding, it's a certainty.


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CANA Foundation Praises Groundbreaking Rewilding Legislation for Wild Horses in FY2020 Interior Appropriations Budget
CANA Foundation, an organization supporting rewilding programs for wild horses hailed bipartisan rewilding language in FY2020 Interior Appropriations Budget.
LOCUST VALLEY, NEY YORK, UNITED STATES, June 19, 2019,/EINPresswire.com/ — The CANA Foundation, a Long Island-based nonprofit organization that supports rewilding programs for America's wild horses, today hailed bipartisan language in the FY2020 Interior Appropriations Budget as a management option for America's wild horses. The House Appropriations FY 2020 Interior, Environment and Related Agencies appropriations bill encourages rewilding for wild horse and burro management. This groundbreaking legislation will open up the opportunity to save millions of taxpayer dollars spent on keeping wild horses in captivity and instead explore opportunities that allow them to restore balance to threatened American ecosystems and provide benefits to those communities.
The Committee stated:
"Rewilding —The Committee recognizes the value of horse rewilding as one of many herd management strategies and encourages the Bureau to explore collaborations with suitable organizations and willing landowners to adopt, transport and locate horses to appropriate habitats at no cost to taxpayers."
For full report (See Page 15)
Currently, more than 60,000 wild horses stand in cramped holding pens across America, costing taxpayers over $100 million a year and rising. These current management practices are not only inhumane to horses and unsustainable for American taxpayers; but also an enormous loss to our global habitats and biodiversity. Rewilding creates a solution to our nation's current wild horse crisis, which will put the lives of thousands of wild horses at risk if slaughter is legalized as a management tool.
Rewilding is defined as the introduction of select plants and animals into an environment to support, sustain, and balance the ecosystem and the energy of the environment. Rewilding returns to nature to balance and to benefit all inhabitants. Rewilding with wild horses is a popular strategy in Europe: including the Netherlands, Switzerland, Poland, Spain, Portugal, Croatia, Great Britain & Scotland.
CANA Foundation has advocated that there is a crucial thread of connection between America's wild horses and habitats, as well as to our humanity; therefore highlighting rewilding as a sensible management strategy for these populations here in the States. Achieving report language in the FY2020 Interior Appropriations Budget recognizing rewilding marks a landmark achievement for CANA's 2019 goal to open the doors for rewilding as a nonpartisan, long term, sustainable approach to managing America's wild horses.
"The present-day mismanagement of our horses is old and antiquated and has created an environmental, fiscal, and potential health crisis for the American people. Rewilding is the way of the future; a multifaceted and nonpartisan solution that helps find a balance between wild horses, taxpayers, and habitats," said former Congressman, Steve Israel, who led this issue in Congress and continues to champion the cause as CANA Foundation's strategic advisor.
CANA Foundation is a 501(c)3 New York-based, non profit rewilding organization that for over ten years has purchased wild horses at a standard Bureau of Land Management adoption prices, identified private and tribal habitats where the herds can live with dignity, free from the risk of slaughter; and transported them to live out their lives. There, they act as part of different environmental, social, spiritual, economic and workforce programs within the communities that welcome them home.
These rewilding initiatives humanely manage and preserve America's wild horse populations; while simultaneously fostering land conservation, sustainability, climate mitigation, community empowerment, stewardship and the protection of a myriad of plant and animal species.
"CANA Foundation is grateful to Chairwoman Betty McCollum and Ranking Member David Joyce for this sensible, bipartisan rewilding legislation. Rewilding will save millions of taxpayer dollars spent on up-keeping wild horses in captivity, increase workforce opportunities and help accrue socio-economic benefits to the local communities who welcome these wild horses," says Manda Kalimian, CANA Foundation Founder. "Wild horses play a vital role in land conservation and the health of our habitats. Thousands of case studies around the world prove wild horses have a unique ability to provide balance to the environment and to the human spirit. Through their presence, we can help to restore an ecological balance to our precious American ecosystems while benefiting the communities who welcome them."
CANA is working to unite at risk and intact herds with large scale rewilding initiatives happening across America with other animals, environmental, tribal, conservation and climate mitigation initiatives. As a keystone grazing species, their presence is crucial to the success of those endeavors.
These types of collaborations would work to ensure wild horses are protected and preserved as a cherished and integral component to the balance of the North American ecosystems. In doing so, we will conserve diminishing western territories and natural resources, contribute to the protection of our biodiversity and natural ecosystems and create empowered and sustainable communities for generations to come.
Creating a synergistic approach to rewilding will be the safest, most efficient, cost-saving way to create sustainable horse herds; therefore creating sustainable communities through projects that provide revenues and benefits to their local economies. This approach will save millions to the American taxpayer by reducing the need to maintain wild horses in captivity. Rewilding will also reconnect humans with the natural world we are a part of and empower us to revive the important role as stewards of our land. For all humans, plants, and animals who call America home, this rewilding legislation is more important now, than ever.


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Toronto Blue Jays slugger Jose Bautista helped a teen get a prom date on Twitter.
Blue Jays slugger Jose Bautista helps teen get prom date on Twitter
Bautista retweeted a plea from one of his followers in Newport Beach, Calif., for help with a prom proposal.
By Mark ZwolinskiSports Reporter
Wed., June 4, 2014timer3 min. read
updateArticle was updated Jun. 05, 2014
Miranda Hart was in class at her high school in Newport Beach, Calif., on Wednesday when her Twitter feed lit up with something you just don't see every day.
"@mirandaahart my buddy @kyledomingo1 would love to take you to prom! What do you say???
Kyle Domingo is a freshman at Hart's high school, and his "buddy" is none other than Blue Jays slugger Jose Bautista.
That's right, an all-star baseball player and two-time major league home run leader stepped in on behalf of a kid hoping to land a date for the prom.
And Bautista didn't even know Domingo.
"I don't know the kid," Bautista told the Star's Richard Griffin in Detroit on Wednesday afternoon prior to the Jays-Tigers game.
"I just . . . he sent me a direct message (on Twitter) and I said, 'Why not?' I've probably got 100 of those requests before and I never did it. For some reason I just decided to. I can't really say why. It worked out. Apparently she said yes, so I'm happy for the kid."
Domingo followed a trend in prom invitations — some elaborate enough to involve airplane banners, flash mobs, and homemade music videos — that has become popular enough to prompt a new phrase: the promposal.
He also thought enough of Hart to text Los Angeles Angels star Josh Hamilton with the same request.
"Yeah, he asked Josh because Kyle knows I'm a huge Angels fan," Hart said via texts (while in class Wednesday afternoon).
Bautista ignited a rollicking exchange on Twitter in which Hart was exuberant in her shock and disbelief — how in the world did an 18-year-old end up on social media with one of baseball's biggest stars? It was promposal meeting Twitter.
Indeed, promposals have crossed into Hollywood, professional sports and even the White House. Singer Rhianna, Miami Heat star Dwyane Wade and snowboarder Shaun White have all been persuaded to attend proms with regular teens recently.
Bautista, one of baseball's most prolific tweeters, has shown a huge interest in fans and a soft heart for young and old alike.
Last July, Bautista responded to a message sent by Wisconsin father Steve Lendosky, whose 9-year-old son, Derek, died tragically in a UTV accident. Derek was buried wearing Bautista's jersey — the Jays slugger was the boy's favourite player — and Bautista later met the Lendosky family during a Jays trip in August to Minnesota, where he gave them a cap with an inscription for Derek.
Hart, meanwhile, was thinking about her June 7 prom at Newport Harbor High School, but wasn't expecting such an elaborate invitation.
"It was also pretty funny because Kyle is a freshman and I'm a senior at our school," Hart said about Domingo, who is just turning 16.
After all the effort and fuss — getting hold of a major league star and asking him to text the girl he wanted to take to the prom — Domingo was awaiting an answer.
And, thanks in part to Bautista, the answer was yes.
"@mirandaahart: @JoeyBats19 @kyledomingo1 yes!" Alright! Thats what im talking about! #HaveFunKids.
"It took me a while to say yes only because I was in shock," said Hart, who also tweeted, "I still can't believe this just happened," after Bautista's tweet showed up.
Bautista, meanwhile, went on to batting practice Wednesday afternoon, but retweeted Hart's yes tweet for Domingo.
MOBILE USERS CANCLICK HERE TO SEE THE TWEETS
Jose Bautista, Twitter


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Season of Arrows streaming of entirety of new album " Give it to the Mountain" at Metal Injection is available!
Nashville's SEASON OF ARROWS have teamed up with Metal Injection to stream their forthcoming new album "Give It To The Mountain", which will be available on March 24th via Argonauta Records.
The band stated this: "We are very excited to announce we're releasing this album with Argonauta Records (Genova, Italy). They are true pioneers in working with awesome underground Heavy Doom/Sludge Metal bands. Our blood, sweat and tears went into writing and recording this record, and it's always great to see when the effort is rewarded. Turn it up loud, turn off the lights and enjoy!"
Stream the album here: http://www.metalinjection.net/av/full-album-stream/seasons-of-arrows-offer-unique-twist-on-psychedelic-doom-with-give-it-to-the-mountain
Purchase the album here: http://bit.ly/2jAOQng
About Season of Arrows:
Season of Arrows are a heavy doom/stoner band from Nashville Tennessee that was formed in January 2014. The band aims to take the sounds of heavy music and blend it with elements about the darker sides of life, almost like a cross between Jefferson Airplane and Black Sabbath.
The band's self-titled debut album was universally hailed by critics with praise from places such as Metal Forces, Doomed and Stoned and The Sludgelord.
Tagsamerican metal band doom metal give it to the mountain season of arrows slugde metal
Selfmachine – Official Video "Giddy-Up!" And New Album "Societal Arcade" Out Today!
FORGOTTEN WOODS "As The Wolves Gather" + "Sjel Av Natten" [Digipak] re-released on May 5th!


I have a DVDROM and 2 HDDs SATA that can be stopped by the user but I don't want hide it.
Can I see the devices in USB SAFELY REMOVE and when I click over him the program say "This device can't be stopped"?
This feature will be very interesting.


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void env_undefine(const char *var);
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void env_send(const char *);
void env_list(void);
const char *env_getvalue(const char *, int exported_only);

void env_iterate(int *, int exported_only);
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redpajama_set_name: RedPajamaGithub


It's easy to help Accessible Arts & Media and become one of our fundraising heroes!
There are lots of fun ways to raise money. You could set yourself a challenge, get together with musical friends to put on a fundraising gig or team up with people from school or work. Download our Fundraising Pack (PDF) for fundraising ideas and useful information to help you get started.
If you'd like to help Accessible Arts & Media, please get in touch. We can help you out with ideas, provide you with sponsor forms and posters and help you let people know about your fundraising. We love hearing what our fundraising heroes are up to and sharing it with our social media followers so please keep us posted and we can help you spread the word.
Chris and PJ ran the 2017 York 10K to raise funds for AAM, raising £305. Chris told us: I believe the difference that Accessible Arts & Media makes is about unlocking potential. Potential in people to learn, to enjoy, to perform, to interact with others they otherwise might not get the opportunity to. Also the potential in people to better understand, to care for and support those who face challenges in their everyday lives.
George raised over £30 for IMPs by holding a bake sale at his school. And the staff and star bakers at ACM Global Central Laboratory in York held a bake sale raising £100 for AAM.
Local band Cover Force Five put on a gig at the Fulford Arms, along with Joshua Nash, Isaac Lister and BingersUK. They raised a whopping £356 for AAM!


In honor of the Oscars I decided to get real fancy for my B-day weekend. Isn't this Shoshanna dress amazing! I love that you can rent it and not break the bank. ;) Plus Rent the Runway sent me a $20 b-day credit so I had to cash in!
That is definitely your color! It looks great on you!
You look amazing! I love this dress and color, stunning!
I love that color! Especially with turquoise accents!
You look FAB! Love Shoshana! Love RTR!!!
you look wonderful in that dress and i like that you pick up turquoise accessories.
I love all your bangles..such great shapes and colors!
Love everything and your hair is so shiny and gorgeous!!
HOT MAMA!! You look amazing it red and the pretty details like your jewelry! I'm not a fan of Rent the Runway as you know, but I'm glad you're taking advantage of the cool credits they're giving and get to wear hot little dresses like this!
You look great! Happy birthday!! I'm also a huge rent the runway fan!
Oooooh! I LOVE the red. You look fabulous!
Yowza! You're looking super hot lady! Love this color on you.


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Tomato festival a celebration that also aims to help man in need
Caitlin Heaney West | Aug 15, 2019 | Featured
This year's Pittston Tomato Festival will serve all the usual fun fans have come to expect from the annual celebration of the fruit.
But this time, the mid-August event also will help draw awareness to the plight of one of the men who has helped make it happen over the last two decades.
Pittston resident Ben Tielle, 52, is in need of a new kidney after treatment for a heart attack and the subsequent cardiac troubles he endured damaged his kidneys to the point that he retains 14% function. Doctors at Thomas Jefferson University Hospitals, Philadelphia, recommended he do outreach to find a living donor.
"I'm a very outgoing person, as I've been saying to everybody, but when it comes to asking for something for myself, I was very, very reluctant. … (The hospital) mentioned to me in Philadelphia (that) one of the best platforms is social media," said Tielle, who also has diabetes. "That was just very difficult for me, but the Tomato Festival committee — (chairwoman) Lori Nocito and the rest of the committee — just sort of rallied around me."
Their support came in the form of "Ben needs a kidney" T-shirts they'll don for this year's festival. Tielle was put on the list to receive a transplant in May, and he said doctors have held off on starting him on dialysis because doing so would push him further down the transplant list. While a family match would have been ideal, Tielle's brother has a different blood type (Tielle is B positive).
The committee shirts include Tielle's phone number — 570-430-1924 — so potential donors can get in touch with him. Potential matches will then need to get in touch with Jefferson to start the matching process, he said.
Tielle, who also is active in community outreach through First Baptist Church of Pittston, said he started volunteering with the Tomato Festival "to get involved with something that was going to do good for others."
"I'm feeling very overwhelmed right now," he said. "I never expected the outpouring of support and everything since the pictures first appeared in the paper and people started sharing it on Facebook. But I'm feeling very positive that I've already gotten a few calls, nothing that really turned out to be perfect matches or real possibilities, but there is interest out there. … I always feel like I'm complaining, (but) I'm just so tired and worn out every day from my condition, and this has sort of given me a boost."
The possibility that the festival — which runs from Thursday, Aug. 15, through Sunday, Aug. 18, in the city's downtown — could help find an organ donor for Tielle excites Nocito, its chairwoman for the last 22 years.
"Originally I thought we would just put (the information) out on our Facebook page, but then I had some other ideas as well," she said. "I thought, 'Let's really do it up big for Ben this year.' … If we can get a kidney for Ben, that would be the most wonderful thing."
SEAN MCKEAG / STAFF PHOTOGRAPHER
Ben Tielle of Pittston needs a kidney transplant after complications from heart surgery dropped his kidney function to 14%. The longtime members of the Pittston Tomato Festival committee is getting a helping hand from his fellow festival organizers.
Even with a positive outcome for Tielle, thought, the festival will feel bittersweet for Nocito, who plans to step down from the top job this year, although she will remain active with the committee in other ways going forward. Pittston Mayor Michael Lombardo will take over as festival chairman.
"It's been 22 years — a labor of love — and the festival has a great momentum right now," Nocito said. "We see more people stepping up to take on volunteer roles, and I think now it's a good time to encourage others to take the lead because it can only grow. And I would never leave if times were tough. To go out on a high not or a good note would be the best thing. … It's nice because the transition will be very smooth."
Initially, Nocito expected to lead the group for a year, but she decided to stick around and has watched the festival grow during those two decades. It added the famous tomato fights, a 5K run and a new merchandise headquarters in addition to moving from one area in the city to another and improving the event's layout and design. While the festival has used two tiers of a parking lot, this year it will add a third tier in a lot behind Pittston Memorial Library, 47 Broad St., where visitors can find artists and other vendors.
"I've very proud of our committee and how well we work together," Nocito said. "And I'm proud of the events and the things at the festival that we've added over the years. … There's just so many different things that we've been able to do together to make it even bigger and better."
This year's festival opens Thursday at 5 p.m. with an opening ceremony to follow at 6. Visitors can hear live music every night and check out other special events. On Saturday, Aug. 17, the 5K race and fun walk will take place at 10 a.m.; the parade, 10:30 a.m.; tomato fights at Waterfront Warehouse (formerly Cooper's), 304 Kennedy Blvd., 1:30 p.m.; and the tomato contest, 7 p.m. The Little Miss and Little Mr. Tomato contest will follow on Sunday from 10:45 a.m. to noon.
Nocito believes the food and camaraderie bring people back to the festival year after year, with the events like the tomato fights, race and parade keeping people engaged. She knows groups have even planned class reunions around the festival so they could attend the tomato festival.
"The festival has always been the major event of Pittston city, and I think it has helped put Pittston city on people's radar because the festival is so unique," Nocito said.
The festival also has helped her fulfill her goal of raising enough money for it to give back to the community, something it does by donating to civic organizations. She hopes, too, that guests take note of Pittston's recent revitalization work when they visit.
"I would say that someone who hasn't come back for a year would see a lot more life in the city," she said. "People are living in the city. … I think they're going to see all the revitalization efforts and of course enjoy something they maybe never tried before. … There's something for everyone."
Pittston Tomato Festival event schedule
For more information about the festival, visit pittstontomatofestival.com.
Thursday, Aug. 15
5 p.m.: Festival opens
6 p.m.: Opening ceremony
6:30 to 7 p.m.: Windfall
7:15 to 8 p.m.: Phyllis Hopkins Trio
8:45 to 10 p.m.: Running on Whiskey featuring Billy Knowles
Friday, Aug. 16
5:30 to 6:30 p.m.: Dani-Elle
7 to 8:30 p.m.: The Sperazza Band
9 to 11 p.m.: Sweet Pepper & the Long Hots
Saturday, Aug. 17
(Streets are blocked for race and parade at 9:30 a.m.)
10 a.m.: 5K race and fun walk
10:30 a.m.: Parade
1 to 2 p.m.: Perfect Harmony Singers
1:30 p.m.: Tomato fights at Waterfront Warehouse (formerly Cooper's), 304 Kennedy Blvd.
2:30 to 3:30 p.m.: The Music Room
4 to 5 p.m.: Fuzzy Park Band
5:30 to 6:30 p.m.: Groove Train
7 p.m.: Tomato contest (smallest, largest, ugliest and most perfect)
7 to 8:30 p.m.: Flaxy Morgan 25th anniversary show
9 to 11 p.m.: Fab 3
Sunday, Aug. 18
10:45 a.m. to noon:
Little Miss and Little Mr. Tomato contest
1 to 2 p.m.: Danny Argo
3 to 5 p.m.: The Luongo Brothers
5:30 to 7 p.m.: Picture Perfect
7:30 to 9 p.m.: Tony's Wine Cellar Jam Band
Anyone interested in being a living kidney donor for Pittston resident Ben Tielle can call him at 570-430-1924. His blood type is B positive.
Pittston Tomato Festival parade lineup announced
Donations to help Scranton man undergoing chemotherapy
2020 Festival of Ice theme announced


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Public Release: 28-Aug-2013
Pain relief technique cuts hospital stay by one-third for some surgical patients
TAP block procedure poses no significant risks to patients and also cuts postoperative use of narcotics according to Journal of the American College of Surgeons study
Chicago (August 28, 2013)--Surgeons at University Hospitals Case Medical Center, Cleveland, are working to reduce serious complications that have been known to occur with colorectal operations. In addition to using a set of pre-and postoperative standards that speed recovery which they have been publishing on for more than a decade, the researchers have validated yet another step surgeons can take to further reduce patients' hospital stays: adding a procedure called the transversus abdominis plane (TAP) block to patients' surgical care. The results of their study appear in the September issue of the Journal of the American College of Surgeons.
Aside from the pain and discomfort associated with colorectal operations, national studies show that more than one in 10 patients end up being readmitted to the hospital for complications within 30 days of the procedure. More than one in five will be back in the hospital after 90 days, according to a study published in Diseases of the Colon and Rectum.* In an effort to improve outcomes and reduce readmissions, colorectal surgeon Conor P. Delaney, MD, PhD, FACS, FASCRS, has been among a group of surgeons who have been developing and testing Enhanced Recovery Pathways (ERP) for colorectal surgical patients.
The ERP protocol counters traditional conventions about how patients should prepare for, and recover from, colorectal operations. Dr. Delaney reported that these standardized steps--which have been shown to speed recovery and improve outcomes--include letting patients eat the day after the procedure instead of waiting several days, encouraging them to walk around after procedures instead of staying in bed, optimizing analgesia, and controlling intravenous fluid volumes.
Dr. Delaney looked at further reducing patients' postoperative pain by adding the TAP block. Although usually administered with ultrasound guidance, Dr. Delaney's group has recently described a laparoscopic tap block technique that enables surgeons to inject a regional analgesia into a layer of the abdominal wall between the oblique muscles and the transversus abdominis. The nerve block is given at the conclusion of colorectal operations and reduces pain in the operative area.
For the study, Dr. Delaney employed the Enhanced Recovery Pathway protocol and the TAP block on 100 patients in 2012. Sixty-five patients needed an operation after being diagnosed with colorectal neoplasia. Most of the other patients needed treatment for conditions like Crohn's disease, ulcerative colitis, and diverticulitis.
After the TAP block, patients were also given intravenous painkillers, including acetaminophen. The TAP block allows patients to bypass or at least reduce the barrage of narcotics they are often given after an operation. Though narcotics can help alleviate pain, Dr. Delaney said these agents can also slow down recovery. The TAP block, however, wears off just in time for patients to skip the worst of the pain that occurs immediately after the operation. The TAP block also does not appear to pose any significant risks to patients, Dr. Delaney added.
The researchers' goal was to see whether the TAP block reduced complications and shortened the hospital stay. Results showed that the mean hospital stay dropped to less than 2.5 days after the surgical procedure, significantly lower than the 3.7 days which the University Hospitals Case Medical Center Carepathway had already described for more than 1,000 consecutive patients. The researchers reported that 27 patients went home the next day and another 35 went home 48 hours after their operations. "That's a lot better than the five or six days patients usually stay in the hospital after laparoscopic colorectal procedures, and certainly better than nine days often seen after an open operation," Dr. Delaney said. "With a third of patient leaving the day after colorectal resection, we feel these results have been remarkable."
As Dr. Delaney's group has previously shown, there were no mortalities, and patients who stayed longer in hospital tended to have more complications. Of the eight patients with complications, such as urinary tract infections, gastrointestinal bleeds or small bowel obstructions, only two of this group were discharged within 48 hours.
"The old thinking was that if patients went home early, they have a higher chance of readmission, but the data continue to show that's not the case," Dr. Delaney explained. "Patients who went home earliest had the lowest readmission rate."
Those patients who had complications or required a longer stay were probably more high-risk patients anyway, because of advanced age or additional health conditions, Dr. Delaney said. Standardized criteria for discharge from hospital also play an important role in these results.
Using a TAP block to reduce hospital stay and narcotics use also has implications for reducing health care costs. In addition to the cost of each day in hospital, painkillers and other medications for colorectal surgical patients can cost many hundreds of dollars for each patient, Dr. Delaney estimated. The TAP block costs just $20 per patient. "There are so many things we have to be careful of and cost is one of them," Dr. Delany said. "This is a low cost way to help patients feel better and recover sooner."
Dr. Delaney predicts that ERP protocols will become standard practice for colorectal surgical patients in the next five years, although some health care organizations are already using them to a variable extent. However, including TAP blocks in that protocol will require more evidence. "The next step is a randomized clinical trial," he said. In fact, Dr. Delaney's research team has already initiated a randomized double-blinded trial to compare a group of colorectal surgical patients who receive the TAP block with another group who will not.
"If things continue to go well, my expectation is that we'll eventually be giving the TAP to everyone, because it helps with reducing the pain," Dr. Delaney said. "As quality and outcomes improve, we will also continue to see an increasing percentage of patients who are fit to be discharged the day after colorectal resection."
Joanne Favuzza, DO, also participated in this study.
*Wick, EC et al. "Readmission rates and cost following colorectal surgery." Dis Colon Rectum. 54 (12): 1475-1479. Dec. 2011.
http://www.facs.org
http://www.facs.org/news/jacs/colorectal0813.html


The pavilion will exist as a recorded evidence of the very happening of the Bangkok Biennial, available both in printed book form and online.
Together with the documentation of the participating pavilions' projects, 'Record' seeks to produce a transparent document capturing what lays behind and in-between the coming-together of the Biennial. A Biennial 101 sort of.
This page was last edited on 8 June 2018, at 20:58.


Head trauma made her see strange colors, even ones that are "not even real."
By age 20, AB had suffered four concussions, gotten viral meningitis, and been struck by lightning. "She's unofficially the unluckiest girl alive," says Kevin Mitchell, a neurogeneticist at Trinity College Dublin, who published a recent case study on AB, a pseudonymous subject. Her series of unfortunate events also ended up producing a scientific puzzle.
Because before all this, ever since she was a child, AB had been able to see colors with musical notes and perceive unique auras around people, the study reports. This mixing of senses is a little-understood phenomenon known as synesthesia. Synesthesia can come in many different forms, including colors that evoke sounds, words that evoke tastes, or even sounds that evoke touch. For AB, each insult to her brain—the concussions, the meningitis, the lightning—altered her synesthesia in different ways, both subtle and dramatic. Her synesthesia eventually returns exactly the same as before it went away.
No one had documented before such a case, where the perceived colors changed so much over time before returning to baseline. The brain is, weirdly enough, both malleable and unchanging.
As a child, when AB saw colors with musical notes, higher pitched notes were pastel; lower ones more solid. She could play by ear the tin whistle, flute, glockenspiel, marimba, and piano, perceiving out-of-tune notes as the wrong color. And when she saw auras around people, their colors were determined by the people's personalities. She associated blue with loyalty, green with caring, red with power, and so on. But in her early teens, the study explains, AB had a couple of mild concussions that led to migraines. The prescription migraine medication she took erased all the color from her synesthesia for a time. Eventually, it came back.
At 19, AB got viral meningitis, an infection of the membranes around the brain. For a month thereafter, she could see colors with musical notes but they would be the wrong colors. She again recovered. But then she got another concussion, which moved the colors she saw from the center of her field of vision to the side. Yet another concussion made the colors more intense but somehow off. According to the study, it didn't affect the actual colors she saw of objects in the real world, but the change in her synesthesia was still distressing. The colors AB perceived through synesthesia were as real to her as the colors of real objects; seeing different colors with the same musical notes was like waking up one day to find apples blue.
Things got really weird after she was struck by lightning two months later. This, understandably, increased her anxiety, and she started seeing strange colors like golds and silver along with colors that were possibly "not even real colors," she told the researchers. Xanax calmed her, but it also muted the colors she perceived. Later, when she started getting seizures, medication again completely suppressed the colors. Her synesthesia returned to normal the next year, and the colors she associated with notes and people were the same as before the meningitis and lightning episodes.
Drugs can sometime induce synesthesia in non-synesthetes, so the idea that synesthesia can come and go is not surprising. "It's almost in synesthesia folklore that synesthesia can weaken with certain types of drugs and depression," says David Brang, a psychologist at the University of Michigan who studies synesthesia but was not involved in this case study. What's remarkable, says Brang, is that AB's color associations came back and remained consistent, despite all the medications and head trauma. In a second case also presented in Mitchell's paper, a man referred to as CD lost his synesthesia for eight years when he started taking antidepressants for Seasonal Affective Disorder, only to have it return in full force when he stopped.
Synesthesia has two competing—though not mutually exclusive—explanations in neurobiology. In one, people with synesthesia have extra connections in their brains, connecting for example their auditory cortex with their visual cortex. In the second, everyone has these connections between different parts of the brains, but they're usually unactivated. These connections may be disinhibited—as in un-unactivated—in people with synesthesia. The cases of AB and CD do not readily point to one explanation over the other. Perhaps the drugs and head trauma altered the wiring of their brains; perhaps it altered which connections were active. Perhaps both.
What the cases do neatly illustrate is the subjectivity of color, and by extension, of all our perceptions. If you can hear a note and see turquoise one day and hear the same note but see no color the next, then you have to conclude color is not intrinsic to the note. Even the color we see from real objects are our brains' interpretations of wavelengths of light bouncing off that object. (Cough, The Dress.) That's why AB could report perceiving colors that were "not even real colors." "It's a really fascinating insight into how the brain generates internally a representation of a color," and how the brain could generate it wrong, says Mitchell.
For people with synesthesia, those colors they experience are also no different than the colors of real objects. Brang says he knows of people who stopped taking antidepressants for Seasonal Affective Disorder because they couldn't stand losing their synesthesia. "It actually worsened their depression," he says. "The loss of these color experiences had muted their world." It was like losing a sense.
"Each person has their own unique window into the universe. Synesthesia is just a remarkable demonstration of that," says Peter Grossenbacher, a psychologist at Naropa University who has also studied people with synesthesia. Some of us have just looked through more than one window into the universe, not by choice but through (mis)fortune, drugs, and head trauma.


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SALES CHARTS
Acrossing the Miles
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SILBER LININGS: Biff! Pow! Superhero comics actually ARE for kids
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Home Columns Kibbles 'n' Bits Kibbles 'n' Bits – 8/13/09
Kibbles 'n' Bits
Kibbles 'n' Bits – 8/13/09
Heidi MacDonald
§ The idea of a comic book on the front page of the New York Times Arts section would once have been unimaginable in comics circles, or at least something reserved for MAUS or WATCHMEN. But now it is for the worthy but under-seen UNKNOWN SOLDIER revival by writer Joshua Dysart which is getting this top-level coverage. The story explains the lengths to which Dysart went to research the tale, which is set in Uganda, a real-life world of long-term civil war, child soldiers and almost unimaginable savagery:
With his pitch accepted, Mr. Dysart visited the public library, pulled all the books he could find and combed the Internet. "There was a thin Wikipedia page," he said.
Mr. Dysart decided that "if I was going to deal with the absolute worst aspect of these people's lives, I was going to have to go there." He visited Uganda in early 2007, months after a cease-fire was declared the previous summer. Mr. Dysart spent time with the Acholi and visited the cities of Kampala and Entebbe.
§ According to a recent podcast, CLERKS producer Scott Mosier and artist Jim Mahfood have sold an animated series to Disney. No more details yet.
§ A. David Lewis wants to know what you think of his new book, SOME NEW KIND OF SLAUGHTER. Really.
§ We didn't get some of these, but you may like #3.
§ The audio of the recent Conversational Comics with Jessica Abel, Jason Little and Matthew Thurber is now online. The final one is this Saturday!
§ John Jackson Miller digs deeper into the question of what is Marvel Comics' true birthday.
Comics back then were generally post-dated — like all magazines on newsstands, publishers didn't want newsdealers pulling them off the shelves because they saw a cover date. Marvel was no different. But with Marvel #1, specifically, most copies actually have a black circle over the date, on the cover and inside, with November stamped on it. That suggests to me that they were probably really encroaching on the original October cover date — or, at least, they didn't like the number of weeks left between the ship date and October.
§ Sean T. Collins' series of interviews with the STRANGE TALES creators continues with Jason talking about Spider-Man.
» Dash Shaw
» Johnny Ryan
» Junko Mizuno
» Nick Bertozzi
» Peter Bagge
§ Comics Comics has been on fire lately, and when we tell you there is a post entitled The Dark Vision of Carl Barks by Jeet Heer, you will race over, right? While Heer is correct in his textual analysis of Barks' sometimes harsh stories of materialists, judging the man too much by interviews from the twilight of his life, after his wife had died and various business deals had gone sour, isn't entirely fair.
§ Vanguard is…Vanguard? Apparently there are two Vanguards, and even after reading this press release, we have no idea which is which or even who put out the press release.
§ Laurel Maury reviews the GN version of Fahrenheit 451.
§ The Ten Best Superman villains.
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Heidi MacDonald is the editor-in-chief of The Beat and an award winning author and editor. She is the co-author of The Secret Teachings of a Comic Book Master.
Tommy Raiko 08/13/2009 11:38 am At 11:38 am
"Apparently there are two Vanguards…"
Heck, there's a third Vanguard kicking around the world: Vanguard Press, a book publishing imprint of Perseus Books.
Torsten Adair 08/13/2009 12:14 pm At 12:14 pm
Unknown Soldier, Volume 1: Haunted House
9781401223113 144p. $9.99 (!!)
According to Books In Print, there are:
Vanguard Press (Owned by Perseus)
Vanguard Press, Incorporated (Out of Business)
Vanguard Productions (Clinton, NJ)
Vanguard Audio Features, Incorporated (Birmingham, AL)
Vanguard Video (Tulsa, OK)
Village Vanguard, Incorporated (Atlanta, GA)
National Vanguard Books (Hillsboro, WV)
Vanguard Institutional Publishers (Santa Monica, CA)
Vanguard Books (Chicago, IL Out of Business)
Vanguard Books, LLC (Potomac Falls, VA)
Vanguard Non-Fiction Books (Minneapolis, MN)
Vanguard Publications (Boston, MA)
"Vanguard" is the anglicized version of "avangarde", from which "avantgarde" is derived.
"AuVanguard" would be a clever solution.
Of course, this involves Platinum Studios, so this might be a moot point.
Compare with DC Comics' Matrix/Helix imprint and the NBC/Nebraska ETV logo.
Synsidar 08/13/2009 1:09 pm At 1:09 pm
My interpretation: Vanguard Productions issued the press release. The key sentences in the document are these:
Having been brought up to date on the long established Vanguard in the publishing industry, Vanguard Animation chairman John H. Williams proposed an agreement between the two companies in which Vanguard Animation agrees not to publish using the name Vanguard and Vanguard Productions agrees not to use either of the names Vanguard Animation or Vanguard Films in regards to their own video/film/DVD projects. The agreement was signed on October 15, 2008. Announcement of the agreement was delayed while Vanguard Animation considered new names for their comics-related project.
I haven't found any sign that a new name for the "Vanguard Comics" joint venture has been publicly announced.
Tommy Raiko 08/13/2009 1:21 pm At 1:21 pm
"My interpretation: Vanguard Productions issued the press release…"
Also, Vanguard Productions is the only entity listed in the "For More Information" part of the press release, which is another indicator that they're probably the ones who issued it. Not exactly sure what to think of the use of one of these free-press-release websites to issue their news, though, but perhaps I'm just being elitist…
michael 08/13/2009 2:57 pm At 2:57 pm
I hate having to give info to read free online stuff.
"According to a recent podcast, CLERKS producer Scott Mosier and artist Jim Mahfood have sold an animated series to Disney. No more details yet."
*scared* Other 'mature-minded' artists have done it, but unless Mosier and Mahfood have severly changed their sense of humour, I don't see how they could make something for Disney! O.O
I really wanna know what this book is about, and not even a synopsis? O.o
They were all easy to get! :)
23 – Rambo, curing his anger
22 – Terminator, eliminating the whole robots in military thing
21 – the Matrix, if it can be read, why can't they use it to 'read' who the one is?
20 – Star Wars, Suffocating little anakin before he turns evil
19 – Hellraiser, pinhead, he did that to himself, a self torture thing
18 – Stand by me, no journey = no shennanigans
17 – Edward Scissorhands, not loping off heads.
16 — Home Alone, no need to go through all that with Real Security
15 – The Ring, pausing and reversing the girl coming out of the tv
14 — Men In Black, who not just minderase the alien?
13 – The Amnittyville Horror, just condemn the place instead of selling it.
12 – Nightmare on Elm Street, why not just move away?
11 – Jaws, just poison the shark
10 – Willy Wonka and the Choc Factory, just ask for a professional
9 — terminator, Microsoft will kill the op os of the robots.
8 – – Bill & Ted's Excellent Adventure. iF they knew actual history…
7 – Ghostbusters III, I think, the picture's eyes were where the evil came from
6 – 300, just surrender and live.
5 – The Birds, why not decieve the birds (they are supposedly lacking in brains)
4 – Big, If it was out of order, just sign will stop usage
3 – Spiderman, Uncle lives, maybe he gets reward
2 – The Little Mermaid, she went waaay too far to be with a human when this is a simpler method.
1 – The Da Vinci Code. No code, just spell it out.
*listening to this now* :)
Marvin Mann 08/13/2009 3:13 pm At 3:13 pm
For Michael, (and anyone else).
Some new Kind of Slaughter~or~Lost in the Flood (and How We Found Home Again): Diluvian Myths from Around the World by mpMann and A. David Lewis collects a number of flood myths from around the world into a loose jointed narrative. The earliest know flood hero, Ziusudra from the Sumerian Epic of Gilgamesh functions as a kind of narrative thread. These are his visions during his own time on an ark. The Noah story features research into several religious traditions versions of the best known flood myth and is the longest story presented. two chinese myths are collated into a single story, and we invented a modern tale of a woman entering a flood zone in search of her family. These four tales are presented in greatest depth, but there are a number of other flood stories from around the world that are shown as brief "done in one" drops into the overall narrative.
I will say no more, but hope that this will catalyze your interest in our book, which I think is different from anything else out there.
Jeet Heer 08/13/2009 4:59 pm At 4:59 pm
Thanks for the link. It's true that the interview I quote from was conducted when Barks was 1) very old and 2) rightly bitter about attempts to rip him off and in mourning over the death of his wife. On the other hand, he was also fully lucid and explicitly wanted to make these statements about his world view. In the same interview I quote from he told Donald Ault, "I think it's important for your book that people know how I feel about this." I think we have to take Barks at his word that what he was saying was important for an understanding of who he was.
Also, nothing I wrote should be seen as me judging Barks adversely. Quite the revere, I think the darkness of his world view makes him a more interesting cartoonist. I implicitly compared him to Crumb, Ware, Barks and Samuel Beckett — high praise where I come from.
The Beat 08/13/2009 7:02 pm At 7:02 pm
Jeet, sure. That's how he really felt at the end obviously. But it's not the TOTAL picture.
That said, I agree, Barks was no warm and cuddly humanist. The lasting power of his work is probably in his incisive exploration of a variety of bad character traits — greed (Scrooge), laziness (Donald, Gladstone), venality (Daisy).
EDIT: having seen your addendum, we're basically in agreement I was just pointing out that at the end of his life, Barks had had a number of reversals that hit him hard which contributed to this dark view, one which had always been there but now had no reason to be hidden.
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text:
WebPositive (también llamado Web+) es el navegador web gráfico incluido como parte del sistema operativo Haiku desde la versión R1 / Alpha 2. Fue creado para reemplazar a BeZillaBrowser (un port de Firefox 2) con un navegador nativo basado en WebKit.

Actualmente, hay soporte para la mayoría de las funciones de HTML5, incluyendo mientras que el soporte de geolocalización aún se está trabajando. [3] WebPositive no admite actualmente ningún tipo de complementos, aunque el desarrollador Stephan Aßmus ha sugerido que puede buscar soporte para complementos en el futuro.

Origen
Una parte de su nombre es tomado del simple NetPositive original de BeOS, mientras que el otro apunta a su base moderna: WebKit, la biblioteca de código HTML de código abierto en el corazón de muchos otros navegadores principales, como Safari de Apple. Al utilizar WebKit como su motor, WebPositive puede mantenerse al día con las últimas tecnologías web.

Historia
En el Google Summer of Code 2009, Maxime Simon, instruido por Ryan Leavengood, recibió el encargo de trabajar en un puerto WebKit . para Haiku , iniciado por el trabajo que Leavengood había realizado para obtener una recompensa en el sitio web de Haikuware.  Esto llevó al desarrollo del navegador prototipo llamado HaikuLauncher, que demostró la funcionalidad del motor de renderizado WebKit pero hizo poco más.

En febrero de 2010, Stephan Aßmus asumió la tarea de mejorar el navegador web HaikuLauncher para hacerlo más útil.  Esto llevó a muchos lanzamientos previos antes de que una versión relativamente estable (r488) se integrara en Haiku R1 / Alpha 2. En ese mismo año, Ryan Leavengood asumió el cargo de desarrollador principal de WebPositive.

Las versiones anteriores de WebPositive utilizaban los servicios de cURL pero eran lentos y tenían muchos otros errores, uno de los mayores errores era que las cookies se sobrecargaban a veces. Quedó claro que cURL no podía usarse en WebPositive. Fue entonces cuando Adrien Destugues, o PulkoMandy, recibió un contrato en octubre de 2013 para trabajar en WebPositive para que pudiera solucionar los errores. Esto llevó a Destugues a convertirse en el desarrollador líder de WebPositive y HaikuWebKit. Destugues reemplazó a cURL con el Kit de Servicio de Haiku en el núcleo de la aplicación, que fue trabajado anteriormente por Stephan Aßmus y Christophe Huriaux en Google Summer of Code 2010, y Alexandre Deckner en 2011. Destugues también ha hecho grandes mejoras en el soporte HTML5 de WebPositive en WebKit, como la implementación de soporte para datalists y entrada de color. El trabajo constante de Destugues en HaikuWebKit y WebPositive da como resultado un WebPositive más rápido con menos errores.

Referencias

Enlaces externos

 WebPositive Guía de usuario
 WebPositive Etiqueta en Haiku-os.org
 Destugues' Charla en HaikuWebKit y Web+ en BeGeistert 028

Software libre programado en C++
Software basado en WebKit

redpajama_set_name: RedPajamaWikipedia


User-defined conditions allow you to distinguish between used-defined variants.
Perhaps you have several cliptexts which are identical except for the product name (or something similar), because they all refer to the same situation. Depending on product that the customer refers to in his mail, you're using a different text. With a user-defined variant you can put all of them into one cliptext for this situation and depending on the product name the right variant will automatically be chosen.
In this example the product names are the user-defined conditions.
• What are user-defined variants?


text:
Home Must Read Government of Canada removes Harry Stevens' name from building in Vancouver
Government of Canada removes Harry Stevens' name from building in Vancouver
Vancouver: The Government of Canada is committed to reconciliation, diversity and inclusion. This includes acknowledging past wrongs, such as the Komagata Maru incident.
The Honourable Carla Qualtrough, Minister of Public Services and Procurement and Accessibility, and the Honourable Harjit S. Sajjan, Minister of National Defence and Member of Parliament for Vancouver South, announced the removal of Harry Stevens' name from a federal public building in Vancouver, British Columbia. They were joined by other local members of Parliament and members of the South Asian and First Nations communities. At the same time, the ministers also recognized the newly painted mural on the building, located at 125 10th Avenue East, as a symbolic gesture of reconciliation to victims of the Komagata Maru incident, and as a way of paying tribute to the kindness of spirit demonstrated by the nearby Indigenous Peoples.
The new mural, painted as part of the 2019 Vancouver Mural Festival, depicts the Komagata Maru incident of 1914. It honours the victims of the tragedy and their descendants, and recognizes the generosity of the local Indigenous Peoples in providing food and water to the passengers. The mural was a joint effort by artist Keerat Kaur, who painted the ship, and artists Alicia Point and Cyler Sparrow-Point, who painted the Indigenous art.
Carla Qualtrough, Minister of Public Services and Procurement and Accessibility said: "The Government of Canada believes in the values enshrined in the Canadian Charter of Rights and Freedoms, including multiculturalism. We see diversity as a source of strength and work to break down barriers so that all have a real and fair chance at success. Today, some of my parliamentary colleagues from British Columbia and I come together to commit ourselves and our government to positive action and recognize past wrongs. We use this as an opportunity to honour and pay respect to the victims of the Komagata Maru incident, and to the Indigenous Peoples who supported them during their stay in the Vancouver harbour."
Harjit S. Sajjan, Minister of National Defence said: "Today is about acknowledging our history, learning from it and vowing to never let the wrongs of the past happen again. The Komagata Maru incident was a tragedy in the truest sense of the word. Canada is a different nation today, but we can never forget what happened here, so we can learn from it and ensure it never happens again. Removing the name from this federal building and installing the important mural here will serve as that constant reminder. These actions by the government also signify our commitment to moving forward, to embracing inclusion and celebrating diversity in everything we do. The Government of Canada will continue to do just that, and that's something all Canadians can take pride in."
Raj Singh Toor, Vice-President and Spokesperson for the Descendants of the Komagata Maru Society said: "Removing Harry Stevens' name from the federal building in Vancouver will help educate the community and remind us of how unique Canada's diverse makeup is. We are all richer when we remember how special it is to have so many different ethnic communities living together. While it can't right past wrongs, I hope that it will help to connect Canadians with their past in order to build a more peaceful and tolerant tomorrow."
In 2016, the Prime Minister apologized for the Komagata Maru incident in the House of Commons.
Henry Herbert (Harry) Stevens was a Canadian politician who was actively involved in the Komagata Maru incident.
The name of the building will revert back to its street address of "125 10th Avenue East." There are no plans to rename the building at this time.
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