Mitsubishi Electric Servo - Allied Automation, Inc.
Mitsubishi Electric offers a variety of Servo and Motion system products providing solutions for applications as simple as a single axis point-to-point system through to fully synchronized 96 axis systems. With both standard pulse type output modules and SSCNET bus modules specific application needs are easy to meet. All Mitsubishi Servo and Motion system hardware is complimented by a range of software packages allowing easy programming and set-up of the units.
Available in sizes ranging from 50W to 400W at speeds up to 4500 rpm, the MR-JN incorporates a high resolution (131,072ppr) encoder and a 1MHz pulse train input. The MR-JN saves you time and money by tuning your machine in a matter of minutes, with a simple press of a button. With its built-in positioning function, advanced vibration suppression control and the ability to prevent resonance as a machine ages, it is one tough AC servo series. Due to its compact size and low cost, it is also an ideal solution for upgrading stepper motor systems. Its compact bookcase-style mounting design means smaller electrical panels are needed for X-Y tables and applications such as conveyors; food processing machines; loaders and unloaders; robots; medical devices; laboratory automation equipment; and semiconductor, LCD and solar battery processing machines.
The MR-JE family of servo drives/motors is a cost effective series of A&B type servos. MR-JE family of products leverages advanced functionality such as true one-touch auto-tuning, vibration suppression, and machine diagnosis functionality in an easy-to-use servo solution. This series is a perfect complement to the new SSCNET motion controller in the iQ-F platform.
The MELSERVO MR-J4 series of servo amplifiers and the associated positioning units, simple motion modules and high-end motion control systems from Mitsubishi Electric enable machine builders and end customers to increase production safety and improve productivity. The MR-J4 amplifier series has been developed for the automation requirements of tomorrow. Mitsubishi Electric has incorporated numerous innovative and user-friendly functions to minimize the time-consuming and elaborate matching of mechanical and electronic systems. The absolute encoder which is fitted as standard has a resolution of 22 bits. This corresponds to more than 4 million pulses/revolution. The result is excellent true-running characteristics and a maximum positioning accuracy and processing speed which more than satisfy the performance requirements of modern high-end machines.


# 2 – From EnlightenNext and Andrew Cohen, here's some stimulation. The only thing I would ask/say/add is "What about the NOW?" It's good to be forward thinking and have a vision of what we are intending to bring forth in the future, but in my point of view the point of power is always in the now….
QUESTION: What do you mean when you say that awakening to the evolutionary impulse literally changes everything and inspires you to become a completely different person?
ANSWER: This means that when we awaken to what I call the "evolutionary impulse," our fundamental relationship to life, to existence, changes in the most dramatic way. Now we have discovered an absolute, non-relative reason to be who we are. We've realized that we are products of an evolutionary universe, we're on a moving train, and that train is going somewhere. This realization shifts our attention from the past and the present to the future. Now we are constantly preoccupied by what's possible instead of what has already been. Awakening to evolution instills a super life-positive inspiration to be in this world as ourselves and, most importantly, to make sure that the world is a better place because we are here.
# 1- Anyone who knows me knows I can't say enough good stuff about Access Consciousness and Rikka Zimmerman,….
# 2 – Anyone who knows me also knows I'm wild about coconut oil,….it smells and tastes great and has sooo many benefits. Check out this video about using the oil for Alzheimer's….
# 3 – And some great words of wisdom from Abraham….
Next PostNext Living With Intention, The Intention Movement, setting goals, the danger of root canals and Abraham. What a mix!


text:
NYC Mayor's Office of ImmigrantAffairs
Immigrants Are Essential: Celebrating Immigrant Heritage Week
By Bitta Mostofi, Commissioner of the NYC Mayor's Office of Immigrant Affairs
Immigrants Are Essential Poster by Jason Raish
Immigrants have always been the foundation of New York City. Over 200 languages are spoken across the five boroughs and one in every three New Yorkers is foreign-born. Immigrants make our economy stronger, they make us a more just and welcoming city, and they make our communities more vibrant.
This month, we celebrate the history and vital contributions of immigrant communities as part of Immigrant Heritage Week, which takes place from April 12th through 18th. Events hosted by the NYC Mayor's Office of Immigrant Affairs (MOIA) and our partners throughout the week honor and highlight the stories, cultures, and contributions of immigrant New Yorkers. A full schedule of events open to all New Yorkers is available at on.nyc.gov/IHWEvents.
Immigrant Heritage Week comes at a difficult moment this year as immigrant communities have been disproportionately impacted by the COVID-19 pandemic in every way. Yet many immigrants have also been the essential workers we have all depended on to keep our city running, and countless more have stepped up to directly address the needs of their communities as volunteers. As we celebrate Immigrant Heritage Week, I am honored to share the stories of some of the immigrant New Yorkers who have played a critical role for their communities during the pandemic.
Since 1973, Carlos Espinoza has worked in and owned a thriving bakery in Elmhurst, Queens. Throughout the pandemic, Carlos kept his bakery open while also providing food to community members in need, free of charge. Likewise, the City recognizes its important role in addressing the increased needs of New Yorkers, including food security. As we continue to face challenges related to the COVID-19 pandemic, any New Yorker in need — regardless of immigration status — can access free food at distribution sites throughout the five boroughs, and may even be eligible for home delivery. Learn more at nyc.gov/GetFood.
Claudya Verdiners has also worked to support her community during the pandemic by ensuring they remain safe and informed. After realizing that members of her Creole-speaking congregation were unaware of developments and resources related to the pandemic, and to address gaps in literacy, Claudya took it upon herself to share guidance and up-to-date information by recording and sharing voice messages on the messenger platform WhatsApp, which is widely used by immigrant communities. Thanks to Claudya, many in her community of Canarsie, Brooklyn have been able to access information about COVID-19 resources and policies, including rental assistance and eviction prevention services. However, this burden should not rest on volunteers. That is why the City has ensured that these resources and protections are available to all New Yorkers, no matter the language you speak and regardless of your immigration status. New Yorkers who have questions about how to access housing assistance or other City services can get help in their language by calling 311 and asking for the Tenant Helpline, or by visiting the Tenant Resource Portal at nyc.gov/tenantresourceportal.
Immigrant New Yorkers like Man Hong-Wan have also been going the extra mile to protect the health of their communities. The Hong Kong-born New Yorker has been on the frontlines of the pandemic since it began, working as a NYC Health + Hospitals/Community Care nurse in Manhattan's Chinatown. As the only human contact that many of his Cantonese-speaking patients had at the height of the pandemic, Man put in extra effort to check in regularly in-person and over the phone with his patients to make sure that they were getting the care they needed. As Man deeply understands, it is vital that everyone receives affordable and comprehensive medical care attention, especially during a public health crisis. That is why all New Yorkers can receive health care regardless of their immigration status at NYC Health + Hospitals by calling 1–844-NYC-4NYC. Additionally, New Yorkers who cannot afford or do not qualify for health insurance may be eligible to receive low-cost or no-cost services through NYC Care at facilities of NYC Health + Hospitals in the five boroughs. Call 1–646-NYC-CARE to enroll or visit nyccare.nyc for more information.
These are just some of countless stories of immigrant New Yorkers supporting our neighbors and our communities. They are a reminder that solidarity is our greatest strength. That is why it is so important for all New Yorkers to know that there are many City services and resources you can access any time in the language you speak. Immigration status, ability to pay, and employment status do not matter. Questions about how to access City services? Visit nyc.gov/immigrants or call the MOIA hotline at 212–788–7654, Monday to Friday from 9 a.m. to 5 p.m., or send an email to AskMOIA@cityhall.nyc.gov.
Though there are still many challenges we must overcome, together we will build a just and equitable recovery so that our city emerges from the pandemic even stronger.
You can learn more about and share Carlos, Claudya, and Man's stories at on.nyc.gov/IHWEvents.
We help to integrate, support and celebrate immigrants in all five boroughs of NYC. (http://www.nyc.gov/socialmediapolicy)
More from NYC Mayor's Office of ImmigrantAffairs
Eight Minutes of Courage in The Florida Legislature: The Legacy of John Orr, Jr.
Kevin Cate
Trump, not Obama, Shattered US Credibility over Iran
James Willis
Dreamer's Fate Should Not be Left to the Courts' Decisions on DACA —
Ernesto Castañeda
Targeting Hate Speech
Kaeli Britt
The Two Angle View How we look at things matter a lot at this time and age.
Johnefranklin
Feeling Blue in a Red State
Jennifer Sapio, PhD
Nation of Extremists
Issues Unite
Trudeau's not the man he thought he was

redpajama_set_name: RedPajamaCommonCrawl


text:
Summary	| Full Profile
Office: Garinger 110
Email: ccamer17@uncc.edu
african american religion
american religious history
antislavery movement
early american history
liberal religion
puritan theology
religion in america
revolutionary america
Alexandra Kaloyanides
Early American History; African American Religion; Slavery and Abolition; American Religious and Intellectual History; African American Freethought
Ph.D. University of North Carolina at Chapel Hill, 2010
M.A. University of North Carolina at Chapel Hill, 2008
B.A. Keene State College, 2006
My first book is entitled To Plead Our Own Cause: African Americans in Massachusetts and the Making of the Antislavery Movement (Kent State University Press, 2014). Here I explore the relationship between Puritan theology and the rise of black abolitionism, arguing throughout the work that African Americans were central to the development of the antislavery movement in America.
My current project, entitled Black Freethinkers, explores African American humanism, agnosticism, and atheism from the late-18th century to the civil rights era. Drawing from memoirs, novels, poetry, newspapers, and archival materials, I argue that secularism has been a key component of black political and intellectual life for nearly 150 years. This book will be published by Northwestern University Press in September 2019.
In addition to my research, I was the founding president of the African American Intellectual History Society. I started this organization and its group blog Black Perspectives in order to provide a space for scholars in disparate fields to discuss the many aspects of teaching and researching black intellectual history. Check out new Black Perspectives posts at aaihs.org.
Co-edited with Keisha N. Blain and Ashley Farmer, New Perspectives on the Black Intellectual Tradition Northwestern University Press, 2018.
"'The Entire Thing Was a Fraud': Christianity, Freethought, and African American Culture." Raymond Haberski, Jr. and Andrew Hartman, eds. American Labyrinth: Intellectual History for Complicated Times Cornell University Press, 2018.
"The New Negro Renaissance and African American Secularism." Keisha N. Blain, Christopher Cameron, and Ashley Farmer, eds. New Perspectives on the Black Intellectual Tradition Northwestern University Press, 2018.
"Slavery and African American Irreligion." Journal of Southern Religion Vol. 18 (2016): http://jsreligion.org/vol18/cameron/
"Zora Neale Hurston, Freethought, and African American Religion." Journal of Africana Religions Vol. 4 No. 4 (2016): 236-244.
To Plead Our Own Cause: African Americans in Massachusetts and the Making of the Antislavery Movement Kent State University Press (2014)
Early American History: Society, Politics, and Culture Cognella Academic Publishing, 2014.
The Abolitionist Movement: Documents Decoded ABC-CLIO, 2014.
"The Puritan Origins of Black Abolitionism in Massachusetts." Historical Journal of Massachusetts 39 (Summer 2011): 79-107.
HIST 1160 U.S. History to 1865
HIST 1161 U.S. History from 1865-Present
HIST 2000 Religion in America
LBST 2101 Unbelief in America
HIST 2105 American Slavery and Emancipation
HIST 2160 African American History, 1400-1860
HIST 2600 History Skills Seminar: Religion and the American Revolution
HIST 3000 American Thought and Culture to 1865
HIST 3003 Slavery and Abolition in the Atlantic World
HIST 3201 Colonial America
HIST 3202 The American Revolution, 1750-1815
HIST 3202 The Antebellum U.S., 1800-1860
HIST 4000 Historiography of the American Revolution
HIST 4600 Religion in American History
HIST 4600 The American Revolution
HIST 4797 Honors Methods and Practice: The American Revolution
HIST 6000 Graduate Colloquium in U.S. History to 1865
Short Term Fellowship, Manuscripts and Rare Book Library, Emory University (2015)
Faculty Research Grant, UNC Charlotte (2011, 2013, 2015, 2017)
Massachusetts Historical Society/National Endowment for the Humanities Long Term Fellowship (2013-2014)
Gilder Lehrman Institute of American History Fellowship (2009)
Philips Library Fellowship, Peabody Essex Museum (2009)
Mowry Dissertation Fellowship, UNC Chapel Hill (2009)
Royster Fellowship, UNC Chapel Hill (2006-2010)
McNair Undergraduate Opportunity Fellowship (2005)


text:
It Still Moves (Deluxe edition)
Mahgeetah
Dancefloors
One Big Holiday
I Will Sing You Songs
Easy Morning Rebel
Run Thru
Rollin Back
One in the Same
En La Ceremony (B-Side)
Grab a Body (B-Side)
That's Too Bad (B-Side)
Magheetah (Demo)
Dancefloors (Demo)
Golden (Demo)
Master Plan (Demo)
I Will Sing You Songs (Demo)
Easy Morning Rebel (Demo)
Run Thru (Demo)
Rollin Back (Demo)
Steam Engine (Demo)
One in the Same (Demo)
My Morning Jacket has re-issued 2003's It Still Moves, remixed and remastered as a special deluxe package with new artwork and exclusive photos. It includes frontman Jim James' ten original demos plus three unheard tracks from the original sessions on 4 x LP 180 gram vinyl, 2 CD set, or digital download. With the help of the band's longtime friend Kevin Ratterman behind the mixing desk, James revisited and tweaked all the old material. Remastered by Bob Ludwig at Gateway Mastering, this new version still has that shimmering grandeur that lent it such a singular identity, but there is an increased strength and clarity to it now.
"Everybody can relate to something they've done in their life where you didn't know it at the time, but you were rushed through finishing it," James said. When he was approached about the idea of reissuing It Still Moves as a part of the label's fifteenth anniversary, James took the opportunity to dig back in and remix the album.
THE WATERFALL II
Circuital
Celebración De La Ciudad Natal
Evil Urges
Okonokos
Acoustic Citsuoca
It Still Moves
Nonagon Infinity
Monolith of Phobos
The Claypool Lennon Delirium


text:
Q: Fast merging duplicates in excel using VBA I created a macro in Excel to mergue duplicated rows:
The idea is that if 2 rows or more have the same A B C columns, I mergue their D columns removing ABC duplicates.
I need to do this, but checking more colums.
My macro looks like this:
processingRow = 2
Do Until Cells(processingRow, 1).Value = ""
    i = processingRow + 1

    Do Until Cells(i, 1).Value = ""
       If Cells(processingRow, 8) = Cells(i, 8) And _
          Cells(processingRow, 12) = Cells(i, 12) And _
          Cells(processingRow, 7) = Cells(i, 7) And _
          Cells(processingRow, 6) = Cells(i, 6) And _
          Cells(processingRow, 5) = Cells(i, 5) And _
          Cells(processingRow, 4) = Cells(i, 4) And _
          Cells(processingRow, 3) = Cells(i, 3) And _
          Cells(processingRow, 2) = Cells(i, 2) And _
          Cells(processingRow, 1) = Cells(i, 1) Then
               If Cells(i, 14) <> "" Then
                    Cells(processingRow, 14) = Cells(processingRow, 14) & "," & Cells(i, 14)
               End If
               Rows(i).Delete

        End If
        i = i + 1
    Loop

    processingRow = processingRow + 1

Loop

When running the macro with 500 rows, it takes a while, but its still reasonable. But I need to run this macro in a excel with more than 2500 rows, and it takes so much time that its not practical anymore.
This is my first macro in excel using VBA, so I was wondering if there is a faster way to process rows/cells, since accessing them individually seems extremelly slow.
Any ideas?

A: EDITED: I missed that you weren't checking every column to determine what was a duplicate.  This should be closer now:
Sub Tester()

Dim rngCheck As Range, rw As Range
Dim dict As Object, k As String, rwDup As Range
Dim rngDel As Range, tmp

    Set dict = CreateObject("scripting.dictionary")

    With ActiveSheet
        Set rngCheck = .Range(.Cells(2, 1), _
                              .Cells(Rows.Count, 1).End(xlUp)).Resize(, 14)
    End With

    For Each rw In rngCheck.Rows

        k = RowKey(rw)
        If dict.exists(k) Then
            Set rwDup = dict(k)
            tmp = rw.Cells(14).Value
            If Len(tmp) > 0 Then
                rwDup.Cells(14).Value = rwDup.Cells(14).Value & "," & tmp
            End If
            If rngDel Is Nothing Then
                Set rngDel = rw
            Else
                Set rngDel = Application.Union(rngDel, rw)
            End If
        Else
            dict.Add k, rw
        End If

    Next rw

    If Not rngDel Is Nothing Then rngDel.EntireRow.Delete
End Sub

'create a "key" for the row by joining all columns to be checked
Function RowKey(rw As Range) As String
    Dim arr, x As Long, sep As String, rv As String
    arr = Array(1, 2, 3, 4, 5, 6, 7, 8, 12)
    For x = LBound(arr) To UBound(arr)
        rv = rv & sep & rw.Cells(arr(x)).Value
        sep = Chr(0)
    Next x
    RowKey = rv
End Function

redpajama_set_name: RedPajamaStackExchange


Vessel Scent of Style revolutionizes the way women shop for fragrance and jewelry. The sent system combines beautiful lockets with fragrance infused ScentSpheres which are then inserted into the lockets. I was sent the Leaf Locket with Rhodium Plated finish on a Kaiya Chain. The leaf locket is a nature inspired fashion that is the size 1 ½ inches in height by 3/4 inches in width the chain is shiny, shimmering and sparkly details draw the eye to the pretty little ball shaped it is 18 inches long and includes a 3-inch extension chain. I also got a Ladybug Charm that is silver plated and has rhinestone all over it. Green Apple ScentSpheres come in and a container of 15 in a little plastic jar with the scent of green apple these are green essential oil. Vanilla Orchid Splash ScentSpeheres these are the color turquoise and are brown shaped in a little plastic jar with the scent of vanilla orchid splash scented with essential oils.
My Opinion: I really like the idea behind vessel scent of style the leaf locket was just beautiful and easy to open to put my ScentSpheres in I thought the green apple was subtle but the vanilla orchid splash was very fragrant. I think both colors look beautiful inside the leaf and the ladybug charm holds special memory to me because my husband and I have some special about ladybugs taking us back to when we first met over 18 years ago, I also think they are reasonably priced as well.


text:
Max is 2ZY's 80s radio station, broadcasting as part of the Niocast local DAB trial to Manchester, and online via UK Radioplayer and TuneIn. We went live on 1 September 2015. A third of the way into the pilot and here's what we know.
80s lovers at Rewind North (Pic: Noble PR)
Our mission was to create a new kind of genre station. More than a stream, less than regular radio. Our starting thought was "an 80s Jack, but without the breakfast show". So with content that engages alongside the music, but without the clutter or the 'me-too' stuff aping traditional live services.
We listened to loads of 80s radio. A lot of what we heard sounded like it was being presented by people who weren't alive in the 80s. VT-ing a few links between a couple of Now albums. Popular and sharply-executed, but not as passionate, surprising or quirky as we wanted Max to be.
The Music on Max
One of the challenges with a genre service is there's no refreshment. Clearly the 80s is finite and there's no new music. But at Max, we think there's still an audience desire for music discovery. So alongside the big, and medium-sized 80s hits, we play stuff from lower down the chart too. That could be follow-up singles to big debut hits, the occasional album track, or turntable hit. We credit our audience with the curiosity to enjoy the surprise and delight of a broader core. We're currently running about 1700 songs, carefully scheduled to balance familiar and less so. A broad repertoire doesn't seem to do Radio 2 any harm.
"Keep your feet on the ground and keep reaching for the stars .."
Like the best of the Jacks, we're genre-blind. As our website says, "more than rock and pop .. the last days of disco and the first days of house. Hair rock and electronic pioneers. Kraftwerk and Kylie." We're consistent in our daytime clocks, but evenings are slightly dancier. The Quiet Storm from 2300-0300 is chilled. Saturday evening, a slightly camp dance party. And Saturday mornings, an appointment-to-listen archive American Top 40 with Casey Kasem to give us even more talk-ability.
The Science Stuff
Max has no studios. We subscribe to PSquared's serviced Myriad, so Max is actually two tiny PCs in a 1U rack at their headquarters near Hull. Our TX in Manchester is fed from there and they also handle our streaming. My work takes me around the world, with no routine, and this way I'm able to schedule from a laptop or iPad anywhere I can get on the wifi.
I edit promos, the Casey AT40 archive show and other content in ProTools and upload on the go. A duvet in a hotel room on the other side of the road makes a great emergency studio! Max is very rarely live. Occasionally we broadcast a live set from Girls on Film, Manchester's biggest 80s night. This is via the brilliant IPDTL. We take an hourly bulletin from the concise and no-nonsense Radio News Hub.
Desk porn
(Actually, I say Max doesn't have a studio. It does have this beauty. Ex Radio Poland, circa 1993, bought off eBay and currently being beautifully rebuilt by an engineer friend. So my home office will soon double as a production studio on those rare occasions I'm actually at home.)
Our imaging is key. Much has been written about our station launch. The 'voice of Max' Louise Jameson delivers regularly-updated liners to inject personality and connection with our 80s loving listeners. References are as wide as Noseybonk, Jan Leeming, Do It All, Snoods and Deely bobbers. I write most of these with help from Encyclopedia of 80s Pop writer, Daniel Blythe, and Keri Jones.
We have an imaging rule that Max doesn't brag. The lack of 'imagine' in 'imaging' fashion has made room for a suplerlative-free style. I'm fed up with the 'best variety of this' and 'the greatest that' so I'm sure other 40-somethings are.
Louise Jameson, the brilliant voice of Max
Max's production is laid-back and non showy, mainly swept over intros to maximise the flow. Lou is easy on the ear. The lines are funny (hopefully) but I wanted an arched eyebrow rather than full-on 'waiting for laughter-track' delivery. You're gonna hear her voice a LOT so I needed someone who gets it. She gets it.
Another rule is we never slag off the 80s. You won't hear Max dissing the fashions or the hair. We're the 80s station for the people who lived it and loved it. (And given our partner live night Girls On Film filled a 550 capacity club on Halloween, we know there are a sizeable number of 80s fans in their twenties and thirties too.)
"Love listening to this radio station !!!.. One of the finest ever on digital for 80's music 🙂
Just want to say that I LOVE your station. I work in Manchester and as soon as I can pick it up on the M62 in to town, I do. At home – I stream it through my internet radio.
Listening in Stockport [Other 80s station name redacted] is predictable and you played loads of tunes I never hear."
Listener Verbatims
So why are we doing all this?
Fun mainly. The opportunity was there. And some important R&D. Trying ideas, seeing what works. Using technology differently. A creative showreel. All the things 2ZY offers to other clients. But also through a genuine love of the 80s genre and a sense we could do it differently.
You can read more about the birth of Max on the Earshot blog here.
Posted in Uncategorized | Comments Off on More about Max
Tuesday, July 21st, 2015
At 2ZY we usually make radio for other people. But now we're starting our own radio station on the side. Max is an eighties-format, launching on the Niocast Digital pilot local multiplex for Manchester in September. It will also be available in various ways online. After all, it's not 1985 any more.
It's an exciting time for digital radio. These nine-month pilots are designed to test "the operability of low cost small scale DAB multiplexes" and "will help to inform a wider programme of work (regulator) Ofcom is carrying out to consider the possibilities for enabling small scale radio services to broadcast on a digital radio platform." (From Ofcom paper on Small Scale DAB trial)
When we heard Niocast had been successful in establishing a licence to operate a pilot in Manchester, we wanted 2ZY to be involved. We see Max as a bit of research and development. The barrier-to-entry to launch a real radio station (with transmitters and everything) has now come so low, that it's within the reach of small operators with big ideas. By working with the kind of new products we're using to deliver Max (our own project, largely out of hours), we reckon we'll be even better able to recommend solutions to our future clients.
And we love the 80s. Obvs.
So what will you hear on Max? There'll be more about our programme plans in due course, but a couple of early highlights will include rebroadcasts of original 80s American Top 40 chart shows with Casey Kasem, and relays of Girls on Film – Manchester's 80s night, live from the Deaf Institute.
This has been assembled so quickly following the opportunity presenting itself – thisismax.co.uk isn't even commissioned yet. But when it is, that's where you'll find more details about what we're up to.
We'll blog again when it's live. Max is coming!
Posted in Uncategorized | Comments Off on Max is coming.
Wednesday, July 1st, 2015
If you like jaw-dropping displays of regulatory ignorance by radio stations, and haven't read the latest Ofcom Broadcast Bulletin, then you really should do yourself a favour. This edition, number 282 if you're counting, is a fine vintage indeed.
First there's a puzzling clarification of the definition of 'a commercial communication in radio programming'. Handy, if you've been asleep since 1973.
Flick past a 9,952 word investigation into dodgy editorial around the Ukrainian election and pity the poor Ofcommer that picked that particular short straw. Scroll through a ruling on a TV channel that appeared to have showed footage of an actual murder; then wonder how anyone at Jack Oxford let one of their 'topical quips that walk the edgy sense of humour line' about 150 people being killed in the Germanwings crash ever make it to air.
Eventually you'll come to a portentous 'Note to Broadcasters' entitled "Community radio annual reporting". This could be the moment radio historians say radio regulators in the UK were so exasperated by their impossible and thankless task, they finally not only threw in the towel, but set fire to it, and went down the pub.
It says (and I paraphrase for comic effect) "community radio stations are required to report once a year on whether they do what they told us they were going to do when we gave them a licence. Many of them find this troublesome. Rather than impose penalties for the flagrant breaches we discovered in the last twelve months, we're going to look at 'streamlining' the process. Hey, even when we try and turn them off, they take us to court and win."
Nearly a fifth of all community radio licence holders are in breach.
Thirty eight stations. Out of 200. OK, several of the 38 were comparatively mild infringements – and 15 stations have addressed running issues since reporting. That's good. But take a look at these.
Cross Rhythms in Teesside reported that "the average number per week of live hours and original programming hours during 2013 was zero; that it not trained anyone during the year; and that it had just one volunteer involved, offering one hour per week of their time." Just read that again and weep. Zero hours on average?! And feel for the poor guy/girl who turned up every week for that hour. On their own. Doing what I wonder?
Reading's Ummah FM blamed a studio move for failing to provide the required amount of local content, "as some volunteers were unable to get to the studios to do their shows." D'oh.
Big City Radio in Aston "found there was not enough fresh information to produce a magazine programme each week." In Birmingham!
Nothing to report here.
Tudno FM (which promised one-third Welsh language output, in Llandudno) couldn't find new Welsh speakers to replace outgoing ones because of the 'large population of people (sic) that have retired to the area from other parts of the UK, resulting in a reduction in the number of local Welsh speakers.' Why? What did they do to them?
Ipswich Community Radio admitted 'failing to build a solid and developing network of partners within the Ipswich Community." Surely that's as good a definition of a community radio project in Ipswich that you'll find anywhere?
Ofcom actually tuned in to monitor Radio West Suffolk following a complaint that it was running few live shows. It heard a computer playing music for four hours on a Friday afternoon, interrupted only by Sky News. This is the same station that 'was not able to provide any examples of the local news required by its key commitments.' At all.
This glass is also half-full, of course. Arguably 4/5 full. Against a backdrop of continued austerity, 162 stations are doing what they said they would. Or telling Ofcom in good time if circumstances change and they need some wriggle room. That's the most bizarre thing about the whole sorry story. They're pretty reasonable at Ofcom. There's even a form called a Key Commitments Change Request Form.
It's sad, but the regulator's pragmatic 'streamlining' of the rules is sensible. Is it really an effective use of time for some poor soul in Riverside House to fret over the Portuguese minute-age on Ujima Radio, whether Down Community Radio worked with a particular youth club or not, or the issue of 'live quiz programmes not broadcast due to sound quality and content considerations' in Uckfield? For Uck's sake.
It's hard work running any radio station. Radio stations built to any degree on the good faith of volunteers, doubly so. Money runs out, visionaries move on, shit happens. But the staggering number of 'dog eats homework' excuses above belies a lack of basic compliance understanding in an alarming number of stations.
Posted in Uncategorized | Comments Off on When the Dog ate Community Radio's Homework
Monday, June 1st, 2015
It's not hard to remember, is it? I've just heard a national network in one link refer to 'some people' who may have been to such-and-such a concert, and in the next link, solicit 'if anyone has heard those albums' ..
For the last couple of years, I've wondered if I was out of touch on the whole 'you' thing. Our beloved medium does and should move forward. TV people have done radio, some rather well, and brought along their 'folkses' and their 'ladies and gentlemen's'. Language changes, maybe we should too.
Which is why it was so wonderful to open David Lloyd's brilliant How To Make Great Radio, and read a first chapter dedicated to righting this wrong. Every radio programmer I've ever respected makes the same point. Valerie Geller, particularly emphatically.
You connects. Radio is usually consumed solitarily, and even when it isn't, it's consumed individually. The pictures formed in my head, the thoughts sent racing, the emotions or response are mine, and will be totally different to yours.
You liquidise a radio kitten every time you talk to more than one person.
I know you know that. Everyone in radio does, surely? So why do we hear so many links that break the rule?
If you produce, consult, coach or manage radio people, from the biggest station in the land to a 10 watt RSL, please make sure they know this shit. Under £45 will get them a copy of both Valerie's Beyond Powerful Radio and David's brilliant new book. (He talks about the you thing in this podcast.)
Get them to read it and do it, and let's start the you fightback.
Posted in Uncategorized | Comments Off on You. Radio's singular weapon.
Llinos Lee reports from Llys Nini RSPCA centre at Penllergaer for Clueless.
So the Christmas edition of Clueless brings to an end a busy 2014 for 2ZY. The BBC Radio Wales game show was one of our biggest commissions of the year, with five two-hour shows on summer Saturday afternoons, an August BH Special and another on 29 December. Caryl Parry Jones and Alex Winters solve clues to locations across Wales in order to win the game. We've also worked with Wynne Evans and Llinos Lee on the special editions.
The other big 2ZY work this year has been in supplying my services to Internews as part of their inspirational project in South Sudan. Internews is "an international non-profit organisation whose mission is to empower local media worldwide to give people the news and information they need, the ability to connect and the means to make their voices heard."
My work is supporting the local owners of Eye Radio, a full-service commercial radio station in the capital, Juba. I work with the programme editors on developing the output and building the audience. Much of this work is delivered on station, and I now make regular 2-3 week trips to Juba, and undertake follow-up work from 2ZY in-between. This fascinating work continues through 2015.
The Sundown team from Eye Radio in Juba.
Until September, I continued to spend two days a week at Hindley Young Offenders Institute in Wigan, working for the Prison Radio Association on HYPE, its weekly show for young people. In some of the most rewarding work I've ever undertaken, I worked with 15-18 year old lads on HYPE, and other music shows. The re-rolling of Hindley to become a men's jail means the end of this project for now. I do hope the young men I worked with go on to have happy and fulfilling post-prison lives, and that this may not be the last time they appear on the radio. The PRA also asked me to lead a project in various PIPES units – psychologically informed planned environments – for prisoners with special needs around the country.
After the Story of Trock in 2013, I was asked to make two further documentaries for the acclaimed Radio 1 Stories strand. Manchester-based Savvy Productions sub-contracted me to work with Shona Summers on My First Vote, exploring 16/17 year olds' role in the Scottish referendum vote. And the PRA's independent production arm booked me to make Staying Out, Paris Lees's compelling personal journey into issues around youth re-offending.
With Shona Summers, working in Glasgow on My First Vote for BBC Radio 1.
Clips of that, the Trock show, 2013's podcasts for the Manchester International Festival formed my entry for the Radio Production Awards Producer category – for which I was very grateful to receive a nomination.
The Summer saw two S&P press trips for Gaydio – working with the breakfast team in Vienna, and a solo trip to Stockholm – and I've continued to chair that station's board of Directors, supporting the brilliant staff team that continues to take Gaydio to new levels.
Other consultancy included some post-RAJAR analysis and follow-up programme review for one station – and media training for a major Manchester charity.
The end of the year saw an uncertain future for the Radio Academy, so soon after an amazing Radio Festival. It was also great to speak at Next Radio in the auspicious surroundings of the Royal Institution about my work at the PRA and Internews.
One truism in running a radio indie is that you can't sit around waiting for juicy BBC commissions to come to you. You pitch, you wait and sometimes you get lucky. In the meantime, you hustle. In 2014, 2ZY worked with its highest number of annual clients to date. So what else is on the slate for 2015?
The adventure in Juba continues. There's a new music show in development for an emerging station; and a passion-project documentary, recording in Albuquerque, on the impact of Breaking Bad and Better Call Saul on that city. In the summer, 2ZY hopes to be involved in a major project to report and reflect the brilliance of the Manchester International Festival '15.
And 29 years to the week after first taking the mic in professional radio, I'm starting the year with some cover on one of my favourite radio formats, Jack FM in beautiful Bristol.
Posted in Uncategorized | Comments Off on A 2ZY 2014
Care about the Future of Radio? Donate a dollar.
Thursday, November 6th, 2014
Here in the UK, we already pay for radio. That 40p a day buys you all of BBC network and local stations (with the added bonus of a bit of telly and a few websites too.) When you buy stuff, you're funding commercial radio. It's a system that's given us a vibrant and successful radio universe that's the envy of the world.
So we're not used to actually paying for other radio. Just ask Fubar, or the vast majority of podcasters attempting to make a living out of it over the last decade.
If there's a criticism of UK radio, particularly in speech, it's around new formats, ideas and broadcasters. Radio 4 is, well, very Radio 4. 5 live is news and sports driven. BBC Local is occasionally troubled by notions of reinvention, but always cosily retreats to its 'news for people who wear fleeces' position.
Four years after David Hepworth wrote this, we're still no closer to a new platform for interesting speech. British Public Radio is a good idea, but sadly remains little more than that at the moment. An idea.
But meanwhile, on the fringes, the best podcasters in the world have been slowly learning, growing and juggling their day jobs to deliver radio's research and development. Sometimes purely home operations, sometimes partially-supported by the apparatus of Public Radio, and usually from the US – where the lack of a BBC arguably provides a bigger audience vacuum – audio hipsters have been falling in love with our medium and pushing at the boundaries.
In comedy, science, culture, 'the craft of radio' – this is where it's at. Show me a show that's as creative as Radiolab in its use of audio on British Radio. Or a show as beautifully niche and simultaneously accessible as 99% Invisible. Or as consistently funny and interactive as Answer Me This.
Roman Mars, the man behind 99% Invisible and Radiotopia.
Now Radiotopia is bringing some of these broadcasters together. One 'portal', infinite ideas. And they need some cash to do it, hence the Kickstarter.
At the time of writing 15,803 people have contributed the total of $463,400. If 20,000 contributors come forward in the next 8 days, even with a $1 contribution, an extra 25k will come in from a sponsor. With that cash, Radiotopia is promising more of the same from its family of podcasters, as well as new content – like an intriguing etymology podcast from Helen Zaltzman. For contributing more than a dollar, you can get gifts like T-shirts, mugs, digital downloads etc.
I believe in radio. I love it, obviously. I've been making it for nearly three decades now and I still want to hear stuff that challenges how I do that. That's why I've donated a few quid. The T shirt will look cool too.
If you love radio too, please click on the link and do the same.
Posted in Uncategorized | Comments Off on Care about the Future of Radio? Donate a dollar.
Goodbye Simon, Hello Stephanie
Sound Woman
Hirsty's long been one of my favourite broadcasters. And over the last few years or so, I'm pleased to say Hirsty's been a friend too. From high octane (and very anorakky) Radio Academy Quiz nights, to talking pure radio over a pint, clearly this is someone who lives, sleeps and breathes radio.
By now you will probably have heard this remarkable interview where my friend told the world (via BBC Radio 5 live's Stephen Nolan) that Simon was becoming Stephanie and from now on, will be known as the woman he's always been.
This was hairs on the back of the neck radio. Brave, honest, intimate. And could there have been any more appropriate place for this rebirth than in the medium Steph loves and understands so well? Nolan avoids crassness largely (except with the inevitable penis question. As my friend Paris Lees says, "If you ask someone about their cock, you're a cock.")
I hope Steph always knew the support she'd get from friends and colleagues that love her. What may have been more uncertain was the reaction of her former Capital Yorkshire audience. This was an area Nolan mined very well … "Simon" was never more real than when he was on the air. Even the voice stuff, I found fascinating – even if at the end of the day, Steph makes the obvious point she's still the same person. Hirsty is the same, regardless of the outside appearance.
It's received wisdom that authenticity is an essential value for a broadcaster. I was never as good a presenter as I have been since joining Gaydio, the station I'm proud to chair. I remember on my way into the station for my first ever show, at 5 in the morning, I was checked out by a guy leaving a club. We shared that nod, that 'alright mate' and a smile, before I headed off into the building. And that became my first link. "Isn't it always the way you meet a hot guy when you can do nothing about it?" That was a link I could never have done on the dozen or so stations I'd been on before. Almost all the broadcasters on Gaydio are LGB or T. We exist so that one day, the Stephs of the future may not need to remain Simon for so long.
If Steph's bravery (and before her, Glen Richards/CJ) means one young person facing the same challenge (not a choice) finds it easier, or has a role model to look up to, I know she'll be made up.
And now the secret's out, get back on the radio, Steph. It needs you.
Posted in Uncategorized | Comments Off on Goodbye Simon, Hello Stephanie
Making 'Clueless' with a sub-£1k 'radio car'.
There's been a rash of 'Treasure Hunt' style game shows across BBC Local Radio in England. From Norfolk to Leicester, Sheffield to Manchester, radio cars have criss-crossed counties and listeners have solved clues. And I should know. When running Radio Manchester, 'Manhunt' ran for a very successful four years. I was even the driver for the first year or so!
Is that a 30ft hydraulic aerial or are you just pleased to see me?
The hardy old BBC Local Radio radio car was the perfect vehicle for such an enterprise. A relic of the analogue era, it came with a powerful RF link, an extendable mast, a back up built-in phone and separate technical power supply. Getting a reliable signal into receivers at City Tower or Winter Hill and onto the air was pretty simple, even with the mast down, and the phone was there as a standby, all routed from the same radio-mic/wireless cue box.
Spin forward a couple of years, and I'm outside the BBC and running 2ZY. When BBC Radio Wales was on the look out for summer sports replacement shows from indies, I thought the scavenger hunt format would work – and got commissioned. 'Clueless' was born. That was the easy bit. Then we had to work out how make it – with no radio car, in a country of challenging topography and sometimes patchy comms.
Four weeks into a five week series, and I'm pleased to say Clueless is a hit with the audience – that's if all the calls are anything to go with – and the budget technical solution we came up with – essentially a solid radio car for well under £1k – has held up beyond expectations.
Caryl Parry Jones and Alex Winters present Clueless on BBC Radio . Wales
The first decision was to use Luci Live Lite – a bargain at £17! – on my existing iPhone. Much cheaper than a sat phone, and with CODECs already set-up in Cardiff to receive it.
But we didn't want to restrict ourselves to locations with wifi or rock solid 3G – partly due to the nature of the show. We can easily end up in the wrong (non-recce'd) location if listeners offer flawed solutions to the clues. Wary too of the kind of latency you can get on one-bar 3G or heavily utilised public wifi, we needed something more reliable.
A half-remembered briefing from Geoff Woolf when I was still in the BBC, a few emails back and forth to the brilliant Nick Garnett, and the usual helpful advice from former Radio Manchester engineer Andy Langhorn led me to this. Hello WiBE.
I'm a WiBE
WiBE is a wireless broadband extender from Deltenna. Follow the link for the nerdy stuff, but put simply, you stick a 3G SIM in it – we use a data card from Three – and a clever rotating receiver inside the drum detects any 3G mast within range and selects the link offering the best data. It then spits out a bespoke WiFi cloud around itself for about 100m. Once plugged into its battery unit, the WiBE usually takes about 30 seconds to come up.
So with this in our car (a regular Toyota Auris from City Car Club) we had a hub around which reporter Alex can orbit for up to 100m (with the Luci Live iPhone strapped to his arm).
We used a Luci accessory, the MIKI cable to provide a quality mic/headphone connection into the iPhone – and hired a MP1004 reporter-phone from Glensound to provide a solid 2G back-up back to base. This is also how Alex hears cue, avoiding any latency on the Luci return path.
John Ryan recce-ing a Clueless location at Wakestock
The big surprise has been just how solid the WiBE connection has been even in transit. Our supplier's FAQ says, not unreasonably, that the WiBE will 'not provide any performance improvement in a moving vehicle'. We've found that to be pessimistic. Sometimes we've even been able to get a Luci Live link back to Cardiff on the WiBE-improved 3G when our 2G back up has failed.
And rather than leaving the WiBE fired up in the car as planned, I've gaffer-ed it to its battery pack and dashed after Alex en route to the clue so the WiFi cloud moves with him!
So much for a radio car. All the kit we need to get Clueless on air fits in one of those plastic storage boxes from Rymans.
Clueless is a 2ZY Production for BBC Radio Wales.
Posted in Uncategorized | Comments Off on Making 'Clueless' with a sub-£1k 'radio car'.
Making 'My First Vote'
Thursday, April 3rd, 2014
So against the odds, I've found myself making a political documentary. Albeit one that features Kermit the Frog, Wee Jimmy Krankie (for about two seconds) and some awesome new Scottish music.
'My First Vote' is my second documentary for Radio 1. Not a 2ZY production, but a sub-contract from fellow Manchester indie, Savvy Productions. Presenter Shona Summers pitched it to Savvy back in 2012 and it was picked up by Radio 1 Stories, the network's documentary strand.
We did a few miles making this. Here's Shona on the very edge of Scotland looking towards England, by my trusty MX-5.
On 18 September, people in Scotland vote for or against independence from the UK. And 16 and 17 year olds are being given the vote for the first time. A big deal for Radio 1's audience in Scotland.
If we were worried there would be low audience engagement with the subject, we shouldn't have. On 13 February, George Osborne lobbed a few cats into the pigeon loft with the suggestion that an independent Scotland would lose the pound. That led to a massive response on Newsbeat's Facebook. By coincidence, that was also the day we were doing our first location recordings at Shona's old school in Edinburgh, and was already firing up the sixth formers we spoke to.
Shona with the some of the brilliant teenagers of Generation 2014.
We bid for a number of celebrity Scots to take part in the doc. One by one, they turned us down. As time passes, it seems the debate is becoming a touchy subject. So our focus became the brilliant 16/17 year olds of Generation 2014, a wonderfully only-on-the-BBC idea of bringing together 50 first-time voters to follow their journey to vote. We met them at BBC Scotland in Glasgow during a special 'six months to go' day. I was blown away by their engagement in the process, their knowledge of the subject and their passion for the project.
We called up Better Together and Yes Scotland, and both provided youth spokespeople to answer tricky questions. It meant our doc sounds refreshingly Radio 1 – and virtually politician-free!
Also in the mix, Jim Taylor, Newsbeat's political reporter, who's on hand to explain the tricky bits, and the charming and funny Iain Stirling, who allowed us to record his gig at Manchester's Kosmonaut where he was trying out some Scottish Referendum gags. Shona had shot some video at an earlier 'mock referendum' in Glasgow so that went in too.
Shona and comedian Iain Stirling. Is the Scottish Referendum funny?
Having attended an Editorial Policy Briefing at Salford, and read the two sets of BBC Guidelines on covering the referendum, I sat down to start the edit, trying to (a) make an engaging programme that will appeal to a Radio 1 audience (b) balancing both sides of the debate and (c) finding audio that really describes the contributors, to show a side of their lives that puts their opinions and likely voting choice into context, to make you care what they think, whether they're a Yes, a No, or a Not Yet Decided.
Shona and I had a long night at 2ZY the day before we went to sound design, choosing the music to accompany the doc. It's very Radio 1 to lay speech in docs over music, and we wanted to use (almost) all Scottish artists. (Muse, John Williams, Huey Lewis and Rob Dougan creep in for specific editorial reasons too!) But you'll also hear Biffy Clyro, CHVRCHES, Emeli Sandé, Mogwai, Frightened Rabbit, Calvin Harris, The Fratellis, Nina Nesbitt and more. So many lyrics seemed to match the speech clips, themes and tone of the show.
Newsbeat's Jim Taylor with Shona in the Radio 1 newsroom at New Broadcasting House.
This complex show was very much Shona's vision, commissioned through another company – and I hope we've done it justice. Thanks to Justine for trusting me with it, and to my always-brilliant colleagues – exec producer Jo Meek and sound designer Eloise Whitmore.
Gratuitous Presenter & Producer location selfie.
Radio 1 Stories: My First Vote transmits on BBC Radio 1 at 2100 on Monday 7 April.
Posted in Uncategorized | Comments Off on Making 'My First Vote'
5 Illegal Uses of Illustrative Music
So yesterday I couldn't believe my ears when the usually-reliable PM on BBC Radio 4 punctuated a menu line about food – with this gem.
So, what are the 'rules' on illustrative music in packages and when zhooshing up live radio?
If it's your first idea, it's probably a shit choice.
If it's an oblique thematic lyric-reference on a 1983 B-side by Kajagoogoo, the connection to your subject even Chris Hamill would find difficult to fathom, it's probably an equally shit choice.
If you've heard it used illustratively on the radio or television in the last month, it's probably an especially shit choice.
Telly, of course, as usual, are the serial offenders here. A recent edition of 'Homes Under the Hammer' actually featured a slab of this 1997 beauty over pictures of the park opposite a former Hanley crack den they were trying to flog.
"Just slap some of this underneath it."
My undying love and obsession with this album has only just survived the countless lazy loops of its luscious synths that I've heard arbitrarily slapped over time-filling sequences in low-budget docs.
So. What are the absolute no-nos?
1. Food Glorious Food. See above.
2. Up, up and away. Especially Radios Northampton and Bristol.
3. This is one of my favourite songs. Not least of all because of all the memories of those TV holiday show travelogues cut to it, with the likes of Judith Chalmers mincing around Tokyo. When many interpret it as a song about masturbation. And even if it wasn't, you're a wanker for using it. Too obvious.
4. It appears to be the law for any story involving bicycles to use this. Or this. Extra FAIL points for using both in the same piece.
5. And one for people writing about radio. If you (or your sub) paraphrase this 3'36" of sheer brilliance like you're the first person to ever think of it, you're kind of not.
So what CAN you use? My two get-out-of-jail-free-cards are Production Music. And film soundtracks. There's nothing emotional that can't be enhanced by some Thomas Newman.
(And just in the spirit of full disclosure, I should refer you to this deeply-wounding review of a music choice, for which I was responsible. I still defend the choice. Perhaps not my finest creative hour, but way short of "jaw-droopingly obvious", Elizabeth Day. Maybe I should let it go.
There comes a stage in most adults' lives when they tip past critical thinking into unalloyed curmudgeonliness. The sheer number of things that annoyed me on the radio last week leave me wondering if I've reached this point. Men's Hour on 5 Live had an enlightening and important discussion on men's mental health, sensitively handled by Tim Samuels. But for some bizarre reason, one of the first-person testimonies charting the course of a serious nervous breakdown was set to a late-70s pop song. In this case, it was the Cure's Boys Don't Cry, a choice so jaw-droppingly obvious it was the aural equivalent of being slapped around the face with an anti-subtlety fish. So while Lee from Merseyside was talking about not being able to look anyone in the eye, or sitting in his office with the lights turned off, refusing to talk to his boss, Robert Smith was blithely singing away in the background. It was the one duff note in an otherwise excellent and moving programme.
Here's one for you, Elizabeth.)
Posted in Uncategorized | Comments Off on 5 Illegal Uses of Illustrative Music


Digital learning is coming whether people like it or not.
This experience helps me to incorporate relevant knowledge, skills and attitude at my work place. I enjoyed the methodology, course materials and presentation – the learning process is very effective and realistic.


Watch this video showing the Stovax Riva Studio Wood Burning Fires which are available from Stove World Glasgow.
The Studio range of cassette and freestanding fires has been designed to create a striking feature in your living space with their enticing widescreen flame visuals complemented by an extensive array of frames and styling options. The pure, simplistic form of the Studio belies the high levels of engineering and technical innovation that keeps this range not only at the forefront of twenty first century fire design, but also exceptional heating performance and controllability.
Stovax Studio fires feature the very latest cleanburn combustion systems, allowing them to burn logs with outstanding efficiency, resulting in more heat delivery into the room and less going up the chimney. This technological advancement is achieved by introducing preheated, secondary air into the firebox to burn the excess hydrocarbons in the smoke. Airwash air flow also helps keep the window clean, allowing you to enjoy the flames to the full.
Whether you choose a cassette or freestanding fire, your Studio will offer you full control of the flame aesthetics. From a lazy roll to a lively roar, you can adjust your fire to suit your mood.
You can view our range of stoves here or contact us for more information about the Stovax Riva Studio wood burning stoves or any of our other products and services.


Our personal statement writers will be glad to do it for you. Spend your time effectively. Just a few minutes of conversation (preferably face-to-face) can be a tremendous stress reliever leaving you feeling more..
economy activity to support Finland economy is Export. Some projections show increases in the fertility rate in future years, however it could be too little-too late (undp HDI, 2010). Today, he has the devoted attention and care of two generations before him. And also Finland government has set out several protection policies to run through the program and make it more effectiveness. These developments in Maoism provided the peasants with purpose and prepositioned a very positive relationship with their Communist leaders, however led to a split with their Moscow counterparts. P.E.S.T.E.L Analysis - Finland, by using pestel analysis, we will able to realize and find out the opportunity and threat lie in the Finland.
There are many human rights in South Africa which are violated, daily. The topics that I will be covering include the three main laws of human rights that are being violated in the country of Guatemala, as well as evidence and stories of victims, and the changes that this country is going through. tags: chinese cinema, communist party Strong Essays 947 words (2.7 pages) Preview - The Chinese population has been growing since the beginning of Chinese civilization, but never as rapidly as when the Peoples Republic of China was formed. Free Essays 431 words (1.2 pages preview - More murderous than Hitler, more powerful than Stalin, in the battle of the Communist leaders Mao Zedong trumps all. But children also need special protection and care. As a China citizens who are not allow to hold a multiple citizenship. Slightly behind him, the watchful eyes and ready hands of his own parents spur him. On the other hand, China is a strong economic country which growing rapidly if compares to Finland which economy continuing contract it shows that the threat of china is how huge. Deng China's transition from the leadership under the iron fist of Mao Zedong to the more liberal Deng Xiao Ping gave the People's Republic a gradual increase in economic freedom while maintaining political stability. This" shows how bad the.0 Haiti Earthquake was that happened in January of 2010. It has also emerged as a place where multinationals like to recruit and erect labs.


text:
Student bags £1,000 for drum kit jeans
By Rich Chamberlain published 31 March 11
Drummer designs a kit you can wear
© Simon Jarratt/Corbis
Any drummer that has ever had the pleasure of lugging a drum kit to a gig, into the car, up a flight of stairs, through a venue and finally onto the stage will have no doubt thought if there was another way. Of those, we're guessing very few ever thought a drum kit they could carry in their jeans was the answer.
But that's just what one 17-year-old student has come up with. Aseem Mishra has designed and created a pair of jeans that can also be used as a full kit - hi-hat, bass drum, snare, cymbals and toms.
Confused? Take a look at this video for a full demo.
Not only has the invention given Aseem a drum kit he can wear, but it's also bagged him the title of Young Engineer of Great Britain and a £1,000, which he'll presumably spend on developing a cajon you can fit into a bow tie.
Akai's MPK Mini Play mk3 is both a compact MIDI controller and a portable keyboard with 128 built-in sounds


text:
Human Pose Estimation
Face Mask Detection
Adaptive Computer Vision
Edge AI Social Distancing
Lanthorn.ai
Home /Blog / Smart Social Distancing: New Codebase Architecture
Smart Social Distancing: New Codebase Architecture
This tutorial provides a technical overview of the latest codebase architecture of the Galliot's Smart Social Distancing application powered by AI on Edge.
This is Galliot's solution for Detecting Social Distancing violations.
Read the first part of this blog to see the previous architecture of the application.
Skip the details and head to our GitHub repository to read the application setup guide.
As a response to the coronavirus (COVID-19) pandemic, Galliot has released an open-source application that helps people practice physical distancing rules in different places such as retail spaces, construction sites, factories, healthcare facilities, etc. This open-source solution is now available as part of a standalone product at Lanthorn.ai.
This tutorial provides a technical overview of the approach to Smart Social Distancing. If you want to skip the implementation details, head to our GitHub repository to read the Smart Social Distancing application setup guide. You can read about our previous application architecture (outdated) in this article.
Note: Familiarity with Deep Learning Computer Vision methods, Docker, and edge deep learning devices, such as Jetson Nano or Edge TPU, is recommended to follow this tutorial.
1. Problem Description
Social distancing (also physical distancing) is one approach to control and prevent the infection rate of different contagious diseases, e.g., coronavirus and COVID-19, which is currently causing one of the largest pandemics in human history.
Wearing facemasks and maintaining social distancing are the most effective solutions to contain the spread of COVID-19. However, enforcing these policies poses a significant challenge to policymakers.
Please visit this blog post to read more about why current approaches fail and why we need a more robust approach.
2. Smart Social Distancing Application
Our approach uses artificial intelligence and computing devices from personal computers to AI accelerators such as NVIDIA Jetson or Coral Edge TPU to detect people in different environments and measure adherence to social distancing guidelines. The Smart Social Distancing application provides statistics to help users identify crowded hotspots and can give proper notifications every time social distancing rules are violated.
2.1. A High-Level Perspective
Smart Social Distancing application uses existing cameras to analyze physical distancing measures. The video will be streamed from a video feed to the main device, such as an Edge AI board or a personal computer. The main device processes the video and writes the analytical data on external storage. Analytical data only include statistical data, and no video or identifiable information is stored. Different graphs and charts visualize these statistics in the Dashboard. The user can connect to the Dashboard and view the analytical data, export it, and make decisions.
The user can access the Dashboard from a web browser. To ensure security and ease of development, requests to read the analytical data are sent directly to the main device by the web browser. As long as these requests and responses are encrypted, the Dashboard server cannot access the board's stream and the analytical data. Since no data needs to be stored on the cloud, and no video file is stored on the analytics storage, the Smart Social Distancing application completely preserves the users' privacy.
Figure 1. A high-level perspective of the Smart Social Distancing application.
3. Codebase Architecture
We have achieved shippability and accessibility by "Dockerizing" the Smart Social Distancing application. The application architecture consists of two main parts that should be run separately; the Dashboard and the Processor.
The Dashboard consists of a React application served by a FastAPI backend, which provides the user with the necessary tools to communicate with the board and visualize the analytical data.
The Processor consists of an API and a Core; the Core is where the AI engine and the application logic are implemented. The API receives external commands from the user and communicates with the Core.
We will explain each component in more detail in the following sections.
3.1. Dashboard: an Overview
The Dashboard is where the visualizations happen; the user can find various charts and diagrams to better understand the measured statistics. The Dashboard interface is a React app served by a FastAPI backend.
The Dashboard consists of two Dockerfiles:
frontend.Dockerfile: Builds the React application.
web-gui.Dockerfile: Builds a FastAPI backend that serves the React app built in the previous Dockerfile.
To run the Dashboard, you should build the frontend before building the web-GUI Dockerfile. Building the Dashboard is resource-intensive, and It is troublesome to build the Dashboard on devices with limited memory, such as Coral Edge TPU. Therefore, we have separated the Dashboard from the Processor to enable users to skip building the Dashboard if they wish to. However, the users would not encounter any problem building the Dashboard on other supported devices with higher capacities, such as X86 and most Jetson platforms.
Since the Dashboard is separated from the Processor, even if the Processor is not running, the user can still read the old statistics from the analytics server (of course, if the analytics server is accessible). However, any request to the Processor's API will be failed, indicating that the Processor is not accessible at the time. On the other hand, regardless of whether the Dashboard is running or not, the Processor can run independently on the main device and store the statistics on the analytics storage. Users can access these statistics through the Dashboard at any time.
3.2. Technical Notes
If you plan to make changes to the web-GUI Dockerfile, you need to ensure that you are using the latest version of the frontend Docker image. Otherwise, some inconsistencies may occur.
3.3. Processor: an Overview
The application API, the AI core, and all the mathematical calculations to measure social distancing have been implemented in the Processor.
The Processor is made up of two main components; the Processor API and the Processor Core. The Processor API receives an API call from the outside world (the user) and sends a command to the Processor Core. The Core communicates with the API and sends the response according to the received command (if approved). Two queues, shared between the Core and the API, store the API commands and responses and enable the Core and the API to communicate.
Figure 2 illustrates the different components of the Processor. The arrows indicate the relations between these components. In the following sections, each component will be explained in more detail.
Figure 2. Processor Components.
The Processor Core is where the AI engine and the application logic is implemented. The Core itself has several components and listens to the Processor's API on a queue called the cmd_queue. The Core creates an internal thread to perform the actual processing in a multithreaded fashion. This way, we can ensure that the Core is always listening on the cmd_queue, even while processing videos.
Deep learning algorithms are implemented in a component named CvEngine (which is an alias for the Distancingcomponent in our implementation). CvEngine is responsible for processing the video and extracting statistical information. Note that some of the implemented algorithms, such as pedestrian detection, are device-specific, whereas other parts, extracting social distancing violations, for instance, are common between all the supported devices.
The Core keeps track of the tasks at hand and acts according to the received command. When the Core receives a command, it puts the proper response on a queue called the result_queue, assuming that the API is waiting on the result_queue for the response. Note that the Processor Core creates these queues, and the API registers to them. If the Core component is not ready yet, the API will wait until the Core is up and ready and the queues are accessible. We will explain these commands and their responses in more detail in the following sections.
Processor API
The Processor API is where the external requests (by the user) are received. By these requests, we mean the supported API endpoints. Here is a list of supported commands with a description of what they do:
PROCESSOR_IP:PROCESSOR_PORT/process-video-cfg Sends command PROCESS_VIDEO_CFG to the Core and returns the response.
It starts to process the video addressed in the configuration file. A true response means that the Core will try to process the video (with no guarantee), and a false response indicates that the process cannot start now. For example, it returns false when another process is already requested and running.
PROCESSOR_IP:PROCESSOR_PORT/stop-process-video Sends command STOP_PROCESS_VIDEO to the Core and returns the response.
It stops processing the video at hand and returns a true or false response depending on whether the request is valid or not. For example, it returns false when no video is already being processed to be stopped.
PROCESSOR_IP:PROCESSOR_PORT/get-config Returns the config used by both the Processor's API and Core.
Note that the config is shared between the API and Core. This command returns a single configuration set in the JSON format according to the config-*.ini file.
PROCESSOR_IP:PROCESSOR_PORT/set-config Sets the given set of JSON configurations as the config for API and Core and reloads the configurations.
Note that the config is shared between the API and the Core. When setting the config, the Core's engine restarts so that all the methods and members (especially those initiated with the old config) can use the updated config. This attempt will stop processing the video – if any.
Table 1. Supported API endpoints with their descriptions.
Some requests are directly related to the Core, such as process-video-cfg, while others only affect how the Core works, such as set-config. In the latter case, the API is responsible for sending proper commands to the Core. For example, if the API receives a command to update some parameters in the config file, it sends a restart command to the CvEngine component inside the Core to update config parameters before continuing further processing.
The start_services.bash file is a script that starts the Core and the API by running run_processor_core.py and run_processor_api.py Python scripts. After the Core and the API start, the queues are ready, and the connection between these components is established, the API starts listening for requests.
To start processing the video by default when everything is ready, the sample_startup.bash file runs a command in a while loop that calls the process-video-cfg API endpoint until a true response is received.
3.5. Configurations
The Smart Social Distancing application uses two config files; config-frontend.ini is used by the Dashboard, and config-*.ini determines the Processor configurations.
config-*.ini is a device-specific config file used by the Processor and shared between the API and the Core. More specifically, the API and the Core build a config instance from the ConfigEngine class separately. However, they pass the same config-*.ini file to the ConfigEngine constructor. Therefore, they use the same configurations until a request is made by the user to set the config file.
When the set-config command is received, the API creates the new config object, writes the updated parameters in the config file, and reloads the config object. Then, the API restarts the Core by sending the stop-process-video command followed by a process-video-cfg command to avoid inconsistencies and ensure that the Core is also using the same configurations. Since the Core updates the config files every time process-video-cfg is executed, this issue will be solved when the Core restarts.
A key point about the config files is how to set the host and port. In config-frontend.ini, there is a Processor section. You should set the host and port in this section to the host and port you want to use when running the Processor Docker container. The App section in this config file specifies the host and port on which the Dashboard is accessible. In config-*.ini, the host and port under the API section specify the Processor API address that is only accessible inside the Processor's Docker, and the user does not need to change its value. This port will be forwarded to the port specified in the Docker run command and matches the port specified under the Processor section in the config-frontend.ini file. We will provide an example to explain how to set the host and port.
For example, let us say we want to run the Processor on port 2023, and for some customization reasons, we have changed the Processor's Dockerfile so that the Processor API should use port 8040 inside the Docker (the default is on 8000). We should apply the following changes before running the application:
Change the API port in config-*.ini to 8040.
Change the Processor port in config-frontend.ini to 2023.
Forward port 8040 of the Processor's Docker to the HOST_PORT, which is 2023. For example, if we are running the application on Jetson Nano, we should run this command:
docker run -it --runtime nvidia --privileged -p 2023:8040 -v "$PWD/data":/repo/data -v "$PWD/config-jetson.ini":/repo/config-jetson.ini neuralet/smart-social-distancing:latest-jetson-nano
There are some other parameters that you can change in the config-*.ini file. For example, under the [Detector] section, you can modify the MinScore parameter to define the person detection threshold. You can also change the social distancing threshold by altering the value of DistThreshold. You can read the comments in the config-*.ini file to learn about other parameters and their possible values.
The config files are copied to the Docker images when they are built. Be aware that if you change the config files, you need to rebuild the Docker images to make sure the application is using the latest versions of the config files. The build time will be much less than the first time you build the Docker images because the copying will take place in the last layers of the Dockerfiles. Therefore, the Docker images use the previously built Docker layers and only copy the necessary files into the new image.
4. The Application Logic
Most of the Smart Social Distancing application's mathematical calculations are implemented in the Distancing class in the libs/distancing.py file. You can replace the Distancing class methods with those matching your specific needs to customize the Smart Social Distancing application. For example, you can implement your own distance-measuring algorithm by changing the calculate_box_distances method.
We will now explain the building blocks of the Distancing class. We recommend you read the source code to understand the application logic better.
4.1. Image Pre-Processing and Inference
The __process method applies some pre-processing to each input frame, such as resizing the image to the configured resolution and converting image colors to match the RGB format. It will then import the proper Detector based on the device in use and open the video file to run inference and get bounding boxes for the detected pedestrians.
By default, Smart Social Distancing uses SSD-MobileNet-V2 trained on the SAIVT-SoftBio dataset by Galliot for inference. Other possible models for your device are written as comments in the config file that matches your device name. In this file, you can change the Name parameter under the [Detector] settings to specify the model you want to work with.
At Galliot, we have trained the Pedestrian-SSD-MobileNet-V2 and Pedestrian-SSDLite-MobileNet-V2 models on the Oxford Town Centre dataset to perform pedestrian detection using the Tensorflow Object Detection API. We experimented with different models on both Jetson Nano and Coral Dev Board devices. See Table 2 for more details.
Average Inference Time (ms)
Frame Rate (FPS)
Jetson Nano SSD-MobileNet-V2 COCO 44 22
Coral Dev Board SSD-MobileNet-V2 Oxford Town Centre 5.7 175
Coral Dev Board SSD-MobileNet-V2-Lite Oxford Town Centre 6.1 164
Table 2. Inference performance results from Jetson Nano and Coral Dev Board
4.2. Bounding box post-processing
Some post-processing techniques are applied to the detected bounding boxes before calculating distances to minimize errors. There are some reasons to apply post-processing techniques. First, since we are using a general-purpose object detection model trained on COCO with 80 different classes, including pedestrians, there are some false positive outputs for the pedestrian detection task. These false positives are often seen in the form of extra-large boxes (Figure 3) or duplicate boxes specifying a single object (Figure 4). In the following lines of code, we address these two problems by filtering large and duplicate boxes:
new_objects_list = self.ignore_large_boxes(objects_list)
new_objects_list = self.non_max_suppression_fast(new_objects_list,
float(self.config.get_section_dict("PostProcessor")["NMSThreshold"]))
Figure 3. Large boxes before post-processing.
The second reason to apply post-processing is to track objects smoothly. In the absence of post-processing, the object detection model may lose track of the detected pedestrians from one frame to the other. This issue can be solved by designing a tracker system that follows the detected pedestrians in different frames.
tracked_boxes = self.tracker.update(new_objects_list)
Figure 4. Duplicate boxes before post-processing
4.3. Calculating Distances
The __process method calls calculate_distancing to calculate the real-world distances between each pair of bounding boxes. We need to decide how to measure the distance between two bounding boxes to estimate the real-world distances between detected pedestrians.
There are a few methods to calculate the distance between two rectangles; however, choosing the right approach to measure this distance depends on different specifications, such as the data characteristics and the camera angle. Since some measures, such as the distance between the camera to the center of the bounding boxes or the depth data, are not available in most cases, we implemented a calibration-less method as well as a calibrated one. The calibrated method is more accurate than the calibration-less method. However, the latter is easier to implement.
Let us explain more about each method.
Calibration-less method
In this approach, we map the distances in the image (in pixels) to physical distance measures (in meters), by assuming that each person is H = 170 cm tall. The question is to measure L, which is the distance between person 1 and person 2 in centimeters. Let L1, L2, L3, L4 denote the distances between all four corners of the bounding boxes specifying person 1 and person 2 in centimeters. We can make one of the following assumptions to address this problem (see Figure 5):
1- Assume that L = L1 = L2 = L3 = L4 approximately.
2- Assume that L = min (L1, L2, L3, L4).
Following the first assumption makes the approach easier to understand with fewer amount of calculations needed. However, the second method produces more accurate results.
We explain how to calculate L1 in this section. If you want to use the first method, put L = L1. Otherwise, calculate L by setting it equal to the minimum value of L1 through L4. It is trivial that you can calculate L2, L3, and L4 following the same approach.
Figure 5. Problem illustration.
To measure L1, we first calculate the horizontal and vertical distances between person 1 and person 2 in pixels, denoted as DX and DY:
DX = Xp_1 - Xp_2,
DY = Yp_1 - Yp_2
Then, by the H = 170 cm assumption, we map the distances in pixels to distances in centimeters:
Lx = DX * ((1 / H1 + 1 / H2) / 2) * H,
Ly = DY * ((1 / H1 + 1 / H2) / 2) * H
Finally, we apply the Pythagorean formula to get L1:
L1 = sqrt(Lx + Ly)
We can now calculate L based on our initial assumption, which is a reasonable estimate of the physical distance between two people.
In your device config file,
You can set the DistMethod parameter under the PostProcessor section to specify the approach you want to apply for distance measurement. It is set to CenterPointsDistance by default. You can set it to FourCornerPointsDistance to calculate L as the minimum value of the distances between all four corners of the two bounding boxes (L = min (L1, L2, L3, L4)).
The minimum physical distancing threshold is set to 150 centimeters by default. You can set a different threshold for physical distancing by changing the value of DistThreshold (in cm).
Calibrated method
The calibrated method takes in a homography matrix and calculates the real-world distances by transforming 2D coordinates of the image to the real-world 3D coordinates. We will explain how this method works in a separate post.
4.4. Data visualizations
Some data visualizations are provided to give the user better insights into how well physical distancing measures are being practiced. The data analytics and visualizations can help decision-makers identify the peak hours and detect the high-risk areas to take effective actions accordingly.
The visualizations include a camera feed, a birds-eye view, the pedestrian plot, and the environment score plot.
Camera feed
The camera feed shows a live view of the video being processed (see Figure 6). Colored bounding boxes represent detected pedestrians. You can see the frame rate and environment score (explained below) at the bottom of the video screen.
This video shows the birds-eye view of the detected pedestrians (see Figure 6). The red color indicates a social distancing violation, while the green color represents a safe distance between the detected pedestrians in each frame.
Figure 6. Camera feed and birds-eye view.
Pedestrian plot
The pedestrian plot (Figure 7) shows the total number of detected pedestrians (the blue graph) and the number of detected pedestrians who are violating the physical distancing threshold (the orange graph) over time.
Figure 7. The Pedestrian Plot.
Environment Score Plot
This plot (Figure 8) shows the "environment score" over time. Environment score is an index defined to evaluate how well social distancing measures are being practiced in an environment. Two different formulas are implemented to measure the environment score in tools/environment_score.py:
1- The mx_environment_scoring function takes in the number of pedestrians who are violating the social distancing rules and returns the environment score. This function calculates the environment score using the following formula:
env_score = 1 - np.minimum((violating_pedestrians / MAX_ACCEPTABLE_CAPACITY), 1)
Note that MAX_ACCEPTABLE_CAPACITY is the maximum capacity of an environment considering the physical distancing measures. For instance, if the DistThreshold is set to 200 centimeters, MAX_ACCEPTABLE_CAPACITY is the maximum number of people who can stand at least 200 centimeters away from each other in that environment.
2- The mx_environment_scoring_consider_crowd takes in two parameters: the number of detected pedestrians and the number of pedestrians who are violating the physical distancing limits. This function returns the environment score using a different formula that can reflect how crowded an area is, with respect to its full capacity:
env_score = 1 - np.minimum(((violating_pedestrians + detected_pedestrians) / (MAX_CAPACITY + MAX_ACCEPTABLE_CAPACITY)), 1)
In this formula, the MAX_CAPACITY parameter represents an environment's full capacity without considering the physical distancing limits. This parameter reflects how large the environment is, in terms of area, and can bring area crowdedness into the calculations.
Figure 8. The Environment Score Plot.
Note that in both formulas, the environment score takes a value between 0 to 1, and the more violating cases appear in a frame, the less the environment score of that frame becomes.
4.5. Data Logging System
We have implemented a logging system for the Smart Social Distancing application that can be very useful for data analytics. By storing statistical data, such as the overall safety score, the number of people in the space over the past day, and total risky behaviors, users can gain insights into different social distancing measures. Let us explore how the logging system works.
There are three files under the libs/loggers directory; csv_processed_logger.py, csv_logger.py, and loggers.py.
The first two scripts implement their update method that is called from the loggers.py file frequently. You can create your own logger module by implementing a customized update method. There are some parameters in the config file that can modify the logging system behavior:
Name: the name of the logger you want to work with.
TimeInterval: the frequency of the log file updates in seconds.
LogDirectory: the directory in which the log files are stored.
The update method in the csv_processed_logger.py file writes information about each time interval into the object log file. Each row of the object log file consists of detected object (person) information, such as object (person) ids and bounding box coordinates.
The csv_logger.py script stores two log files: the object log file and the distance log file. The two log files store different kinds of information.
The object log keeps track of the information about all the detected objects in each time interval. Frame number, person id, and bounding box coordinates are stored in this log file.
The distance log stores the details of physical distancing violation incidents, such as the time in which physical distancing rules are violated, the id of the persons crossing the distance threshold, and the distance they are standing from each other.
Please reach out to hello@galliot.us if you have any questions. Check out our GitHub page for other models and applications by Galliot.
Beginners Guide to Low-Code and No-Code AI
A Guide to Data Labeling Approaches, Challenges, Tools
Neuralet has Migrated to Galliot
Have a question? Send us a message and we will respond as soon as possible.
Copyright 2023 Galliot. All rights reserved.
Send us a message and we will respond as soon as possible.


During Walt Disney's tenure, the creator's movies are widely known for their wholesome, good old-fashioned conservatism. At first glance, the films harken back to an idealized Rockwellian Americana. However, when examining one of the studio's most popular features from this era, The Parent Trap, the story is actually more complex than many of its' Disney contemporaries. The memorable family feature not only creates rich and interesting characters, but also demonstrates much of the subtle societal evolution occurring in Eisenhower's America.
The Parent Trap follows separated at birth identical twins Sharon and Susan McKendrick (Hayley Mills in dual roles). The girls first learn of each others existence while at summer camp. After an initial rough patch, they become fast friends. In an attempt to figure out what each missed while growing up, they switch places. However, things become more complicated than anticipated when their father Mitch (Brian Keith) falls in love with the villainous Vicky (Joanna Barnes). Using their newly found twin powers, the girls stage an intervention in hopes of reuniting their divorced parents.
The Parent Trap's biggest problem is in the depiction of Mitch's new girlfriend Vicky. From early in the movie, Vicky exists solely to be the evil, Disney villain. She is Cruella de Vil crossed with Maleficent, minus the interesting back story. She does have fabulous business suits though! In fact, the narrative passes judgement on Vicky before she's even crossed the screen. While Sharon talks with the family maid Verbena (Una Merkel), the woman immediately proclaims the future Mrs. McKendrick a gold digger. And as the story develops further, Vicky quickly proves the wise housekeeper correct.
Vicky shows little depth to her character beyond scheming to get a hold of Mitch's wealth. In fact, if Vicki had a mustache, she'd be twirling it. Does the character deserve a lot of the misery handed to her by Sharon and Susan? Probably. However, the characterization of Vicky is incredibly unrealistic. Narrative development of the woman underneath is lost, instead Vicky is simply meant to function as an icy foe for Maureen O'Hara's Maggie.
Meanwhile, the casting of Maureen O'Hara in the role of Maggie is a deliberate choice. At the time of The Parent Trap's 1961 release, O'Hara already established herself as a mainstay in Hollywood. The Irish actress rose to stardom quickly, playing Esmerelda in 1939's The Hunchback of Notre Dame. She worked regularly into the 1970s, with her last film credit coming in 2000.
From the early years of her career, O'Hara brought an independence and sense of spirit to her characters. In fact, she partnered with John Wayne for five films, and showed herself as one of the few leading ladies able to stand toe-to-toe with the larger-than-life actor. O'Hara brought this striking persona to each role she tackled. Not only did she bring this feisty independence to her roles, but she conveyed it with a likable charisma. She stands up for herself in the face of strict rules dictating gendered behaviors, but also pushes these boundaries without being vilified.
The development of Mitch and Maggie as a couple plays into The Parent Trap's interesting treatment of divorce. Marital separation was a taboo subject, especially in the years following the Production Code's implementation. The sanctity of marriage is paramount in the document. The code dictates on-screen unions must appear happy, faithful and surprisingly chaste. In fact, divorce is rarely spoken about during the classic era, let alone as the topic of a family film.
However, The Parent Trap does not place fault for the divorce on Mitch or Maggie. In fact, when Susan talks with Maggie shortly after they first meet, she asks her mother about the divorce. Maggie explains the break-up in a clear-headed and realistic manner: "Sometimes people just don't get along". The film further develops this when Mitch and Maggie first meet after almost 15 years apart. The two are far too similar. They are fiery, volatile and independent people. Maggie is not an unattractive shrew, and Mitch is not a cad. Rather, they were a young couple whose relationship likely cracked under the pressure of trying to raise a family in the years following WWII.
Meanwhile, the treatment of the twins shows itself as progressive as the narrative develops. In her dual portrayals, young actress Hayley Mills effortlessly brings two distinct characters to life. The story allows the girls to be different, and stand out as unique and interesting young women. The highly restrictive gender rules permeating in the late 1950s and early 1960s are largely invisible in the film. When they are at camp, Susan and Sharon hike, swim and canoe. Susan is a perfectly happy tomboy, having grown up hiking and riding horses with her father. However, Susan also introduces her long-lost sister to the joy that is Ricky Nelson. The girls are incredibly real and avoid falling into the constraining archetypes which were common during this period.
Recognition must be given to actor Brian Keith for an interesting yet understated performance. The actor tends to go a bit unremembered in the face of everything going on around him in this movie. Mitch is the one character surprised by the actions of the plot. He is simply a man trying to marry his fianceé, and he is quite literally the last person in the family to learn what is going on. Further complicating his narrative is Mitch's seeming inability to truly convey his emotions. Characters often speak of his masculinity (he is a rancher after all), but he seems out-of-place when he needs to connect with his wife or children. However, there are scenes within the film where his quiet emotion shines through in some beautiful moments as when he first learns that Susan is actually Sharon (above).
Disney productions were riding high during the early years of the 1960s, and The Parent Trap is one of the best remembered movies to come out of this idyllic period. Watching the film through a contemporary lens, The Parent Trap stands out in its complexity. While it does have its problems, it also showcases a number of unique and realistic characters, largely avoiding the problems of the period, and is much better for it.


Zoek je een fijne en mooie camping, kom dan naar Rozac Auto Camp. Dilbert comics aichtal neuenhaus grundschule deutsch meiosis produces how many haploid cells sigprocmask man 7s80mc good life t pain mp3 download. Radioaktives Kontrastmittel Nebenwirkungen Viagra discount.
Island with granite top 12 nba championships 70114 lps songs president pulsar 8000 only human chidinma download music vt nails fayetteville nc hours. Pasconeural nebenwirkungen viagra. There are the volume rocker picture shutter switch on the right back a 3.
5mm headset jack authority switch up peak a Micro USB charging harbor. The phone will as well comprise Nokia Drive, a voice activated satellite routing scheme alike to the Google Routing scheme existing on Android based smarkia Lumia 710 Review: Free Nokia Lumia 710 software download. Nokia lumia 800 apps mobile9. Nokia lumia 800 apps mobile9. Deze camping ligt op het eilandje Ciovo midden in Kroatië, lekker aan het strand. Duisburg - Germany.
Camping Rozac Auto Camp. Hi does anyone know how to recover deleted sms messages that disappeared all together on my Nokia E66?
United States: Fort Worth. Peru lenicet wirkung viagra discount - etiq sissidelacote com. I selected SMS Message box on screen then selected other settings Option Memory in Use was selected as phone memory then changed to memory card then changed back all of the messages in inbox also sent all disappeared.
Nokia Lumia 900 Review: Free Nokia Lumia 900 software download. United States: Charlotte ( Nc) Nagaoka Japan; Cachoeiro De Itapemirim, Guinea- Bissau; Czestochowa, Brazil; Bissau Poland. CDU Wahlplakate CDU Wahlwerbung CDU Kundgebung CDU Kandidaten CDU Wahlplakat.


"Biological details put me to sleep. Mathematical equations put some biologists to sleep. But we all have something to contribute.... I've been a missionary to bring modeling into the world where people don't use models."
The computer model is based on the biological rules that glioblastoma cells follow and can be used to simulate what those cells would do under variable experimental conditions. That could help researchers see which avenues are most promising for shutting the cancer down. The model can also be adapted for other forms of cancer cells.
"A university is different than a cancer research lab. It's a place to train students, to solve problems, to have the love of learning - and there's no better way to like a subject than to actually do experiments. We're here not only to solve big problems but to motivate students to solve problems on their own."
Grad student Reetika Dutt works on petri dishes in the lab.
Reetika Dutt works in the lab.
"And at that meeting, Dr. Dhurjati said, 'We've got 10 minutes and I'm going to teach you everything you need to know about modeling,' " Caccavale said with a smile. "I used the notes I took that day - on little pieces of paper - throughout the project and I still use them today."
Also contributing to the work and the article were Michael Stapf (mathematical sciences), Liedeke Switzer (mathematical sciences), Hannah Anderson (biological sciences) and Jonathan Gorky (Thomas Jefferson University).
Prasad Dhurjati is a professor of chemical and biomolecular engineering, with joint appointments in mathematical sciences and biological sciences. He has been on the UD faculty for 35 years and is a past president of the Faculty Senate. He specializes in biotechnology, systems biology and computer modeling of biological and engineering systems. He is a prolific author, often cited, a fellow in the American Institute of Medical and Biological Engineering and the 1986 winner of the National Science Foundation Presidential Young Investigator Award. He has served as a visiting scientist and visiting professor in France, India and Canada. He earned his bachelor's degree at the Indian Institute of Technology in Kanpur, India, and his doctorate at Purdue University.
Deni Galileo is a neurobiologist and associate professor in the department of biological sciences, focusing on the study of migrating cells during brain development and glioblastoma brain cancer. He has been on the UD faculty for 17 years, is a past president of the Faculty Senate and current president of the UD chapter of AAUP. He was part of the early collaborations that joined Delaware State University and the University of Delaware in a National Institutes of Health grant that was recently renewed and has been a mentor to junior faculty and a member of the Internal Advisory Committee. He earned his bachelor's degree at New College of Florida, his doctorate at the University of Florida College of Medicine and Whitney Laboratory and did postdoctoral work at Washington University School of Medicine in St. Louis.