text:
Capitalism Starves Artists, Not Piracy: How Artists Can Thrive Under Socialism
Image: Herve Agnoux, Wikimedia Commons
News & Analysis Arts & Culture
Erica L.
Recently, the FBI shut down z-lib.org, a popular website for pirated books and articles. The FBI was not able to get its hands on the actual servers, so currently the 11 million books and 84 million articles are still available intermittently through Tor. But this may change soon as the two people who run the site are facing serious criminal charges.
This was a big blow to users of the site, many of whom are students who used it to get textbooks, which are commonly priced between $100 to $300 apiece. In a single semester, z-lib.org could save a single student thousands of dollars. It also helped readers access fiction and information at no cost, obviously, as well as banned books and articles locked away by expensive academic journals.
Recently, the FBI shut down z-lib.org, a popular website for pirated books and articles. / Image: Huppertz Powers, Flickr
On the other hand, many authors rejoiced at the takedown. According to them, piracy reduces their income and ruins their chances at getting more book deals. They also say piracy hurts libraries, since easily-accessible ebooks reduce their visitors, killing their funding. Strangely, the authors do not mind that libraries also provide their works for free after purchasing a single copy.
This argument can be generalized to all creative products, as books are not the only media available for free on piracy websites. We have a double bind here: artists aren't making enough money, and workers in general can't afford art.
Starving artists
The income of the average artist is complicated to quantify because full-time work for artists is so difficult to find. Most patch together an income from various sources, which can include "day jobs" or non-artistic work, as well as the odd gig here and there, which can appear or evaporate at any time. Many artists live in between amateurism and professionalism simply because professional opportunities are so scarce. Since salary websites typically get their numbers from people employed in full-time jobs, these numbers are not reliable for artists as a whole. Therefore, the best insight comes from surveys.
In a 2018 survey of 1016 visual artists by the Creative Independent, the median income was between $20–$30k per year. About 60% made less than $30k, and 21% made less than 10k. These numbers include income from non-artistic sources; just under half of the artists reported that 10% or less of their income came from their art. The survey did not include questions about health insurance, but in a country where Bronze ACA insurance premiums are $928 per month on average, it is safe to assume that many artists cannot afford it. In addition, in 2021, the average student debt for bachelor's degrees in visual and performing arts was $24,859. A master's degree will put art students $61,188 in debt, on average.
Musicians are not doing much better, financially. In the 2018 MIRA Survey of Musicians, out of 1,227 respondents, the average American musician earned $21,300 annually. The median income was about $35k. 70% said they felt financially insecure. The Creative Independent also surveyed musicians in 2019, and the majority said that under 20% of their income came from music-related work. Only 12% said 80% or more of their income came from music. Even worse, when asked whether they were "always able to pay their bills each month," only 17% of them answered yes.
According to a 2019 survey, only 17% of musicians are always able to pay their bills each month. / Image: Christopher William Adach, Wikimedia Commons
Of course, this data was two years before the pandemic, before live performances evaporated. The best current data comes from the charity, Help Musicians, which surveyed 500 musicians in the UK. These results are even more dire. 98% said they were worried about earning enough money in general. 90% worried about being able to afford food, and 84% feared they would be unable to afford housing. But musicians' income problems are not just about living costs. Musicians (and artists in general) need equipment like instruments, audio equipment, and computers to be able to work, not to mention practice space, and more often than not, none of these are provided by employers. 91% of the survey respondents said they were unable to afford the equipment they needed. In addition, according to the Sweet Relief Fund, another charity for musicians, 65% of all musicians do not have health insurance.
Perhaps all of these statistics could have been left out and we could have simply pointed out that the charities referenced above are just two among countless others that exist explicitly so that artists can afford to stay alive. This says pretty much everything we need to know about art under capitalism.
Starving for art
Obviously, artists are not the only ones suffering financially. Inflation is the worst it's been in 40 years. In January 2022, 44% of Americans said they would not be able to afford a "$1,000 surprise expense." According to a different survey, 51% of all American households do not have enough to cover three months of expenses. Almost half of those have no emergency savings at all. Concretely, this means millions of American workers are forced to work two or more jobs, and must resort to selling blood plasma to survive.
If we look at the bigger picture, between 1985 and 2020, median rent increased four times faster than median wages. This is bad enough, but doesn't include pandemic numbers: the average rent in America is up 17.8% since 2021. Also, in 2021, the average worker lost 2.4% of their pay to inflation. In 2022, quality of life has eroded even faster.
So, artists may ask: who can buy my art? Who can afford to come to my concert? And workers may ask: how do I afford art? Do I get to have a life that is more than just work, sleep, die?
Who is to blame?
We are in a double bind: art is kept behind paywalls that fewer and fewer people can afford, which in turn makes it harder for artists to create art in the first place. Who is to blame for this absurd contradiction? Is it the people who pirate music, movies, and books?
As we have pointed out elsewhere, to outlaw piracy means to give private corporations the ability to censor whatever they want. To blame pirates for the poverty of artists pits workers of one industry against all the others. It is also premised on an incorrect understanding of how businesses operate. As Marx explained, more profits for capitalists does not equal higher wages for workers, because profits come from unpaid labor. This applies to media businesses and artists as well. Why do artists starve when Warner Music made almost $3 billion in profits over the last 12 months, Spotify made over $3 billion, and Disney made over $22 billion? The real pirates are the capitalists.
The real pirates are the capitalists, like Disney, who make billions while artists struggle to survive. / Image: Coolcaesar, Wikimedia Commons
What is the solution? Again, we have explained in many other articles that overthrowing capitalism and replacing it with a democratically planned economy is the answer. This would mean that we workers could decide what to do with all the incredible wealth we create, instead of allowing capitalists to waste it all on luxuries and war.
But, concretely, how could we organize this new way of life?
Life for artists in the USSR
For some ideas on this, we can refer to the experience of a planned economy—albeit a bureaucratically degenerated and deformed one—which operated for nearly a century: the USSR. What was life like for Soviet artists?
With such a long history, one might expect to find plenty of information about how artists were paid, educated, and fed. However, bourgeois historical accounts of artists' lives in the USSR focus almost exclusively on the censorship that artists faced from the Stalinist bureaucracy. When funding is mentioned, it is either a brief comment, or paired with a claim that the artists were only funded so they would be easier to control. It seems they do not want today's artists finding out that an alternative to "independence" (starvation) is possible.
On the other hand, this censorship was real, and crossing it could— and did—mean death. Therefore, first-hand accounts from artists within the USSR are not so reliable, since their words always had to be filtered by their desire not to upset the authorities. However, we should not throw out the baby with the bathwater. These accounts can offer insights into how we might do things in the future, and show that a completely different way of life is possible.
In "The Organization of Artists' Work in the USSR"—an article only available through JSTOR, which costs $19.50 for 10 PDF downloads per month—a Soviet art professor named M. Lazarev explained exactly how visual artists in particular made money.1 There were two major organizations for visual artists of all types: the Union of Artists, and the Art Fund, which were connected.
Artists made a living in a few different ways. They could sell their art to state and social organizations, museums, as prizes to be used in the National Lottery, or directly to private buyers. They could receive commissions from the Union of Artists or any of the other state organizations. For example, an artist could be paid in advance to make a mosaic for a public square, or to create illustrations for books or newspapers. If artists felt worried about relying on contract work for their income, they could choose to receive a consistent wage through the Art Fund.
The Art Fund did not just hire artists to work. It also provided special housing for artists, medical services, and childcare. If just one of these perks were available to modern artists, it would transform so many lives; free childcare alone would enable so many more women in particular to engage in creative work. The fund also supplied artists with the products and tools needed to create art, like studios, workshops, art supplies, and services like printing and sculpture casting. The Fund also hired workers to produce these things.
On top of all these basic expenses, the Fund paid for artists to go on retreats to focus on their art. Their children could either accompany them or attend camps designed for children. Young artists could join "wandering groups" to learn and work on art throughout the whole country. This type of travel is wonderful for inspiration and learning, but in the "developed" world, it is only available to young people who were born into wealth.
But one may ask: which artists were funded? Could anybody call themselves an artist? And who decided which art was funded—would the state pay someone to throw pasta sauce at a canvas?
Lazarev explained that these questions were decided by the democratic structures of The Union of Artists. Of course, we must take the claim that the union was democratic with a grain of salt, but there is much to learn from its structures. The Union was divided into departments, by discipline. Each city, or group of small towns, had a branch, which would elect local leadership. To become a member of a branch, an artist would need to complete a certain level of artistic education and publicly show their art in a Union exhibition. These exhibitions were open to all artists. Then, after making a name for themselves, artists could apply to join. The branch would then vote by secret ballot.
The USSR was divided into 16 Republics, and every five years, branches would elect delegates to send to a Republic congress. These congresses decided how to direct art in their respective Republic, and elected delegates to the All-Union Congress. This congress would elect a new artistic administration, decide the direction of art for the entire USSR, and elect special commissions to accomplish tasks. The Union as a whole had a constitution with "ethical, aesthetic, and ideological objectives"2 that every Union member committed to in order to receive funding (and, unfortunately, to survive political purges).
Information about musicians' lives is difficult to find, but we do have a lot of information about the USSR's most famous, and arguably best composer, Dmitriy Shostakovich. As countless bourgeois historical sources love to point out, Shostakovich's life was not exactly worry-free.
Under Stalin, and later Brezhnev, all art was required to conform to the ideals of "socialist realism." This is a bit hard to define, since keeping it wishy-washy on purpose served the vacillating interests of the bureaucracy. But generally, socialist-realist art needed to be "accessible" enough for the average worker and depict Soviet life and political leaders extremely positively. If an artist indulged in criticism or modernism, or the state decided that they did, they risked arrest, exile, or even execution. Applying these rules to visual art and literature was easy, but much murkier for musicians and composers, whose art can be totally wordless and abstract. Symphonies, in particular, were very difficult for censors to control, which is one possible explanation for why they were so popular with Soviet audiences.
Shostakovich held onto for his socialist convictions, despite his persecution from the Soviet bureaucracy. / Image: Deutsche Fotothek, Wikimedia Commons
Unfortunately, Shostakovich bore much of the brunt of bureaucratic repression, and was frequently made an example to other artists. He purposefully wrote his 1934 opera, Lady Macbeth of the Mtsensk District, to show how changing material conditions can liberate women, an idea totally in harmony with his own socialist beliefs—which he held onto for his entire life, despite his persecution from the Soviet bureaucracy. At the premiere, the bureaucracy reviewed it glowingly. However, just two years later, Stalin attended a performance and walked out before it ended. Shortly after, an article appeared in Pravda, entitled "Muddle Instead of Music." It smeared Shostakovich as a "petty-bourgeois leftist" and "formalist" and claimed the opera is too dissonant, impossible to understand, and nonsensical. No artist likes to hear harsh criticism, but the article included a threat: the author warned that Shostakovich was playing a "game of clever ingenuity that may end very badly." Shostakovich took this very seriously, and began taking a packed suitcase with him everywhere he went, expecting to be arrested at any moment. After all, this was the year 1936, the height of the Moscow Trials, where bureaucracy-critical Bolsheviks and artists were publicly tried and executed en masse.
There is much more to be said about the repression of Shostakovich, and the creative ways he worked around censorship to authentically portray Soviet life. For the former, we can leave this to bourgeois historians like Richard Taruskin, the widely-assigned and -read musicologist who claims the October Revolution was a totalitarian coup d'état, and whose five-volume textbook fetches a pretty penny. However, even Taruskin admits that Soviet composers were "extremely well trained."3 Translation: advanced-level music instruction in the USSR was free. He also states that artists were financially supported by the state, but of course, claims that this was only used to control them.
Soviet musicians and composers like Shostakovich often made their money through state-appointed and -funded teaching positions. Shostakovich, in particular, was a professor at the Moscow Conservatory. Many modern American musicians make money the same way, but under much harsher conditions. According to the American Federation of Teachers, almost half of all professors are adjuncts, or part-time instructors, as opposed to full-time professors with a reliable salary. This is up from 1975, where less than one out of four American professors were adjuncts.
Only one out of five adjunct faculty say that they can "comfortably cover basic monthly expenses." Additionally, college courses are often canceled last-minute if enrollment is not high enough. This is a major threat to adjunct professors, who are paid per course. To make matters worse, 75% of college and university teaching faculty (adjunct or full-time) are ineligible for tenure, meaning that they can be fired at any moment. Although Shostakovich was at one point fired from his professorship in 1948 because his Ninth Symphony didn't glorify Stalin, American professors under capitalism today are even more insecure in general.
Food or freedom?
The job of the bourgeois historian is to scare artists and workers away from socialism by claiming that the USSR was an experiment that showed socialism could only fail. When they admit that the USSR provided workers with material necessities like housing, healthcare, and employment, they make sure to remind the reader that these things always come at the cost of giving up individual freedoms.
My first question to these historians: please name one Soviet artists' charity.
Secondly, I ask these historians to explain how artists can have artistic freedom if they do not make enough money to buy basic necessities, much less training and supplies to reach their full creative potential. Could Shostakovich have composed over a dozen complex, awe-inspiring symphonies, or any of his hours-long operas, in between multiple jobs and plasma donations?
Thirdly, and most importantly, socialism can, and must, be democratic. The 1917 October Revolution was a truly democratic mass uprising that proved to the workers of the world that taking control over their lives and society as a whole is possible. To write it off as just a coup or a "failed experiment" is a crime. The revolutionary government degenerated into a Stalinist caricature of socialism, not because the Bolsheviks had the seed of totalitarianism within them, but because the many revolutions they inspired in Europe and elsewhere failed due to a lack of revolutionary leadership. This left the workers of Russia alone in their fight against international capitalism.
Marx, Engels, Lenin, and Trotsky said repeatedly in their works that proletarian revolution must be international if it is to succeed and last. The degeneration and eventual downfall of the USSR prove this: socialism in one country is impossible. But worldwide socialism is possible, and it is achievable in our lifetime. It is the only hope for art, and artists, to not only survive, but thrive.
As Trotsky explained in "If America Should Go Communist," Russia's production was so backwards they had to start their industrial development practically from scratch. And since they were isolated, they had to fight a very long, desperate war with the capitalist countries. But America, the wealthiest country in the world, would not have these problems; the building of socialism once the workers took power would go much more smoothly and invasions from other capitalist governments would be virtually impossible, given the size of the military.
On the basis of a healthy, democratically planned economy cemented by world proletarian revolution, we could generously fund plenty of art, film, books, music, and architecture and make it free for everyone to enjoy. At the same time, we could ensure that those who create it receive living wages, education, quality housing, and healthcare. As a bonus, the line between artists and non-artists would evaporate over time, since the working week would decrease as production becomes more and more efficient. Then all workers would have the time and resources we need to make all the art we desire.
[1] M. Lazarev, "The Organization of Artists' Work in the U.S.S.R.," Leonardo 12, no. 2 (1979): pp. 107-109, https://doi.org/10.2307/1573832.
[2] Lazarev, "The Organization of Artists' Work in the U.S.S.R.," 107.
[3] Richard Taruskin, The Oxford History of Western Music (Oxford: Oxford University Press, 2005).
Lazarev, M. "The Organization of Artists' Work in the U.S.S.R." Leonardo 12, no. 2 (1979): 107–9. https://doi.org/10.2307/1573832.
Taruskin, Richard. The Oxford History of Western Music. Oxford: Oxford University Press, 2005.
Tags Art Culture
"The Godfather" 50 Years On: A Cinematic Masterpiece Tarnished by Profit
Soviet Cinema: Montage, Revolution, and the Fight for Artistic Freedom
The Super Bowl and Super Profits: Sports and the Class Struggle
Ghislaine Maxwell Trial Shines a Light on the Depravity of the Ruling Class
Squid Game: No Winners Under Capitalism
Flat-Earth Revival: A Distortion of Capitalism
Notre Dame Fire: Capitalism Destroying Our Historical Heritage
Capitalism is Erasing Our Past


Adopted last week: Blair! Keebler! Cali! Carson! It was a good week for good cats.
These two guys are a bonded pair who obviously like being together. They also like being out and about, so I wasn't able to snag a photo of the two of them snuggled up together in the big bed.
I will get more pictures of them if they're not already gone next weekend.


The promotional industry, like a good whole, has got video game along with obesity weakest quality-assurance platforms together with spins released the particular a good number of sporadic product or service (their postings as well as commercials) for any field through any country.
This particular may seem to be similar to a expensive severe review, nonetheless them is actually based with assessment thousands and thousands of promotions about a variety of decades.
In some of our experience, just related to half from just about all ads actually work; that will is usually, experience all optimistic benefits in consumers' choosing behavior and / or brand solution.
Likewise, an important smaller promote connected with advertising truly glance to help you have undesirable outcome at profits.
The simplest way could possibly such statements maybe become true? Don't advertising and marketing businesses want to help you build good ads? Don't prospects need superb advertising? For sure, absolutely, that they undertake, they are up against solid problems.
Unlike almost all for typically the small business planet, of which is normally dictated from several feedback loops, commodities articles promoting trade obtains minimal ambition, good advice regarding the nation's advertising and marketing.
Initial, small number of advertisements together with adverts happen to be ever previously tried involving potential customers (less than just one % in accordance to help numerous estimates).
As a result, hardly any one—not office and / or client—knows in the event any selling is certainly almost any good. In case basically no a single has found out any time a new advertisement is beneficial or negative (and why), the way in which can your future professional end up being any specific better?
Moment, at the time a promoting is going on discuss, revenues reaction (a possible feed-back loop) is certainly some infamously very poor warning associated with advertising usefulness since truth be told there is often hence considerably "noise" inside product sales data such like cut-throat activity, out-of-stocks, weather, commercial general trends, publicity has impact on, costs alternative, for example.
Posts upon efficiency associated with promotion, a number of from all the reviews concerning selling is normally challenging and also misleading: agent as well as purchaser tendencies together with biases, that views in the actual client's partner, opinions as a result of retailers together with franchisees, complaints coming from this lunatic edge, together with which means on.
Advertising tests could very well analyzing information reports tutorial plan a trusted responses cycle and also contribute to help you considerably improved endorsing, still several hurdles remain within the strategy.
The particular to begin with amazing hurdle to make sure you more effective promotion is without a doubt self-delusion. The majority for us all believe, for your soul regarding hearts, the fact that all of us find out what precisely research thesis subject ideas marketing is certainly and that there is virtually no have to have with regard to any specific style with self-sufficient, reason appraisal. Businesses and even people identical normally think which will these learn exactly how to design and court good promotional.
Moreover, once institutions plus people get started in to slip inside really like along with the unique original, these immediately eliminate benefit inside any kind of intention evaluation. Basically no demand regarding marketing and advertising examining. Lawsuit closed.
Strangely, just after Forty numerous years involving screening advertisements, we can't inform one when a business oriented is all fine or simply not necessarily, only from viewing the idea.
Certain, we tend to experience feedback, nevertheless many people are actually practically consistently mistaken. Within some of our expertise, marketing services together with ones own shoppers happen to be basically since inefficient located at judging promotional as most of us usually are.
Them would seem to be this probably none associated with u . s . is certainly bright sufficiently towards check out advertising and marketing thru this little brown eyes with this target visitors, primarily based just concerning our own individual judgment.Strangely, subsequently after 50 numerous years connected with assessing endorsing, all of us can't explain to an individual whenever an important advertisement is definitely beneficial pursuit regarding contentment scenes possibly not only by just observing the idea.
Sure most of us have got experiences, and yet many are actually very nearly usually drastically wrong.
What is the actual result about advertising and marketing with teens?
Throughout much of our feel, promoting businesses plus his or her's clientele can be really when inefficient located at knowing promotional when everyone happen to be. The software feels of which i doubt any in people is definitely good enough that will discover marketing and advertising via this vision about all the concentrate on readership, primarily based solely with much of our individual judgment.
A 2nd obstacle that will healthier selling is definitely the particular opinion this gross sales overall performance will certainly show in the event any contact assignment is without a doubt functioning.
Free on the internet posting tools that income answer so that you can that advertising and marketing is actually speedy and vast, the software is definitely almost unattainable in order to utilize profits files towards appraise that value for the marketing.
As a result countless things are actually other than our own influence, when considered in the past, this it's improbable to help segregate that outcomes with growing media selling on your own. In addition, a number of promotion succeeds during some sort of couple many days, whilst various advertisements can take numerous calendar months so that you can demonstrate impressive influences, not to mention this kind of detained answer might confound our campaigns articles or reviews with success for selling read through the income records.
As well, promotional usually features short-term outcomes which usually gross sales information could replicate, and even long term benefits who a lot of connected with united states may perhaps quickly put aside in upcoming sales and profits knowledge. For the reason that in these restrictions, product sales details usually tend to be able to turn out to be baffling along with hard to rely on while clues connected with marketing and advertising effectiveness.
Sophisticated promotional selection modeling is certainly a solution to help quantify those promoting side effects for income, this typically calls for tens of millions regarding dollars plus many regarding effort and hard work, as well as that calls for that construction about clean repository from revenues data down using most connected with typically the marketing-input things.
Handful of a main to make sure you success have your spending plan, the particular to be patient, the particular accurate listings, plus all the practical awareness critical to make sure you do well with promoting combin modeling.
Quite possibly so, advertising and marketing merge modeling does indeed not aid us measure this side of the bargain regarding some singular professional, although preferably any cumulative effects associated with numerous distinctive projects around the rather long period of time regarding precious time.
Equally, marketing and advertising mixture modeling will do definitely not explain to individuals for what reason typically the promoting performed, or even the key reason why it were unable so that you can job.
Was basically it all that subject matter, all the storage devices pounds, or even this marketing incorporate the fact that developed a promoting effective? Generally, selling combin modeling cannot really answer these types of varieties associated with things. And so, once again, gross sales info is certainly for small cost once everyone help to make important judgments regarding a person's advertising.
A finally layer to make sure you superior marketing and advertising is actually the pervasive trend in many (but not even all) advertisements services that will hold up, challenge, and even circumvent initiatives to help objectively test out your free local community stereo radio station home business plan "babies." Who needs a fabulous document minute card relating to this good of their own work?
Your good results can certainly distressed your resourceful consumers. This father along with princess articles may troubled clients.
There's no time frame. We experience in order to always be concerning discuss during all 5 days or weeks, hence we'll simply contain towards pass by the actual testing.
These commercials are developed regarding experiencing and even inner thoughts, and additionally anyone can't quantify this sort of sensitive, artful subtleties.
We currently certified a adverts along with your target cluster all through the progression process.
These usually are impression promotions, and anyone can't test ımages utilizing standard advertising and marketing testing techniques.
We have so very much money through this approach plan of which the application doesn't matter the things this examining consequences can be.
Most people can't find the money for to help change.
We're with support of trying, nevertheless let's get rid of some of those requests around purchase intent together with marketing with typically the questionnaire.
We are usually inside some completely new time, together with latest newspaper and tv and additionally cutting edge announcements, as well as nothing regarding the particular previous copy-testing calculates employ virtually any more.
The latest layer in order to additional powerful marketing is actually the particular significant resourceful vanity.
The particular opinion that will exclusively the particular "creatives" during a bureau can easily construct advertising—and your sincerity the fact that inspiration is normally its special domain—constitute the huge screen. Wonderful marketing and advertising has a tendency so that you can develop throughout effort, through a large amount from tough give good results, fine-tuning, and tinkering, structured about function remarks right from objective the general public.
Enormous imaginative egos have a propensity writing tuition online avoid like evolutionary design changes.
All of us include spotted amazing promotions departed from simply because businesses would certainly not agree to small changes to help typically the advertising. So that you can end up being considerable, huge egos are usually in no way restrained to advertisements firms. Significant clientele egos will as well possibly be some sort of obstacle in order to fine endorsing.
Explore solid egos are generally nevertheless a different trouble. Great egos create obstructions due to the fact going through is definitely operating marketing and advertising decision-making alternatively articles flexibility common sense, justification, together with client feedback.
Giant egos lead to be able to negative advertising.
A sixth obstacle so that you can healthier promotional might be any extensive thinking that will one's main opponents understand what they will can be going through.
Basically replicate a selling procedures with your contest not to mention achievement might surely carry out.
We all lately found a new consumer just who had been with regards to that will replica the actual promotion prepare of some sort of main device, nevertheless most people ended up effective to help influence the client towards test virtually all significant demanding projects as some preventative measure ahead of blindly other the actual time direction homework advertising and marketing solution.
This specific competition was all the market director within sector publish and additionally earning. This assessing easily unveiled the fact that the market place director was basically the actual industry innovator throughout spite for the damaging advertising and marketing.
Typically the assessment also revealed the fact that one more rival, in murray prefered by basin, acquired excellent marketing. Useless to help point out, all the client's wish to help copy typically the industry leader quickly vanished.
The 6th buffer to make sure you far better marketing will be have no from plan, or even using any bad technique.
The particular client might be almost all generally on error here. The actual patient contains not necessarily conducted their groundwork, features not even idea seriously about their manufacturer and the country's potential future, and additionally provides never made together with analyzed methodology methods.
The actual buyer informs all the agent for you to head out out plus create wonderful advertising, not having rendering every plan guidelines. a agent will be remaining in order to can imagine plus theorize concerning methodology. Good promoting is usually scarcely created within a good plan vacuum. In case all the patron cannot identify your noise system, any organisation simply cannot design amazing promotional.
Repeatedly, the responsibility to get plan comes squarely on all the client.
A 7th buffer towards far better selling is certainly prospect ineptness.
A lot of clients' operations, regulations, as well as men and women have a propensity to make sure you get the better of any development connected with good advertising and marketing. Arrogance, ambiguity, impatience, lack of knowledge, financial risk aversion, and also inconsistency have a tendency in order to end up your hallmarks of these kinds of "agency killer" consumers.
Unhealthy purchasers seldom stimulate and also tolerate very good advertising.
The 8th and additionally go on barriers to help you much better marketing and advertising is normally negative reproduce screening just by research vendors. A lot of marketing evaluating solutions example graduate covers letter minimal towards some small number of promotes (and for this reason is unable to provide adviser samples).
A few techniques tend to be which means that expensive the fact that the actual value involving screening weighs more than the actual appeal connected with the consequences.
Research companies own also been bad with depending concerning 1 or maybe couple of simplistic activities with promotion performance, even while 100 % dismissing the symptoms several different quite very important rules.
Meant for occasion, to get a number of a long time researching suppliers argued widely above of which had been far more important—persuasion measures and / or consider measures? Your facts is normally which will both really are essential, however about better usefulness article concept education any basic fact that will none in these procedures by itself, or inside pairing, actions advertising advantages.
To help determine any advantages about the marketing campaign, several living models features has to be deliberated as well as taken into consideration simultaneously.
Given virtually all regarding these obstructions that will more desirable promotion, the way in which may well a patient, business, and also research firm work together with each other to help you set up extra valuable advertising?
We consider with a electric power involving marketing, based mostly with 1000s involving labor supply explore papers for this records.
Marketing and advertising includes that ability towards tell, this vitality so that you can change typically the head, in addition to the actual power to make sure you structure success. This includes typically the electricity to make sure you modification economies as well as better money margins. Selling provides short-term ability (conveying cutting edge data, generating knowledge, increasing trustworthiness, etc.) not to mention long-term electric power (conveying product snapshot, connecting emotional values so that you can a label, developing favourable status, etc.).
Your awesome potential regarding advertising and marketing can be infrequently realized around apply, yet people can't make right up. All the possibility and even that promises are at the same time wonderful.
This corporations that will excel at all the resourceful tips and also all the screening models to be able to constantly grow and additionally set up good promoting may personally own any long term future and also that fortunes in which move through the software.
Jerry m Thomas ([email protected]) can be President/CEO in Dallas-Fort Valued at based Verdict Expert.
Your dog could possibly end up got to on 1-800-262-5974 as well as 1-817-640-6166.
Copyright © 2016 from Determination Analyst, Inc.
This specific page can certainly not end up being replicated, printed, and / or put to use around any way lacking prepared concur of Conclusion Analyst.


Dr. Debra Katzman is a Professor of Pediatrics, in the Department of Pediatrics and University of Toronto (UofT) and Senior Associate Scientist at the Research Institute at the Hospital for Sick Children (SickKids). In addition, she is a Member of the Institute of Medicine at the UofT.
Dr. Katzman co-established the Eating Disorders Program at the Hospital for Sick Children in Toronto in 1993 and was the Director of the Eating Disorders Program from 1993-2012. She was the Head of the Division of Adolescent Medicine SickKids from 2004-2012. Dr. Katzman is the Course Director for Health Science Research in the Undergraduate Medical Education at the University of Toronto.
Dr. Katzman is the Past- President of the Society for Adolescent Health and Medicine (SAHM) and the Academy for Eating Disorders (AED). She was the Chair of AED's Scientific Committee. She is a Fellow of the SAHM and AED. Dr. Katzman is the Chair of Past President's Council at SAHM and SAHM Board Member. She is a member of the DSM Review Committee for Body Systems Disorders (Feeding and Eating, Elimination, Sleep-Wake, Sexual Dysfunction, Gender Dysphoria). Dr. Katzman is also the Immediate Past Chair of Specialty Committee for Adolescent Medicine and the Chair of the Examination Committee at the Royal College of Physician and Surgeons of Canada.
The focus of Dr. Katzman's research program has been to study and understand the unique physiologic and developmental issues in children and adolescent with eating disorders. She has been particularly interested in the medical complications associated with pediatric eating disorders; in particular osteoporosis, brain structure and function, and amenorrhea. New research priorities include exploration and improvement in the current diagnostic classification system for early-onset eating disorders and the investigation of effective treatments for children and adolescents with eating disorders.
Dr. Katzman has published over 150 articles, abstracts, book chapters, and editorials. Dr. Katzman co-edited a book for parents on eating disorders, "Help for Eating Disorder: A Parent's Guide to Symptoms, Causes and Treatment". In addition, she is the senior associate editor for the adolescent medicine textbook, "Adolescent and Young Adult Health Care: A Practical Guide 6th edition". Dr. Katzman is on the editorial board of the Journal of Adolescent Health and the International Journal of Eating Disorders. Dr. Katzman was the recipient of the 2012 McMaster University Alumni Award and the 2013 Academy for Eating Disorders' Leadership Award for Clinical, Administrative or Educational Service. She was elected as a member of the 2014 American Pediatric Society (APS).


text:
Q: Why $X\times\emptyset=\emptyset?$ If is true that $X\times\emptyset=\emptyset$, so take $A\times B$ with $U,V\subset A$ and $R,S\subset B$. We know that $(U\cup V)\times(R\cup S)=(U\times R)\cup (V\times S)$. So, take $X$ with $|X|\ge2$, then $X\times X=(X\setminus\{x\}\cup\{x\})\times(X\cup\emptyset)=(X\setminus\{x\}\times X)\cup(\{x\}\times\emptyset)=X\setminus\{x\}\times X?$. It's a paradox or I miss anything?

A: $(U\cup V) \times (R\cup S) \ne (U\times R) \cup (V\times S)$.  It just doesn't.
Consider a $u\in U$ but $u \not \in V$ and $s \in S$ but $s \not \in R$.
then $u \in U\cup V$ and $s \in R\cup S$ so $(u,s )\in (U\cup V)\times (R\cup S)$
but $s\not \in R$ so $(u,s) \not \in U\times R$.  And $u \not \in V$ so $(u,s) \not \in V\times S$.  So $(u,s) \not \in (U\times R) \cup (V\times S)$ so $(U\cup V) \times (R\cup S) \ne (U\times R) \cup (V\times S)$.
.....
Any how $X \times \emptyset = \{(x,y)| x \in X; y \in \emptyset\}$.  But there are no $y \in \emptyset$ so there are no $(x,y) \in X\times \emptyset$.
So $X \times \emptyset$ is empty.

A: In general, $X \times Y$ is defined as the set that contains all pairs $(x,y)$ such that $x \in X$ and $y \in Y$. But, if $Y=\emptyset$, there are no such pairs! That is true since there is no $y$ such that $y \in \emptyset$. Therefore, according to the general definition, $X \times \emptyset = \emptyset$.
Another way to see that you want $X \times \emptyset$ to be the empty set is that you want $|X \times Y| = |X| \cdot |Y|$ to hold, where $|X|$ denotes the number of elements in set $X$. Let's focus on finite sets for now, although this is true for infinite sets as well. That is, in order to construct a pair $(x,y) \in X\times Y$, you have $|X|$ choices for $x$, and for every such choice, you have $|Y|$ choices for $y$. For $Y=\emptyset$, that tells you that you'd like $|X\times\emptyset|$ to be $0$, i.e. $X\times\emptyset = \emptyset$, since the empty set is the only set with $0$ elements.
Regarding the rest of your question, $(U\cup V)\times(R\cup S)=(U\times R)\cup (V\times S)$ isn't true. Consider any example with finite sets where $U \cap V = R \cap S = \emptyset$, and then simply count the size of each side. For the LHS we have:
$$|(U \cup V)\times(R \cup S)|= |U \cup V| \cdot |R \cup S| = (|U| + |V|) \cdot (|R| + |S|).$$
For the RHS:
$$|(U \times R) \cup (V \times S)| = |U\times R| + |V \times S| = |U|\cdot |R| + |V|\cdot |S|.$$
So, as long as none of $U,V,R,S$ is empty, the LHS can not be equal to the RHS.
Here is a concrete counterexample:
$$(\{0\}\cup\{1\})\times(\{a\}\cup\{b\})=\{0,1\}\times\{a,b\}=\{(0,a),(0,b),(1,a),(1,b)\}$$
whereas
$$\{0\}\times\{a\}\cup\{1\}\times\{b\}=\{(0,a),(1,b)\}.$$

redpajama_set_name: RedPajamaStackExchange


One of the greatest problems the population has faced, resulting from the disastrous consequences of the 2015 earthquake, is how to feed itself. The 'auto-sustainability project for Nepal' was conceived by the Together for Nepal association and involved the establishment of a 'chicken run' and which, notwithstanding lots of difficulties, is beginning to bear fruit and produce results.
The immediate objective of this project is to support a small community of 35 people and to improve their standard of life in general. This improvement involved making a 'chicen run' for 1,000 young chicks. The sum donated to the Community for the project and supervised by the Together for Nepal association, it taking responsibility for consultation, coordinating, monitoring, and a final evaluation of all aspects of performance and production. Ovbviously this is all done on a voluntary level. A vital part of the project for the community in the future is to have a successful example of a project which looks to uplift the local economy after it being so badly hit. After initial problems, and very tiring efforts, the project is moving forward and the first sales of chickens have taken place. With a step at a time one can make much progress.


AIRPRO NFPA inter-changeable cylinders are made in the USA of high-strength, corrosion-resistant aluminum. Airpro cylinders are reliable, lightweight, flexible and economically priced. Two NFPA models 200A-2 (200 PSI) and 250A-1 (250 PSI), are available in 1.5" - 6" bores.


text:
what is metal precipitation
Hi. Hydroxide precipitation is initiated by adding an appropriate hydroxide to the waste water in stirred reaction tanks to form the insoluble heavy metal hydroxide precipitates: M+n +nOH- M(OH)n Many of the heavy metals show marked amphoteric behavior; their hydroxides reaching minimum solubility at a specific pH for each metal. The reason I am talking about that is ... Today I shot a video on how to tig weld a keyway in a stainless shaft. The process is readily automated and controlled by a simple pH controller. Precipitation strengthening, also called precipitation hardening or particle hardening, is a heat treatment process. LABS. Learn about 3. Precipitation of protein with salts of heavy metal (LABS) with flashcards, quizzing, and games. For example, iron precipitation will largely remove manganese from the water at pH 8 due to co-precipitation, but only if the iron concentration in the water is much greater than the … This should make it feasible to precipitate the heavy metals from solutions containing complexing agents that prevent metal removal by hydroxide precipitation. Topics include: Procedure of experiment 2 - test tubes are filled with albumin solution, Procedure of experiment 2 - Add lead acetate solution to each tube & mix and incubate at room temperature, Procedure of experim The solubility products of metal sulfides are several orders of magnitude lower than those of the corresponding hydroxides. The most common used method to remove soluble metal ions from solution is to precipitate the ion as a metal hydroxide. Chemical precipitation of metal as a powder is an oxidation-reduction reaction, which can proceed in an aqueous as well nonaqueous medium [14]. As a result, the particles hinder motion that can cause dislocation, and the metal increases in strength. Carbide Precipitation is a condition that happens when 300 series austenitic stainless steels are kept too hot for too long. Precipitation hardening is used to strengthen many types of metals. The process is accomplished through three phases, and each stage is designed to achieve a different task. Precipitation hardening, also referred to as age hardening, is a technique where heat is applied to a malleable material, such as a metal alloy, in order to strengthen it.The technique hardens the alloy by creating solid impurities, called precipitates, which stop the movement of dislocations in the crystal lattice structure. Precipitation often is used to remove metal ions from aqueous solutions: silver ions present in a solution of a soluble salt, such as silver nitrate, are precipitated by addition of chloride ions, provided, for example, by a solution of sodium chloride; the chloride ions and the silver ions combine to form silver chloride, a compound that is not soluble in water. Hydroxide Precipitation of Metals. I need to prepare metal supported alumina catalyst for my project. Therefore, it is necessary to understand the importance of each stage of the process. Precipitation hardening metals is not a quick process, hence the name age hardening. It changes a metal's structure so that particles are uniformly dispersed. Carbide Precipitation and Tig Welding a Keyway. Interactions among metals also influence the rate and degree to which metals precipitate.
Vivo V15 Root Xda, Yuzu Sauce For Salmon, Microphone Holder Clip, Child Behaviors And Phrases, Wet Chicken Burrito Recipe, Book Report On 20,000 Leagues Under The Sea, Compass Housing Contact Number, Loyola-icam Application Form 2020, Balsamic Date Vinaigrette, Mary Eliza Mahoney Scholarly Articles,

redpajama_set_name: RedPajamaCommonCrawl


text:
Off Topic - Work/School Safe
SR-71 story
Thread: SR-71 story
Most of you have probably read this but I always enjoy reading this no matter how many times I have:
"There were a lot of things we couldn't do in an SR-71, but we were the fastest guys on the block and loved reminding our fellow aviators of this fact. People often asked us if, because of this fact, it was fun to fly the jet. Fun would not be the first word I would use to describe flying this plane. Intense, maybe. Even cerebral. But there was one day in our Sled experience when we would have to say that it was pure fun to be the fastest guys out there, at least for a moment.
It occurred when Walt and I were flying our final training sortie. We needed 100 hours in the jet to complete our training and attain Mission Ready status. Somewhere over Colorado we had passed the century mark. We had made the turn in Arizona and the jet was performing flawlessly. My gauges were wired in the front seat and we were starting to feel pretty good about ourselves, not only because we would soon be flying real missions but because we had gained a great deal of confidence in the plane in the past ten months. Ripping across the barren deserts 80,000 feet below us, I could already see the coast of California from the Arizona border. I was, finally, after many humbling months of simulators and study, ahead of the jet.
I was beginning to feel a bit sorry for Walter in the back seat. There he was, with no really good view of the incredible sights before us, tasked with monitoring four different radios. This was good practice for him for when we began flying real missions, when a priority transmission from headquarters could be vital. It had been difficult, too, for me to relinquish control of the radios, as during my entire flying career I had controlled my own transmissions. But it was part of the division of duties in this plane and I had adjusted to it. I still insisted on talking on the radio while we were on the ground, however. Walt was so good at many things, but he couldn't match my expertise at sounding smooth on the radios, a skill that had been honed sharply with years in fighter squadrons where the slightest radio miscue was grounds for beheading. He understood that and allowed me that luxury.
Just to get a sense of what Walt had to contend with, I pulled the radio toggle switches and monitored the frequencies along with him. The predominant radio chatter was from Los Angeles Center, far below us, controlling daily traffic in their sector. While they had us on their scope (albeit briefly), we were in uncontrolled airspace and normally would not talk to them unless we needed to descend into their airspace.
We listened as the shaky voice of a lone Cessna pilot asked Center for a readout of his ground speed. Center replied: "November Charlie 175, I'm showing you at ninety knots on the ground."
Now the thing to understand about Center controllers, was that whether they were talking to a rookie pilot in a Cessna, or to Air Force One, they always spoke in the exact same, calm, deep, professional, tone that made one feel important. I referred to it as the " Houston Center voice." I have always felt that after years of seeing documentaries on this country's space program and listening to the calm and distinct voice of the Houston controllers, that all other controllers since then wanted to sound like that, and that they basically did. And it didn't matter what sector of the country we would be flying in, it always seemed like the same guy was talking. Over the years that tone of voice had become somewhat of a comforting sound to pilots everywhere. Conversely, over the years, pilots always wanted to ensure that, when transmitting, they sounded like Chuck Yeager, or at least like John Wayne. Better to die than sound bad on the radios.
Just moments after the Cessna's inquiry, a Twin Beech piped up on frequency, in a rather superior tone, asking for his ground speed. "I have you at one hundred and twenty-five knots of ground speed." Boy, I thought, the Beechcraft really must think he is dazzling his Cessna brethren. Then out of the blue, a navy F-18 pilot out of NAS Lemoore came up on frequency. You knew right away it was a Navy jock because he sounded very cool on the radios. "Center, Dusty 52 ground speed check". Before Center could reply, I'm thinking to myself, hey, Dusty 52 has a ground speed indicator in that million-dollar cockpit, so why is he asking Center for a readout? Then I got it, ol' Dusty here is making sure that every bug smasher from Mount Whitney to the Mojave knows what true speed is. He's the fastest dude in the valley today, and he just wants everyone to know how much fun he is having in his new Hornet. And the reply, always with that same, calm, voice, with more distinct alliteration than emotion: "Dusty 52, Center, we have you at 620 on the ground."
And I thought to myself, is this a ripe situation, or what? As my hand instinctively reached for the mic button, I had to remind myself that Walt was in control of the radios. Still, I thought, it must be done - in mere seconds we'll be out of the sector and the opportunity will be lost. That Hornet must die, and die now. I thought about all of our Sim training and how important it was that we developed well as a crew and knew that to jump in on the radios now would destroy the integrity of all that we had worked toward becoming. I was torn.
Somewhere, 13 miles above Arizona, there was a pilot screaming inside his space helmet. Then, I heard it. The click of the mic button from the back seat. That was the very moment that I knew Walter and I had become a crew. Very professionally, and with no emotion, Walter spoke: "Los Angeles Center, Aspen 20, can you give us a ground speed check?" There was no hesitation, and the replay came as if was an everyday request. "Aspen 20, I show you at one thousand eight hundred and forty-two knots, across the ground."
I think it was the forty-two knots that I liked the best, so accurate and proud was Center to deliver that information without hesitation, and you just knew he was smiling. But the precise point at which I knew that Walt and I were going to be really good friends for a long time was when he keyed the mic once again to say, in his most fighter-pilot-like voice: "Ah, Center, much thanks, we're showing closer to nineteen hundred on the money."
For a moment Walter was a god. And we finally heard a little crack in the armor of the Houston Center voice, when L.A.came back with, "Roger that Aspen, Your equipment is probably more accurate than ours. You boys have a good one."It all had lasted for just moments, but in that short, memorable sprint across the southwest, the Navy had been flamed, all mortal airplanes on freq were forced to bow before the King of Speed, and more importantly, Walter and I had crossed the threshold of being a crew. A fine day's work. We never heard another transmission on that frequency all the way to the coast.For just one day, it truly was fun being the fastest guys out there."-Brian Schul"Sled Driver: Flying the World's Fastest Jet"
Torgus
N54 ACF 6466 Meth + MOTIV / E70 #1 Fully Deleted 2.8 race flash 30+ MPG / E70 #2 JBD
Got Boost?
blackshan
That really is one you can't stop in the middle of reading!
BlackJetE90OC
Great read, thanks for sharing.
FRD135i
Somewhere in Mississippi
Haha, awesome story!
2008 135i, Satin Metalic Blue on Black , JB4 G5 ISO W/ Blutooth connect kit, DCI, CP-E DP's and mid, AA Axel back, 1 Gal trunk mount meth.
2007 HD Road Glide
My Soundcloud, Give it a shot: https://soundcloud.com/dj-a-r-f
Legionofboom
DavidV
There's a sequel to that story:
The Famous SR-71 SAM Outrun Story
Here's another story about the SR-71 from Brian Shul (if you haven't read the "Groundspeed Check"story, you must check it out as well). Brian Schul wrote this book about being an SR-71 pilot. Unfortunately, it's out of print and is going for $250 bucks for a copy. It is, however recounted inmultiple other books if you're interested.
In April 1986, following an attack on American soldiers in a Berlin disco, President Reagan ordered the bombing of Muammar Qaddafi's terrorist camps in Libya. My duty was to fly over Libya and take photos recording the damage our F-111′s had inflicted. Qaddafi had established a 'line of death,' a territorial marking across the Gulf of Sidra, swearing to shoot down any intruder that crossed the boundary. On the morning of April 15, I rocketed past the line at 2,125 mph.
I was piloting the SR-71 spy plane, the world's fastest jet, accompanied by Maj Walter Watson, the aircraft's reconnaissance systems officer (RSO). We had crossed into Libya and were approaching our final turn over the bleak desert landscape when Walter informed me that he was receiving missile launch signals. I quickly increased our speed, calculating the time it would take for the weapons-most likely SA-2 and SA-4 surface-to-air missiles capable of Mach 5 – to reach our altitude. I estimated that we could beat the rocket-powered missiles to the turn and stayed our course, betting our lives on the plane's performance.
After several agonizingly long seconds, we made the turn and blasted toward the Mediterranean. 'You might want to pull it back,' Walter suggested. It was then that I noticed I still had the throttles full forward. The plane was flying a mile every 1.6 seconds, well above our Mach 3.2 limit. It was the fastest we would ever fly. I pulled the throttles to idle just south of Sicily, but we still overran the refueling tanker awaiting us over Gibraltar.
Scores of significant aircraft have been produced in the 100 years of flight, following the achievements of the Wright brothers, which we celebrate in December. Aircraft such as the Boeing 707, the F-86 Sabre Jet, and the P-51 Mustang are among the important machines that have flown our skies. But the SR-71, also known as the Blackbird, stands alone as a significant contributor to Cold War victory and as the fastest plane ever-and only 93 Air Force pilots ever steered the 'sled,' as we called our aircraft.
As inconceivable as it may sound, I once discarded the plane. Literally. My first encounter with the SR-71 came when I was 10 years old in the form of molded black plastic in a Revell kit. Cementing together the long fuselage parts proved tricky, and my finished product looked less than menacing. Glue,oozing from the seams, discolored the black plastic. It seemed ungainly alongside the fighter planes in my collection, and I threw it away.
Twenty-nine years later, I stood awe-struck in a Beale Air Force Base hangar, staring at the very real SR-71 before me. I had applied to fly the world's fastest jet and was receiving my first walk-around of our nation's most prestigious aircraft. In my previous 13 years as an Air Force fighter pilot, I had never seen an aircraft with such presence. At 107 feet long, it appeared big, but far from ungainly.
Ironically, the plane was dripping, much like the misshapen model had assembled in my youth. Fuel was seeping through the joints, raining down on the hangar floor. At Mach 3, the plane would expand several inches because of the severe temperature, which could heat the leading edge of the wing to 1,100 degrees. To prevent cracking, expansion joints had been built into the plane. Sealant resembling rubber glue covered the seams, but when the plane was subsonic, fuel would leak through the joints.
The SR-71 was the brainchild of Kelly Johnson, the famed Lockheed designer who created the P-38, the F-104 Starfighter, and the U-2. After the Soviets shot down Gary Powers' U-2 in 1960, Johnson began to develop an aircraft that would fly three miles higher and five times faster than the spy plane-and still be capable of photographing your license plate. However, flying at 2,000 mph would create intense heat on the aircraft's skin. Lockheed engineers used a titanium alloy to construct more than 90 percent of the SR-71, creating special tools and manufacturing procedures to hand-build each of the 40 planes. Special heat-resistant fuel, oil, and hydraulic fluids that would function at 85,000 feet and higher also had to be developed.
In 1962, the first Blackbird successfully flew, and in 1966, the same year I graduated from high school, the Air Force began flying operational SR-71 missions. I came to the program in 1983 with a sterling record and a recommendation from my commander, completing the week long interview and meeting Walter, my partner for the next four years. He would ride four feet behind me, working all the cameras, radios, and electronic jamming equipment. I joked that if we were ever captured, he was the spy and I was just the driver. He told me to keep the pointy end forward.
We trained for a year, flying out of Beale AFB in California, Kadena Airbase in Okinawa, and RAF Mildenhall in England. On a typical training mission, we would take off near Sacramento, refuel over Nevada, accelerate into Montana, obtain high Mach over Colorado, turn right over New Mexico, speed across the Los Angeles Basin, run up the West Coast, turn right at Seattle, then return to Beale. Total flight time: two hours and 40 minutes.
One day, high above Arizona, we were monitoring the radio traffic of all the mortal airplanes below us. First, a Cessna pilot asked the air traffic controllers to check his ground speed. 'Ninety knots,' ATC replied. A twin Bonanza soon made the same request. 'One-twenty on the ground,' was the reply. To our surprise, a navy F-18 came over the radio with a ground speed check. I knew exactly what he was doing. Of course, he had a ground speed indicator in his cockpit, but he wanted to let all the bug-smashers in the valley know what real speed was 'Dusty 52, we show you at 525 on the ground,' ATC responded. The situation was too ripe. I heard the click of Walter's mike button in the rear seat. In his most innocent voice, Walter startled the controller by asking for a ground speed check from 81,000 feet, clearly above controlled airspace. In a cool, professional voice, the controller replied, 'Aspen 20, I show you at 1,842 knots on the ground.' We did not hear another transmission on that frequency all the way to the coast.
The Blackbird always showed us something new, each aircraft possessing its own unique personality. In time, we realized we were flying a national treasure. When we taxied out of our revetments for takeoff, people took notice. Traffic congregated near the airfield fences, because everyone wanted to see and hear the mighty SR-71. You could not be a part of this program and not come to love the airplane. Slowly, she revealed her secrets to us as we earned her trust.
One moonless night, while flying a routine training mission over the Pacific, I wondered what the sky would look like from 84,000 feet if the cockpit lighting were dark. While heading home on a straight course, I slowly turned down all of the lighting, reducing the glare and revealing the night sky. Within seconds, I turned the lights back up, fearful that the jet would know and somehow punish me. But my desire to see the sky overruled my caution, I dimmed the lighting again. To my amazement, I saw a bright light outside my window. As my eyes adjusted to the view, I realized that the brilliance was the broad expanse of the Milky Way, now a gleaming stripe across the sky. Where dark spaces in the sky had usually existed, there were now dense clusters of sparkling stars. Shooting stars flashed across the canvas every few seconds. It was like a fireworks display with no sound. I knew I had to get my eyes back on the instruments, and reluctantly I brought my attention back inside. To my surprise, with the cockp lighting still off, I could see every gauge, lit by starlight. In the plane's mirrors, I could see the eerie shine of my gold spacesuit incandescently illuminated in a celestial glow. I stole one last glance out the window. Despite our speed, we seemed still before the heavens, humbled in the radiance of a much greater power. For those few moments, I felt a part of something far more significant than anything we were doing in the plane. The sharp sound of Walt's voice on the radio brought me back to the tasks at hand as I prepared for our descent.
The SR-71 was an expensive aircraft to operate. The most significant cost was tanker support, and in 1990, confronted with budget cutbacks, the Air Force retired the SR-71. The Blackbird had outrun nearly 4,000 missiles, not once taking a scratch from enemy fire. On her final flight, the Blackbird, destined for the Smithsonian National Air and Space Museum, sped from Los Angeles to Washington in 64 minutes, averaging 2,145 mph and setting four speed records.
The SR-71 served six presidents, protecting America for a quarter of a century. Unbeknownst to most of the country, the plane flew over North Vietnam, Red China, North Korea, the Middle East, South Africa, Cuba, Nicaragua, Iran, Libya, and the Falkland Islands. On a weekly basis, the SR-71 kept watch over every Soviet nuclear submarine and mobile missile site, and all of their troop movements. It was a key factor in winning the Cold War.
I am proud to say I flew about 500 hours in this aircraft. I knew her well. She gave way to no plane, proudly dragging her sonic boom through enemy backyards with great impunity. She defeated every missile, outran every MiG, and always brought us home. In the first 100 years of manned flight, no aircraft was more remarkable!
With the Libyan coast fast approaching now, Walt asks me for the third time, if I think the jet will get to the speed and altitude we want in time. I tell him yes. I know he is concerned. He is dealing with the data; that's what engineers do, and I am glad he is. But I have my hands on the stick and throttles and can feel the heart of a thoroughbred, running now with the power and perfection she was designed to possess. I also talk to her. Like the combat veteran she is, the jet senses the target area and seems to prepare herself.
For the first time in two days, the inlet door closes flush and all vibration is gone. We've become so used to the constant buzzing that the jet sounds quiet now in comparison. The Mach correspondingly increases slightly and the jet is flying in that confidently smooth and steady style we have so often seen at these speeds. We reach our target altitude and speed, with five miles to spare. Entering the target area, in response to the jet's new-found vitality, Walt says, 'That's amazing' and with my left hand pushing two throttles farther forward, I think to myself that there is much they don't teach in engineering school.
Out my left window, Libya looks like one huge sandbox. A featureless brown terrain stretches all the way to the horizon. There is no sign of any activity. Then Walt tells me that he is getting lots of electronic signals, and they are not the friendly kind. The jet is performing perfectly now, flying better than she has in weeks. She seems to know where she is. She likes the high Mach, as we penetrate deeper into Libyan airspace. Leaving the footprint of our sonic boom across Benghazi, I sit motionless, with stilled hands on throttles and the pitch control, my eyes glued to the gauges.
Only the Mach indicator is moving, steadily increasing in hundredths, in a rhythmic consistency similar to the long distance runner who has caught his second wind and picked up the pace. The jet was made for this kind of performance and she wasn't about to let an errant inlet door make her miss the show. With the power of forty locomotives, we puncture the quiet African sky and continue farther south across a bleak landscape.
Walt continues to update me with numerous reactions he sees on the DEF panel. He is receiving missile tracking signals. With each mile we traverse, every two seconds, I become more uncomfortable driving deeper into this barren and hostile land. I am glad the DEF panel is not in the front seat. It would be a big distraction now, seeing the lights flashing. In contrast, my cockpit is 'quiet' as the jet purrs and relishes her new-found strength, continuing to slowly accelerate.
The spikes are full aft now, tucked twenty-six inches deep into the nacelles. With all inlet doors tightly shut, at 3.24 Mach, the J-58s are more like ramjets now, gulping 100,000 cubic feet of air per second. We are a roaring express now, and as we roll through the enemy's backyard, I hope our speed continues to defeat the missile radars below. We are approaching a turn, and this is good. It will only make it more difficult for any launched missile to solve the solution for hitting our aircraft.
I push the speed up at Walt's request. The jet does not skip a beat, nothing fluctuates, and the cameras have a rock steady platform. Walt received missile launch signals. Before he can say anything else, my left hand instinctively moves the throttles yet farther forward. My eyes are glued to temperature gauges now, as I know the jet will willingly go to speeds that can harm her. The temps are relatively cool and from all the warm temps we've encountered thus far, this surprises me but then, it really doesn't surprise me. Mach 3.31 and Walt is quiet for the moment.
I move my gloved finder across the small silver wheel on the autopilot panel which controls the aircraft's pitch. With the deft feel known to Swiss watchmakers, surgeons, and 'dinosaurs' (old- time pilots who not only fly an airplane but 'feel it'), I rotate the pitch wheel somewhere between one-sixteenth and one-eighth inch location, a position which yields the 500-foot-per-minute climb I desire. The jet raises her nose one-sixth of a degree and knows I'll push her higher as she goes faster. The Mach continues to rise, but during this segment of our route, I am in no mood to pull throttles back.
Walt's voice pierces the quiet of my cockpit with the news of more missile launch signals. The gravity of Walter's voice tells me that he believes the signals to be a more valid threat than the others. Within seconds he tells me to 'push it up' and I firmly press both throttles against their stops. For the next few seconds, I will let the jet go as fast as she wants. A final turn is coming up and we both know that if we can hit that turn at this speed, we most likely will defeat any missiles. We are not there yet, though, and I'm wondering if Walt will call for a defensive turn off our course.
With no words spoken, I sense Walter is thinking in concert with me about maintaining our programmed course. To keep from worrying, I glance outside, wondering if I'll be able to visually pick up a missile aimed at us. Odd are the thoughts that wander through one's mind in times like these. I found myself recalling the words of former SR-71 pilots who were fired upon while flying missions over North Vietnam. They said the few errant missile detonations they were able to observe from the cockpit looked like implosions rather than explosions. This was due to the great speed at which the jet was hurling away from the exploding missile.
I see nothing outside except the endless expanse of a steel blue sky and the broad patch of tan earth far below. I have only had my eyes out of the cockpit for seconds, but it seems like many minutes since I have last checked the gauges inside. Returning my attention inward, I glance first at the miles counter telling me how many more to go, until we can start our turn. Then I note the Mach, and passing beyond 3.45, I realize that Walter and I have attained new personal records. The Mach continues to increase. The ride is incredibly smooth.
There seems to be a confirmed trust now, between me and the jet; she will not hesitate to deliver whatever speed we need, and I can count on no problems with the inlets. Walt and I are ultimately depending on the jet now – more so than normal – and she seems to know it. The cooler outside temperatures have awakened the spirit born into her years ago, when men dedicated to excellence took the time and care to build her well. With spikes and doors as tight as they can get, we are racing against the time it could take a missile to reach our altitude.
It is a race this jet will not let us lose. The Mach eases to 3.5 as we crest 80,000 feet. We are a bullet now – except faster. We hit the turn, and I feel some relief as our nose swings away from a country we have seen quite enough of. Screaming past Tripoli, our phenomenal speed continues to rise, and the screaming Sled pummels the enemy one more time, laying down a parting sonic boom. In seconds, we can see nothing but the expansive blue of the Mediterranean. I realize that I still have my left hand full-forward and we're continuing to rocket along in maximum afterburner.
The TDI now shows us Mach numbers, not only new to our experience but flat out scary. Walt says the DEF panel is now quiet, and I know it is time to reduce our incredible speed. I pull the throttles to the min 'burner range and the jet still doesn't want to slow down. Normally the Mach would be affected immediately, when making such a large throttle movement. But for just a few moments old 960 just sat out there at the high Mach, she seemed to love and like the proud Sled she was, only began to slow when we were well out of danger.
I loved that jet.
Major Brian Shul is a former Air Force pilot who flew over 200 missions in Viet Nam and sustained severe injuries when he was shot down; after a lengthy recuperation period (and many surgeries) he recovered sufficiently to resume a 20-year Air Force career that ended with his retirement in 1990. Since then, Brian has operated his own photography studio in northern California, turned out several books about flying, and performed numerous public speaking engagements.
There are two theories to arguing with women. Neither one works
I remember reading that one as well, great stuff.
Have you read this one as well?
As a former SR-71 pilot, and a professional keynote speaker, the question I'm most often asked is "How fast would that SR-71 fly?" I can be assured of hearing that question several times at any event I attend. It's an interesting question, given the aircraft's proclivity for speed, but there really isn't one number to give, as the jet would always give you a little more speed if you wanted it to. It was common to see 35 miles a minute. Because we flew a programmed Mach number on most missions, and never wanted to harm the plane in any way, we never let it run out to any limits of temperature or speed. Thus, each SR-71 pilot had his own individual "high" speed that he saw at some point on some mission. I saw mine over Libya when Khadafy fired two missiles my way, and max power was in order. Let's just say that the plane truly loved speed and effortlessly took us to Mach numbers we hadn't previously seen.
So it was with great surprise, when at the end of one of my presentations, someone asked, "what was the slowest you ever flew the Blackbird?" This was a first. After giving it some thought, I was reminded of a story that I had never shared before, and relayed the following.
I was flying the SR-71 out of RAF Mildenhall, England, with my back-seater, Walt Watson; we were returning from a mission over Europe and the Iron Curtain when we received a radio transmission from home base. As we scooted across Denmark in three minutes, we learned that a small RAF base in the English countryside had requested an SR-71 fly-past. The air cadet commander there was a former Blackbird pilot, and thought it would be a motivating moment for the young lads to see the mighty SR-71 perform a low approach. No problem, we were happy to do it. After a quick aerial refueling over the North Sea, we proceeded to find the small airfield.
Walter had a myriad of sophisticated navigation equipment in the back seat, and began to vector me toward the field. Descending to subsonic speeds, we found ourselves over a densely wooded area in a slight haze. Like most former WWII British airfields, the one we were looking for had a small tower and little surrounding infrastructure. Walter told me we were close and that I should be able to see the field, but I saw nothing. Nothing but trees as far as I could see in the haze. We got a little lower, and I pulled the throttles back from 325 knots we were at. With the gear up, anything under 275 was just uncomfortable. Walt said we were practically over the field—yet; there was nothing in my windscreen. I banked the jet and started a gentle circling maneuver in hopes of picking up anything that looked like a field. Meanwhile, below, the cadet commander had taken the cadets up on the catwalk of the tower in order to get a prime view of the fly-past. It was a quiet, still day with no wind and partial gray overcast. Walter continued to give me indications that the field should be below us but in the overcast and haze, I couldn't see it. The longer we continued to peer out the window and circle, the slower we got. With our power back, the awaiting cadets heard nothing. I must have had good instructors in my flying career, as something told me I better cross-check the gauges. As I noticed the airspeed indicator slide below 160 knots, my heart stopped and my adrenalin-filled left hand pushed two throttles full forward. At this point we weren't really flying, but were falling in a slight bank. Just at the moment that both afterburners lit with a thunderous roar of flame (and what a joyous feeling that was) the aircraft fell into full view of the shocked observers on the tower. Shattering the still quiet of that morning, they now had 107 feet of fire-breathing titanium in their face as the plane leveled and accelerated, in full burner, on the tower side of the infield, closer than expected, maintaining what could only be described as some sort of ultimate knife-edge pass.
Quickly reaching the field boundary, we proceeded back to Mildenhall without incident. We didn't say a word for those next 14 minutes. After landing, our commander greeted us, and we were both certain he was reaching for our wings. Instead, he heartily shook our hands and said the commander had told him it was the greatest SR-71 fly-past he had ever seen, especially how we had surprised them with such a precise maneuver that could only be described as breathtaking. He said that some of the cadet's hats were blown off and the sight of the plan form of the plane in full afterburner dropping right in front of them was unbelievable. Walt and I both understood the concept of "breathtaking" very well that morning, and sheepishly replied that they were just excited to see our low approach.
As we retired to the equipment room to change from space suits to flight suits, we just sat there-we hadn't spoken a word since "the pass." Finally, Walter looked at me and said, "One hundred fifty-six knots. What did you see?" Trying to find my voice, I stammered, "One hundred fifty-two." We sat in silence for a moment. Then Walt said, "Don't ever do that to me again!" And I never did.
A year later, Walter and I were having lunch in the Mildenhall Officer's club, and overheard an officer talking to some cadets about an SR-71 fly-past that he had seen one day. Of course, by now the story included kids falling off the tower and screaming as the heat of the jet singed their eyebrows. Noticing our HABU patches, as we stood there with lunch trays in our hands, he asked us to verify to the cadets that such a thing had occurred. Walt just shook his head and said, "It was probably just a routine low approach; they're pretty impressive in that plane." Impressive indeed.
Little did I realize after relaying this experience to my audience that day that it would become one of the most popular and most requested stories. It's ironic that people are interested in how slow the world's fastest jet can fly. Regardless of your speed, however, it's always a good idea to keep that cross-check up…and keep your Mach up, too.
Damn, why is this book out of print? Sucks
Originally Posted by FRD135i
I think the price was $250,- per book when it sold...
Group.america
Other kids had pics of Lambos on their walls when they were young...........
I had a picture of one nasty black SR-71, incredible technology
Driving fresh air now
2015 McLaren 650S
2005 Porsche 996 TTS RWD - Eurodyne 60-130 in 6.50s
2015 Audi A3 2.0 TFSI - Eurodyne 0 - 100 in 10.67s
Originally Posted by DavidV
No, the price went up due to demand when it went out of print.
AlexQuattro
Motoza tune
That story about ground speed check is awesome. I read it again today.
mount, ots, program
Bucktown, we...
Let's point and laugh at Bucktown
Trump for POTUS!
donR, we...
Let's point and laugh at donR
Penfolds is...
The wine cellar: What are you sipping on?
Hey herbon: ...
herbon is now here!
You know he's...
Sadly, too...
$224 better be...
We welcome cuveso
Last Post By AdminTeam (0 replies)
01-14-2020, 10:09 AM in New Members and Birthdays
Let's point and laugh at AWDFanatic
01-18-2020, 12:15 PM in New Members and Birthdays
Yesterday, 08:53 AM in New Members and Birthdays
Yesterday, 07:10 PM in New Members and Birthdays
Today, 12:04 AM in New Members and Birthdays


text:
Browsing the "Volvo Polestar" Tag
Volvo Jump-Starts Polestar As Performance Electric Car Brand
June 30th, 2018 | by Nicolas Zart
Volvo's indelible print on the history of cars has earned it a good place in the eyes of many. Volvo was the carmaker that invented the three-point seatbelt found in every car today. Instead of keeping the IP, it opened it up to everyone — the right thing to do. But Volvo and electric haven't mixed too much so far ... yet
The Damage Fake Plug-In Hybrid Electric Vehicles Do
March 18th, 2018 | by Maarten Vinkhuyzen
The search for cleaner and more efficient transportation has resulted in a multitude of solutions. Ways to make the internal combustion engine powertrain more efficient, replacing the fuel with alternate fuels like LPG and LNG, synthetic fuels to mix with the fossil fuels, and, ultimately, replacing the internal combustion engine (ICE) completely are all options on the table
Volvo Introduces 600 Horsepower Polestar 1 Super Coupe
October 19th, 2017 | by Jo Borrás
The Volvo Polestar 1 is a 600 horsepower carbon fiber super coupe that points the way to the future of the company
Volvo Polestar Green With Performance
July 15th, 2017 | by Nicolas Zart
After a decade of pointing to the obvious, the Volvo Polestar goes green with performance — it's about time to see hybrids, plug-in hybrids (PHEV), and pure electric vehicles (EV) finally take up that task


text:
Q: What's the difference between lists enclosed by square brackets and parentheses in Python? >>> x=[1,2]
>>> x[1]
2
>>> x=(1,2)
>>> x[1]
2

Are they both valid? Is one preferred for some reason?

A: They are not lists, they are a list and a tuple. You can read about tuples in the Python tutorial.  While you can mutate lists, this is not possible with tuples.
In [1]: x = (1, 2)

In [2]: x[0] = 3
---------------------------------------------------------------------------
TypeError                                 Traceback (most recent call last)

/home/user/<ipython console> in <module>()

TypeError: 'tuple' object does not support item assignment

A: Square brackets are lists while parentheses are tuples.
A list is mutable, meaning you can change its contents:
>>> x = [1,2]
>>> x.append(3)
>>> x
[1, 2, 3]

while tuples are not:
>>> x = (1,2)
>>> x
(1, 2)
>>> x.append(3)
Traceback (most recent call last):
  File "<stdin>", line 1, in <module>
AttributeError: 'tuple' object has no attribute 'append'

The other main difference is that a tuple is hashable, meaning that you can use it as a key to a dictionary, among other things. For example:
>>> x = (1,2)
>>> y = [1,2]
>>> z = {}
>>> z[x] = 3
>>> z
{(1, 2): 3}
>>> z[y] = 4
Traceback (most recent call last):
  File "<stdin>", line 1, in <module>
TypeError: unhashable type: 'list'

Note that, as many people have pointed out, you can add tuples together. For example:
>>> x = (1,2)
>>> x += (3,)
>>> x
(1, 2, 3)

However, this does not mean tuples are mutable. In the example above, a new tuple is constructed by adding together the two tuples as arguments. The original tuple is not modified. To demonstrate this, consider the following:
>>> x = (1,2)
>>> y = x
>>> x += (3,)
>>> x
(1, 2, 3)
>>> y
(1, 2)

Whereas, if you were to construct this same example with a list, y would also be updated:
>>> x = [1, 2]
>>> y = x
>>> x += [3]
>>> x
[1, 2, 3]
>>> y
[1, 2, 3]

A: Another way brackets and parentheses differ is that square brackets can describe a list comprehension, e.g. [x for x in y]
Whereas the corresponding parenthetic syntax specifies a tuple generator: (x for x in y)
You can get a tuple comprehension using: tuple(x for x in y)
See: Why is there no tuple comprehension in Python?

A: The first is a list, the second is a tuple. Lists are mutable, tuples are not.
Take a look at the Data Structures section of the tutorial, and the Sequence Types section of the documentation.

A: Comma-separated items enclosed by  ( and ) are tuples, those enclosed by [ and ] are lists.

A: One interesting difference :
lst=[1]
print lst          // prints [1]
print type(lst)    // prints <type 'list'>

notATuple=(1)
print notATuple        // prints 1
print type(notATuple)  // prints <type 'int'>
                                         ^^ instead of tuple(expected)

A comma must be included in a tuple even if it contains only a single value. e.g. (1,) instead of (1).

A: ( thanx Robert for clarification, below is only in case of using listcomprehensions : )
! another very important difference is that with round brackets we will have a generator and so the memory consumption is much lower in comparison to list with square brackets
esspecially when you deal with big lists - generator will eat not only significantly less memory but also will take much less time 'cause you will not need to prebuilt objects in list


text:
Wings of Refuge
Brandi Schleisman
Archive, Cover Articles, Featured Articles, Interviews, Sections, Testimonies
Digital Media Manager Steps Down
Across The Nation, Archive, Breaking, Current Issue
Nate Beaird stepped away from his position as Digital Media Manager for Open Bible Churches effective May 31, 2018.
Nate said,
"I've had the opportunity to create and build communication systems with good foundations that my successor will be able to take to a whole new level. I have loved working at Open Bible, my co-workers, and the resources I've been given to do my job effectively. I have loved working with Randall Bach, a good friend and man of integrity. But over the last year or so, I've felt the call to make myself more available to people in and around the marketplace."
Nate officially began his position with Open Bible on February 1, 2012. Before that time he consulted for Open Bible Churches in a volunteer and freelance capacity.
During Nate's time as digital media manager he
• created an in-house studio with green-screen technology, teleprompter, and the technology to interview people from around the world
• built and established Open Bible's social media presence
• revamped the national website
• designed and built the website for the Message magazine
• worked with an office team to build the MVP website and then, coordinating with IT professionals, totally revamped the site and integrated it with Open Bible's main website
• created resource areas on the OBC website
• advocated for and led development of Message "Online Exclusives" with freshly posted content between regular issues of the Message
• created and managed the OBC videographer ministry, coordinating volunteer videographers to provide videos and photos of OBC's work around the world
• revamped the national office's board room with new technology
• advised OBC ministers and ministry leaders of communication about best practices and new technology.
"No platform existed for Nate to build on when he arrived," said President Randall A. Bach. "What he has built and leaves for his successor is a solid launch pad. With Nate, God not only delivered a multi-talented person with fantastic skillsets but also someone whose heart to serve connected with my heart. Nate Beaird became much more than my first hire as president, more than Open Bible's digital guru. He became my young friend, cultural interpreter, and advisor. What an absolute delight these six years have been! His influence has been considerable."
July/Aug18
Museum of the Bible – An Interview With Dr. William Guice
New Digital Media Manager Appointed


text:
HiMama
Home / HiMama
HiMama is the ultimate all-in-one childcare app. We help childcare providers streamline operations, delight families and improve program quality! Our goal is to empower early childhood educators with affordable tools that enable them to improve developmental outcomes for the children they work with while educating parents about the importance of their work. HiMama is made up of a group of committed fathers, mothers, daughters, sons, uncles and aunts who are working hard to build a product and a company that families and early childhood educators love. We are a Certified B Corporation® which means that we meet the highest standards of verified social and environmental performance, transparency and accountability as part of a global movement of people using business as a force for good. Our work and HiMama team are fueled by three core values: Be a Good Person, Work Hard and Win, and Own Positive Change.
Diversity, Inclusion and Belonging are central to HiMama's core values. HiMama aims to ensure we provide a safe environment for everyone to thrive while bringing their authentic selves to work. Our mission is to promote an inclusive work space for all employees through Education, Discussion, and Celebration of our differences. Embracing these differences while coming together with a common purpose is what makes our team extra special. Our focus on inclusion and belonging is activated in the day-to-day culture at HiMama through our Diversity, Inclusion and Belonging (DIBS) committee, our bi-weekly DIBS discussions, DIBS Slack community, D&I training and education, volunteer days, donation matching, and more.
HiMama has exciting plans to grow our business and team in the coming year. As we expand, Diversity, Inclusion and Belonging will remain a top priority and be core to our culture. Identifying more opportunities to structurally support all of our team members, particularly those from underrepresented groups, will be core to our success and team engagement. Our goal will be to reflect the uniqueness and richness of all our special communities in Canada within our teams, and ensure all profiles are set up to thrive at HiMama.
At HiMama one of our core values is to "Own Positive Change". That means a few things for us, but an important one is our focus on cherishing diversity and fostering an inclusive workplace, especially for the LGBTQ2+ community. This includes offering a consistent variety of learning opportunities and spaces for open dialogue, which we hope will lead to empathy and closer collaboration. We're very excited to partner with Pride at Work to further our commitment to this important mission.
Alana Frome (she/her)
Co-Founder and Chief Technology Officer


text:
Ex-Premier League player Dmitar Berbatov has backed the trio of Arsenal, Liverpool and Chelsea to record victories in their Premier League games this weekend. Dmitar Berbatov predicted wins for the three aforementioned teams in his column for Betfair.
Dmitar Berbatov is an ambassador for Betfair and he makes his predictions for Premier League games. According to him, North London giants Arsenal will return to winning ways at home to bottom side Newcastle United this weekend. Berbatov expects the Gunners to bounce back from the heavy defeat to Liverpool in their last league game.
Arsenal were on the end of a 4-0 loss at the hands of the Reds with the likes of Senegalese attacker Sadio Mane, Portugal international Diogo Jota, Mohamed Salah and Japanese substitute Takumi Minamino netting the goals. The game between Arsenal and visitors Newcastle United is the first from the latest set of games and Berbatov has predicted a 2-0 scoreline.
For Liverpool, Berbatov expects the Merseyside giants to build on the win over Arsenal by beating Southampton 2-0 at home on Saturday. The Reds have the chance to move within two points of leaders Chelsea with a win over the Saints. Chelsea don't play until Sunday when they take on rejuvenated Manchester United at home. Chelsea will face the Red Devils on the back of the impressive 4-0 thrashing of Juventus in the Champions League.
Berbatov spent some years at Manchester United but he thinks they would lose to Chelsea. The former Spurs striker has predicted a 2-1 victory for the Blues. He also expects Antonio Conte to make it two wins in two games as the Spurs manager by masterminding the away win over Burnley who are one of the three teams in the relegation zone. Berbatov has predicted a 1-0 win for Spurs at the home of the Clarets.
This entry was posted in Sports on January 2, 2022 by Gamblingadmin.


Reviews of M. MATHIEU Z.
Reviews of M. P F.
Un beaujolais très plaisant. Fruité et rond. Un vrai délice.
Habitué au Moulin à vent du domaine, j'ai été agréablement surpris par ce beaujolais-villages : rond, fruité... on a bien aimé.
Reviews of M. RAOUL N.
Reviews of Mme BERNADETTE A.
Reviews of M. ROMAIN E.
Reviews of M. ALAIN F.
Reviews of M. JAMES S.
Reviews of Mme VIVIANE D.
Reviews of M. SEBASTIEN C.
Reviews of M. LUDOVIC R.
Reviews of M. PATRICE G.
Reviews of M. YANNICK B.
Reviews of Mme BARBARA M.
Reviews of M. LEO L.
Reviews of M. HUGUES G.
Reviews of M. FRANCIS M.
Reviews of M. ANTHONY T.
Reviews of M. MAHDY Z.
Reviews of M. BENOIT A.
Reviews of M. LOUIS K.
Domaine Paul Janin & Fils was created by Paul Janin, a reserved wine producer, who started exporting his production in the 1970s and who has been active in the French market since 1975. The Paul Janin & Fils vineyards now cover 10 hectares split over two appellations. In Beaujolais-Villages, the "Domaine des Vignes des Jumeaux" comes from two hectares of vines planted in clay-granite soil at the edge of the slopes. In Moulin-à-Vent, "Clos du Tremblay," "Domaine des Vignes du Tremlay" and "Seduction" come from the combined 8 hectares of vines from plots located within the appellation's perimeter. Here, the slopes are mainly south-facing. The soils are primarily composed of sandstone with sand and/or red clay, referred to as "bariolé", alternating on the surface.
Domaine Paul Janin & Fils strives to grow its vines in as healthy a manner as possible. The soils are regularly ploughed at depth. Green harvesting is practiced only when necessary, as the domaine prefers to use pruning and disbudding to regulate and control yields. Hand-harvested, the grapes are all individually sorted. Two sorting tables operate continuously over the harvest season. The pressings are performed as smoothly as possible, keeping only the finest, noblest tannins. The ageing of the wines lasts for 8 to 10 months, depending on the vintage. Although the methods used at Paul Janin & Fils domaine remain classical, they nonetheless provide consistently good quality wines.
Buy the best Paul Janin et Fils wines at the best prices in private sale, register now !
This Beaujolais-Villages blanc opens with an expressive nose of white fruits and flowers, joined by honeyed notes. The palate shows the same aromas, offering roundness and mellowness with the right amount of tension. A rich, mineral and delicious wine !
Coming from the oldest vines of the estate in Moulin-à-Vent, Heritage du Tremblay spent 10 months in large barrels to get its structure and its richness. With a remarkable aromatic concentration, this cru Beaujolais is definitely a star in the region !
A pretty Moulin-à-Vent coming from an exceptional terroir with soils rich in manganese. This particularity, combined with a careful work in the vineyard, a state-of-the-art vinification and an aging in large barrels, brings intensity, character and race to the wine, and most of all a very seductive style. A must !
This Beaujolais-Villages comes from the best clay-limestone-sand terroirs of the Cru. This is a very elegant and powerful wine, silky and balanced, that will be enjoyed for 5 years. To discover absolutely !
Le Clos du Tremblay est une montée en puissance très qualitative et cohérente dans la gamme des Moulin-à-Vent du domaine Paul Janin & Fils. Soyeux à souhait, riche et structuré, sur des notes de cassis, c'est un vin alliant la puissance des tanins à un côté minéral. Long et savoureux !


Layed back, profesional, like comedy and nature. have two daughters 7 and 16.
I am a 52 year old divorced Catholic mother of two. I have lived in San Diego now for 23 years, but I grew up in Central Florida and went to college and spent my twenties living in Chicago. I love travel, music, film, and theatre. I am an animal lover and I have an Italian Greyhound.


text:
Armadale railway station may refer to:

Armadale railway station (Scotland), in Armadale, West Lothian
Armadale railway station, Melbourne, in Armadale, Victoria, Australia
Armadale railway station, Perth, in Armadale, Western Australia, Australia

See also
Armdale station, in Armdale, Nova Scotia, Canada
Armidale railway station, in Armidale, New South Wales, Australia
Armadale (disambiguation)

redpajama_set_name: RedPajamaWikipedia


Synergy Applied Ecology is a small firm of professional biologists that take big projects from start to finish.
We are a small group of professional biologists that take big projects from start to finish. Click here to find out more about what we do.