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HomePosts tagged 'Songwriter'
Interview with Charlie & Amanda Part 1!
July 21, 2020 July 21, 2020 your tuesday afternoon alternative Interviews	Authentic Country Music, Charlie & Amanda, Charlie and Amanda Jackson, Charlie Jackson and the Heartland Railway, Dayton Music, Dayton Music Scene, music, Music Interview, New Music, Songwriter, YTAA
Part one of our interview with Charlie & Amanda Jackson about their new record, 'The King & Queen of Dayton Country,' recording, songwriting and their approach to music. We can consider this record to be a powerful return to a classic country duet sound that has been missing for quite some time. Check out their Facebook page! You can find their music on bandcamp! They are playing a safe outdoor show at the Yellow Cab Tavern on Saturday! Please check the Yellow Cab Tavern's page regarding their policies for a social distancing outdoor show!
11 Questions with… Mike Bankhead
June 9, 2020 June 6, 2020 your tuesday afternoon alternative 11 Questions with...	Bass Player, Bright Ideas, Dayton Music, Dayton Music Scene, Defacing the Moon, Echo in the Crevices, Little Light, Mike Bankhead, music, Music Interview, Musician, Musician Interview, Promise, Songwriter
This interview with songwriter, bass player and keyboard stylist Mike Bankhead is the third installment in our series of '11 Questions with…'. This series is an effort to understand songwriting by exploring in some detail the creative process through a deep examination of the recent craft of a talented musician. We hope that we all learn about area artists and the music that they are making. As well as learning about how they are creating music and doing so especially during these challenging times in which we find ourselves. How artists go about creating music, lyrics, themes, arrangements and more will be explored in this regular column.
A hearty thank you to all of the artists and musicians for taking the time to answer these questions for this column! We appreciate you answering these questions for our readers/listeners on YTAA!
Mike Bankhead is a Dayton, Ohio musician who constructs with deliberate care catchy melodic modern rock music that illustrates his gift for vibrant stories about the emotional impact of the decisions we make on our life journey. Mike clearly spends a great deal of time on his craft as his songs capture the just out of reach catchy melodies, inventive chord progressions and energetic rhythms that are fresh and inventive. Mike's songwriting includes his insightful lyrics that explore the contested terrain of life, heartbreak, love, loss, location and the awful realization that having and not having are equally enthralling.
Mike Bankhead released his debut album, Echo in the Crevices in 2017. He recorded the album at Reel Love Recording Company with well-known Dayton engineer and producer Patrick Himes. The album featured a literal who's who of area talent, including Brian Hoeflich (Cherry Lee & the Hot Rod Hounds, Flyaway Minion, John Dubuc's Guilty Pleasures), Tod Weidner (Shrug , Motel Beds), Kyle Byrum (Salvadore Ross), Tim Pritchard (The Boxcar Suite, Shrug, Flyaway Minion), and three-fourths of The New Old Fashioned. Just last year, Mike released a hook-filled exploration of longing called 'Little Light' and the excellent split Defacing The Moon with Brandon Berry of The Paint Splats. And if that was not enough, he most recently — days ago in fact — released his latest single, 'Promise.'
Dr. J: What can you share with us about when and how you started writing your latest released songs, Bright Ideas?
Mike Bankhead (MB): Wow, I wrote that long enough ago that I don't think I remember exactly when. It was sometime after my first album was released back in summer of 2017, but definitely before February 2019 when I went in to Reel Love for a pre-production meeting. These days I usually write on piano, but this one was definitely written on bass as far as the part you hear the rhythm guitar playing is concerned. I did use the piano for the hook you hear in the outro, and to double check all of the notes I was singing during the other parts.
Dr. J: You worked closely with Patrick Himes at Reel Love Recording Company here in Dayton, Ohio – what led to your recording with Patrick?
MB: Patrick did the engineering work on my first album. Aside from that, I've probably known him for about 20 years? At least 20 years. He's so very talented, and after the experience of my first album, I know that I'm comfortable working with him. I didn't think for a moment about doing this song with anyone else.
Dr. J: 'Bright Ideas' is a fascinating song for all of us interested in music composition; did you set out to mirror some of your influences when starting to work on that song?
MB: Absolutely. I wanted to write a Bob Pollard song. If you listen to the song again, you'll notice it has no chorus. Part of that was a mild form of protest against "the music business"… so much of the advice that gets thrown at songwriters takes the form of someone saying "don't bore us, get to the chorus"… First, if someone is bored because the chorus didn't happen during the first 20 to 30 seconds of a song, thta's not a person that I think I want to be listening to my music. Second, how about no chorus at all then? The structure of the song is A A B C. There are plenty of Guided By Voices songs that are quite brief and have no chorus, but they're catchy anyway. With that in mind, part of this was definitely meant as a form of admiration for Bob and his work, I kind of hope he hears it someday. I like to imagine it as a GBV song, and I can kind of see Bob doing that little hopping dance he does. The outro is heavily influenced by Fountains Of Wayne. That lead riff is played on guitar, but it could just as easily have been played on synth, after all, I wrote it on a piano. You'll find some synth leads in their catalog. I also wanted a bunch of harmony vocals in there, which you'll hear all over Fountains Of Wayne songs. All of the above to say that I wanted to take some of the things from these specific influences, but end up with a song that still sounds like ME, and I think we were able to get that done.
Dr. J: 'Bright Ideas' seems to address hopefulness – is that a correct interpretation of some of the lyrics and/or feeling in the song? In addition, if that is correct, did you intend to address hopefulness or did the song evolve in that direction over time? If that is not a correct interpretation, is there a theme to the song?
MB: Yeah, I can see why it could be interpreted that way. I'm not entirely sure it started off heading that way. I definitely know that I wanted to write it in a major key, so it's in E instead of E minor. That itself is a change for me, I don't usually write in major keys, I find something comforting in the mood that minor keys convey. (As an aside, that's probably very much a cultural construct based on what we as a whole are accustomed to hearing in Western music, but it's hard to run from all of that musical history.) Doing this in major lent itself to a, let's say, BRIGHTER sound, and I think that really supports the title and overall theme of the song. The word "hope" is actually in the B section, so yeah, I'd say you're on target with the interpretation.
Lyrically and musically, the thing that happened first here was the lyric and melody "tell your teacher I got some bright ideas." I don't at all remember when I came up with that, but whenever it was, I liked it enough to sing it into a voice memo. At some point when I was writing the songs that eventually came to the studio with me, I went back and listened to a bunch of my old voice memos, and thought this one had decent potential for a song. I'm glad I picked it, instead of having it still be out there all alone on my phone. The rest of the song grew from that starting point.
Dr. J: How did the song come together musically for you?
MB: Oops, I already kind of answered that in the previous question. To give more detail and leave no room for doubt, working from that voice memo I mentioned, I sat down with the bass and built the skeleton of the song… the rhythmic structure, the chords that the guitarist would end up playing. Next was finishing out the melody, finishing out the lyrics, then double checking with the piano to make sure there were no false steps. This thing doesn't come naturally to me like it does to so many musicians. I really have to WORK to make music, and the way my mind is, I have to understand how something functions in order to use it properly, so i definitely lean pretty hard on what I have learned about music theory when I'm writing. Specifically when it comes to melody, I find every single note that I plan to sing on the piano, and make sure that it works within the chord structure of the song. If it doesn't, I either change the chord that is causing the clash, or pick another note to replace the one in the melody that sounds bad. It's definitely not the most organic way to write, and it's certainly not the most efficient way to write, but that's my way. (Insert shrug emoji.)
Dr. J: Where do you often derive inspiration to make music?
MB: "Often" is the difficult word in that question, because it's not a consistent source of inspiration. There are times when there is something I need to say, and I do that by writing a song. There are times when there are feelings that need to be dealt with, and I do that by messing around on bass or piano… sometimes a song comes out of it, sometimes it doesn't. (Like David Payne says, it's 'Cheaper Than Therapy', though I'm not sure if it's as effective.) There are times when I write because I know that I SHOULD, because if you don't keep writing, you won't get better. It's those times when I try to look at it like a job. I started my own LLC, a small business around music, so it is very much a second job. Sometimes on a job, you have to get work done even if you don't feel like it, so there are indeed times when i don't feel like writing, but I force myself to write. I belong to an online songwriting group that has challenges every now and then where you have to write 5 songs in 5 days. During those challenges, I write whether I'm inspired or not, because that's the point of the challenge. Remember when we used to go to shows? A great show when I'm seeing artists I admire – whether they are from Dayton or a national touring band – a great show has me thinking about writing for the next few days after the show… it's kind of a like a post-show high for me. Watching a songwriter I respect do their thing is a massive source of inspiration. I try to learn from the shows I see, from the albums I listen to, from useful criticism, and from advice, if the advice comes from a source I trust. One piece of advice that I think about now and then came from one of my favorite songwriters, Dan Wilson [Semisonic, Trip Shakespeare]. He's a Minneapolis guy, so you're probably familiar with him [Yup! – Dr. J]. He says "if it's something that you would tell to a friend, it's something that you can put into a song"… think about the kind of things we talk about with friends… whether it's our spouse, or close colleague, or lifetime BFF, or someone who is a dear friend that we don't see so often due to distance. That's a lot of material to draw from.
I should also probably add that just because I write a song doesn't mean anyone else will ever hear it. I don't throw away as many ideas or completed songs as I used to, but there are still things that I write that aren't good enough to be heard by anyone else, and that's OK. At the end of the day, I think a songwriter has to write for them-self first. Write what speaks to you, write what moves you, write something that says what you need to say, write what helps you deal with whatever you need to deal with, be authentic. Maybe that's something that nobody else should hear, and if that's the case, it's OK.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Echo in The Crevices to Little Light to Bright Ideas)?
MB: This sounds like you're asking for an updated elevator pitch. If you're not, that's how I'm going to approach the answer, because I think we artists should always be ready with an elevator pitch.
I make Midwestern indie rock that sounds like a less jocular version of Fountains Of Wayne trying to cover a Guided By Voices song in the style of Superdrag on one of their angsty days. It usually is guitar-driven, but sometimes features piano.
For how it's changed since my first album, I've been making a conscious effort to write songs that are a bit tighter. This isn't a reaction to anyone complaining about long songs, it's just that I haven't recently found myself to need 6 minutes or 8 minutes to do what I want to do lyrically and musically. On my first album, there are some long songs, but there needed to be. I've been feeling less of that need recently. That said, I do kind of want to write a ten minute epic, but I have to find the right music for something like that. I'm also leaning a bit harder on my power pop influences.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after Bright Ideas?
MB: I spent February 2019 to February 2020 in the studio. I have 21 songs in various states of having been tracked. Five of those songs are already out on the Defacing The Moon split. "Bright Ideas" was also one of those songs. A bunch more of those songs are going on my second full-length album, which is called Anxious Inventions & Fictions. The album is done, and the compact discs should show up before the end of June. For the next few months, I'm going to be doing a PR and marketing campaign for the album. I'd love to hire a company to do that for me, but that's expensive, so I'll be going full 'DIY'. That's a great deal of work. Sadly, I know that I won't find much time to write new music or even practice my instruments over the next few months. I'll try to carve out some practice time here and there. In order to get any writing done, I'll have to specifically set writing appointments on my calendar and squeeze in time here and there. I also might release a stand-alone single near the end of this year, and maybe another one next spring. These would be songs that are already tracked.
Once the album is out, then I will turn attention to another project I have. I have an outrageously talented co-writer named Ruth who lives in Ipswich, on the East Coast of England. We have a project called 'We Met In Paris' (it works because it's true), and we have around 25 songs now in various states of completion, and the plan is to keep writing. No rush here, but we're definitely going to make an album. No rush because we want to do it right. If a song isn't good enough to go on the album, no worries, we keep writing. That project is going to have a different sound than my solo work. It'll dip maybe a little into indie folk on occasion. I promised Ruth that I will not make another full solo album until we release a 'We Met In Paris' album. That doesn't mean I might not run to the studio for the occasional one-off single if I can pull it off quickly, but for a lengthy project like I just finished, yeah, that won't happen for at least a couple of years.
I'm enthused about 'We Met In Paris'. Writing with Ruth feels good. I see so much potential in the work we're doing. As long as it keeps feeling good, we should keep writing, while at the same time being sure to make sure we're making quality art.
Dr. J: What is your favorite song to perform? What makes it a current favorite in your performances? Do you enjoy Live Streaming?
MB: My favorite song to perform is 'Promise'. Interestingly, that's the lead single for the next album, and it'll be out in June. (The single, not the album.) Part of what I like about it is that it still has that new song shine. I guess it's not super new anymore, but I think it's one of the best things I've ever written, and playing it is kind of positive reinforcement. Surely I'm not the only artist that goes through periods of hating everything I create, right? Well, I haven't had any of those feelings come up around 'Promise' yet.
I enjoy the Live Streaming very much. This reminds me that I should do it more often. I actually get much less nervous doing streaming than playing live in the same room with people. That said, I miss playing live in the same room as people.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
MB: Honesty. I think that goes for my older stuff, too. Even when the protagonist of a given song is not necessarily me, and even if the song is not meant to reflect an actual real situation (looking at YOU, "Little Light"), the lyrical content should still be honest. Sure, sometimes as songwriters we write fiction, and that's OK, as long as it feels true. I'm probably not expressing this in the best way, but it goes back to authenticity. When you listen to 'Bright Ideas', and when you listen to the upcoming Anxious Inventions & Fictions, I hope that you take away a feeling of authenticity. I wish for people to realize that I'm not trying to chase musical trends or write what's popular, I am trying to write the music that speaks to me first, and then share my art with others. That doesn't mean I will never experiment with playing around with genre or instrumentation, on writing from other points of view, writing in languages that aren't English… but I wish for people to realize that I'm not pandering to anyone, and that I'm being honest and authentic.
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
MB: It's strange, my life is mostly unaffected, specifically because being a musician isn't my main source of income yet. I very much wish it to be. There is nothing I would love more than to get a regular paycheck in exchange for writing songs, but I'm not there. I still have a corporate job. Since I work that corporate job from home (and I've been doing that for a few years), nothing has changed significantly about my work situation yet. I realize that not everyone can say this, and that I should absolutely reflect on this and be grateful for my situation. If I were a full-time musician, things would be difficult right now.
The pandemic hasn't made its way into my art yet. I've noticed that songs about various aspects of the pandemic and its impact have started to be released. That's cool if that is what moves a songwriter, but it's not something I personally want to write about. Maybe in the future that will change, who knows?
I miss live shows. I can be in a terrible mood, and go see an acoustic performance at Showcase Thursday over at Yellow Cab, and then be in a better mood. Something about a person and a guitar and a few songs just kind of makes me feel better. I like the quiet shows. I like the loud shows as well.
One benefit of the pandemic is that I'll have ample time to do my promotion campaign for the upcoming album. I am going to take a week vacation from my corporate job, and of course, I'm not going anywhere. (Yes, I realize Ohio has opened up, but I'll still stay at home other than heading to the grocery store, thank you.) That gives me plenty of time to put in the work. Not just promotion, but also research and learning more about the business. I'm also working on getting into sync licensing, and I plan to take some time to run down some leads in that area as well.
Mike Bankhead Music on Facebook Mike Bankhead on Twitter at @mbankheadmusic
Mike Bankhead on Instagram at MikeBankheadMusic
Thanks again to Mike for answering these questions! If you would like to participate in a future '11 Questions with…' column, please feel free to email us at drjytaa@gmail.com. If you have, a particular picture you would like used in the article, please feel free to attach that as well. All pictures and images of Mike Bankhead courtesy of the artist and photographer Patrick O'Reilly.


Anu is a sprawling, sunset-light Sansar experience created by AnuAmun. It is a curious mix of the modern and the ancient.
Off the in distance, there appears to be a highway leading to a massive construction site.
It is all very mysterious. What is this place, with all its ancient statuary and massive ornamental buildings?
Next Next post: My First (and Second) Real Sale!


Orange has announced the release of a new Crush series of low-powered guitar combos at NAMM 2015. The range consists of four models: the Crush 12, Crush 20, Crush 20RT and Crush 35RT, which are designed to introduce guitarists of all levels to the signature Orange sound, at the same time offering a genuine alternative to digital modelling.
Building on designs of the Crush Pro range, Orange offers up the same high gain, four-stage preamp design to the new Crush series, capturing the Dirty channel of the Rockerverb in solid state form. Combined with Orange's custom 'Voice of the World' TM speakers, the new Crush combos deliver punchy tones with highly responsive overdrive and all levels of detailed saturation.
All models feature Orange's new CabSim circuit which faithfully emulates the sound of an Orange 4×12″ cabinet through the headphone/line output, whilst channel switching is available on 20W and 35W models. RT versions feature on-board reverb and an integrated chromatic tuner. The Crush 35RT also includes a fully buffered low-impedance effects loop and more than enough output for the rehearsal room.


The name of the calling party (spoken caller line identification) is mixed with the ringing tone. The functionality is enabled/disabled through profile settings.
rces loyal to the two candidates in October's presidential run-off have now engaged in three days of clashes. Supporters of Jean-Pierre Bemba say President Joseph Kabila's guards are attacking Mr Bemba's house. The streets of the city centre are virtually empty and shops are closed, as people are too afraid to venture outside. Spanish EU troops and members of the UN peacekeeping force - the world's largest - are already on the streets of Kinshasa trying to maintain order. The BBC's Karen Allen says the EU troops' first task will be to secure the international airport, which has closed.
The BBC's Karen Allen says the EU troops' first task will be to secure the international airport, which has closed.
Supporters of Jean-Pierre Bemba say President Joseph Kabila's guards are attacking Mr Bemba's house.
Spanish EU troops and members of the UN peacekeeping force - the world's largest - are already on the streets of Kinshasa trying to maintain order. The BBC's Karen Allen says the EU troops' first task will be to secure the international airport, which has closed.


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Chef Garvin gives back to the community through 'Give It Up For Good' campaign
Lilly Workneh
Chef G. Garvin
Chef Garvin is a man of many talents — but this skilled chef is going from filling stomachs to warming the hearts of countless people in his latest mission.
Recognized from his countless TV appearances, signature recipes and infectious smile, Chef Garvin is a distinguished celebrity chef who has teamed with Allstate in an effort to highlight local heroes in communities throughout America.
The mission is part of the Give It Up For Good campaign, which is a national program aimed to highlight the remarkable stories of good deeds of everyday people that often don't receive the attention and acknowledgment they deserve, particularly among communities of color.
"I think it's important to highlight people who are doing good, particularly among people of color, because there is a huge misconception that all things hood are bad and everyone in the neighborhood is doing something bad. That is not the case," Garvin told theGrio.
"You go into a lot of African-American communities, and, yes, there are problems, but there also are people who are really doing really great stuff. Whether it's keeping kids safe at programs, working at the local YMCA, volunteering at some of the shelters or just being neighborhood mentors. I think it's really important to highlight those people because, I hate to say it, but with the influx of rap music increasingly being against speaking out against violence it's really difficult for people to make things happen in a neighborhood where things are bad."
However, Garvin is no stranger to community involvement. The restaurateur has worked heavily in combating hunger and childhood obesity through his One Bite Foundation, a non-profit organization Garvin launched in 2009 to tackle the aforementioned issues along with homelessness and domestic violence.
"The One Bite at a Time Foundation is an extension of who I am and what I believe. I think that no child should ever go to sleep hungry, as well no adult. When you live in one of the richest countries in the world, I just think you should do more," he said.
His philanthropic efforts have made him a standout figure in the community and Garvin continues to use his words – and his work – to help empower others. He even hosts a Culinary Boot Camp as a way to help mold African-American kids into young culinary stars.
"There was a lack of young African-Americans in the culinary world, and I wanted to provide a platform or opportunity for kids who may not have been interested in the culinary field to take a look at it," Garvin said.
"Because culinary and food saved my life, I thought it would be a great idea to get these kids involved."
To learn more about the Give It Up For Good Campaign, click here.
Follow Lilly Workneh on Twitter @Lilly_Works.

redpajama_set_name: RedPajamaCommonCrawl


Above are Minnesota's average home loan interest rates for today and last week.
Minnesota has a land mass of nearly 87,000 square miles, a population of 5.4 million people, and a property tax rate of 1.05 percent of a home's value. Minnesota's median property value is at $200,400, and of the properties for sale, 20 percent of those are short sales (as of Q3 2012).
Review the chart above for today's mortgage rates in Minnesota. You can compare these rates with the national averages here.


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The 5 Most Innovative Tuition-Free Colleges
Tami Robinson
Students in the United States are facing a college affordability crisis: Total student loan debt has reached $1.6 trillion, and between 2006 and 2016, tuition costs rose 31% at public institutions and 24% at private institutions.
These cost increases show no signs of slowing down, which makes earning a degree seemingly impossible for a growing number of individuals. However, without a college degree, job opportunities and earning potential may be limited.
But what if you could go to college without paying for tuition or racking up student loan debt? You might think this is a fanciful idea, or a privilege only Europeans enjoy, but there are actually several tuition-free schools in the United States. Below, we reveal the ins and outs of colleges with free tuition.
An Overview of Tuition-Free Colleges
Alright, there is one catch to colleges that charge nothing for tuition: Many require students to work a set amount of hours. Other requirements may include residing in a certain geographical area or committing to post-graduation work or service requirements. But if students are willing to meet these requirements, it may be worth considering a tuition-free school.
Another type of tuition-free model includes military academies, such as the U.S. Military Academy at West Point or the U.S. Naval Academy. While everything is provided free of charge by the government, these schools require military service in exchange for an education. As such, they may not be right for everyone, and we do not include them on our list of the top five tuition-free schools.
A variation of the tuition-free model also includes institutions with large endowments, such as Ivy League schools. Colleges like Harvard, Princeton, and Columbia all offer substantial financial assistance to eliminate student loan debt. These institutions leverage their large donations and financial assets to offer grants or scholarships that give eligible students free tuition. While generous, these schools are typically much harder to get into and may not be an option for everyone.
The Top 5 Innovative Colleges With Free Tuition
Most tuition-free colleges require students to meet certain standards to qualify. Some may require students to work a minimum number of hours on campus, be enrolled full time, live in the area, or complete certain work or service obligations after graduation. Most tuition-free colleges also require students to finance their own room and board, fees, and textbook costs.
Because tuition-free colleges typically rely on private financing, many have a smaller student body and may offer limited degree offerings. In addition, several colleges with free tuition are religiously affiliated, which may not interest some students. However, all such schools have a few things in common: They are innovative, niche, and eminently affordable.
1. College of the Ozarks
The College of the Ozarks (COFO) aims to offer quality educational opportunities to students without sufficient means. The school is founded on Christian principles and aims to develop Christ-minded leaders with a strong work ethic. COFO is regionally accredited by the Higher Learning Commission and boasts a variety of accolades.
U.S. News & World Report ranks COFO number one on its "most innovative" and "best value" lists; it's also number three on its list for best regional colleges in the Midwest, and COFO's undergraduate teaching program ranks number six among Midwest colleges. The school offers a variety of degrees in fields such as accounting, education, business, the natural sciences, history, and psychology. Students may also enroll in one of their many pre-professional programs.
COFO's tuition-free model requires students to enroll full time and work a minimum of 15 hours a week on campus. During academic breaks, students must work 40 hours a week. In addition to submitting standardized test scores and an application, most students must demonstrate financial need to the admissions office to qualify for enrollment. Part-time students do not qualify for free tuition and must pay $310 per credit hour.
To finance its work education program and free tuition, COFO relies on private donations and charitable support. The college does not receive any funding through state, federal, or loan programs.
2. Macaulay Honors College at City University of New York
Macaulay Honors College is part of the City University of New York (CUNY) college system. It consistently ranks as a top honors school and boasts a growing student body of nearly 1,400. Many of the school's graduates go on to study at prestigious universities such as Harvard, Princeton, Columbia, and Duke.
As a top honors college, Macaulay requires students to meet strict academic standards. It also requires students to complete a minimum of 10 hours of community service in each of their first three years at the school. Every student at Macaulay receives a free-tuition scholarship that doesn't include any fees. Additionally, students receive a $7,500 Opportunities Fund grant to finance research and service opportunities, a MacBook Pro, and a Cultural Passport to New York City arts and cultural events.
Macauly students benefit from a uniquely designed interdisciplinary education. The school combines a student's interests and abilities with one of the many academic programs available at any of the eight SUNY colleges. Popular fields of study include political science, English, business, mathematics, and psychology. Students complete a combination of upper-division honors courses and three-credit seminar courses to graduate.
To offer its unique educational opportunities to students, Macaulay relies on support from private donors, alumni, foundations, and corporations. Due to its rigorous academic standards, Macaulay is not for everyone. However, for those that qualify, it offers a rewarding and prestigious educational experience.
3. Alice Lloyd College
Alice Lloyd College (ALC) is a small Christian school offering pre-professional programs and bachelor's degrees. It is regionally accredited by the Southern Association of Colleges and Schools Commission on Colleges. U.S. News & World Report ranks ALC third on its list of best value schools among southern regional colleges and 21 on its list of best overall southern schools.
Students at ALC may pursue a variety of undergraduate degrees in areas such as teaching, nursing, business, criminal justice, and liberal arts. Many of these programs offer concentrations or minors that allow you to tailor your education to specific career goals. ALC also offers several pre-professional programs that prepare students for entry-level positions in areas like law, engineering, dentistry, physical therapy, and medicine.
To offer its programs tuition-free, ALC relies on private donations and does not accept any direct state or federal funding. To qualify, students must reside in one of the 108 counties within the Central Appalachian service area. They must also work a minimum of 160 hours per semester either on campus or in the community through ALC's Student Work Program. It is important to note that while tuition is paid, students must pay for room and board which cost an average of $1,900 per year.
Through its tuition-free model, ALC aims to offer educational opportunities to students who may not otherwise be able to pursue a college education. ALC strives to develop skilled leaders with a desire to serve their own communities. It also encourages its graduates to pursue their professional careers locally.
4. Berea College
Berea College is one of only nine federally recognized "work colleges." Its undergraduate student body of 1,600 students consists mostly of Appalachia residents, but students hail from nearly every U.S. state and 60 different countries. Berea is regionally accredited by the Southern Association of Colleges and Schools Commission on Colleges. The college also boasts that 90% of its 130 faculty members hold the highest degree in their respective fields.
Berea offers 32 bachelor of science programs and 15 education programs. It is best known for an innovative service-learning program that ties a student's academic studies to the local community. Students in this program work with faculty and community organizations to design projects and solutions to community issues.
Students at Berea College do not pay tuition thanks to the school's Tuition Promise Scholarship. However, students must pay their own room and board expenses. Many students use federal funding through the Free Application for Federal Student Aid (FAFSA) to cover these costs. Berea requires students to work 10-15 hours a week. Students may choose from over 100 different on-campus or off-campus work or service opportunities.
Berea College relies on endowments, alumni donations, and private donations to fund its scholarship program, operations costs, labs, and textbooks. It estimates that it needs about $4.7 million dollars each year to continue operating. While a difficult feat, recent accolades from a CNN documentary bode well for Berea College as an exceptional model for affordability and access. This makes Berea a notable school to consider for pursuing a college degree.
5. Webb Institute
The Webb Institute focuses solely on engineering and offers one undergraduate degree in naval architecture and marine engineering. It is regionally accredited by the Middle States Commission on Higher Education and its engineering programs are accredited by the Engineering Accreditation Commission of ABET. Webb's student body of approximately 100 students come from about 30 different states.
All Webb students receive a full-tuition scholarship. It does not cover the costs of room and board, books, or software. Many students use internships or other financial aid sources to finance these costs. To fund its free tuition program, Webb relies heavily on donations from private donors and alumni rather than any public funding sources through the state or federal government.
Other unique features of Webb Institute include paid internship opportunities for all students, 100% job placement for graduates, and a student-to-faculty ratio of 9:1. Students can also access a 90-foot long model ship basin for research and experiments and live on Webb's 26-acre campus, which includes a private beach. Students complete work hours in the maritime industry during winter term while receiving a salary as part of their academic requirements to graduate.
A disadvantage of Webb Institute is its limited academic offerings and smaller student body. However, for anyone interested in the field of engineering, earning a degree at Webb may provide a competitive advantage. Graduates of Webb's program go on to work in a variety of settings, such as the U.S. Coast Guard, at Fortune 500 companies, or at high-tech startups.
Best Tuition-Free Colleges
by Sarah Gardam
Top 10 Hidden Costs of College
by Christina Payne
100+ U.S. Colleges Without Application Fees
by Staff Writers


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Milenii: Mileniul al II-lea î.Hr. - Mileniul I î.Hr. - Mileniul I

Secole: Secolul al V-lea î.Hr. - Secolul al IV-lea î.Hr. - Secolul al III-lea î.Hr.

Decenii: Anii 350 î.Hr. – Anii 340 î.Hr. – Anii 330 î.Hr. – Anii 320 î.Hr. – Anii 310 î.Hr. – Anii 300 î.Hr. – Anii 290 î.Hr.

Ani: 325 î.Hr. – 324 î.Hr. – 323 î.Hr. – 322 î.Hr. – 321 î.Hr. – 320 î.Hr. – 319 î.Hr.

Evenimente

Arte, științe, literatură și filozofie

Nașteri

Decese

 7 martie: Aristotel, unul din cei mai importanți filosofi ai Greciei Antice, clasic al filosofiei universale, spirit enciclopedic, fondator al școlii peripatetice (n. 384 î.Hr.)
 Demostene, orator și politician grec (n. 384 î.Hr.)

322 î.Hr.

redpajama_set_name: RedPajamaWikipedia


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Watch "American Sniper" Trailer Starring Bradley Cooper
American Sniper, Movies
Warner Bros. Pictures and Village Roadshow Pictures have just unveiled the teaser trailer of "American Sniper," starring Bradley Cooper and directed by Clint Eastwood. The trailer may be viewed at http://youtu.be/T0AWfeWJuNU.
In the film, U.S. Navy SEAL sniper Chris Kyle (Cooper) is sent to Iraq with only one mission: to protect his brothers-in-arms. His pinpoint accuracy saves countless lives on the battlefield and, as stories of his courageous exploits spread, he earns the nickname "Legend." However, his reputation is also growing behind enemy lines, putting a price on his head and making him a prime target of insurgents.
Despite the danger, as well as the toll on his family at home, Chris serves through four harrowing tours of duty in Iraq, becoming emblematic of the SEAL creed to "leave no man behind." But upon returning home, Chris finds that it is the war he can't leave behind.
A two-time Oscar® nominee for his work in "Silver Linings Playbook" and "American Hustle," Cooper heads the cast, which also includes Sienna Miller (HBO's "The Girl"), Jake McDorman, Luke Grimes, Navid Negahban, Keir O'Donnell, Cory Hardrict, and Erik Ladin.
Oscar®-winning filmmaker Clint Eastwood ("Million Dollar Baby," "Unforgiven") is directing "American Sniper" from a screenplay by Jason Hall, based on the book by Chris Kyle, with Scott McEwan. The autobiography was a runaway bestseller, spending 18 weeks on the New York Times bestseller list, 13 of those at number one.
The film is being produced by Eastwood, Robert Lorenz, Andrew Lazar, Bradley Cooper and Peter Morgan. Tim Moore, Jason Hall, Sheroum Kim and Bruce Berman are serving as executive producers.
The behind-the-scenes creative team includes Oscar®-nominated director of photography Tom Stern ("Changeling"); Oscar®-nominated production designer James J. Murakami ("Changeling") and production designer Charisse Cardenas; Oscar®-winning editor Joel Cox ("Unforgiven") and editor Gary D. Roach; and costume designer Deborah Hopper.
Opening across the Philippines on January 21, 2015, "American Sniper" is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
Labels: American Sniper, Movies
Watch "American Sniper" Trailer Starring Bradley Cooper Reviewed by Vida Madrona on 1:50:00 AM Rating: 5


As a Reiki Master, I like to create the a most relaxing atmosphere in my Reiki room.
I'm a practitioner in the Usui System of Natural Healing in accordance with the Usui Shiki Ryoko tradition.
Reiki is loosely translated to "universal life energy".
Usui Shiki Ryoko is a specific form of practice that allows the student to have contact with the energy of Reiki simply by laying on of hands in self-treatment and treatment of others. Most Reiki treatment involves the practitioner's hands being held on or near a specific part of the body for a varying length of time.
Contact me with any questions you have about the Reiki process or to set up an appointment.


If you've read the last blog post I did called "The Creation of Need Each Other," you know that when I first have an idea for a song, I normally just press record on Garageband and struggle to come up with both the acoustic guitar part as well as the lyrics and melody. I start playing random things while singing unrefined lyrics with incoherent ideas until I finally have a basic melody and some kind of lyric that acts as a prompt for the rest of the eventual lyrics.
But this song was different for some reason.
The melody for the acoustic guitar on this song just hit me all at once, and it never changed throughout the entirety of creating the song. That's not normally how it is with me. Normally it'll take me a long time to flesh out exactly how the melody on the acoustic will go, but not this time. I just knew exactly how it should be the first time I played it.
Even when it came to the lyrics, I always had a clear sense of direction for some reason. There wasn't really that much of a period where I was struggling with the melody either. I guess what I mean to say is that this song formed more naturally than any other song on the album. The main acoustic part just had a feel to it that, as corny as it sounds, I understood, and so it was really easy to come up with lyrics for it.
That chorus ended up changing to be a little more complex later on, but it got me headed in the right direction at least. I liked how repetitive it was, like it was something that the narrator continued to mull over in his mind; however, at the same time, I thought it was a little too repetitive. In later versions, I would work to fix that aspect of the chorus.
If you enjoyed this final version, you can find the full song on iTunes, GooglePlay, and Amazon MP3. I'd really appreciate if you'd let me know what you think about it! Thank you so much for reading, and I hope you enjoy the full version.


Furniture marketplace Brosa has received $2 million in Series A funding from venture capital firm AirTree Ventures.
The 18-month-old company, which connects customers directly to furniture designers and creators, is looking to end young Australians' love affair with cheap flatpack furniture that's made Ikea so successful.
Despite furniture retailers being adversely affected by instability in global financial markets, as well as weak demand for furniture due to high household debt levels over the past five years, founder Ivan Lim said Brosa is growing steadily at rate of 47 percent month-on-month. And it was only 17 months ago that Lim sold his first piece of handmade furniture.
As economic conditions gradually improve, IBISWorld predicts the Australian furniture retail industry to grow 3.9 percent from 2014 to 2015, with revenues expected to reach $7.5 billion this year. At the moment, BBQSAM and Harvey Norman are dominating the market.
However, Brosa believes it has an unfair advantage: it sells designer furniture directly to customers without the retail mark-up. This means consumers are getting up to 60 percent off on unique, high quality furniture that are not always readily available in retail stores.
The inspiration to create Brosa spawned from Lim's personal frustration with buying furniture, though coming from a family of interior designers also played its part.
Prior to embarking on his venture, Lim had purchased a home in the suburb of Richmond in Melbourne. Over four weekends, he visited showroom after showroom only to find furniture that looked similar to each other and selling at exorbitant prices. After communicating his frustrations to his friends, Lim realised there are other people who also long for the designer furniture, but the high prices attached to them make them unattainable.
Over the course of six months, Lim and his co-founders visited workshops around the world looking for the best furniture craftsmen to build a marketplace that delivers designer furniture direct from maker to consumer. Brosa is now selling more than 400 designer pieces of furniture to thousands of customers across Australia.
AirTree Ventures believes Brosa has great potential locally and globally. Although the company was only launched in February last year, the firm believed the company was ready for Series A investment.
"We have invested in furniture ecommerce before. Brosa's vertically integrated model, rapid process for launching new designs and just in time manufacturing is the future of ecommerce. We are excited to partner with the Brosa team to help scale the business and add new product lines " said Craig Blair, AirTree Ventures partner.
In addition to accelerating and managing growth domestically, the funding will be used on marketing and hiring talent.
"With this investment we have a real opportunity to build a lasting aspirational furniture brand and hopefully Australians won't need to settle for replica furniture anymore," said Lim.
Featured image: Richard Li (L) and Ivan Lim (R), co-founders of Brosa.


Not in the Pleasanton area?
Suicides and similar tragedies are delicate affairs calling for particular attention. If your home falls victim to a crisis, crime scene or suicide, handling the scene can look bleak. To fix these incidents, the restoration team needs sensitivity, qualifications and skills. Hiring professionals is wise because the materials left behind are hard to look at and can also be hazardous. The Paul Davis Recovery Services have the education and skills to work with these delicate events correctly and compassionately.
As a property owner, it's hard to handle biohazardous crime scenes without the help of professionals. In addition to visceral biohazards, our can sanitize sewage and drug lab messes. Professionalism is needed for either of these situations to be removed correctly. In both scenarios, biotoxins are prominent enough to cause real health hazards if you aren't qualified. The Pleasanton crew uses their extensive expertise to remove any hazard they encounter. Contact Pleasanton Paul Davis Restoration for assistance with sewage or drug lab scenes.
You can sleep confidently that our professionals will always work with the home and people involved with absolute compassion in the face of difficult situations. The qualifications our team members undergo equips them to restore scenes of all types in a proper way. Paul Davis biohazard specialists receive training from our Trauma/Bio-Recovery course or the National Institute of Decontamination Specialists (NIDS). This knowledge help our team members to operate with the latest decontamination steps and tools to restore your property.


The owner has retired. The business has closed. Excellent commercial building waiting for a new owner. Three private offices, nice common work area, lobby and entrance area. Central air. Exterior was remodeled about 5 yrs ago. Right in the heart of Lewiston. Don't wait on this one. All interior contents have been sold. Building will be vacant upon sale.
Ttl Sqft: 0.00 Zoning: Comm Office Business Info.


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Константин Устинович Черњенко (; Баљшаја Тес, 24. септембар 1911 — Москва, 10. март 1985) је био руски политичар, генерални секретар КПСС-а, председавајући председништва Врховног совјета (шеф државе) Совјетског Савеза од 1984. до 1985. године, то јест до смрти 13 месеци након избора.

Биографија
Рођен је 24. септембра 1911. у мјесту Баљшаја Тес. Године 1926. придружио се Комсомолу, а 1931. и Свесавезној комунистичкој партији (бољшевика). Након кратког ограничавања у фронталној гарди, на кинеско-совјетској граници, Черњенко је постао каријерни политичар. Након рада у регијама и у Молдавској ССР, позван је у Москву 1960, где је био под заштитом Леонида Брежњева. Био је унапређен и тиме постао кандидат за Централни комитет 1966, све до 1971. када је постао пуноправни члан. У Политбиро се као кандидат учланио у октобру 1977, а пуноправни члан је постао у новембру 1978. године.

Године 1965, Черњенко је постао Директор особља у партијском Главном оделу. Наставио је да ради као службеник, но сада је држао јако моћну позицију. Имао је знање о свим личностима из партије, а надгледао је прислушне и надгледне апарате у канцеларијама, иако је његов главни посао било потписивање на хиљаде докумената дневно. Тај је посао радио 20 година. Чак и кад је постао Главни секретар, наставио је да потписује папире, но захваљујући совјетској бирократији, његов потпис није био ништа важнији него кад је био само службеник. Евентуално, када се разболео, није био у стању да потписује документе те је уместо оригиналног потписа кориштен факсимил. То је још више умањило вредност његова потписа.

Након Брежњевљеве смрти 1982, Черњенко је изгубио борбу моћи због анти-Брежњевских сила, које су укључивале и КГБ и Совјетску армију, и уместо њега, Јуриј Андропов је био кандидован за Главног секретара. Када је Андропов умро у фебруару 1984, Черњенко је, упркос забринутости због његовог здравља, изабран да га замени.

Вођа Совјетског Савеза
Черњенко је представљао политику касне Брежњевске ере. Упркос томе, подржавао је већу улогу радничких савеза, реформе у школству и уклањање бирократије. У спољној политици успео је договори трговачки пакт са НР Кином. Упркос позивима за обнављање детанта, Черњенко је учинио мало да смањи хладноратовске тензије с САД-ом. На примјер, 1984, СССР је зауставио посету источнонемачког вође Ериха Хонекера Западној Немачкој. Но у касну јесен 1984, СССР и САД су се договорили о наставку разговора о смањењу наоружања у 1985. години.

Черњенково слабо здравље онемогућило му је да влада ефикасно. Његова честа избивања из канцеларије, нису оставила сумњу да је његово постављање био само краткорочна мера у већ дужој борби за власт између конзервативаца и реформатора.

Последњи месеци и смрт
Због чињенице да је Черњенко провео врло кратко време на позицији, постоји јако мало његових слика, а од свих тих фотографија, већина их је црно-бела.

Константин Черњенко умро је 10. марта 1985. гопдине. Сахрањен је у Кремаљској некрополи.

Остале информације
Черњенко је током свог живота радио разне послове на разним местима:

Гранична гарда, Партијски секретар за јединицу Граничне гарде, Агитпропов директор у Краснојарску и другим регијама, Партијски функционер, члан и секретар Централног комитета, Члан Президијума Врховног совјета, Шеф президијума Врховног совјета, Главни секретар КПСС и вођа Совјетског Савеза.

Имао је сина са својом првом супругом (од које се развео), која је постала пропагандисткиња у Томску. Његова друга супруга, Ана Дмитревна Љубимова, родила му је две кћери, Јелену (која је радила на Институту за Партијску историју) и Веру (која је радила у совјетској амбасади у Вашингтону) и сина Владимира који је радио као уредник у Госкину.

Спољашње везе

Рођени 1911.
Умрли 1985.
Совјетски политичари
Руски политичари
Председници Совјетског Савеза
Троструки Хероји социјалистичког рада
Сахрањени у Кремаљској некрополи
Личности Хладног рата
Руски атеисти
Совјетски атеисти


This business is a true household name across Australia. They are a well renowned, located in the CBD and they have an outstanding reputation for their highly mature Agile environment and being an all round great place to work. They are looking to hire a talented and creative Full stack developer to join them with definite room for extension. With multiple roles available on this project team they are looking for a mixture of experiencea at Mid + Senior levels circa 3-10 years.


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Александр Иванович Куляпин (род. 1958) — российский филолог. Доктор филологических наук, профессор, исследователь советской литературы и семиотики советской культуры 1920-х — 1950-х годов, исследователь жизни и творчества В. М. Шукшина, поэтики прозы  М.М. Зощенко

Биография
Александр Куляпин окончил филологический факультет Алтайского государственного университета. С 1983 года работает на кафедре русской и зарубежной литературы АлтГУ. В 1989 году защитил кандидатскую диссертацию на тему «Жанрово-стилевое своеобразие русской литературной критики 1790—1810-х годов». В 2001 году защитил докторскую диссертацию «Проблемы творческой эволюции В. М. Шукшина».

Преподавал в АлтГУ историю зарубежной литературы XX века, вёл спецкурсы по мифологии, творчеству М. М.Зощенко, В. М. Шукшина, спецсеминар по советской семиотике 1920-х — 1950-х годов. Также вёл спецкурсы по теории литературы и творчеству Зощенко в Барнаульском государственном педагогическом университете. В 2003-4 учебном году был приглашённым лектором на курсах повышения квалификации преподавателей филологического факультета Бийском педагогическом государственном университете, в 2006-7 учебном году вёл курсы лекций по культурологии и российской истории в Алтайском филиале Сибирского государственного университета путей сообщения. В 2011 году перешёл на постоянную работу в Ишимский педагогический институт, которую совмещает с руководством дипломниками и аспирантами в АлтГУ.

Под руководством А. И. Куляпина защищены 12 кандидатских диссертаций. С 2007 года он входит в диссертационный совет по присуждению учёной степени доктора филологических наук Института литературы и искусства им. М.О. Ауэзова МОН Казахстана.

В 2013 и 2015 гг. победитель конкурса «Лучшая книга Алтая».

В 2014 г. лауреат премии Алтайского края в области науки и техники.

В 2018 г. победитель ежегодного краевого конкурса «Интеллектуальный капитал Алтая» в номинации «Ученый года» по направлению «Гуманитарные науки».

В 2019 г. победитель конкурса «Лучшая книга Алтая» в номинации «Лучшее научное издание».

Работы
Александр Куляпин является автором более 260 научных работ, в том числе восьми монографий (часть из них в соавторстве), членом редакционной коллегии Энциклопедического словаря-справочника «Творчество Шукшина». В числе прочих периодических изданий публиковался в журнале «Критика и семиотика» Института филологии СО РАН, научных журналах АлтГУ Филология и человек, Известия Алтайского государственного университета. В 2000-х годах также публикуется в разделах критики и литературоведения таких литературных журналов, как «Звезда», «Новый мир», «Сибирские огни».

Монографии и учебные пособия
 Куляпин А. И. Проблемы творческой эволюции В. М. Шукшина. — Барнаул: Изд-во АГУ, 2000.
 Куляпин А. И. Творчество Михаила Зощенко: истоки, традиции, контекст: Учеб.пособие. — Барнаул: Изд-во АлтГУ, 2002.
 Куляпин А. И. Творчество Шукшина от мимезиса к семиозису. — Барнаул: Изд-во АлтГУ, 2005.
 Десятов В. В., Куляпин А. И. Прозрачные вещи: Очерки по истории литературы и культуры XX века. — Барнаул: Изд-во АГУ, 2001.
 Куляпин А. И., Левашова О. Г. В. М. Шукшин и русская классика. — Барнаул: Изд-во АГУ, 1998.
 Творчество Стивена Спилберга: Материалы к спецкурсу/ Алт. гос. ун-т. Филол. фак. Каф. рус. и зарубеж. лит.; Сост. В. В. Десятов, А. И. Куляпин. — Барнаул, 2003.
 Куляпин А. И., Скубач О. А. Мифы железного века: семиотика советской культуры 1920-1940-х гг.: учеб. пособие. — Барнаул: Изд-во АлтГУ, 2005.
 Куляпин А. И., Скубач О. А. Мифы железного века: семиотика советской культуры 1920-1950-х гг.: монография. — Барнаул: Изд-во АлтГУ, 2006.

Литература Алтая: учебно-методическое пособие для учителя. Барнаул: АКИПКРО, 2017. 322 с. Соавторы: Мансков С.А., Балакина Е.И., Богумил Т.А. Вальбрит Л.К., Шелковников А.Ю., Шелковникова Л.Ф.
Барнаульский миф в русской литературе (научная статья). Алтайский текст в русской культуре. Вып. 1. Барнаул: Изд-во АлтГУ, 2003. С.6-14. Соавтор: Десятов В.В.
Барнаул и Алтай в литературе ХХ в. (научная статья). Барнаул на рубеже веков: итоги, проблемы, перспективы. Барнаул: Изд-во АлтГУ, 2005. С.216-220. Соавтор: Десятов В.В.

Примечания

Ссылки
 Куляпин Александр Иванович на сайте Алтайского государственного университета
Куляпин Александр Иванович Кто есть кто в Алтайском крае. Научные работники на Официальном сайте Правительства Алтайского края
Персональный сайт ученого Куляпина Александра Ивановича

Филологи России
Выпускники Алтайского государственного университета
Преподаватели Алтайского государственного университета


text:
Foung Hawj goals for Legislative Session
in Editorial · Government
— 22 Feb, 2014
State Sen. Foung Hawj (67-DFL)
Minnesota State Sen. Foung Hawj (67-DFL)
ST. PAUL (Feb. 20, 2014) — First and foremost, let me say it has been an honor to serve the people of East St. Paul over the last year.
My first legislative session has taught me so much, and I'm looking forward to making changes and bettering our community as I prepare for the start of my second legislative session. For starters, this session is primarily a bonding year, which means the Senate Capital Investment Committee has been touring the state looking at projects that are requesting money.
There are a number of very deserving projects in our district that I have been working hard to promote. In addition to bonding, the past few months have kept me busy as I keep my eye on issues in the community, prepare for a possibly contentious minimum wage debate as well as draft and find co-sponsors for several bills I am introducing this year.
I'd like to take the time to talk about the bonding projects in East St. Paul that are requesting bonding money. Metropolitan State University has been increasing its enrollment and the number of people graduating with science degrees. However, it's the only college within the Minnesota State Colleges and Universities System (MnSCU) that does not have a dedicated science building. Metro State is requesting $35.86 million to build a Science Education Center.
This building will allow the school to increase its science course offerings and teach students in state-of-the-art classrooms and labs. Students with advanced science degrees can go on to discover new technologies and change the world. Let's provide the necessary tools to students in order for them to make a difference right here in the Twin Cities.
I am the chief author of the bill requesting money for the Lower Phalen Creek Project at the Bruce Vento Nature Sanctuary. The Sanctuary is an award-winning park that currently houses a vacant four-story warehouse that project leaders hope to turn into the Wakan Tipi Center. The project began as the brainchild of St. Paul resident Tracy Sides and the winner of this fall's $1 million Forever St. Paul Challenge.
The project is requesting $3.5 million to turn the warehouse into a vibrant multi-use center including a community-based food hub. I believe the Wakan Tipi Center will make a trip to this beautiful sanctuary even better by offering a variety of cultural activities and learning opportunities.
I'm also chief authoring a bill on behalf of Ramsey County for a $2 million request to design and build a winter recreation area at Battle Creek Regional Park. Battle Creek is a 1440 acre park that is a well-known area for cross country skiing. The money will be used to build a snow-making system that will have the capacity to establish a cross-country ski trail with an 18-inch base of snow. A garage will also be built to house the pumping station and provide space for equipment storage.
A set of differing opinions about a proposed bike trail has also been keeping me busy this interim. The trail is designed to run along Highway 35 from Arden Hills all the way to University Avenue, The Minnesota Department of Transportation (MnDOT) along with Ramsey County has been hosting meetings in communities in close proximity to the bike trail. Not everyone can agree where exactly the trail should go and how it should be shaped. I'd like to reassure my constituents that I've been attending these meetings and I'm working on securing the best scenario for our community.
Finally, I'd like to talk about the minimum wage debate. It's hard to find consensus on how much it should be raised, even within the DFL party. But I am making a stand; minimum wage must be raised for the good of all Minnesotans. When you put more dollars in the pockets of those who work a minimum wage job, not only does that money help that person and their family, it also puts more money into the local economy. I am prepared to vote yes on a bill that would raise the minimum wage to $9.50 an hour.
This session should prove to help better the lives of residents living in East St. Paul. I will work to include your bonding projects in the final bill, I will fight to raise the minimum wage, and as always, I remain committed to my constituents and community.
If you have questions or would like to discuss a different topic, please email me at [email protected] or call my office at 651-296-5285.
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Robert Z. Lawrence
Nonresident Senior Fellow
Trade Deficit
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Robert Z. Lawrence, nonresident senior fellow since 2001, is the Albert L. Williams Professor of Trade and Investment at the John F. Kennedy School of Government at Harvard University. He is also a research associate at the National Bureau of Economic Research, a global fellow of the Mastercard Center for Inclusive Growth, and the chair of the advisory board of the University of Witwatersrand School of Governance, Johannesburg, South Africa.
He served as a member of President Clinton's Council of Economic Advisers from March 1999 to January 2001. At the Brookings Institution Lawrence was a senior fellow from 1983 to 1991 and held the New Century Chair as a nonresident fellow after 1993. He has also served as a consultant to the Federal Reserve Bank of New York, the World Bank, the Organization for Economic Cooperation and Development (OECD), and the United Nations Conference on Trade and Development (UNCTAD).
Lawrence was also a member of the Presidential Commission on United States–Pacific Trade and Investment Policy, and the International Advisory Panel of the South African government's Accelerated and Shared Growth Initiative in 2006 and 2007. He has advised numerous governments and served as a member of the World Economic Forum's Global Trade Agenda Council, the advisory committees of the Peterson Institute for International Economics, the Panel on Foreign Trade Statistics of the National Academy of Sciences, the Committee for Economic Development, the Overseas Development Council, the Panel of Economic Advisers of the Congressional Budget Office, and the Mastercard Global Panel.
Lawrence is author or coauthor of over 100 papers and articles and 30 books and monographs on topics in the field of international economics. His books include Rising Tide: Is Growth in Emerging Economies Good for the United States? (2013), Blue-Collar Blues: Is Trade to Blame for Rising US Income Inequality? (2008), Case Studies in US Trade Negotiation (2006), Anchoring Reform with a US-Egypt Free Trade Agreement (2005), Has Globalization Gone Far Enough? The Costs of Fragmented Markets (2004), Crimes and Punishment? Retaliation under the WTO (2003), and Globaphobia: Confronting Fears about Open Trade (Brookings Institution Press, 1998). His latest book Behind the Curve: Can Manufacturing Still Provide Inclusive Growth? will be published in 2022.
Non-Institute Publications
"How Should Sub-Saharan African Countries Think about Global Value Chains?" Bridges Africa, 2:1, March 2013, pp. 12–16.
Succeeding in the Global Economy: An Adjustment Assistance Program for American Workers [PDF], Financial Services Forum White Paper, with Grant D. Aldonas and Matthew J. Slaughter, July 2008.
Stabilizing State and Local Budgets: A Proposal for Tax-base Insurance, Brookings Institution Policy Brief and Discussion Paper 2008–01, with Akash Deep, June 2008.
The Global Enabling Trade Report 2008, World Economic Forum, Geneva, Switzerland, June 18 2008.
He served as a member of President Clinton's Council of Economic Advisers from March 1999 to January 2001. At the Brookings Ins...
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Have trade agreements been bad for America?
How to save the WTO with more flexible trading rules
Looking at all the wrong places to reduce the US trade deficit
The price of American economic nostalgia
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Free Lunch: The economic consequences of Mr Trump
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Rising Tide: Is Growth in Emerging Economies Good for the United States?
Blue-Collar Blues: Is Trade to Blame for Rising US Income Inequality?
A US-Middle East Trade Agreement:A Circle of Opportunity?
Case Studies in US Trade Negotiation: Making the Rules
Case Studies in US Trade Negotiation: Resolving Disputes


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Q: Get minutes remaining between dates in Swift My question is based on a time interval
I'm getting the hour and minutes (NOW) and I want to create a timer for 75 minutes since that moment but I want the timer to continue working even if i close the app even on multitasking
So i was thinking if I save the time as a NSUserDefault value and every time I open the app It reads the stored value and recalculates
This is my actual code
    override func viewDidLoad() {
    super.viewDidLoad()

    var timer = NSTimer.scheduledTimerWithTimeInterval(30, target: self, selector: Selector("update"), userInfo: nil, repeats: true)
}

func update() {
    //here I should update the GUI with the remaining minutes and do a NSUserDefault check if the 75 minutes have already
}

@IBAction func save_time(sender: AnyObject) {

    let date = NSDate()
    let calendar = NSCalendar.currentCalendar()
    let components = calendar.components(.CalendarUnitHour | .CalendarUnitMinute, fromDate: date)
    var hour = components.hour
    var minutes = components.minute + 75
    if (minutes>59){
        hour += 1
        minutes -= 60
    }
    defs.setInteger(hour, forKey: "u_hora")
    defs.setInteger(minutes, forKey: "u_minutos")

}

A: You can just store them as TimeInterval using NSUserDefaults and you should  create a time interval extension to format your time string as desired:
import UIKit

class ViewController: UIViewController {

    @IBOutlet weak var strTimer: UILabel!

    var tasksManager = NSTimer()
    var endTime:NSTimeInterval = 0
    var now: NSTimeInterval {
        return NSDate().timeIntervalSinceReferenceDate
    }

    func updateTime(){
        strTimer.text = ( endTime - now ).time
    }

    override func viewDidLoad() {
        super.viewDidLoad()
        // NSUserDefaults().removeObjectForKey("endTime")
        // loads endTime if it exists otherwise assign 0 value
        endTime = NSUserDefaults().valueForKey("endTime") as? NSTimeInterval ?? 0
        // restart timer if endTime exists
        if endTime > 0 {
            tasksManager = NSTimer.scheduledTimerWithTimeInterval(1/15, target: self, selector: "updateTime", userInfo: nil, repeats:true)
        } else {
            strTimer.text = "0:01:00.00"
        }
    }
    override func didReceiveMemoryWarning() {
        super.didReceiveMemoryWarning()
    }
    @IBAction func startTimer (sender: AnyObject) {
        // sets endTime new timeinterval to a future point in time
        // so we need to add n seconds from now
        endTime = now + 60.0    // now + n seconds
        // saves it using NSUserDefaults
        NSUserDefaults().setValue(endTime, forKey: "endTime")
        // if the timer doest exists we create one
        if !tasksManager.valid {
            tasksManager = NSTimer.scheduledTimerWithTimeInterval(1/30, target: self, selector: "updateTime", userInfo: nil, repeats:true)
            // if the timer exists we invalidate it
        } else {
            tasksManager.invalidate()
            endTime = 0
            strTimer.text = "0:01:00.00"
            NSUserDefaults().removeObjectForKey("endTime")
        }
    }

}
extension NSTimeInterval {
    var time: String {
        return String(format: "%d:%02d:%02d.%02d", Int(self/3600), Int(self/60%60), Int(self%60), Int(self*100%100))
    }
}

A: You can save the current date and time in NSUserDefaults like this.
 NSUserDefaults.standardUserDefaults().setObject(NSDate(), forKey: "dateKey")

You can calculate the number of minutes elapsed between saved time and current time in this way.
if let savedDate = NSUserDefaults.standardUserDefaults().objectForKey("dateKey")  as? NSDate
{
    let currentDate = NSDate()
    let distanceBetweenDates = currentDate.timeIntervalSinceDate(savedDate)
    let secondsInAnMinute = 60.0;
    let minutesElapsed = distanceBetweenDates / secondsInAnMinute;
    println(minutesElapsed)
    println(distanceBetweenDates)
}

redpajama_set_name: RedPajamaStackExchange


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AP Sources: Boeing changing Max software to use 2 computers
Posted 12:46 PM, August 2, 2019, by Associated Press
Boeing reported a $3.7 billion loss in the second quarter because of the grounding of the 737 Max, its bestselling jet.
Boeing is working on new software for the 737 Max that will use a second flight control computer to make the system more reliable, solving a problem that surfaced in June with the grounded jet, two people briefed on the matter said Friday.
When finished, the new software will give Boeing a complete package for regulators to evaluate as the company tries to get the Max flying again, according to the people, who didn't want to be identified because the new software hasn't been publicly disclosed.
The Max was grounded worldwide after crashes in Indonesia and Ethiopia that killed a total of 346 people.
Use of the second redundant computer, reported Thursday by the Seattle Times, would resolve a problem discovered in theoretical problem simulations done by the Federal Aviation Administration after the crashes. The simulations found an issue that could result in the plane's nose pitching down. Pilots in testing either took too long to recover from the problem or could not do so, one of the people said.
In the new configuration, both of the plane's flight control computers would be monitored by software instead of the current one, and pilots would get a warning if the computers disagreed on altitude, air speed, and the angle of the wings relative to the air flow, the person said. Only one computer was used in the past, because Boeing was able to prove statistically that its system was reliable, the person said.
The problem revealed in June is similar to the one implicated in the two crashes. That problem was with flight-control software called MCAS, which pushed the nose down based on faulty readings from one sensor. MCAS was installed on the planes as a measure to prevent aerodynamic stalling, and initially it wasn't disclosed to pilots.
The new software would make the entire flight-control system, including MCAS, rely on two computers rather than one, said the person. "It would make the whole flight control system more robust," the person said.
Boeing Co. spokesman Charles Bickers said only that the company is working with the FAA and other regulators on software to fix the problem that surfaced in June. The company has said it expects to present the changes to the FAA and other regulators in September, and it hopes the Max can return to flight as early as October.
The two people briefed on the matter said Boeing has finished updating the MCAS software by scaling back its power to push the nose down. It is also linking the software's nose-down command to two sensors on each plane instead of relying on just one in the original design.
The FAA has been widely criticized for its process that certified the Max as safe to fly, largely because it uses company employees to do inspections that are then reviewed by the agency.
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MacGregor, M. (2012) The Campbells: lordship, literature and liminality. Textual Cultures: Texts, Contexts, Interpretation, 7(1), pp. 121-157.
The Campbells have the potential to offer much to the theme of literature and borders, given that the kindred's astonishing political success in the late medieval and early modern period depended heavily upon the ability to negotiate multiple frontiers: between Highlands and Lowlands; between Gaelic Scotland and Ireland, and, especially after the Reformation, with England and the matter of Britain. This paper will explore the literary dimension to Campbell expansionism, from the Book of the Dean of Lismore in the earlier sixteenth century, to poetry addressed to dukes of Argyll in the earlier eighteenth century. Particular attention will be paid to the literary proclivities of the household of the Campbells of Glenorchy on either side of what appears to be a major watershed in 1550; and to the agenda of the Campbell protégé John Carswell, first post-Reformation bishop of the Isles, and author of the first printed book in Gaelic in either Scotland or Ireland, Foirm na n-Urrnuidheadh ('The Form of Prayers'), published at Edinburgh in 1567.
This article was published as MacGregor, M. (2012) The Campbells: lordship, literature and liminality. Textual Cultures: Texts, Contexts, Interpretation, 7(1):121-157. ISSN 1559-2936. No part of this article may be reproduced, stored in a retrieval system, transmitted, or distributed, in any form, by any means, electronic, mechanical, photographic, or otherwise, without the prior permission of Indiana University Press. For educational re-use, please contact the Copyright Clearance Center (508-744-3350). For all other permissions, please visit Indiana University Press' permissions page.


text:
"We love you too!" John Hogg said to the crowd after "Color Blind" reached its haunting end.
The band paused briefly in the Vinyl Music Hall applause before launching into Led Zeppelin's "Custard Pie".
Marking their first appearance at Vinyl Music Hall, most of The Magpie Salute are no strangers to Pensacola. The Black Crowes rocked the stages of Springfest, Bayfront Auditorium and the Saenger Theatre.
Formed by guitarist Rich Robinson, Magpie Salute builds on music and friendships formed over time with guitarist Marc Ford (The Black Crowes, Burning Tree, Ben Harper), bassist Sven Pipien (The Black Crowes), keyboardist Matt Slocum, drummer Joe Magistro and Hogg.
In a night full of highlights, Magpie Salute served rocking originals along with a Crosby, Stills & Nash cover ("You Don't Have to Cry") before a welcomed trip down Black Crowes lane with "Wiser Time" and "Twice as Hard".
-Michael Hulin-Smith
Show Pics, Show Write-Ups
black crowes, concert photography, florida, joe magistro, john hogg, journalism, magpie salute, marc ford, matt slocum, pensacola, rich robinson, sven pipien, vinyl music hall