The application of computer-based methods by scholars of the Humanities has a tradition that goes back to the mid 20th century. Labelled "Digital Humanities" some 15 years ago, it has seen a significant growth since then . An important part of Digital Humanities methodology is to establish data sets  based on cultural artefacts such as fiction texts, paintings, musical scores and recordings, and historical sources in all media. This is done in a number of different ways and includes some sort of extraction of data from sources computer assisted analysis and visualization. When this process works well, it supports scholars' endeavours to answer existing research questions and to generate new insights and novel research questions. A significant part of the data collected can be modeled as networks.
Existing network analysis and visualization techniques have already proven themselves immensely useful in analyzing Digital Humanities data and providing new discoveries . The central goal of research on network visualization for digital humanities scholars is to develop visualization techniques and algorithms that empower scholars to use those effectively as part of their research process and for communicating study results to readers. While network science approaches are widely used in other research areas, the power of a network mindset and approach has not yet been fully exploited within the Humanities.
Data: to discuss Humanities' data sources and their nature, research questions, use cases, and specific application profiles in perspective of their potential support by network visualisation.
The seminar brought together 27 researchers from Network Visualization and Digital Humanities communities. The initial two days of the weeklong event were devoted to bring together the different communities and to develop a mutual understanding. Researchers informed each other about their scholarly background through short, five-minute talks. In addition, there were eight long, 45 minutes, presentations in which digital humanities scholars discussed network and network visualization challenges and opportunities in their field of expertise. This was complemented by surveys on network visualization and successful examples of cooperation between visualization and digital humanities researchers.
Uncertainty, incompleteness, and ambiguity of data.
Four groups were formed to work on those four topics over the remaining three days. There were several opportunities for joint discussions and progress reports across the groups. Summaries of the group discussions can be found in Section 4.
During the seminar the participants decided to proceed with a publication of a manifesto, outlining a research agenda for "network visualisation in the Humanities". It was also planned to publish an edited volume on specific aspects of the overarching topic, possibly along the four major research areas identified by the seminar. The volume will be submitted as a special issue to "Historical Network Research", an Open Access Journal.
The feedback provided by the participants in form of a survey collected by Schloss Dagstuhl was highly positive and in most aspects above the average collected over the last 60 seminars. The participants agreed that the seminar inspired new ideas, collaborations, joint publications and brought insight from neighboring fields. There was a number of positive comments by the participants on the structure and organization of the seminar as well as several useful suggestions for the future seminars.
As an organizing committee of the seminar we would like to thank the scientific and administration staff of Schloss Dagstuhl for the excellent support they provided, both in the preparation phase and during the seminar. On behalf of all participants, we would also like to thank Dagstuhl for the high quality facilities provided, for excellent rooms for work and socializing, for the tasty meals, and of course also for the excellent wine cellar. The organizers of the seminar would also like to thank Ray Siemens and Dan Edelstein for their contributions to the initial Dagstuhl proposal. Finally, we thank Christina Gillmann for taking the responsibility for this report.
Kohle und Malte Rehbein (Hg.): Digital Humanities. Eine Einführung. Stuttgart, J.B. Metzler Verlag, S. 3–12.
Schöch, Christof (2013) Big? Smart? Clean? Messy? Data in the Humanities. In: Journal of Digital Humanities 2 (3).
Rehbein, Malte (forthcoming) Historical Network Research, Digital History, and Digital Humanities. In: Marten Düring, Florian Kerschbaumer, Linda von Keyserlingk und Martin Stark (Hg.): The Power of Networks. Prospects of Historical Network Research, Routledge.


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Getting Rid of my Model S?
WE WON A 2ND TESLA ROADSTER 2020!!!
Is Tesla Model 3 Trunk More Dangerous than Model S?
Will Your Tesla Model 3 SURVIVE on ONLY Regular Wall Outlet?
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Europe - Kaci and the World.
If you read my blog post about visiting my Tante Irmgard ("In Ulm und um Ulm und um Ulm herum"), you can see what an impression the collection of family letters made on me. When I returned to Vanderbilt last fall, I sat down with a few professors and told them about an idea for a project I had, and asked if they would be willing to help. Turns out that they were as excited about it as I was.
In March I received my letter of acceptance from Fulbright, and in September I will begin my 10 month stay at the Universität Tübingen. You can read my research proposal here. Over the next year, I will be updating this site with what I find in the letters. I expect they will keep me on the edge of my seat, and hope they'll do the same for you!
If you're interested in reading more about my project, please click on this link.
After China, I really thought I was finished with semesters abroad. Not that I wanted to be--but sometimes you have to actually go to school, after all. Then, in September, Professor Sevin of the German department approached me about the Regensburg Program, which would allow me to earn course credit for my majors in addition to language study. I couldn't turn it down. Graduating with a degree in German without having studied there would be like applying to medical school without ever having stepped foot inside a hospital. In other words, unacceptable.
So here I am, already four months into my six month stay in Germany! The agenda is short: improve my German, and travel, travel, travel.


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Bravo Analysis
Ratingsinteleditors
SCHEDULING STRATEGIES:
Perhaps more than any other network in cable, Bravo has a "feel." It's bright, highly energetic and exudes an urban, upscale, sassy sensibility. The network has kept that vibe from becoming snobbish or off-putting with a winking admission that this is all just good, light, entertaining fun -- and everyone's invited. And though that's mostly work accomplished in development, production and post efforts, it's also a scheduling strategy. There's almost never a show on Bravo's air that feels out of place. So, even though they stack very heavily, a viewer watching at, say, 9pm every night, will see a different program each day, but still feel very much a Bravo viewer.
At the 2013 Real Screen Summit, Shari Levine, SVP of current productions, revealed the recipe for success for HOUSEWIVES; five to six over-the-top, unapologetic women, with fabulous homes, families and a cute pet. She also addressed the version set in DC, which only lasted one season. "Although it was an interesting first season, there was a sense of no place to go. Their numbers were pretty good, but it wasn't a buzzy show."
Bravo defines and schedules its programming around themes of food, fashion, beauty, design and pop culture. The network tends to front-load its heavy hitters, scheduling the best-rated programming on Sunday and Monday nights.
MARCH 2013 PRIMETIME RATINGS ANALYSIS:
Live+SD Primetime Ratings Comparison March 2013 vs. March 2012 (% Change)
W18-49
Monday 8-11pm
Tuesday 8-11pm
Wednesday 8-11pm
Thursday 8-11pm
Friday 8-11pm
Saturday 8-11pm
Sunday 8-11pm
MTWTFSS 8-11pm
Source: The Nielsen Company's National Television Audience Sample
MARCH 2013: Another great month for Bravo as the network bulks up its programming slate and its bottom-line ratings. Average primetime ratings were not as high as their peak in January, but they were close, only .01 behind on core women 18-49. Compared to last year the numbers are pacing 17% ahead on women 18-49 and 19% ahead on women 25-54. Women 18-49 ratings are up vs. last month by 21%.
Bravo's heavy-hitters are front loaded at the beginning of the week on Sunday and Monday nights. That's when the REAL HOUSEWIVES come out to play. This month the ladies of ATLANTA were the stars on Sunday nights, pulling the best numbers on the line-up and improving last year's ratings performance by 14% among women 18-49. Sundays also saw the SHAHS OF SUNSET finish out its post-season with a reunion episode and a lost footage special, capping off a very respectable second season. MARRIED TO MEDICINE was up next, strong out of the gate but losing a lot of viewers in its second outing. The show is described as "new docu-series following the lives of six of Atlanta's most dynamic and successful women, including doctors and wives of doctors, as they juggle bustling careers, family, and social calendars." While not technically a REAL HOUSEWIVES OF ATLANTA spin-off, the focus and the leads are not far off. The show has gotten some flack from the medical profession, but its future lies in the hands of the Bravo viewers.
Mondays were anchored by the REAL HOUSEWIVES OF BEVERLY HILLS, who enjoyed a strong season finale, and improved ratings vs. last month. VANDERPUMP RULES also finished out its post-season reunions this month with improved ratings over last month. The two programs helped launch LA SHRINKS, which underperformed average, but did build audience as the month progressed.
Sunday and Monday night ratings were so strong that no other night of the week was able to top the bottom-line primetime average. Tuesday came close however, with a revitalized MILLIONAIRE MATCHMAKER running in three hour stacks.
Wednesdays saw the finale of TOP CHEF in the first week of the month. This was not the program's best season, but it was strong enough to get a renewal for a season 11. The night shifted from food to fashion as RACHEL ZOE PROJECT, spin-off IT'S A BRAD, BRAD WORLD and newcomer DUKES OF MELROSE took over. While the programs are a good fit content-wise, the trio dropped audience through the evening instead of building momentum. Audience levels for the night got progressively worse with each successive week. DUKES OF MELROSE was one of the lowest rated programs on the schedule. Anchor program RACHEL ZOE wasn't on the air last year; it might take a while for this line-up to catch on.
Thursday through Saturday nights are currently programmed with encores, mini-marathons and theatricals. They are the lowest rated nights of the week, but also fertile ground in which to grow new programs.
Which is a good thing, because Bravo just announced an impressive new line-up for the upcoming season, including 17 new programs in addition to 18 returning unscripted shows. The programs continue in the same vein of guilty-pleasure television, and also include the long-promised scripted programming. This marks an impressive 15% increase in original programming for Bravo.
APRIL PREMIERES:
TABATHA TAKES OVER , season 5
DON'T BE TARDY, season 2
THE KANDI FACTORY, season 1

redpajama_set_name: RedPajamaCommonCrawl


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After Two Years of Distance, Interaction is Key for Nashoba's New Assistant Principal
Jillian Kivi, Contributor
An abundance of fresh features ushered in by Nashoba this September combine to give us a much-delayed 'normal' school year — the first 'normal' school year in two years. Amongst the relieving lack of COVID-19 restrictions, a new face has enlisted in Nashoba's faculty who will further brighten the maskless smiles of the community. Our new Assistant Principal, Mr. Pezzote, is a knowledgeable educator who encapsulates exactly what is needed to complement the superb dynamic that Nashoba already bolsters for itself.
Being brought up in Western Massachusetts, Mr. Pezzote was always intrigued by a career path in the vast realm of education. He was drawn to Spanish, the language, as well as the culture that encompasses the language. He reflects, "I started studying, because I wanted to become fluent. I lived abroad in Spain, Mexico, and Argentina. When I decided that I wanted to teach, and share that with students, was when I really knew I wanted to take that passion towards education." After acquiring a Master's Degree in Education at Endicott College, Mr. Pezzote was qualified to pursue his dream at Weston High School, where he worked as a Spanish instructor and held assorted leadership positions for a sturdy decade.
As a matter of fact, it was Nashoba's resemblances to Weston High School that captivated Mr. Pezzote: "In a lot of ways, one of the things that attracted me to this school was that it's similar to Weston. [After spending so long in Weston], I was very familiar with the community, the expectations, the academic rigor, so I felt that there was a lot here that was relatable." At the end of the day, Mr. Pezzote was enthralled by Nashoba because it is "comprised of three great communities, [has] high academic achievement, and has a lot of good-hearted people." From day one he had a persuasive glimmering that Nashoba was an opportune docking point for his educational calling: "It was a really good fit. [From] the interview to getting to know the people here, it all clicked."
In high school, Mr. Pezzote participated in various sports, such as football and track, and also engaged in a multitude of clubs and activities. He chronicles "being involved in as many things as possible" as the best hallmark of his high school days. As far as objectives for the 2022-2023 school year go, building secure relationships with colleagues and students is at the pinnacle of the new Assistant Principal's itinerary, and, similarly to his mindset in high school, being connected with the school in as many ways as possible is how he aspires to clinch his wishes and polish the school as a whole.
Mr. Pezzote recognizes that even the most small-scale actions, "being at the front door in the mornings to greet colleagues and students, and being in the cafeteria [during lunch periods]" bely their ostensibly meager effects. Each interaction is a spring towards augmenting the harmony of Nashoba's community. Thus far, Mr. Pezzote has found he enjoys frequenting the Wolves' football games, monitoring the cafeteria during lunch periods, and, of course, joining students and teachers where the magic happens: in the classroom. As a former teacher himself, as well as somebody who reveres the relationship component of the high school adventure, Mr. Pezzote certainly discerns how coacting in classrooms is one of an Assistant Principal's most salient duties. He emphasizes the importance of "getting to know who students are and being able to see some of the great activities that students do in leadership roles."
While Mr. Pezzote apprehends the dichotomy between his position as an Assistant Principal and earlier role as a teacher, he's chosen to embrace the considerable latitude he has gained within his new post, noting that, contrary to his teaching job, "I don't have my own students [anymore], per se, but now I have a whole building of students, and that's really cool." Overall, Mr. Pezzote will employ his sociability and wisdom to interact with the Nashoba community in dozens of ways and shape extraordinary bonds with every member of it, in order to innovate the school and attain his honorable quest of "building a school community based off of trust and kindness."
New Face, Same Space: Nashoba's Newest Leader
Helpful Tips for a Great Start to the School Year
Hybrid at the High School
Faces in the Crowd: Kira Spedden
Nashoba Junior Wins in Worldwide Photography Competition
Nashoba's Fall 2 Season Welcomes a "New Normal"


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    this.seq().obj(
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redpajama_set_name: RedPajamaGithub


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text:
First Push and Shove Album Reviews
PrevPreviousComplete Push and Shove Album Lyrics
NextTony Answers Question #3 on FacebookNext
The first official reviews are coming out for Push and Shove (including SPIN, which we think their criticisms might be a little pre-mature). We have decided to keep them all under cuts to avoid spoilers.
We will keep this post updated as they come in.
SPIN — No Doubt's first album in 11 years has arrived a bit early. Here, five SPIN editors give their hasty and completely impulsive opinions…
David Marchese:
Gwen Stefani is the icon, but listening to Push and Shove makes me bow before bassist Tony Kanal and drummer Adrian Young. I don't want to be one of those knobs who's like, "Actually, the rhythm section is the thing that makes this music work," but…I'm gonna be that knob. On the new album, those two make the band sound natural on everything from sleek arena rock ("Easy"), to rockish dancehall ("Settle Down"), to hard dance-pop ("Looking Hot"), to the modern-country power-balladry of "Undone," which has a faint vintage Taylor Swift-y vibe. (Yes, we can now speak of a vintage Taylor Swift era.) No matter what style, Kanal and Young make sure No Doubt never comes off like they're donning different styles in a desperate attempt to step to a hit. Every song breathes. Every song moves. And in terms of pure, Gwen-supplied pipsqueak-goddess hooks, this album sounds full of singles. I couldn't really point to anything on Push and Shove as being so complicated or emotionally fraught that it explains why it took 11(!) years for the band to come up with the follow-up to Rock Steady and that's a relief. Phooey on tortured comebacks. Huzzah for pop instincts! And did I mention the rhythm section?
Early score: 8/10
Christopher R. Weingarten:
No Doubt absorb what's in the atmosphere — hell, if they didn't, those two platinum Gwen Stefani albums might have sounded like Fishbone or Moby or something. And swagger-jacking contemporary art-pop is way more on the ball than late-passing themselves to the Neptunes party in 2001 (and, yeah, "Settle Down" is a better Santigold song than most Santogold songs). The tracks that nail it ("Settle Down," "Sparkle") are cosmopolitan, gnarly, Gnarsly pop bliss, where guitars and drums actually sound sampled, some kind of modern magic that only the Roots crew can pull off. Unfortunately EDM is very 2012 too, and all the requisite Starshippery is like limp Metric at best and Spawn soundtrack at worst. By the time they start hitting the chords from "Don't You (Forget About Me)" in "Dreaming the Same Dream," you half expect Ryan Gosling to crash his car into a Calvin Harris set yelling just hoping that he can catch some of the zeitgeist on his bumper. Extra points off for "La la la living la vida loca / Speeding up like soca / Just when you think it's over / We be on another level like we're doing yoga," which rips off a Madonna song that charted worse than her "American Pie" cover.
Brandon Soderberg:
No Doubt do the minimum amount of pandering to fistpumping here, hiding the thump of EDM always in the background. Then again, Stefani's 2004 solo hit "What You Waiting For?" beat our current "hook only" era nine years before this stuff even existed. The album's biggest dance influence turns out to be the best dance influence: New Order. For real, the Chromatics should be jealous of the longing-filled Bernard Sumner-esque guitars on "One More Summer." Hell, New Order themselves should be a little jealous. Push and Shove gives me the same this-is-pretty-great-but-no-one-will-care-and-that's-a-bummer feeling that Nina Sky's Nicole & Natalie gave me a couple months ago. Here's some good maybe great, pop that shows some restraint and a lot of personality, so it might as well be dead in the water?
"Looking Hot" is the single. Not actual single, "Settle Down." Obscenely catchy, "Looking Hot" finds time to indulge a Linkin Park echo-laden breakdown, and a country-fried K-Pop dub reggae bridge. Maximalism, people! Not going to lie, moments of Push and Shove sound desperate like Madonna's last one, especially when Gwen gets her rap on, but Stefani — the bridge between early '90s inspirational riot grrrl attitude and complacent late '90s teen pop; master appropriator long before M.I.A. or Nicki — deserves a pass because she's awesome. All the studio tricks here are loads of fun — diet caffeine free dubstep wub on "Easy," impossibly clean acoustic guitar on "Undone"— but they're also thrown in there to keep the thing moving.
Rob Harvilla:
Yep. Got that fake patois. Gwen Stefani did a fake patois. Tony Kanal did a fake patois. The other two guys did a fake patois. Pronounce can't like Kant in a fake patois. Chase that Katy Perry money with your fake patois. No obvious single inna fake patois. Oughta join Sugarland with that fake patois. "D'ya think I'm lookin' hot?" inna fake patois. Too many ballads sink a fake patois. Every song is too long despite fake patois. "One More Summer" is nice, though — fake patois. What you know about overproduction? What you know about overproduction? Haven't sounded like a band since Return of Saturn. Haven't sounded like a band since Return of Saturn. YEH NAH GWAN OUTSELL MUMFORD AND SONS WIT DE FAKE PATOIS.
Caryn Ganz:
No Doubt's last album came out so long ago, nobody could tweet about its premature leak because there was no Twitter (heck, there was no Friendster in 2001). But the band has done something wise to prevent a yuk-a-thon about the bloated length of their hiatus: made an album that sounds naturally, not desperately, as 2012 as anything else worthwhile that's arrived this year. Though the record is nearly one-quarter placid pop songs — they're stacked in the center of the album: "Easy," "Gravity," "Undercover" — it's clear Gwen Stefani and Co. have a real affection for the (sometimes problematic) globe-trotting on which they built their name. The set opens on Santigold-y rave-up "Settle Down" and is named after the jittery Diplo collaboration where Stefani goes head-to-head with Major Lazer and Busy Signal. (Unsurprisingly, they win, but it's a super-fun listen.)
The quartet has had plenty of time to buff Push and Shove to perfection and its 11 tracks sound meticulously crisp, though No Doubt has always been a top-notch studio band. (The horns on this LP sound particularly fantastic.) There's an '80s-esque pop song that would have fit perfectly on Katy Perry's Teenage Dream ("One More Summer"), a ballad that was destined for Carrie Underwood ("Undone"), and a gauzy synth tune that's an update on Stefani solo track "Cool" ("Dreaming the Same Dream"). But more importantly, there are no major missteps. After two albums of dancey pop, Stefani has no troubles trading in her Harajuku Girls for her Cali boys. Even better, she doesn't sound bored. "Do you think I'm looking hot?" she sneers on the record's most worthwhile listen, the paparazzi kiss-off "Looking Hot." Um, yes?
AVERAGE SCORE: 6.4
Slant Magazine — The guys and gal of No Doubt have never been bashful about their arduous songwriting process.
Both their 1995 breakthrough, Tragic Kingdom, and its follow-up, Return of Saturn, infamously took years to complete. Perhaps tellingly, the band's best album, 2001's Rock Steady, was written and recorded in just a few short months. But while Push and Shove, their first album in 11 years and only their fifth in two decades, didn't come to fruition quite as effortlessly as its predecessor, sonically it plays like a logical continuation, reprising that album's dancehall and dub styles and largely eschewing the ska sound that made No Doubt famous in the first place.
True to its name, Push and Shove explodes out of the gate, starting with lead single "Settle Down," a track that, at least after a regal orchestral intro, wastes no time reassuring listeners that the band hasn't settled down despite the fact that all of its members are now in their early 40s and have eight children among them. "I'm fine," Gwen Stefani promises in her trademark lilting harmonies, "Nothing's gonna knock this girl down." Like No Doubt's best singles, "Settle Down" somehow manages to be both silly and cool. "Looking Hot" and the Major Lazer-assisted title track likewise play both sides: They're unabashedly on trend, employing Eurotrash synth melodies and 4/4 beats, but never acquiesce the signature No Doubt sound. Stefani waxes nostalgic, as is her wont, over cool, wistful synths and a stomping kick drum on "One More Summer," an epic new-wave track that's one of the album's best, and "Easy," a moody electro ballad that's diminished only by a chorus that treads a bit too close to '80s yacht rock.
By and large, the more interesting tracks are stacked on the front end of Push and Shove, and the songs on the second half of the album are comparably safer, blurring together upon first listen. The country-flecked "Undone" finds the band charting new territory, but beyond some slide guitar strains, the song is just your average, run-of-the-mill pop-rock ballad, while the bubble-gum pop "Heaven" sounds like filler from an album by Kylie Minogue, Lady Gaga, or, hell, even Gwen Stefani. The exception is "Sparkle," which simply teems with hooks and wouldn't sound out of place alongside the best tracks on Rock Steady. The track exemplifies everything No Doubt is about: marrying dancehall and pop, and juxtaposing hard and soft.
Crave Online — It's been eleven years since No Doubt released an album of new material. In that time they've given fans a batch of best of compilations while anatomically crippling front woman Gwen Stefani made us hate the word "Bananas" with the 2004 single "Holla Back Girl" from her first solo record Love. Angel. Music. Baby. (she had another solo album in 2006 but nobody cared). After all the fashion shows, false starts and solo records, No Doubt have reconvened to try and reclaim their power grip on Top 40 Radio.
I was not expecting like Push And Shove for the simple reason that I don't like No Doubt. Outside of Tragic Kingdom, which I still enjoy, most of their music has been a sloppy attempt to recapture the ska-punk vibe of that record. I guess the eleven years out of the spotlight have given the band some perspective on their music because Push And Shove is a power-pop album of the highest order. I know, I know, call the board of underground music and start the paperwork to have my bitter music critic license revoked because man, I really dig this record.
The first thing that works is No Doubt have given up trying to be ska-punk. Push And Shove is a massive pop endeavor, complete with lots of electronics and super catchy dance numbers. Even when the band slow down for the predictable ballads, they keep this eighties electronica vibe that just works. Stefani was born to sing this kind of easy and sweet material. The opening track, "Settle Down" has a bump and grind beat to it, kind of reminiscent of "Holla Back Girl". It's light and airy and instantly make you want to shake your butt. The party continues with "Looking Hot", a straight up club banger with a thumping bass/drum line that will not only get the party jumping but I guarantee will play behind endless models walking the runways of Milan and Paris.
"One More Summer" is the band's first ballad but they keep the dance theme. Think Bananarama meets "Crazy For You" era Madonna. "Easy" replaces the boogie down with a song straight off the end credits of any epic teen romance movie. "Easy" sweeps high and uses Stefani's voice and keyboards to plug those sad panda heartstrings. It doesn't really talk to the grief and desperation of a failed romance, more the "I'll get through this" side of breaking up. "Gravity" is back to big pop. The tune you and your friends go to the club and dance to so as to forget that bastard or bitch you just ended things with.
"Undercover" is one of the highlights of Push And Shove. I defy anybody not to start dancing the instant this song kicks in. The combination of Stefani's vocal line, starry keyboards and disco back beat has instant club hit written all over it. The rest of the album keeps up the pop soufflé of party anthems with the exception of "Undone" a well-executed ballad that frames the power of Stefani's pipes nicely.
If I had any complaints it would be that No Doubt didn't end the album with "Heaven". It's one of the strongest tunes on Push And Shove and it works much better as an ender than "Dreaming The Same Dream" which is forgettable. The only real problem with the album is the title track. "Push And Shove" is the only time No Doubt try to get all reggae/ska and it sounds way too posed and forced. The first three songs are so strong that "Push And Shove" is like hitting a stonewall. Thankfully the rest of the record is good enough to get around it.
I really wanted to hate this album because I don't like this band, but I can't. I feel like Jack Black in High Fidelity listening to the demo tape from the shoplifting skate kids. The fact that I'm enjoying this album so much is working against my predisposition of bile towards Stefani and crew. Is Push And Shove and important record? No, not at all. Is it pure pop confection with little weight to it? Absolutely. Stefani's voice is more an instrument here, something pretty to go atop the music. Her lyrics are as simple and forgettable as they always have been but what else can she do. Deep lyrics about the anguish of life played over dance beats has only ever worked for New Order.
Eleven years after they left the scene, No Doubt have returned and brought with them a pop arsenal that will blow a hole through anything else currently making waves in Top 40 Radio. 8/10
9 Replies to "First Push and Shove Album Reviews"
Crave Online's is terrible. they clearly never read return of saturn or tragic kingdom lyrics
Mmmm…why are the criticisms "premature"? They're just plain criticisms. It seems the editor of this page has a lot of trouble with conflicting opinions regarding the band, kind of like some overprotective parent.
That Iann Robinson dude of Crave Online is so pathetic. I couldn't take his review seriously even though he liked the album… Ridiculous!
larry steininger says:
Gwen Stefani is the most prettiest woman in HollyWood to day. I am a white libra man,my name is larry steininger. I love you Gwen stefani 1000% my phone number is 1-626-915-8635
gwensmic says:
i give it 10 10/10's so now the average is 10/10 done.
acupcakemess says:
it's def a grower, not a shower.
sparkle is my fave so far though!
who the FUCK is Rob Harvilla?? what the hell did any of that even mean?? pathetic
J., I put it as premature cause they hadn't listened to the whole album.
I've listened to maybe half the album now and I have to say I went from being unsure/disappointed to VERY PLEASED. Those short snippets on iTunes do not tell the whole story! I can't wait to listen to the rest!
The Crave Online reviewer seems to have a chip on his shoulder when it comes to Gwen. What? Did she not give you an interview during The Sweet Escape era? Jerk.


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text:
The Red Apple
from Rauthaz EP by Solarno
The Red Apple is a reference to a concept of early Islam and the Ottoman Empire relating to their desire of world conquest. The first Red Apple they wished to acquire was the city of Constantinople, now Istanbul, the heart of the Byzantine Empire. Ottoman forces accomplished the goal of conquering Constantinople in 1453. The location of The Red Apple and Ottoman desires then moved to both Vienna, Austria, and Rome, Italy. Ottoman forces never achieved those lofty goals, getting as close as occupying Austrian neighbor Hungary in the mid-1500's, but their empire lived on in a slowly dying state until World War I. After WWI the remains of the Ottoman Empire were split with the majority becoming the modern country of Turkey in 1922.
With influences from Peter Gabriel, Gary Numan, and OMD, the song emotionally follows the slow but steady expansion of the Ottoman Empire, climaxing with rapid expansion starting after the conquest of Constantinople, and closing with the empire's eventual and inevitable demise.
Production notes-
Instruments used include: Logic EFM, ESM, EXS24, Sculpture, EVOC, and Ultrabeat. G-Force impOSCar, Minimonsta, and M-Tron Pro. And a little NI Massive. One bit of fun was the opening drum loop. To give a distant musical feel to the loop I ran it through the Sculpture instrument like it a was a vocoder. I then slowly brought in another version of the same loop run through a proper vocoder to provide a cold mechanical feel.
The cover art depicts two sides of a coin from the second reign of Justinian II, a Byzantine emperor from 685-695 and again from 705-711. These are laid over an 18th century map of Constantinople.
from Rauthaz EP, track released February 28, 2012
electronic ambient electronica futurepop krautrock synthpop Los Angeles


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saving . . . saved Problem during Instalation. has been deleted. Problem during Instalation. has been hidden .
Require eeschema but it's not installed. Aborting.
Is this due to a proxy issue? Is there a network proxy in your campus? If so you have to give your username, pwd and proxy server details while installing.


Is someone dreaming of Caprica City "before the fall"? (That's an interesting phrase: "before the fall." Very biblical.) I mean, it seems like a dream, not a flashback, doesn't it, the way it opens, all sort of impressionistic and, well, dreamlike.
Or it's a Cylon projection? Someone has projected the whole thing, going who knows how far back? Back to the nebula? All the way back to Caprica City "before the fall," or just at the fall?
Is something making everyone dream about the past? Is it just the Galactica being torn apart that's making everyone nostaglic? It's the last piece of the old world, the last piece of the way things used to be (at least for those who've been living on Galactica), and when it's gone, the old world is gone. The past is gone.
Oh, but this is cruel, seeing everyone so happy and pre-apocalypse. Well, Laura's happy for a bit, and then is slammed with tragedy. And we know that Kara will be coping with Zack's death soon enough. And Gaius… oh Gaius, who is so cruel to his father, difficult though he may be, that even Caprica Six is stunned.
And now, in the here-and-now, it's Gaius, this terrible man with no apparent empathy, who is the leader of the last group with any spiritual aspect to it, a group trying to gain political power?
Aha: Sam was once all about "beauty of physics," the "wonder of mathematics"? And now he wants to "find the perfect world for the end of Kara Thrace"? Is Sam gonna be everyone's savior — is he gonna find a world they can live on and jump them there?
Drunk Lee trying to chase the bird out of his house, and doing more damage rather than leaving the poor confused thing alone… And did he maybe kill it? Is that what we're meant to think?
Lee with the bird is going to be very important, I suspect.
Is Adama's decision to go after Hera — a hybrid human and machine, half of her made up of the people who destroyed human civilization — the key here? Is the decision to stop seeing the distinction between human and Cylon the important thing, even if no one survives beyond that?
That would be a truly depressing end.
Hera is going to be the little bird, I think, whatever happens.


text:
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Technology Advice
Best Simple Phones For Seniors
Published by Rachel C. at March 14, 2018
Age is the one disease none of us will ever beat. Along with the general aches and pains of getting older, our sight and hearing are both affected. Suddenly, small text in dark conditions becomes impossible to read. A busy room means we can't hear the person stood right in front of us. And we miss calls and texts on our cellphones.
Fortunately, we can all do a little bit to overcome the last one, simply by our choice of phone. These are some great feature phones which are ideal for those who need just a little help in getting older.
LG B470 – $59
With its big, bright color display, and high contrast keys, the B470 already has most of what older users need. But it doesn't stop there. The high contrast secondary display gives easily readable notifications when the phone is closed, and a long battery life means minimal charging.
Best of all, though, is that the B470 has the ability to read texts and emails aloud. This makes using the phone really simple and incredibly convenient. There's even a 1.3MP camera for those important snapshots. For phone calls, the B470 enhances the audio frequencies that are often the first to be lost with age. All in all, the LG B470 is a perfect choice.
LG B470
Nokia 6131 – $49
Nokia were one of the biggest names in cellphones for years. As they make their comeback with a range of new smartphones, it means that great phones like the 6131 have a new lease of life. The screen is a little larger and clearer than is normally seen on feature phones, as are the high contrast keys. So far so good on both eyes and ears, but there is a lot more to the 6131.
The 1.3MP camera is easily accessed by the dedicated shutter button on the side of the phone. There's also a button to flip open the phone when closed. This makes using the 6131 a one-handed affair which can be very useful. There's an mp3 player built right into the phone and, unusually for phones at this level, a MicroSD card slot. This means the ability to carry as much music as needed. The full list of features on the Nokia 6131 just goes on and on. Bluetooth, a couple of games, long battery life, calendar, stopwatch and more are all present.
The 6131 is a great phone and a clear indication that Nokia have still got what it takes.
Pantech Breeze 4 – $59
The Breeze 4 might be from a name that isn't as familiar as LG or Nokia, but that doesn't stop it being a great cellphone. And not just for senior users, but for anybody wanting a great feature phone. The standout feature is the 3.15MP camera, which goes way beyond the usual 1.3MP cameras on most feature phones. Now, even older users appreciate the ability to take pictures of the grand-kids, so why not do it in style?
One of the biggest color screens you'll find at this level, with improved battery life over its predecessor and quad band 3G for global compatibility make this a very good choice for the older phone user who likes to travel. The buttons are large and clear, with 3 programmable buttons available. The Breeze 4 is really a breath of fresh air.
Pantech Breeze 4
Samsung Gusto 2 – $39
Even though the other phone sin this list are incredible value, when you consider the Gusto 2 is just $39, it almost defies belief.
The Gusto 2 is just simplicity itself. Indeed, Samsung designed it to be that way, with even brand new users able to get the hang of it almost instantly. The 1.3MP camera is ideal for quick snaps, and the amazing 7hr talk time and 15 days of standby mean charging requirements are as minimal as they can be. If calls and texts are all you need, then why pay more?
Gusto 2
TeleEpoch Cingular Flip – $49
TeleEpoch are another name that may be new to you, but don't let that put you off. The Cingular Flip is a feature phone that takes style to a new level. Sleek and good looking, with big and bold, high contrast buttons, it is ideal for those who need a little help picking out the right numbers or letters. The screen is also bright, and the audio quality on calls is exceptional. Battery life is good, as is the 2MP camera that will also record video – an unusual feature at this price point.
It's a smart option for those who like to look just a bit cooler than most when on the phone.
TeleEpoch Cingular Flip
All these are great feature phones, whether for older users or not. That they go that little bit further to make allowances without actually looking like something built in a 1970s Russian factory is a real bonus. If we really had to pick a winner, it would be the LG B470. This is simply because of its ability to read emails and texts aloud. This sets it apart even from most smartphones, and makes it worth the extra couple of dollars over most of the list.
Rachel C.
Rachel is the researcher and blog writer for the Mr Aberthon website. She grew up in Brooklyn, New York and eventually made her way to Connecticut in order to become a part of the Mr Aberthon Team. She is passionate about technology and electronics, and nothing gives her more pleasure than discovering insights into the latest gadgets to hit the electronics market.
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text:
Woman denies causing death by careless driving after Litherland fatal crash
A 31-YEAR-OLD woman has denied causing the death of a Liverpool man by careless driving following a fatal crash.
Claire Owens was behind the wheel of a Ford Galaxy when she struck Ernest Goulbourne almost a year ago on Monday, September 14.
The 61-year-old was walking in Church Road, at the junction with Kirkstone Road North, Litherland, when the incident happened.
Officers and the ambulance service were called at around 5.15pm and tried to save Mr Goulbourne's life.
But he later died at the scene.
Owens, of William Wall Road, Litherland, stopped in Church Road and co-operated with police officers' inquiries. She was driving out of the city towards Switch Island, police said.
Yesterday, Owens appeared in the dock at Liverpool crown court for a plea and case management hearing.
She denied causing death by careless driving and a trial will take place in October.
It is expected to last three days.
Mr Goulbourne's family, including his widow, were sat in court to watch proceedings along with Owens' relatives.
luke.traynor@liverpool.com


text:
// This file is part of the dune-gdt project:
//   http://users.dune-project.org/projects/dune-gdt
// Copyright holders: Felix Schindler
// License: BSD 2-Clause License (http://opensource.org/licenses/BSD-2-Clause)

#ifndef DUNE_GDT_SPACES_CG_INTERFACE_HH
#define DUNE_GDT_SPACES_CG_INTERFACE_HH

#include <boost/numeric/conversion/cast.hpp>

#include <dune/common/dynvector.hh>
#include <dune/common/version.hh>
#include <dune/common/typetraits.hh>

#if DUNE_VERSION_NEWER(DUNE_COMMON,3,9) //EXADUNE
# include <dune/geometry/referenceelements.hh>
#else
# include <dune/geometry/genericreferenceelements.hh>
#endif

#include <dune/stuff/common/exceptions.hh>
#include <dune/stuff/common/type_utils.hh>

#include "../interface.hh"

namespace Dune {
namespace GDT {
namespace Spaces {

static constexpr ChooseSpaceBackend default_cg_backend = default_space_backend;

template< class ImpTraits, size_t domainDim, size_t rangeDim, size_t rangeDimCols = 1 >
class CGInterface
  : public SpaceInterface< ImpTraits, domainDim, rangeDim, rangeDimCols >
{
  typedef SpaceInterface< ImpTraits, domainDim, rangeDim, rangeDimCols > BaseType;
  typedef CGInterface< ImpTraits, domainDim, rangeDim, rangeDimCols > ThisType;
public:
  typedef ImpTraits Traits;

  using BaseType::polOrder;

  using typename BaseType::DomainFieldType;
  using BaseType::dimDomain;
  using typename BaseType::DomainType;

  using typename BaseType::RangeFieldType;
  using BaseType::dimRange;
  using BaseType::dimRangeCols;

  using typename BaseType::EntityType;
  using typename BaseType::IntersectionType;
  using typename BaseType::BoundaryInfoType;
  using typename BaseType::PatternType;
private:
  static const constexpr RangeFieldType compare_tolerance_ = 1e-13;
public:

  /**
   * \defgroup interface ´´These methods have to be implemented!''
   * @{
   **/
  std::vector< DomainType > lagrange_points(const EntityType& entity) const
  {
    CHECK_CRTP(this->as_imp().lagrange_points(entity));
    return this->as_imp().lagrange_points(entity);
  } // ... lagrange_points(...)

  std::set< size_t > local_dirichlet_DoFs(const EntityType& entity,
                                          const BoundaryInfoType& boundaryInfo) const
  {
    CHECK_CRTP(this->as_imp().local_dirichlet_DoFs(entity, boundaryInfo));
    return this->as_imp().local_dirichlet_DoFs(entity, boundaryInfo);
  } // ... local_dirichlet_DoFs(...)
  /** @} */

  /**
   * \defgroup provided ´´These methods are provided by the interface for convenience.''
   * @{
   **/
  std::vector< DomainType > lagrange_points_order_1(const EntityType& entity) const
  {
    // check
    static_assert(polOrder == 1, "Not tested for higher polynomial orders!");
    if (dimRange != 1) DUNE_THROW(NotImplemented, "Does not work for higher dimensions");
    assert(this->grid_view().indexSet().contains(entity));
    // get the basis and reference element
    const auto basis = this->base_function_set(entity);
    typedef typename BaseType::BaseFunctionSetType::RangeType RangeType;
    std::vector< RangeType > tmp_basis_values(basis.size(), RangeType(0));
    const auto& reference_element = ReferenceElements< DomainFieldType, dimDomain >::general(entity.type());
    const auto num_vertices = reference_element.size(dimDomain);
    assert(num_vertices >= 0);
    assert(boost::numeric_cast< size_t >(num_vertices) == basis.size() && "This should not happen with polOrder 1!");
    // prepare return vector
    std::vector< DomainType > local_vertices(num_vertices, DomainType(0));
    // loop over all vertices
    for (auto ii : DSC::valueRange(num_vertices)) {
      // get the local coordinate of the iith vertex
      const auto local_vertex = reference_element.position(ii, dimDomain);
      // evaluate the basefunctionset
      basis.evaluate(local_vertex, tmp_basis_values);
      // find the basis function that evaluates to one here (has to be only one!)
      size_t ones = 0;
      size_t zeros = 0;
      size_t failures = 0;
      for (size_t jj = 0; jj < basis.size(); ++jj) {
        if (std::abs((tmp_basis_values)[jj][0] - RangeFieldType(1)) < compare_tolerance_) {
          local_vertices[jj] = local_vertex;
          ++ones;
        } else if (std::abs((tmp_basis_values)[jj][0]) < compare_tolerance_)
          ++zeros;
        else
          ++failures;
      }
      assert(ones == 1 && zeros == (basis.size() - 1) && failures == 0 && "This must not happen for polOrder 1!");
    }
    return local_vertices;
  } // ... lagrange_points_order_1(...)

  std::set< size_t > local_dirichlet_DoFs_order_1(const EntityType& entity,
                                                  const BoundaryInfoType& boundaryInfo) const
  {
    static_assert(polOrder == 1, "Not tested for higher polynomial orders!");
    if (dimRange != 1) DUNE_THROW(NotImplemented, "Does not work for higher dimensions");
    // check
    assert(this->grid_view().indexSet().contains(entity));
    // prepare
    std::set< size_t > localDirichletDofs;
    std::vector< DomainType > dirichlet_vertices;
    // get all dirichlet vertices of this entity, therefore
    // * loop over all intersections
    const auto intersection_it_end = this->grid_view().iend(entity);
    for (auto intersection_it = this->grid_view().ibegin(entity);
         intersection_it != intersection_it_end;
         ++intersection_it) {
      // only work on dirichlet ones
      const auto& intersection = *intersection_it;
      // actual dirichlet intersections + process boundaries for parallel runs
      if (boundaryInfo.dirichlet(intersection) || (!intersection.neighbor() && !intersection.boundary())) {
        // and get the vertices of the intersection
        const auto geometry = intersection.geometry();
        for (auto cc : DSC::valueRange(geometry.corners()))
          dirichlet_vertices.emplace_back(entity.geometry().local(geometry.corner(cc)));
      } // only work on dirichlet ones
    } // loop over all intersections
    // find the corresponding basis functions
    const auto basis = this->base_function_set(entity);
    typedef typename BaseType::BaseFunctionSetType::RangeType RangeType;
    std::vector< RangeType > tmp_basis_values(basis.size(), RangeType(0));
    for (size_t cc = 0; cc < dirichlet_vertices.size(); ++cc) {
      // find the basis function that evaluates to one here (has to be only one!)
      basis.evaluate(dirichlet_vertices[cc], tmp_basis_values);
      size_t ones = 0;
      size_t zeros = 0;
      size_t failures = 0;
      for (size_t jj = 0; jj < basis.size(); ++jj) {
        if (std::abs(tmp_basis_values[jj][0] - RangeFieldType(1)) < compare_tolerance_) {
          localDirichletDofs.insert(jj);
          ++ones;
        } else if (std::abs(tmp_basis_values[jj][0]) < compare_tolerance_)
          ++zeros;
        else
          ++failures;
      }
      assert(ones == 1 && zeros == (basis.size() - 1) && failures == 0 && "This must not happen for polOrder 1!");
    }
    return localDirichletDofs;
  } // ... local_dirichlet_DoFs_order_1(...)

  using BaseType::compute_pattern;

  template< class G, class S, size_t d, size_t r, size_t rC >
  PatternType compute_pattern(const GridView< G >& local_grid_view, const SpaceInterface< S, d, r, rC >& ansatz_space) const
  {
    return BaseType::compute_volume_pattern(local_grid_view, ansatz_space);
  }

  using BaseType::local_constraints;

  template< class S, size_t d, size_t r, size_t rC, class ConstraintsType >
  void local_constraints(const SpaceInterface< S, d, r, rC >& /*other*/,
                         const EntityType& /*entity*/,
                         ConstraintsType& /*ret*/) const
  {
    static_assert(AlwaysFalse< S >::value, "Not implemented for these constraints!");
  }

  template< class S, size_t d, size_t r, size_t rC >
  void local_constraints(const SpaceInterface< S, d, r, rC >& /*other*/,
                         const EntityType& entity,
                         DirichletConstraints< IntersectionType >& ret) const
  {
    const auto local_DoFs = this->local_dirichlet_DoFs(entity, ret.boundary_info());
    if (local_DoFs.size() > 0) {
      const auto global_indices = this->mapper().globalIndices(entity);
      for (const auto& local_DoF : local_DoFs) {
        ret.insert(global_indices[local_DoF]);
      }
    }
  } // ... local_constraints(..., Constraints::Dirichlet< ... > ...)
  /** @} */
}; // class CGInterface

} // namespace Spaces
namespace internal {

template< class S >
struct is_cg_space_helper
{
  DSC_has_typedef_initialize_once(Traits)
  DSC_has_static_member_initialize_once(dimDomain)
  DSC_has_static_member_initialize_once(dimRange)
  DSC_has_static_member_initialize_once(dimRangeCols)

  static const bool is_candidate = DSC_has_typedef(Traits)< S >::value
                                   && DSC_has_static_member(dimDomain)< S >::value
                                   && DSC_has_static_member(dimRange)< S >::value
                                   && DSC_has_static_member(dimRangeCols)< S >::value;
}; // class is_cg_space_helper

} // namespace internal

template< class S, bool candidate = internal::is_cg_space_helper< S >::is_candidate >
struct is_cg_space
  : public std::is_base_of< Spaces::CGInterface< typename S::Traits, S::dimDomain, S::dimRange, S::dimRangeCols >
                          , S >
{};

template< class S >
struct is_cg_space< S, false >
  : public std::false_type
{};

} // namespace GDT
} // namespace Dune

#endif // DUNE_GDT_SPACES_CG_INTERFACE_HH


As a yogi or athlete, you know core strength is everything. But how do we access our deep transverse abdominals (the ones that power inversions and dives) without straining the head, neck and shoulders? This Core Sculpting class is the answer. We move through a variety of plank and seat-based exercises to engage these deep muscles. Of course, some yummy yoga and meditation helps us cool all that fire and heat we created by the time we hit savasana.


text:
How Contra: Rogue Corps Modernizes the Classic Series
We talked to Contra: Rogue Corps producer Nobuya Nakazato and artist Emilio Lopez about how the game is modernizing Contra.
By Bernard Boo | September 18, 2019 |
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| Comments count:0
When Contra: Rogue Corps premiered at this year's E3, some longtime fans wondered whether this surprise new entry was pointing the series in the right direction. After all, Rogue Corps ditches the franchise's traditional side-scrolling perspective for the top-down isometric camera angle of a twin-stick shooter. Gone is the 2D and in its place is a beefier 3D art style.
Needless to say, Konami has made some pretty big changes to the Contra formula with Rogue Corps (2004's unremarkable Neo Contra featured a similar approach), but producer and Contra veteran Nobuya Nakazato, insists that the game's design and art style are inspired by the classic, early entries in the series.
"Our responsibility is to shepherd the Contra series into the future while ensuring it stays true to its roots," Nakazato says. "Making certain the game holds on to those elements that fans look forward to wasn't lost on us when working on this title. This is why the more modern touches you see in the game are not just stylistic."
These "modern touches" also include four-player online multiplayer, a feature that is surprisingly not so commonplace in a series that's had co-op gameplay since the 1987 original. For Nakazato, adding these online capabilities to Rogue Corps was a must.
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"Evolving to make the game available to play both offline and online, along with adding multiplayer functionality up to four players, is a huge part of what we think success will look like for the series."
While the online mode is Konami's attempt to modernize the way we play Contra, the game's revamped art style is an homage to the muscly, over-the-top attitude of the original games with a modern twist.
"Something that has remained consistent across the Contra series is that we've remained inspired by '80s and '90s Hollywood action movies. That translates to games that are vibrant, memorable, fun and entertaining," Nakazato says. "However, it was also time to think about what was next for the series. So, making the switch to 3D accomplished that fine-tuned balance between allowing fans to feel like they were picking up where they left off, but also visually sharing a glimpse into this new generation of Contra game."
In lieu of 3D rendered cutscenes, Rogue Corps tells its demon uprising/alien invasion story (which takes place immediately after the events of Contra III: The Alien Wars) via hand-drawn, motion comic interludes by artist Emilio Lopez, whose past credits include work on TV shows like Teenage Mutant Ninja Turtles, illustrations for DC's Batman Beyond 2.0 comic, and promotional artwork for BioShock.
"The main crux of the art style was to make it as fun as possible," Lopez says. "It's funky. In the game, there are lots of homages, and one is an homage to Teenage Mutant Ninja Turtles: Turtles in Time, which Nakazato worked on. You know how [in that game] you can grab somebody and throw them at the screen? You can do that in Rogue Corps, too."
Den of Geek played the game at E3 2019, and while the new camera perspective and motion comic do add a different flavor to the Contra experience, plenty of the things you love about this series are accounted for: large waves of meaty enemies to kill, explosions that engulf the screen in bright fire, and ridiculous weapons that you can upgrade and customize.
The game's playable characters include a gatling gun-wielding Panda named Hungry Beast; a femme-bot ninja with an alien living in her belly named Ms. Harakiri; a maniacal, gun-toting cyborg named Kaiser; and The Gentleman, a very polite alien bug. Yes, the characters look as absurd as they sound, and the game's overall aesthetic feels cartoonish, violent, and totally irreverent — like the fever dream of an angry, pre-pubescent nerd boy in the '90s (I was one, so I know).
There's also a more adult bend this time around. Dismemberment and gore are par for the course, as are the dark humor and potty-mouthed antics that have secured the game its M rating. With a series as over-the-top as Contra, it's really no surprise that Konami has leaned into the violence and action hero tropes.
Nakazato says that he made it a goal for his team to add modern elements to the game — such as a new dash mechanic — "without losing the fun of shooting that can be enjoyed in the series' earlier titles." But will Contra fans warm up to all of these changes?
"It was important to us that while the overall style of the game has progressed from arcade-style with stage clears, the core elements of Contra were still very much present," Nakazato says. "We made sure that the same over-the-top action and gameplay that our fans enjoy and look forward to remained central to the game."
We'll see what the fans think when Contra: Rogue Corps releases on Sept. 24 for PlayStation 4, Xbox One, Switch, and PC.
Bernard Boo is a freelance contributor. Read more of his work here.
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Tags: KonamiContraE3 2019
Bernard Boo	| @BJ_Boo
Bernard Boo is a writer and geek enthusiast living in the San Francisco Bay Area. Movies, TV, video games, and comics are constantly rattling around in his brain,…
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text:
Q: What is $\frac d {dz} \ln (xz)$? I am not sure which one is the correct answer :

*

*$\frac 1 {xz}$

*$\frac 1 z$

*$\frac 1 x$

A: The chain rule would be the most general method to getting the answer for an arbitrary differentiable function of $xz$. However here we can exploit the linearity of derivatives and properties of logarithms alone.
Assuming $x$ is not a function of $z$,
$$\frac{d}{dz} \ln(xz) = \frac{d}{dz}\ln(x) + \frac{d}{dz}\ln(z) = 0 + \frac1z = \frac1z$$

redpajama_set_name: RedPajamaStackExchange


Product prices and availability are accurate as of 2019-04-25 12:18:38 EDT and are subject to change. Any price and availability information displayed on http://www.amazon.com/ at the time of purchase will apply to the purchase of this product.
This distinctive doormat from Entryways' Sweet Home Collection bears an original design created by an artist. This mat is crafted of all-natural coir with non-slip backing to meet the industry's highest standards. It combines an artist's touch with affordability to provide functional artistry for the home.
Accent your doorway with this colorful and affordable doormat.
This mat is hand stenciled with permanent fade-resistant dyes.
Crafted in India of all-natural coir with non-slip backing.
Measures 17" X 28" x .5"
This distinctive doormat from Entryways' Sweet Home Collection bears an original design created by an artist. This mat is crafted of all-natural coir with non-slip backing to meet the industry's highest standards. It combines an artist's touch with affordability to provide functional artistry for the home. Accent your doorway with this colorful and affordable doormat This mat is hand stenciled with permanent fade-resistant dyes. Crafted in India of all-natural coir with non-slip backing Measures 17" X 28" x .5" Care Instructions: Shake or sweet to clean. Best if used under a covered porch.
Achim Home Furnishings PCM1830DO6 Dorothy Printed Coir Door Mat, 18" x 30"


Quilling papers normally come in 4 widths: 1/16", 1/8", 1/4", and 3/8", but we also stock most of our papers in 1/2", 5/8" 3/4" and 1". Special cuts include quilling strips wider than usual that can be used for a variety of projects like making punched borders for cards or scrapbook pages. Wider strips are also necessary if you are working with the new quilling dies that are becoming more popular, or for German stars. We stock a number of wider papers and can special order most of our strips. We also stock full sheets of our quilling papers.


The National Research Council of the SNSF evaluates several thousand applications each year and makes funding decisions. Could this be the new challenge you are looking for?
What is the National Research Council?
If you have the requested profile for one of these positions and are interested in applying, please sub-mit your application to the SNSF by 30 April 2019.


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Using Copyrighted and Public Domain Video Clips
Posted on August 15, 2015 February 7, 2020 by Fanny Elise Lagarde | 6 mins read
Fanny Elise Lagarde
Fanny Elise was a part of the Dacast engineering team, and with her technical knowledge, helped the marketing team to engage readers with streaming content.
There are many reasons why a broadcaster might want to use film clips from other people's production as part of a video stream. A broadcaster might be doing a critique of another film — obviously clips from that film would be appropriate. Newsreel footage clearly adds much to a historical video. There are many other possible reasons as well. Video clips can be merged into a live stream, or incorporated as part of an on-demand video. In all cases, though, a broadcaster needs to consider copyright issues and potential infringement of intellectual property rights.
Videos fall into three general categories with respect to copyright. Public domain video clips belong to no one, or to the public. A broadcaster can use clips from public domain films at will, without concern for copyright. Some video is published under a Creative Commons license, which means that it is copyrighted but offered for limited use (with specifications dependent on the particular creative commons license offered) to other broadcasters. The third category is a fully copyrighted film with all rights reserved. Only very limited "fair use" can be made of such material without permission from the copyright owner.
Before putting video clips from other producers up on your streaming platforms, consider carefully what rights you have to do that, and how you can acquire the permissions you need if any.
Public Domain Video
A film is in the public domain if proper copyright notice was not included in the film at release or if the copyright has expired. Copyright notice under U.S. law must include the word "copyright," or the copyright symbol, the name of the copyright holder, and the year, and be included in the first section of the video with the opening credits. Note that only films released prior to 1989 must have a copyright notice to be protected. Videos released after that don't lose copyright protection for lack of copyright notice, although including one is still a good idea to avoid confusion.
Copyright in the United States persists until 70 years after the death of the film's creator (the original copyright holder). Other countries have different laws regarding the expiration of copyright, but the U.S. generally has the longest copyright protection, so if a film is in the public domain in the United States, chances are it will be in other countries as well. Also, under U.S. law, no video released by the U.S. government receives copyright protection; all such films are in the public domain.
Obviously, only very old films and government works are in the public domain, but as of 2015 that includes a lot of old movie footage. You can find government films in the National Archives and Records Administration files. For non-government films in the public domain, a good source is the Public Domain Project. This includes thousands of historic films and media files.
A Creative Commons license does not mean that you can use a video clip any way you want as if it were in the public domain. Instead, a Creative Commons license allows others to make limited use of the material, with the restrictions specified in the type of license. It's important to check on what type of license is offered and what restrictions apply before choosing a video clip. Many Creative Commons licenses don't allow use for commercial purposes, which would mean you could not incorporate the clip into a pay per view video, and sometimes not into a video intended to promote a product or service offered for sale.
You can find general information about Creative Commons licenses from the Creative Commons website, which also includes a searchable archive of CC works. In all cases, you should provide source attribution for any film clips used under a Creative Commons license. As a final note, Creative Commons licenses always prohibit the use of digital rights management (DRM).
If a film is neither in the public domain nor published under a Creative Commons license, then it's fully protected by copyright law. You can still make very limited use of copyrighted video clips under Fair Use doctrine, but be sure you understand how that works before trying it.
Four factors go into determining whether a given use of a copyrighted work is fair use. These are: 1) the purpose and character of the use; 2) the nature of the copyrighted work itself; 3) the amount of the work used compared to the whole, and 4) the effect of the use on the potential market for the work. As a general rule, fair use is more likely to pass a court test if the use is for noncommercial, educational use, if only a small clip is taken rather than a more substantial segment of the video, and if the use is unlikely to reduce the market for the video. However, none of these is absolute.
Unfortunately, the guidelines for fair use are complicated and it's often difficult to tell ahead of time whether a particular use is or is not fair use. Unambiguous fair use includes criticism, parody, and use of the material for illustration or example. It's less likely that commercial use of copyrighted material will fall under fair use than noncommercial use, but that's not a certainty either way. You can find a pretty good description of how fair use doctrine applies to video clips here.
Use of Copyrighted Material
If you intend to use a clip from a copyrighted film, not under a Creative Commons license, and not falling under fair use law, you will need to obtain permission from the copyright holder. That means you will need to contact the copyright holder and request that permission. You may be required to pay for the use of the video, or merely to give appropriate credit, or permission may be denied altogether. Permission for use of a video is entirely at the discretion of the copyright holder.
When dealing with video under copyright protection, it's better to be safe than sorry. A lawsuit for copyright infringement could result in a costly judgment as well as require you to pull the infringing video from publication. Even if you think your intended use is fair use, it's usually best to ask permission. To recap the discussion above:
You can use clips from films in the public domain freely and without concern for copyright protection or infringement.
You can use video published under a Creative Commons license in ways that are limited by the type of license, without DRM, and with appropriate credit given to the producer.
You can use copyrighted material in very limited ways that legally constitute fair use, without permission.
Any other use of copyrighted material requires that you get the permission of the copyright holder before publishing.
By Elise Lagarde.
How To Sell Videos Online
Live Broadcast Scheduling — When and How?
2 thoughts on "Using Copyrighted and Public Domain Video Clips"
KodiStr says:
This is a bull**** article as you let 247hd.com and sportsaccess.se use your services for illegal streaming and dont do a damn thing about it, i report these sites to torrentfreak.com and told torrentfreak they were using dacast for there illegal streaming and torrentfreaktold me that they would contact you so im guessing they have and you have ignored it, so what a bull**** article, acting all high and mighty and still letting illegal streaming site use your services.
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Contrary to popular opinion, keeping up with an active lifestyle doesn't have to mean letting your personal style fall by the wayside. Nicole Miller activewear is for the modern active woman who knows that confidence is half the battle. Our sportswear pairs bold design with tested performance to give your confidence a boost in and out of the gym. The printed workout bra is functional enough for any of your favorite sports and supportive enough to keep you comfortable all day. Being the most fashion-forward girl in the studio might not have been your fitness goal, but if it happens, embrace it!
SUPPORT & COMFORT: No matter your sport or workout of choice, this active sports bra won't let you down. Durably built to keep you supported and comfortable during any and all low, medium, and high impact activites. The activewear bra features removable padded cups allowing you to adapt the piece based on your needs.
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Love and laughter will lead the way as we share heart to heart about our journey with A Course in Miracles (ACIM) and enjoy Spirit inspired live music. In the evening we'll have a "movie for awakening"... It's the fun way to wake up! No need to wait for the drama to unfold in your life, when you can watch it on the screen and heal!
ACIM teacher Melanie Doyle has spent many years living in ACIM community, practically applying the teachings to every area of her life. Spirit inspired musician Paul Miskin shares his passion for healing through his incredible music. Bring your deep questions! Everyone is welcome!
Please bring a plate of food for a shared lunch in between sessions. Tea/Coffee will be supplied.


NMCB Forty is a 600 person Seabee Battalion that provides contingency construction, disaster relief and humanitarian assistance to the U.S. Marine Corps and other services.
You need to be a member of Mobile Construction Battalion Forty NMCB-40 to add comments!
I joined MCB 40 in Oct. of 1969. Worked for PC2 Wiiliam Mitchell and I did such a good job making him look good he later retired as a PCC. Ha!
I made PC2 but would not extend to put the extra chevron on.


LOCATED IN SYDNEY-S SOUTH WESTERN SUBURB OF BANKSTOWN 15 KMS FROM SYDNEY INTERNATIONAL AIRPORT AND 10 KMS FROM SYDNEY OLYMPIC PARK AND A 10 MINUTE WALK FROM BANKSTOWN RAILWAY STATION WE ARE AN IDEAL LOCATION FOR CORPORATE LONG STAY AND SPORTING GROUPS.Located in Sydney's southwest, 15kms from Sydney International Airport & 10kms from Sydney Olympic Park & 30kms from Sydney Central Business District. Easy access from the M5 Motorway to the south, the M4 Motorway to the west and Highway #6 to the north. Search below for BreakFree Bankstown International Sydney reviews, photos, map information and rates.
About this page: BreakFree Bankstown International Sydney bookings - Last minute rates on BreakFree Bankstown International reservations. Cheap BreakFree Bankstown International rates, last minute deals on rooms (twin, superior and deluxe to luxury suites), group hotel booking, holiday and weekend specials. Compare all online rates at the BreakFree Bankstown International Hotel Sydney.


We require an experienced Social Worker to work in a Hospital Discharge Team in Lewisham.
As a experienced Social Worker you will be responsible for ensuring the safe and timely discharges from hospital. You will also be ensuring that older & younger adults receive community care and support in accordance with the Care Act 2014.


If you ever go to a symphony concert near where you live and are hearing a piece for the first time, you might wonder what that piece will sound like, what is the mood of the piece.
"a classical piece in a major key almost always portrays a bright happy and sometimes playful [mood], while a piece in a minor key [most of the time] portrays a dramatic, and sometimes has a stormy dark mood. So, when you hear a classical piece for the first time and wonder what the mood of the piece will be, just remember that the key is the key."
Of course, like everything in classical music, that is just a rule and there are exceptions. You might hear a dramatic piece in a major key or a happy playful piece in a minor key, but those would be exceptions.
What is good is that you won't actually have to look at the written score of the piece to determine what the key is because the piece will almost have the key of the piece in the title of the piece. For ex., piano concerto in C Major or Symphony in D minor, etc.
To show you examples of how the key of the piece will determine the mood of the piece, I turn to three of my favorite composers, Mozart, Beethoven and Mendelssohn.
From Mozart I have two piano sonatas, one in a major key and one in a minor key. Listen to how Mozart's sonata in C Major has a bright, happy, and playful mood; and then listen to his sonata in C minor to hear a more dramatic and serious mood.
Now while most of Beethoven's pieces contain some kind of drama, even in his pieces scored in a major key, listen to how sunny and even playful his piano concerto in C Major is as opposed to the serious very dramatic [at times tense] mood of his piano concerto in C minor.
Note: The first movement of the Beethoven C-minor piano concerto will at times switch back and forth between its minor key home to a major key, but it will be the home minor key that delivers the serious dramatic flavor.
From the melodic Felix Mendelssohn I have two symphonies, one in A Major [the first movement] and one in A minor. Listen to the bold, sunny first movement of his "Italian" symphony in A Major as opposed to the more contemplative, and almost at times sad mood [in my opinion] in the first movement of his dramatic "Scottish" symphony in A minor.


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Learning how complex systems operate will give older students a way to comprehend the rippling consequences of COVID-19
By: Tina Grotzer
For many students, the consistency of their typical day has been upended — abruptly and seemingly without a clear end date. In order to help older students understand why medical professionals are advising precautions like school and college closures and social distancing, one strategy is to teach them to think about complexity.
Our tendency in schools is often to simplify and break concepts apart to help students access challenging content. However, complexity typically involves systems components that cannot be simplified in this way. Breaking a system apart can distort our understanding of the interconnections that govern the system's behavior.
Research on learning makes it clear that we need to equip students to handle complexity. We can start by teaching students to understand its features or characteristics.
Here are four characteristics of complexity — accompanied by real world analogies — that can help older students understand the COVID-19 pandemic and the world's response to it.
Distributed causes: While centralized control structures such as governments can help us to address COVID-19, the success of the effort ultimately depends upon the decisions of many actors distributed across the planet.
Most kids have watched a teacher try to quiet an entire auditorium of students. That effort is only successful with the cooperation of the individual actors — and so it goes with COVID-19.
Exponential growth: The math of contagion is not additive. If we interact with others, it leads to exponential growth.
Kids today use the words "gone viral" to think about this analogically. If you share a funny video, three of your friends might each share it with three of their friends, then those nine people with three of their friends, and so on.
Think about a branching structure. When one person contracts the virus, they interact with a number of other people who interact with a number of others leading to big changes in short periods of time.
Synergistic outcomes: In some forms of growth, it is not enough to think of a branching structure. Our collective actions interact to create new actions/outcomes. This is referred to as emergence.
If two kids are talking in the cafeteria and the kids next to them must talk louder to be heard over the first two, then those two talk louder, and so on, as the sound escalates out of control. And no one really believes that the volume in the room was their fault.
So, when people see others stocking up on groceries, they begin worrying and stocking up, and so on, and it quickly escalates into empty shelves.
Dynamic steady states and processes: Most of the systems in our lives work because they are in a dynamic steady state. They can handle a certain amount of flux and still stay balanced.
When kids try to balance on one foot, they often find out that they can't stand perfectly still and need to shift back and forth in order to stay upright.
The systems in our lives — including hospitals and healthcare, food sources, and yes, even demands for toilet paper — also need to shift to stay balanced, but they can only tip so far without crashing. We tend to focus on crashes or big events, such as COVID-19, instead of steady states. Events grab our attention and galvanize us to act. Understanding complexity includes learning to act in response to subtler changes in systems dynamics, such as those of the world's climate, for instance.
These are just a few of the features of complexity that are part of our everyday lives. By helping students understand these interconnecting dynamics, and to see all the parts of the complex system that govern our world, we'll help them mature into future citizen-leaders and into the kind of discerning problem solvers we need them to become.
Read more in our ongoing series, Confronting the Coronavirus Outbreak, on how schools and communities can prepare and respond, support young people, build resilience, and keep the learning going.
Learning Causality in a Complex World: Understandings of Consequence
Resources from the Understandings of Consequence Project
Resources from the Causal Learning in the Classroom Project
Teaching about complexity in ecosystems using a virtual world
Tina Grotzer
Tina Grotzer is a senior researcher at Project Zero and faculty member at HGSE. She is a cognitive and learning scientist who studies learning in formal and informal contexts; much of this work focuses on science education. She teaches courses in cognition and learning, and its applications to learner behaviors, pedagogy, instructional design, and school design.
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How educators, organizations, and communities can work within current guidelines to provide enriching summer learning opportunities for students
By: Emily Boudreau
Tagged: College and Career, K-12, Learning and Teaching, Parenting and Community, Social-Emotional Wellbeing
Lessons from history and from around the globe can provide insight on how to mitigate losses and reduce harm as school disruptions continue
By: Sarah Dryden-Peterson
Tagged: Global Education, K-12, Learning and Teaching, Parenting and Community, Social-Emotional Wellbeing
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Q: integrate jquery with xml I have worked with jQuery and JSON Object, but how does the data in the xml page can be  fetched and shown up using jQuery?
or   How the data in the XML file can be fetched and shown up on a page using jQuery?

A: Have you read through this tutorial http://api.jquery.com/jQuery.parseXML/
and I think what you want is
$.ajax({
    type: "GET",
url: "sites.xml",
dataType: "xml",
success: function(xml) {

}
});

from here : http://think2loud.com/224-reading-xml-with-jquery/

A: You can process XML nodes using jQuery in exactly the same way as you can process HTML nodes:
$(response).find('somenode');

Assuming you've set dataType to xml, the response is already an XML document object. Just wrap it in a jQuery object and you can use find etc on it.


Slide into summer with this popular 1992 sports comedy nominated for 2 Golden Globe awards. Let yourself laugh as you step back to World War II times to watch a professional all-female baseball league spar with each other on their way to fame. Tom Hanks, Geena Davis, Madonna, and Rosie O'Donnell are sure to make you laugh because there's no crying in baseball!


Catalysing Change is a one-day event for professionals in the music sector. The event is a day for people to find out about the impact of music projects, make connections and network.
You will be performing for an intimate private music focused audience at a location in Shoreditch on 29 November 2016.
We are looking for a maximum of two performers (acoustic).
To apply, please send a link of your music (soundcloud/youtube etc) to wired4music@sound-connections.org.uk with the subject 'Catalysing Change'.


Bantams supporters only have hours left now get their hands on a truly special piece of signed Bradford City memorabilia and help a great cause at the same time.
A League 2 Play-Off Final winners flag, as shown in the picture above, has been placed on sale by City kitman John (Graham) Duckworth to help raise funds for Macmillian Cancer Support.
The Play-Off flag, which was used by the players during their post-match celebrations after the final at Wembley Stadium, has been signed by the players and staff involved in helping City into League 1.
The very special flag is available to bid on now via the auction website eBay. Supporters will be able to bid on the flag until 7:30pm this coming Tuesday (24 September 2013).
John has also recently placed a number of other exciting pieces of City memorabilia on eBay, including signed boots Bantams duo from Garry Thompson and Alan Connell.
The link to the correct eBay page for Garry's boots can be found -HERE.
John has put the City items up for sale as part of his continued support for the Macmillian cancer charity.
On top of offering up this prized pieces of memorabilia, John is inviting Bantams supporters and members of the wider community to join him as City host their first World's Biggest Coffee Morning this Friday (27th September) from 11:00am – 3:00pm in aid of Macmillan.
The event will take place within the Bantams Bar at the Coral Windows Stadium.
John and the team are inviting members of the public to attend the event to enjoy coffee and cake together, with the possibility of some of Phil Parkinson's squad being there to support this worthwhile cause. All the money raised from the event will enable the charity to continue to make a difference to people living with cancer within the Bradford area.
On top of the coffee and cakes that will be available, there will be a prize raffle taking place which will allow supporters to bid for some other notable pieces of memorabilia.
Although John has managed to obtain a large number of different items for the auction, he is still on the lookout for any supporter wishing to help his charity coffee morning by donating something worthwhile.
For more information on the event or donating a prize to the raffle contact John via email on grahamjohnducks@aol.co.uk.


Real Life: This is what our living room has looked like the past month.
A little life update for y'all – we pretty much drove across the entire state of Texas in two weekends; we moved homes and got a puppy the next week; and we went on a cruise last week. Now we're trying to catch up on life (like work, our social lives, not forgetting to eat meals or breathe, etc), unpack our house, potty-train Ranger; and we can't overlook all the other things we (or I) promised we would do this summer. Life has been CRAZY, and it kinda looks like a tornado has blown through our house.
Now think of this tornado as a representation of our minds (because that's honestly what my mind has seemed like lately). It's as if all our thoughts are spinning a thousand miles an hour trying to keep up with the busyness of our lives and the many changes we go through – moving to a new town, getting married, starting a new job; heck even the fashion and food trends can't keep up. Just know that these seasons of change won't last forever, because nothing really ever stays constant for long. Changes like these can bring chaos, and chaos can bring stress; but in the midst of all this, we have one thing that stays the same – Jesus. He is our "sure and steadfast anchor for the soul" (Hebrews 6:19).
Someone sent me a message a couple weeks ago about how my blog has reminded her that God speaks to us in our daily lives, and it's so true! He likes to send us little love notes showing us that He is present with us through everything; like a blister when you accidentally walk 7 miles, or the fear you get when you jump out of an airplane (okay, well that's not a daily occurrence for most people), or even a whisper in the midst of a tornado of busyness. My point is that we all go through difficult seasons, but Jesus is always there. We can always rely on Him because He is sturdy and unchangeable.
I love the sweet simplicity of this reminder. Jesus is always with me & always stays the same. Thanks for this reminder today!!
Such beautiful truth! For some reason, my mind has been muddled for months/maybe even a year. It's been a struggle to overcome, but I keep reminding myself to run back to Jesus. It sure helps.
One of my favorite verses is about how the Word of the Lord is forever. He is truly a rock we can stand on.
Amen. We are also potty traing our 3 years old to be this Saturday. Its a messy season for sure. Its a blessing to know someelse is going through the same thing and still has the strenght to encourage people. God bless you.
Good luck! The Lord will pull you through it. I feel like every season of life will have it's "busy" or "messy" moments so we just have to make the best of it!
Needed those scriptures. Thank you for sharing.


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Q: Where does the electron get its high magnetic moment from? I have always found the concept of spin a little weird. I had read somewhere that for the charge or size of electrons, their magnetic field is very high. In order to produce such fields, they must be spinning faster than the speed of light which is not possible. So where do the electrons get their high magnetic field from?
An answer without too much math would be preferred.
So I quote this source http://scienceblogs.com/principles/2010/07/26/electron-spin-for-toddlers/ :-

If we want to say that the magnetic moment of the electron is due to the motion of a spinning ball of charge, then we can easily calculate what the spin rate should be, given what we know about the size of an electron. If you use the maximum size you could possibly associate with the electron, the "classical electron radius", and calculate how fast a sphere of that size would need to be spinning to produce the observed magnetic moment, you find that a point on the surface would need to be moving at a speed several times the speed of light in vacuum, which is impossible. That's also a gross overestimate of the size of an electron– as far as well can tell, the electron has no physical size. It's a point particle, and thus doesn't have a surface that can be physically rotating.
OK, then, maybe the magnetic moment is just one of those things, you know? Maybe the "spin" angular momentum isn't really angular momentum at all. This is also false– spin angular momentum is real angular momentum. We know this because you can drive transitions from one spin state to another using polarized light, and we know from careful experiments done in 1936 that the angular momentum carried by light is real angular momentum. The angular momentum of a polarized photon can be used to make physical objects rotate, and it can also be used to make electron spins change states; this at least strongly suggests that spin angular momentum is real angular momentum comparable to that of spinning basketballs and all the rest.

So I do not understand what all this is suppose to mean. It first says maybe it is not spinning at all and then says that it is real angular momentum. Please clarify this for me. Or is this topic yet to be researched upon?
EDIT after answers
I think I have nearly got the answer but it was not what I was expecting (I am not talking about the quality of the answers). In the end I just want to ask as the electron actually does not spin but has angular momentum. I have pretty much understood that actual spinning is not the reason for its angular momentum. So is it safe to say that the actual reason behind the angular momentum is unknown?

A: First, the electron isn't actually spinning. Physical objects made up of collections of electrons and protons (and neutrons) can have angular momentum because they rotate; the electron does not get its angular momentum for the same reason.
Second, the magnetic moment of an object with angular momentum L is proportional to
$$
\mu \propto \frac{qL}{M}
$$
The angular momentum of an electron due to its spin is a fixed constant, proportional to $\hbar$. Since the electron has a very small mass, its magnetic moment is very large.

A: For what it's worth, I've always had the same feeling that the spin should have some sort of reason behind it.  It seems so unsatisfying to be told more or less that "it just came that way."
Is there any deeper sort of explanation at all?  I recall a paper in AJP from years ago called "What is spin?" by Ohanian, but I didn't put in the effort to follow it. I remember it is referenced in a footnote in Griffiths, too.
Hey -- I found it--
http://www.physics.mcmaster.ca/phys3mm3/notes/whatisspin.pdf
This might be along the lines of what you are after.
Added after rereading Ohanian's paper -- A quick look through this paper has me convinced that the explanation he gives is exactly what you are seeking.  I think the punch line comes across even if you don't bother to follow all the mathematical details.

A: As the previous post mentioned, forget about the concept that the electron is actually spinning. Spin, like rest mass and electric charge, is an intrinsic property of subatomic particles. Yes, it's angular momentum. No, nothing is spinning. Although many physicists today do not like this explanation, special relativity introduces a useful analogy with mass. A particle at rest in some reference frame begins with mass $m_0$. In another reference frame, it is moving with speed $v$. In this frame, the particle's mass is given by
\begin{equation}
m_{rel} = m_0 \frac{1}{\sqrt{1 - v^2/c^2}},
\end{equation}
where $c$ is the speed of light in vacuum. Notice that there exists a frame where the particle has mass even though it is motionless. Although this analogy isn't perfect, one can draw upon similar reasoning to accept that particles can have intrinsic angular momentum.
To be honest, "spin" is a confusing and unfortunate word choice, because nothing is spinning. The world simply refers to the presence of angular momentum, like in a top (which is spinning, unlike the electron). Quantum mechanics has shown us that our world differs greatly than what we would expect from everyday life. While there are numerous analogies connecting quantum phenomena with familiar experiences, the fact is that the quantum world is different from the classical one we're used to assuming we live in. Analogies only go so far, and at the end of the day mathematics is the only way we can truly explain these phenomena.
Edit: I didn't exactly answer the question, but rather tried to explain the difference between intrinsic angular momentum and that due to physical motion. As the previous post also mentioned, the electron has such a high magnetic moment due to its small mass.

A: The electron spin can be associated to the electromagnetic field surrounding a free electron. Note that an electron not only has a charge e but a magnetic momentum (Bohr`s magneton $\mu_B= e/(2 m_e )  \hbar$). Thus anywhere in the space surrounding an electron except along its spin axis there exists a non-zero Poynting vector field $\mathbf S=\mathbf E \times \mathbf H$ corresponding to energy flux circulating around the electron. In terms of relativistic electrodynamics this energy flux corresponds to momentum flux and finally angular momentum.  This electromagnetic field angular momentum can equate the observable spin angular momentum $\hbar/2$.
(See the following links: "The electron point model":  http://www.gy.com/point.html and
"Singularity-free electrodynamics for point charges and dipoles: a classical model for electron self-energy and spin" by S.M. Blinder:   http://arxiv.org/abs/physics/0208072
Hence electromagnetic angular momentum is not necessarily bound to any kind of classical rotation.
In contrast, imagine a charged pellet in rotation. As its charge co-rotates with its atoms it will generate a magnetic dipole field intermeshing with the electrostatic field of the pellet in such a way that electromagnetic field angular momentum is generated, in addition to the classical angular momentum of the pellet.