Indeed, still today, Johnson is haunted by the memories of living in this house. Only 13 at the time, the incidents occurring left an indelible mark on her past, sometimes resulting in nightmares. Today, after nearly 20 years, she is still unable to confront them. "I can't go there, not yet," she said.
It's trauma such as this that can stay with residents of a haunted house. Most people learn to live with the unusual incidents associated with living in a haunted house but for some, the trauma can be very real, even permanent.
Both Juliano and Cox have been on cases where residents experienced trauma from their hauntings.
Positive emotions weren't on the mind of Dominic Samson*. His wife, Wynonna*, recounted their experience to me. "In the Fall of 2000, my husband and I moved into a charming little house. We rented this house from a woman whose mother lived there for 20 years or so. This lady died in the house, not once but twice! She called her daughter one morning to say she wasn't feeling well and by the time her daughter arrived along with an ambulance, she had died. The paramedics revived her, but she died again in the same spot. It was almost a year after the mother died that her daughter decided to rent out the property. We had never met either woman and only met the daughter while house hunting.
"Before we moved into this house, we had a lot of cleaning to do. Every afternoon my husband and I would go to the house and spend several hours working there. This is when we first noticed something was definitely strange. My husband would get a case of hiccups as soon as he stepped onto the bottom step leading into the yard. This was a city house on a hill with several steps leading into the yard, and more leading up to the porch.
"The first time this happened, we laughed about it because I had never seen him with hiccups. It was funny. But when we left that day, as soon as he stepped off that last step onto the street, the hiccups stopped immediately. Since he was plagued by them for hours, it was noticeable when it stopped.
"The next day, the exact same thing happened. As soon as he stepped onto the bottom step the hiccups started and as soon as he stepped back onto the street they would stop. This went on until the day we moved in, so we were already joking about how the lady didn't like him and didn't want him there.
"The first time I actually saw the woman, I was in the very spot where she died. I looked up, like when you can just 'feel' someone watching you, and there she was…peeking around the living room corner at me. Bear in mind that I had never seen a photo of her and had no idea what she looked like in life. This woman did not look at all like her daughter. Later that evening, I spoke with our landlady and told her what I saw. She and I were becoming friends, and she had my husband and me over for dinner. I described the woman as tiny and rather stern-looking, with short curly hair. She was wearing a light blue house dress with a pink floral design. Our landlady teared up and told me that I had described her mother to a 'T' and that the dress I described was her favorite…she wore it all the time before she died. She brought out a photo of her mother and I was floored. She was definitely the woman I saw. This was only the beginning.
"For the next couple of months, I saw the woman from time to time. She never interacted with me, but just seemed to be watching. My husband's experience was quite different. He has always been prone to migraines, but he would get them so bad that he would be incapacitated. He would feel her pulling his hair and tugging on his beard. When these things happened, he didn't hear her voice but he seemed to understand that she was saying she did not approve of him at all. He says it was more like words in his head.
"We kept our landlady updated on these things. She had actually tried to make contact with her mother since her death with no success, so she was very interested in any details we could give. When we told her of the hair-pulling and beard- pulling, she told us that her mother had always been very vocal about not liking men with long hair or beards. My husband has always had very long hair and a long goatee, so that made sense.
"I continued seeing her around the house, and my experiences remained benign. My husband's experiences worsened. A stack of 5 or 6 books flew off a table at him even though they had been in that same spot for a week or more. I watched this happen and the only way to describe it is that they slid off the tabletop and went straight out about 3 feet to hit him. I never had problems with the windows in the house, but when he was in the bedroom alone in the evenings with the windows open, they would slam shut.
"Now here is what happened the night everything came together and finally ended. My husband got another migraine. This was the worst I had ever known of him to have, and he hasn't had another like it since. He was lying down on the floor with a cold damp towel wrapped around his head. He couldn't bear that for long, so I sat by him in a sort of yoga crossed-leg position and he rested his head in my lap. That way, I could support his head without the pressure of it being on a pillow. He tossed and turned, wrapping his arms around his head and kept saying the strangest things. 'YES! I HEAR you!' and 'PLEASE stop. I WILL!' It was like he was having a conversation with someone I couldn't hear. I later learned that this was exactly the case. He heard the woman's voice as if she was in the room with us, although I didn't hear her. He told me that she kept yelling at him, directly into his ears.
"He kept this up for hours, always saying something to the effect of 'Yes, I will do what you ask. Please leave me alone now.' He was feverish so I feared he was hallucinating or something like that, but his medication didn't help at all. Then out of the blue, he rose up and looked at me. He said, 'Tell Jane* to get the ring out of the box and wear it. You have to remember to tell her.' I agreed, and then he grabbed his pillow and fell asleep on the floor.
Keeping a positive outlook is a good way of dealing with strange happenings while in a haunted house. But for Julia Daniels*, of Red Oak, Texas, the experiences in her new home compelled her and her husband, Thomas*, to seek help in getting rid of their ghost. While moving into their new home, the couple and even some visiting in-laws kept noticing a strange body odor by the front door. Julia's mother-in-law even commented that she saw a man standing by the door, watching with interest as they painted the new home. Since they didn't perceive him to be a threat, nobody said or did anything concerning their ghostly roommate.
Then things took a big turn.
It's personal boundaries getting crossed like this which Juliano points out as an indicator a resident should seek advice or help in coping with their haunting experiences. "I would say that if their everyday life is being adversely affected, then they should go to speak with someone," he said.
In addition to reaching out to talk to others about their experiences, the experts have other suggestions for coping with the trauma of living in a haunted house.


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Archives for category: Tora Tora
This Years Top Articles
My endorsement shot for Violet Moon Guitar Strap Ons
In Nashville, there is so much music press; it's hard to know what people really like to read about. In having my own site, I've noticed I get readers from all over the world. I do get to write for other publications, such as Performer, Shake and Sleaze Roxx, but, on my own site, many times I just get to write what is on my mind.
Here are a few of the top articles this year, if you didn't get a chance to read what others are reading.
Parrish with sister Stacy
I felt it was really up to me to write the tribute piece about guitarist Parrish Hultquist. The Utah rock scene, although very insular, had a lot of local bands in the 80's. I met Parrish while we were still in high school and he is still considered the greatest guitarist to ever come out of that state. I not only wrote this piece for my site, but, another one that went out to Sleaze Roxx and was republished throughout the world on several Rock music sites including Hungary. His band Megattack, at the time was considered a supergroup by creating a band from members of The Jack, Mannequin and other well know Utah rock groups, their first shows were at the Utah Fairgrounds with capacity crowds of close to two thousand people before signing a record deal and releasing Raw Delivery on Dream Records in France. They got together for a reunion album Save The Nations in 2006 and two reunion shows before drummer Brian Sorenson went into a coma and Parrish returned to Spokane with health issues, which eventually took his life early this year.
The radio show on PureRockRadio.net in tribute to Parrish after his death was the biggest in Pure Rock Radio based out of Las Vegas, Nevada history. I was able to get in contact with former band members, who reminisced, while tracks from three bands he was a member of, Moviescreen, Megattack and Wolfgang played.
This is not only the biggest read article this year, but the most read all time, other than those who regularly go to my front page to see what is new. If you haven't had a chance to read it, here is the quick link: Parrish Hultquist, Utah's Greatest Guitarist Gone at 48
Evanescence Guitar rig at War Memorial show
In August I was invited to cover local band Fools For Rowan opening for Evanescence at the War Memorial. Armed with just my Smartphone, not able to locate a photographer in time, this article was linked to multiple Evanescence fan bulletin boards and was the most read show revue of the year. I'm sure it got interest in Fools For Rowan while giving Evanescence fans worldwide a little taste of the War Memorial gig, The funniest thing; I never know how shots from my phone are going to work. The best shot was the stage left shot of the guitarist rig before the Evanescence set.
Enjoy: Fools For Rowan Open Evanescence Nashville Show
Jimi in Kentucky, Screaming Eagles
Jimi Hendrix will never cease to amaze people. I read a local interview that Bassist Billy Cox did about Jimi Hendrix time after being in the military in Kentucky. He was down in Nashville, playing on Jefferson Street, Nashville's Beale Street, long before he went to New York City. I started doing Jimi citings, finding the places he stayed and where he used to play. In the late last year release, West Coast Seattle Boy, a DVD was part of the package that talked more about his time in Nashville.
Although written late last year, I included this, because it is the second all time read article. Brad Schreiber wrote an incredible book entitled Becoming Jimi Hendrix that really explained what Jimi was doing before going to England. Jimi left his mark here. After talking to Civil Rights Photographer, Ernest Wither's daughter, I was invited to speak in Memphis earlier this year about Jimi's time in Tennessee. I did want to research more on the subject, but, I felt the one person who could really talk about those times would be Billy Cox, who still lives in Nashville. I spoke to Billy briefly about the invitation to speak in Memphis and invited him to speak about Jimi. Billy was not able to do that with the upcoming commitments of the Experience Tour this year. I eventually decided to leave the invitation to rest. Hopefully, Billy can speak about those early days, pre-New York in the future.
Jimi Hendrix in Nashville: Jimi Hendrix: The Nashville Connection
The August at Douglas Corner Cafe
I don't write a lot about Country music since it is so well covered here in Nashville. I do like to write about breaking artists though. Especially when they are "that" good. One such group is The August who moved down here from Chicago. This article was the biggest read Country music article for the year.
The August with Jacky Dustin Sweet Emotion at Douglas
Eddie Hinton and Muscle Shoals nuff said
I picked up a copy of The Oxford American issue on Alabama Music. I was a part of the Alabama scene for several years playing not only with my band Furthermore, but with other local songwriters like Nathan Whitmore and Adam Guthrie. I consider those years in Birmingham to be some of my favorite times. I was shocked when I didn't see word one about Eddie Hinton. Most of the musicians in Alabama would vote him numero uno when you talk about Alabama Music. This open letter was a huge read.
An Open Bama Letter to Oxford American
Anthony Corder, Tora Tora Live at Snowden Glen 2011
Last but not least, the most read interview here on this site was with Anthony Corder after the release of Tora Tora's Revolution Day. This was an album recorded almost two decades ago, but, was never released until this year on Nashville's FnA Records. Tora Tora was the 80's band that made it out of Memphis. They recorded all three albums at Ardent Studios in Memphis and always have a little bit of the soul and blues in the mix.
Anthony Corder on Tora Tora's Revolution Day
One thing is for sure, there is no way to plan out what article is going to be big. It could go big because I wrote from the heart or because the band is bigger overseas. It could be for any reason and none in particular, but, music is still important to all of us and reading about the things that matter still has a place in Nashville.
As for next year, the biggest thing on my plate is my first band biography that I am writing under contract. It should be completed next year. That is about all I can reveal about that right now.
Hope you all have a wonderful Holiday Season!
Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com
Categories Adam Guthrie, Alabama, Alabama Music, Alternative Music, Analog Recording, Ardent Studios, Band of Gypsys, Billy Cox, Birmingham, Douglas Corner Cafe, Eddie Hinton, Evanescence, FNA Records, Fools For Rowan, Guitar, Hair Metal, Jacky Dustin, Jimi Hendrix, Megattack, Moviescreen, Muscle Shoals Sound Studio, Music, Nashville, Parrish Hultquist, Rock Music, Salt Lake City, The August, The War Memorial Nashville, Tora Tora, Uncategorized, Utah
On Location: Pensacola Beach
A funny thing happened on the way to Whitesnake
Many of you were probably wondering if I had checked out. Actually, I had a great time down in Pensacola Beach, Florida before I had realized I had left my laptop and Nikon camera in my Hotel room two days later while I was in Memphis. Luckily they had found my stuff in my Hotel room but the Hotel Manager (whom I will choose to remain nameless) didn't keep his promises to get it shipped and I finally contacted the Hotel Brand Customer Service to get my laptop back.
When I made the original call, I was assured it would be shipped the next day. Three days later on Friday, my Yahoo email address sent spam out to everybody on my email address without me having access to my laptop for over a week. I received the notifications on my Droid phone.
I figured somebody was accessing my computer. I called the hotel and after two hours I got a hold of the Hotel Manager and sure enough my laptop had not been shipped. In fact I got two more false ship dates before I got an actual UPS tracking number the next WEDNESDAY!!!! It arrived the following Friday, two weeks after I checked out.
You know I usually give people a second chance, but in this case, I think I will wait till they get a new Manager.
By the way, Pensacola and the whole Florida Panhandle was a great getaway. It was a major music party that weekend. I did have a good time until two days after I left and went through that episode. Let me recap.
I booked the Hotel the week before Memorial Day in hopes of peace and quiet to leave behind the Nashville night life and do some songwriting only to find that The Hangout Music Festival with everybody from Paul Simon to Motorhead was on for three days in Gulf Shores, Alabama. Not only that, but Kenny Chesney was doing a concert on the beach as well.
I tried to get a day ticket instead of press credentials for the Hangout Music Festival only to find out it was sold out. Okay fine, on with my original plan except Pensacola Beach was in the midst of a summer kick- off party as well so after day light hours of quiet beaches and good food, at night it was party time.
Friday Night was Gallery Night in old downtown Pensacola New Orleans style iron work and balconies. There was music everywhere from a rockin' Kiss tribute band, Love Gun, at The Vinyl Music Hall, Art Galleries open and Clubs lining Palafox Street.
Atlas Oyster House, Pensacola, FL
Between the great seafood at Atlas Oyster House, especially the Blackened Shrimp with Smoked Gouda Cheesy Grits with Portabella Mushroom Remolaude, there was plenty to do.
I didn't get much songwriting done, but, the white sands between Fort Walton and Destin made Saturday the reason why I hope to end up in Pensacola when things slow down. In fact, being by the gulf, why would I want to make any plans? It feels great to be on a wandering gypsy adventure.
By Saturday night the local party was cranking up with 80's tribute band The Molly Ringwalds rocking the Boardwalk outdoor stage at Captain Fun's Beach Club. With a bass player dressed up like Dee Snider and a keyboardist doing Pee Wee Herman they ran through the 80's from "Everything She Does is Magic" to Queen's "Under Pressure". While I was enjoying the music and scene down in Pensacola Beach a local told me about a historic Club called Seville Quarter that had everything from a Piano Bar, Dance Club to local live music out on the patio.
Big Jim Brown at Seville Quarter
I met him down there and caught a set by local musician and music store owner Big Jim Brown and The Speed Kings. He was described as a blues guitarist, but, more accurately kind of roots rock closer to Tom Petty. A lot of nice people and a mix between old hippies and local Air Force military and plenty of beautiful girls kept the party going late into the night.
View from Atlas Oyster House
Sunday I met with an old friend and ended up at Atlas Oyster House again. There are plenty of Restaurants in and around Pensacola but it was my favorite. For the final Seafood du jour, I had a dozen Baked Oysters with Shrimp, Parmesan and spices with the best slice of Key Lime Pie I ever ate. The boat dock and the bay made for great scenery on my last full day.
Monday I headed up to Birmingham to pick up a new pair of Supra Dixons at the most authentic skateboard store in the south, CCS at The Galleria in Birmingham and catch up with friends.
Tuesday, I was off to Memphis to support FnA Records recording artists Tora Tora opening up for Whitesnake at Snowden Grove in Southaven, Mississippi. I helped out with the label merch while catching them play stuff off their new disc, Revolution Day, like "Mississippi Voodoo Child" as well as "Revolution Day". They were getting their groove on in front of the hometown crowd.
Tora Tora at Snowden Grove
It never fails when I watch a band at their hometown gigs from back when, the old friends stop by and tell me about going to high school with the band or hanging out at band practices. It's always fun to hear the stories and realize how many years have gone by.
I hadn't seen Whitesnake since Jon Sykes and Cozy Powell were in the band. The only permanent fixture is David Coverdale. They were bent on playing a lot of the new stuff. The guitar slingers on this round were Reb Beach (Winger, Alice Cooper, Dokken) and Doug Aldrich (House of Lords, Dio). Doug Aldrich looked like a 30 year old Randy Rhoads in full stance, Les Paul in hand; hard to believe he is 47. His playing was phenomenal.
SIX in Branson /Photo- Tammy Grice
I was planning on going to Branson to meet up with SIX aka The Knudsen Brothers. I had Co-Produced Praises We Sing back in the Nineties at Ray Charles favorite L.A. Studio, Trax Recording. SIX is now one of the top performing groups in Branson, living the high life, family style, in Branson, Missouri. One of the benefits of doing a Vegas style show in Branson is being able to be home during part of the day and home in your own bed at night. It is a big change from being on the road or paying some hard won dues in Las Vegas. Six is arguably the most successful Accapella group ever while still staying out of the main stream radar.
I'll have to head to Branson another time. I got home Wednesday morning at 3am because of major pain with my teeth. I made a call to my Dentist at nine and immediately his office set an appointment up with the Entodontist at 10:30am. After looking at the X-Ray's, the Entodontist sent me to the Oral Surgeon at high noon.
It was serious. Luckily, Dr. Clark in Franklin was really good. I had never been there before, but the staff and Dr. Clark made me feel comfortable with their relaxed attitude and framed photos of San Francisco. It turned out Dr. Clark was from the California Bay Area where I had spent a lot of time with relatives growing up. He had me out with a mouth full of stitches by 2:30pm. It may not have been the planned ending to my vacation, but, the parachute worked.
Now that I finally have my laptop and camera back, I have a lot of catching up to do.
Categories Big Jim Brown and The Speed Kings, Pensacola Beach, Rock Music, SIX, The Knudsen Brothers, The Molly Ringwalds, Tora Tora, Whitesnake
FnA Records will officially release the long anticipated Tora Tora follow up to Wild America; Revolution Day on February 28th on purerockradio.com at 8:30 PM Pacific Time live on the air from Las Vegas, Nevada with DJ Cory Draper playing some of the tracks and celebrating with all the original members of the band; Anthony Corder, Keith Douglas, Patrick Francis and John Patterson.
It has been a while since 1994 when this gem was recorded at Ardent Studios in Memphis, Tennessee just like the previous two albums. Anthony and I sat down for an Indian Lunch buffet at Tamarind on Demonbreum, just off Music Row in Nashville to reflect back on that time. Tora Tora has been lucky over the last few years doing reunion shows and playing Rocklahoma in 2008.
The release of Revolution Day has been long anticipated since the fans have been getting their first taste of the music from Revolution Day live over the last couple of years. Tora Tora fans, especially in their hometown of Memphis, Tennessee were excited to know that Revolution Day was going to see the light of day.
Brad: Everybody in the band is still nearby?
Anthony: Yeah everybody is still based out of Memphis. We actually ended on great terms when the record deal was done. Our A&R Guy Brian was a great guy, he also signed Soundgarden.
B: So who was your Management then?
A: We were with Loud n Proud which was based out of Brooklyn. L'amour's was a big heavy metal club and we used to go there and rehearse for a first tour which was our first trip out of town, when we were going to promote our record, it was our first big tour. We would go there and stay out on Staten Island in some Loft apartments, with three of our crew guys; there were seven of us staying there in a one bedroom apartment. So we're driving into Brooklyn every day to rehearse at L'amour's and go by the management office.
B: You were recording at Ardent, right? But, rehearsing in New York?
A: Yeah, we went out for eight weeks after the first record I think. We worked our way on from Pennsylvania, out in the boonies, places like the Cat Club, Vinnie's,
B: And this was right after the first release?
A: Yeah after Surprise Attack. At the end we were with Bill Graham Management. About the time we were ready to wrap the third record, Brian (A&R) was offered a very lucrative contract to go with another label.
B: How did you get signed?
Tora Tora at Ardent during Wild America
A: Ardent had signed us to a production deal and they kept bringing A&R guys to Memphis to see us and A&M showed the most interest. They seemed the most genuinely interested in what was going on with the band. Brian (Artist Relations with A&M) was always really encouraging; he liked to hang out with us after our thing (in Memphis). We used to have this warehouse where we would showcase.
B: Was that like your practice space?
A: Yeah, we hung black garbage bags all over the wall and the front of the stage. Keith's Dad had these 55 gallon blue barrels and we built a stage out of them. We put plywood on top of them and painted it. We would just recruit some of the Football players like from Ole Miss and they would run the door for us. They were security and the local DJ would announce us on the radio. He would say, "Hey tonight, don't forget Tora Tora". They would bring like long chairs and all kinds of stuff and just hang out and we would jam out all night. That's where the record label came to see us play.
B: Did you have other bands playing gigs with you there?
A: Our first show was on Halloween and we had an opening act but after that we pretty much did our own thing.
B: Did you do the warehouse thing because there was pretty much one club or you had to open for a big name act?
A: The biggest problem was our crowd was under age so playing bars; they wouldn't be able to get in. So it was a place, if you were under age where you could go and hang out and listen to lots of music. It was kinda cool. We did play at The New Daisy on Beale Street a lot. It's like a little thousand seat Theater. We actually just played there in 2009 I think. It was kind of great to go back there and play in a place you grew up.
B: So what was going on around the time you did Revolution Day after a few years on the road?
A: About the time we got finished with recording our last, the third (Revolution Day) record, Keith our guitarist, was getting ready to have a Son, so he was thinking I don't know if I'm up for doing another run on the road, maybe I'll do the record, and of course we wanted him to go with us, we just said if you're not going to go then we're not going either. You know we had been playing together since we were kids.
B: So he didn't think he would be able to do it?
A: Well, he just had a child that he wanted to be around. It was a big decision and at the time the other three of us weren't married. Not to bring up anything negative, but it seemed like the timing was right to take a break, Brian (at A&M) was going and Keith was wanting to take some time off, so we were like you know what let's just take a break and we'll pick up where we left off or if we want to get back together we will.
B: So you kind of took a hiatus?
A: Yeah, and so we decided to do that and it took us I don't know how long, fourteen years or something like that to get back. Everybody got back into their own life and had their things going on. I wanted to keep singing and I kept pounding it out with some other guys.
B: Were any of the guys playing in any bands or doing anything after Tora Tora?
A: Patrick actually did, he went on and did a thing with a band called Rail.
B: Was it the Rail that was on MTV and stuff back in the early eighties that won some contest and toured with Heart?
A: I don't think so. Oh no.
B: When you started Tora Tora and got signed did you ever find out there were any other bands called Tora Tora?
A: We did, from the seventies I think.
B: Were they a U.S. Band?
A: Yeah, they were and they had a record called Made in Japan. It was funny. I guess with the length of time and everything since their release we got permission and everything to get the rights to the name and go for it.
B: Nowadays with the internet, it is a lot easier to find out, but back then you would have to look through a library or for trademarks or something. Back then you wouldn't know there was another band with your name unless you crossed regions. With a name like Tora Tora there was that possibility.
A: Right, we kind of found out on the back end, but it was enough time before we got the record deal and everything going.
B: When you were writing the music for Revolution Day there is a marked confidence in the playing.
A: We had grown so much out on the road. I mean on our first record we had never travelled. We didn't have a lot of life experience. We just thought about dating girls, maybe catching a buzz or something. It was pretty limited but after our first record we spent two years out on the road and you could tell our eyes were just like opening.
B: Who were you touring with at the time?
A: We did a lot of touring on our own. We were brand new. We wanted to get out and get the chops, get our own crowd. It was about being in front of people, you know you can rehearse to death in a rehearsal room and hit every mark and great but when you play in front of people it turns into its own thing.
B: Now kids want to get in and do all these recordings and videos but what Rock and Roll is all about is going out and joining the circus.
A: Yeah we took three guys as our crew and went out and our A&R guy was there.
B: Did your A&R guy do merch for you?
A: No, He just wanted to go out with us on the road. It was great fun. I don't know how other people work but he was pretty hands on.
B: That is really good though.
A: Yeah even Keith our guitar player got kind of close would hang with him. He would come up with all kinds of crazy stuff. One of my Birthdays, we were on our way to North Carolina or whatever and he would get ideas to go do stuff. There is nothing like being in a band together and just going out and doing stuff you like to do. We were getting so much better out on the road.
B: Well, when you think of the trilogy of Tora Tora albums it makes me think about Van Halen, on Van Halen it was just killer, and then when you get to Van Halen II, hey they have been out on the road, there just kind of more loose, relaxed and then Van Halen III it was like they thought we can do some crazy stuff, like with the drum beats and where they were going. It was kind of like Tora Tora was getting there, like now we can try some crazy stuff.
A: Yeah, we always rehearsed a lot so that when we got to the studio there were never any snares. Keith was always the perfectionist. You know how it is, he was always creative. We were growing musically, but on that third record practiced a lot at an old studio around the corner from Ardent. We actually had done a lot of pre-production there for the Wild America record as well.
B: Are the first two A&M records still in print?
A: The first one (Surprise Attack) is, the second one is not. I think they only made about 300,000 units or something.
B: So what about Revolution Day?
A: I think we did stretch out musically. We had a warehouse that was over by the airport and it was great we could get as loud as we want and there were planes like taking off. This was during the third record.
B: Did you know Rock City Angels when they were recording over at Ardent?
A: Yeah we knew them very well. I remember Bobby Durango and all those guys. Anyways, when we were at the warehouse, one of our crew guys had worked at Ardent and he was a great like Engineer guy and he could fix like anything in the world and he helped us mic up everything and did preproduction demos on 8 track cassette. That was some of the stuff we released on FnA Records.
B: Yeah some people are so into deep catalog stuff they are looking for stuff like that.
A: Yeah, I told FnA Records that was great even for us to have just to document that time. We worked on that record for a long time and there are songs like "Little Texas" which is about this place in Mississippi where they are still toting stuff around it's a farm area, a town called Little Texas, Mississippi. Lyrically it had stuff about my roots, more introspective.
B: So "Little Texas" is about where you grew up?
A: Yeah, a little bit. I mean the real place I'm from is called Avalon, Mississippi. It's where Mississippi John Hurt is from, and you know cotton gins and little stores,
B: You know talking about Mississippi John Hurt; that was one of the blues players they went back to in the sixties like Son House.
A: My Granddad knew him. When I grew up, my family on my Mom's side, they were all like porch players and my Mom played piano and my Uncle played guitar. The other Aunt sang.
B: Porch players? Like hanging out on the porch and jamming?
A: Yeah, porch pickers, they would all play and they got my Uncle to learn the John Hurt way of playing. So he would do it and play just like him. My Aunt could do it. I don't realize it was something unique growing up there with my family jamming and stuff. My friends would come down with me to visit and they would be like, your family is playing this Mississippi John Hurt style and I would be like, no, let's get out of here. I would never sing in front of my family. When I was about fifteen, a guy down the street from me was playing guitar and I'll never forget, he got a Jackson, like he was all about it, it was pink and the slanted neck and all that. He got it and he was listening to a bunch of Dokken and all these things and I went down and he said you should sing or something. At first he got a snare, bass drum and a High hat and I was jamming with him and I was yelling over the drums. That is when I very first started singing.
B: Before that did you sing in the shower or anything like that?
A: No, I listened to a lot of top 40 radio and my parents listened to a lot of R&B and the bluesy stuff and they did Gospel. It was really important, because they were like strict Southern Baptist and we were at church every Sunday singing in church and stuff like that. It was definitely something different when I started singing with them and we started this group called Pioneer.
B: That was your first band?
A: We had done a couple of talent shows and a couple of Battle of the Bands things and then Patrick the bass player from Tora Tora talked to me one day. We saw each other at the Mall or something.
B: This was how Tora Tora started?
A: Yeah, he said we are going to have some auditions for the band and we wanted to know if you wanted to come by and sing. They were like into Iron Maiden and Rush, things I weren't super clear with, and I knew some of the stuff.
B: You brought kind of the blues thing into it, kind of like they were these Metalheads?
A: Yeah, it wasn't something like hey this is what we are going to do. It just kind of developed. They were playing like Cheap Trick, Rush 2112 and Iron Maiden.
B: This is a lot different than "Guilty".
A: They had a following before I came in but it was more heavy kind of a Judas Priest thing. It turned into something a little bit different. After the first couple of times practicing it started changing and they were really teaching me a lot of things because I really didn't know much about singing. I mean like timing and all that stuff. It was hilarious. I remember our first show we played out, like I didn't move. I stared at my feet. And they said you gotta move man. I wouldn't trade it for anything. I think about every day. I mean I can walk by somewhere and smell the room and say I want to get up there right now or something will happen. The third record though,
B: What would you say would be the radio cut on the new album?
A: I don't know, we had a lot of fun where we had girls singing back up and we had the Memphis Horns on one track (Memphis Soul). We had written with some more outside writers like Stan Lynch from Tom Petty and The Heartbreakers.
B: Really, Stan Lynch?
A: He had two songs on the second record, and I think he had two on the third record. I still talk to him this day. He had a great stand here in Nashville. On the first record we were against writing with other people, but then we co wrote "Guilty" and that was like pulling teeth. None of us wanted to go in there. We felt like they were trying to change us. We thought well we need to man up so I went in there and wrote with him. We thought this is totally going to change our sound and the label is going to hate it and the label people went "Oh my God, this is great! We got a single!" It was a learning experience and the one thing I am happy about now, looking back on it, especially being in publishing now, I encourage people to write with as many people as they can. You always take something out of it even if the song is not that great.
B: There is nothing wrong with mixing it up.
A: I think Keith tried a lot of different things on the guitar; he tried a lot of different tones and sounds in the studio. We had the luxury when we were at A&M, all six years, with recording everything at Ardent. It was kind of our home base. John Fry is still a great mentor to me.
B: John Fry is still the "guru" at Ardent today.
A: Yeah, and they gave us the opportunity to like grow and be experimental. I bet we wrote sixty songs for Revolution Day. That was actually demo'd up.
B: Pre-production was a big thing back then. You could demo thirty songs and pick twelve or thirteen.
A: I think the culture is totally different now. Economics. Money is not flowing around like it used to be. Technology affords you the opportunity to just trigger it. The overall thing about Revolution Day that I just wanted to say is get it out to the people that want to have the chance to hear it.
B: The songs from Revolution Day always go over really well. I was at your 2008 show. The fans like it, people want a copy of it.
A: It's out all over the internet (poor MP3 quality bootlegs). We just said, let's do a copy right. I'm surprised fans are still out there and they're still loyal. They appreciate everything we do. I think about it every day.
B: I talk to a lot a people from bands from back in the day and I mention Tora Tora, being from Memphis and the album Revolution Day and I always get positive feedback. It's always, I really liked those guys.
A: I think a lot of it is due to the team we had around us at Ardent. The band, the guys, they really had a sound. We would go bang it out in the studio till we had the right sound.
B: So with Revolution Day, maybe you'll do some more shows?
A: Well, Keith has been writing some stuff and said "I want to send some stuff over to you, not bang you in the head, maybe acoustic stuff at first. Which is good, I was always the mellow guy. I would love to do something again other than just do shows.
After a pile of Tandori Chicken, Curry and Rice we were done and where we were going was into the future. It is possible that Tora Tora may have some new material in the future with the same four members that tore it up back when, but, for now Revolution Day is a fantastic album equal sonically to some of the best Metal of the era like Motley Crue's Doctor Feelgood for Metalheads past and present to enjoy.
Tora Tora present times
Categories Ardent Studios, FNA Records, Hair Metal, Music, Rock City Angels, Rock Music, Tora Tora

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Resistance Exteriors LLC (262)-951-0875
Rubber Roofs
US Military Promotion
Roofing Glossary
Siding Glossary
Skylights & Sun Tunnel
Roofing Glossary A - Z
Asphalt Shingles: Roofing felt saturated with asphalt, coated on the weather side with a harder asphalt and aggregate particles, and cut into shingles for application to a sloped roof.
Bare Spots: Sections of a roof where the top layer is exposed to the elements.
Boot: A covering made of flexible material that can be preformed in a particular shape, used to exclude dust, moisture, dirt, etc. from around a penetration.
Bundle: A package of shingles (comes in 3, 4, or 5 bundles per square).
Caulking: A physical process of sealing a joint or juncture. Making the joints, seams or voids between surfaces weather-tight.
Chimney Flashing: Pieces of sheet metal or the like used to cover and protect certain joints and angles where a roof comes in contact with a chimney, especially against leakage.
Deck: A structural component of the roof of a building capable of supporting the weight of the roofing system.
Drip Edge: A metal flashing with an outward projecting lower edge intended to control the direction of dripping water and help protect underlying material.
EPDM: Ethylene propylene diene M-class rubber. Also know as a rubber roof. Used on low slope areas.
Fascia: A vertical or steeply sloped roof or trim located at the perimeter of a building. Typically, it is a border for the low-slope roof system that waterproofs the interior portions of the building.
Flashing: A thin, impervious sheet of material placed in construction to prevent water penetration or direct the flow of water. Flashing is used especially at roof hips and valleys, roof penetrations, joints between a roof and a vertical wall, and in masonry walls to direct the flow of water and moisture.
Gable: The vertical triangular portion of the end of a building having a double-sloping roof from the level of the eaves to the ridge of the roof.
Heat Welding: A method of melting and fusing together the overlapping edges of separate sheets/sections of polymer modified bitumen, thermoplastics or some uncured thermoset roofing membranes by the application of heat (in the form of hot air or open flame) and pressure.
Hip: The exterior inclining angle created by the junction of the sides of adjacent sloping roofs, excluding the ridge angle.
Ice Dam: A mass of ice formed at the transition from a warm to a cold roof surface, frequently formed by refreezing meltwater at the overhang of a steep roof causing ice and water to back up under roofing materials.
Joist: Any of the small timbers, metal or wood beams arranged parallel from wall to wall to support a floor, ceiling, or roof of a building.
Lap Seam: A lap seam occurs where overlapping materials are seamed, sealed, or otherwise bonded.
Membrane: A flexible or semi-flexible material, which functions as the waterproofing component in a roofing or waterproofing assembly, and whose primary function is the exclusion of water.
Open Valley: A method of valley construction in which the steep-slope roofing on both sides are trimmed along each side of the valley, exposing the valley flashing.
Pitch: A numerical measure of the steepness of a roof.
Polyvinyl Chloride (PVC): A synthetic thermoplastic polymer prepared from vinylchloride. An energy efficient roofing option due to their light coloring options. Used on flat or low sloped roofs.
Ridge: The horizontal line formed by the upper edges of two sloping roof surfaces.
Ridge Cap: A material or covering applied over the ridge of a roof.
Ridge Course: The last or top course of roofing materials, such as tile, roll roofing, shingles, that covers the ridge and overlaps the intersecting field roofing.
Ridge Vent: A ventilator located at the ridge that allows the escape of warm and/or moist air from the attic area or rafter cavity.
Roofing System: A system of interacting roof components generally consisting of a membrane or primary roof covering and roof insulation (not including the roof deck) designed to weatherproof and improve the building's thermal resistance.
Shingle: Roof-covering unit made of asphalt, wood, slate,asbestos, cement, or other material cut into stock sizes and applied on sloping roofs in an overlapping pattern
Slope: is a numerical measure of the steepness of a roof. As known as "pitch".
Soffit: The exposed undersurface of any exterior overhanging section of a roof eave.
Starter Course: The first layer of roofing, applied along a line adjacent to the downslope perimeter of the roof area; with steep-slope water-shedding roof coverings, the starter course is covered by the first course.
Starter Strip: Roll roofing or shingle strips applied along the downslope eave line before the first course of roof covering and intended to fill spaces between cutouts and joints of the first course.
Step Flashing: protects the interface between a roof and a wall from water leaks that can cause hidden damage.
Substrate: The surface which a roofing or waterproofing membrane is applied.
Underlayment: Asphalt saturated felt used beneath the roofing to provide additional protection for the deck.
Valley: The place where two planes of a roof meet at a downward, or V, angle.
Roofing
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(262) 951-0875 • tcutts@resistanceexteriors.com


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Thing-IF SDK
Using Thing-IF
Using Thing-IF SDK (non-trait version)
This page explains the class structure of the objects that Thing Interaction Framework and its SDK are based on.
Note that the structure presented on this page is the conceptual model unless stated otherwise, so it may be different from the class relationship in the SDK.
Structure of thing-related classes
The following diagram illustrates the structure of thing-related classes. The structure is hidden under the ThingIFAPI class implementation-wise.
The Thing, the subject to be controlled, is represented as a subclass of the Target. Currently, the thing is the only destination for sending commands. The concept Target is introduced to expand the destination in the future (i.e., sending commands to mobile applications and other types of devices).
The thing owner is represented as the Owner, and the User is defined as its subclass. The concept Owner is introduced for expanding this relationship in the future (e.g., adding admin accounts).
The Target can have multiple Schema. In the SDK implementation, multiple instances of the ThingIFAPI will be generated and each of them will have one schema.
The Target can have triggers, commands, and state with the multiplicity shown in the diagram.
Structure of command-related classes
The following diagram illustrates the structure of command-related classes.
As explained in Action and Command Execution, the Command has multiple Action and ActionResult inside.
One Target is identified as the destination for sending commands. As already explained, the Target is an abstraction of the Thing. In the actual SDK, this is not implemented as a class reference. The SDK has the Target as an ID.
Structure of trigger-related classes
The following diagram illustrates the structure of thing-related classes.
The Trigger is a class used for the trigger execution explained in Auto Execution with Triggers.
It has a Predicate and Command when you are auto-executing a command.
It has a Predicate and ServerCode when you are auto-executing server code.
The multiplicity of the Command and ServerCode must not be 0 at the same time. They are exclusive, so only one of them can be 1.
The Predicate corresponds to a "predicate" of the predicate logic, and it represents a function that returns if the trigger execution condition is satisfied or not. It can have the StatePredicate that covers the state comparison based condition, the ScheduleOncePredicate that covers the one-time schedule, and the SchedulePredicate that covers the recurring schedule.
The Trigger has a Command when auto-executing the command, but this is merely the template of the command. The actual command for the execution is created using this template.
The next diagram illustrates how the Trigger and subsequent classes are implemented in the SDK. All class names are from the Android SDK. The iOS SDK also has the same structure, but some of the class names are different.
The relationship between Predicate, Command, and ServerCode is the same as that of the conceptual model. You will use a pair of Predicate and Command or Predicate and ServerCode.
The Predicate has a StatePredicate, ScheduleOncePredicate and SchedulePredicate as its subclass.
The StatePredicte for making the state comparison has a Condition and TriggersWhen inside. As explained in State Condition, they correspond to the comparison condition (what to compare) and the execution condition (how to associate the condition to the command execution). The TriggersWhen is the enum implementation-wise, so you will use it as an attribute of the class.
The ScheduleOncePredicate to designate a time has the scheduleAt attribute inside. As explained in One-Time Schedule, it is a time condition to execute a trigger once.
The SchedulePredicate to designate a time has the schedule attribute inside. As explained in Recurring Schedule, it is a time condition to execute a trigger on the scheduled interval.
The Condition has the Clause that is a root of the tree structure. You can define the condition using its subclasses (e.g., Equals, NotEquals). You can use the recursion for the And and Or.
Read the development guides (Android, iOS, JavaScript) for more details about the implementation.


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Will "LinkedIn Learning" disrupt the education landscape?
"Is the Apple Watch killing the Swiss watch industry?" The Apple Watch – a threat or an opportunity for the Swatch Group Ltd?
IMD faculty and research teams have a long tradition of writing award-winning publications across a wide spectrum of management practices.


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Tag Archive > Shinjya Okamoto
Offseason Changes: Rakuten Golden Eagles
Patrick » 04 February 2011 » In npb » 4 Comments
Coming: Akinori Iwamura, Kazuo Matsui, Shinjya Okamoto, Kelvin Jimenez, Byung-Hyun Kim, manager Senichi Hoshino
Going: Kazuo Fukumori, Norihiro Nakamura, Makoto Kosaka, Ryuji Miyade, Todd Linden, Andy Phillips, Naoto Watanabe, Keiichi Yabu, manager Marty Brown
Staying: Hisashi Iwakuma, Darrell Rasner, Randy Ruiz, Juan Morillo
Summary: Rakuten's 2011 offseason was headlined by two big events: the unsuccessful posting of ace Hisashi Iwakuma, and the hiring of accomplished manager Senichi Hoshino. Hoshino inherits a team that finished sixth last year, and is facing with losing its ace again.
I shared a few observations about the Iwakuma posting, and why in retrospect it was destined to fail, over at FanGraphs last month, so I won't rehash that. From an on-the-field perspective, the Eagles are certainly more competitive with him than without him. He and heir apparent Masahiro Tanaka will lead a rotation that goes four deep; five if Kelvin Jimenez's KBO success translates to Japan. Coincidentally, Rakuten's two notable bullpen acquisitions came via Korea last year: Shinya Okamoto spent last season with the LG Twins, and the other is Byung-Hyun Kim. Those two along with the returning Juan Morillo give Hoshino a couple more relief options, which will help as Rakuten's bullpen wasn't particularly strong in 2010. But overall pitching was not really Rakuten's problem last season. The Eagles allowed 635 runs and a 3.98 ERA, which was right in line with the all the Pacific League teams that don't have Yu Darvish.
Rakuten's problem in 2010 was an anemic offense. Only Nippon Ham hit fewer home runs than Rakuten's 95, but the Fighters' contact-hitting lineup still scored 36 more runs than the Eagles. Rakuten finished last or next to last in the Pacific League in runs scored, batting average, on-base percentage, slugging percentage, steals, and intentional walks. This poor performance can mostly be attributed to four players: imports Todd Linden and Andy Phillips didn't show up last year, and veteran sluggers Norihiro Nakamura and Takeshi Yamasaki experienced declines. Linden, Phillips and Nakamura are all gone this year, replaced in the lineup by a full season of Randy Ruiz and NPB returnees Akinori Iwamura and Kazuo Matsui. That group should outperform the guys who left, though Kazuo is a bit of a question mark for me. Yamasaki is getting old, but his 28 home runs and .749 OPS in 2010 were a respectable contribution. After that, the Eagles have perhaps Japan's unheralded offensive star, Teppei, who despite his talent only gets a passing mention in this article. So the offense should be better, but even in the best case scenario it's hard to see it being more than middle of the road in the Pacific League.
The last factor to discuss is the addition of Hoshino as manager. I see a few parallels with the last team he took over, the 2002 Hanshin Tigers. Hoshino is again inheriting a team coming off a last-place finish, succeeding Katsuya Nomura (though Nomura passed the Rakuten baton to Marty Brown for a season), with some some added veteran talent*. Hoshino got his Tigers off to a fast start in 2002, and though the team cooled off and eventually finished fourth, the improvement was real. The Tigers won the Central League handily in 2003 and have basically been competitive ever since. Hoshino will have less to work with in Sendai, but I wouldn't be surprised to see his tenure with Rakuten take a similar path. He'll be eager to exorcise any remaining demons from his stint managing Japan's 2008 Olympic entry, a performance so disappointing it inspired a fan to set up a site protesting his involvement in the 2009 WBC. Rakuten definitely has the talent to compete for wins in 2011, though they probably won't be in the mix for the Pacific League title. If they can take a step forward this season and build from there, Hoshino has a shot at wrapping up his distinguished managerial career on a high note.
*The 2002 Tigers brought in Atsushi Kataoka and George Arias. Tomoaki Kanemoto and Hideki Irabu joined in 2003.
Tags: Akinori Iwamura, Andy Phillips, Byung Hyun Kim, Darrell Rasner, Hisashi Iwakuma, Juan Morillo, Kazuo Fukumori, Kazuo Matsui, Keiichi Yabu, Kelvin Jimenez, Makoto Kosaka, Marty Brown, Naoto Watanabe, Norihiro Nakamura, Rakuten Golden Eagles, Randy Ruiz, Ryuji Miyade, Senichi Hoshino, Shinjya Okamoto, Todd Linden


Hey guys! This is the last mental health awareness post! Thank you all for sharing my posts and whatnot and I hope I've helped in this past month!
The final disorder I want to talk about is depersonalisation disorder. This is where someone has feelings of detachment from their own body, thoughts or emotions, feeling like you are in a dreamlike state. They may not see their reflection as their own and have outer body experiences. In addition, their inner turmoil can cause anxiety and depression.
It is thought to be largely caused by severe traumatic life events such as childhood abuse, accidents, war and tourtue. It is not a psychotic disorder, this means that the person is aware they have this and can distinguish between their own experiences and fantasy and their grasp on reality stays stable.
The symptoms are common in one to two percent of the population and chronic depersonalisation in about 0.1-1.9%. People with depersonalisation disorder often think about the nature of reality and have an uncontrollable urge to question society and ask deep philosophical questions. Some patients also have hallucinations and may feel as though time is passing but they are not present in this time.
Patients may also have de-realisation, which is where they believe their environment is is lacking in colour and depth , the world seems unreal to them.
I hope this has educated you! Thank you again for all getting involved, but of course this isn't the end of mental health awareness and it's up to all of us to make others aware of issues and to work on improving how people see them in society!


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text:
Vote For Mutya
#SaanKaMutya
Mutya Pilipinas
Home News IN PHOTOS: The 50 candidates of Mutya ng Pilipinas 2018
IN PHOTOS: The 50 candidates of Mutya ng Pilipinas 2018
mutyapilipinas.com
The pageant celebrates its golden year.
MANILA, Philippines – Pageant season is officiailly in full swing. On Monday, September 3, the 50 candidates of the Mutya ng Pilipinas were presented to the media during an event at the Ascott Hotel in Makati.
Wearing swimsuits by designer Domz Ramos, the ladies from various parts of the country and Filipino communities abroad introduced themselves and were asked questions by the press. The batch is a mixed of diverse beauties.
Since the pageant is celebrating its 50th year, new crowns were customized for the winners. The crowns were designed by Hoseki.
A commemorative book of Mutya ng Pilipinas was also launched.
Three ladies were given the Darling of the Press awards, with Mary Justine Teng of Muntinlupa emerging as the top winner. Agatha Romero of Manila was 1st runner-up, while Nina Ancheta of Pampanga was 2nd runner-up.
This year, 4 titles are at stake to represent the country in various competitions. These are:
• Mutya ng Pilipinas – Miss Asia Pacific International,
who will represent the country in the upcoming competition to be held in Manila from September 14 to October 4;
• Mutya ng Pilipinas – Miss Tourism International 2018,
who will represent the country in a competition to be held in Kuala Lumpur, Malaysia from December 4 to 23;
• Mutya ng Pilipinas – Miss Global Beauty Queen,
who will vie for the title in May 2019;
• Mutya ng Pilipinas – Miss Tourism Queen of the Year International,
who will compete in China from November 1 to 18.
The pageant has produced a number of beauty queens who won in their respective international competitions. Leren Mae Bautista won the title of Tourism Queen of the Year International in 2015, while Jannie Alipo-on won last year as Miss Tourism International in 2017.
Coronation night is scheduled on September 16 at the Mall of Asia Arena.
The candidates:
https://www.rappler.com/life-and-style/specials/211054-photos-mutya-ng-pilipinas-2018-candidates
Previous articleMga Kandidata sa Mutya ng Pilipinas, Humarap sa Media
Next articleWATCH: 2018 Mutya ng Pilipinas winners' Q&A
https://mutyapilipinas.com
The promise of evolution is metamorphosis. And this is what Mutya Pilipinas 2019 is all about!
Mutya Pilipinas 2019 adds new World Top Model Philippines title
Mutya Pilipinas 2018 Miss Asia Pacific International, Sharifa Akeel shows the beauty of her Hometown Lebak, Sultan Kudarat
The new Crowned Queens of Mutya Pilipinas California 2019
Beauty and wellness goals tayo ngayong relaxing weekend dito sa MA-BEAUTY PO NAMAN, kasama si Ms. Cory Quirino…
Mutya Pilipinas, Inc.
CWC Interiors, 830 Arnaiz Avenue
Makati City, 1223 Philippines
Tel: (63 2) 804 0717
Mobile: (63) 915 4541734
Contact us: officialmutyapilipinas@gmail.com
© Copyright 2019 Mutya Pilipinas. All Rights Reserved.


The College of Continuing Studies offers professional training opportunities for Alabama Municipal Clerks to assist them in earning their Certified Municipal Clerk and Master Municipal Clerk professional designations. The Certification Institute for Municipal Clerks (CMC) and Master Municipal Clerk Academy (MMC) is held biannually.
The Municipal Management Training Institute for Municipal Clerks and Administrators is a conference held annually, traditionally in the fall, in varying locations around the state of Alabama. The annual conference provides city clerks and administrators with an overview of important issues and concerns facing them professionally.
Anyone can attend the training institutes and the annual conference. For more information on receiving a certificate through The University of Alabama, please refer to the "Certification" page.
Each Municipal Clerks Training Institute provides 20 contact hours of continuing education. The Annual Winter Conference hours vary between 10 and 12. These programs also offer CPE through the Alabama State Board of Public Accountancy. For questions regarding continuing education, or to request a copy of your transcript from The University of Alabama, please email Pamela Harvey at pharvey@ccs.ua.edu.
To request a copy of past Certificates of Attendance, please contact the registration department at 205-348-3000.
Cancellations made within fourteen days of the event will not be given a refund, a substitute participant may be designated at no additional cost. The University of Alabama reserves the right to cancel, post-pone or combine class sections; to limit registration; or to change instructors. Any money-back guarantee offered on specific programs does not necessarily apply to other programs of The University of Alabama College of Continuing Studies.


text:
Volkswagen Lupo (type 6X) var den første europæiske mikrobilsmodel fra Volkswagen, som var næsten identisk med SEAT Arosa, der blev introduceret i 1997

Lupo kom først på markedet i efteråret 1998, selv om Volkswagen allerede i 1991 havde udvist interesse for at deltage i mikrobilsklassen med prototypen Chico . Bilen fandtes kun som tredørs og kunne enten have fire eller fem siddepladser. Den havde et ret lille bagagerum, som dog kunne gøres større ved at klappe bagsædet frem.

Historie
Lupo blev frem til midten af 2001 bygget i Wolfsburg, hvorefter produktionen (med undtagelse af 3L TDI-modellen) blev flyttet til Bruxelles.

Der blev i alt fremstillet næsten 490.000 biler af typen Lupo. Salgstallene steg efter introduktionen årligt frem til år 2000, hvorefter de gradvist faldt; mulige grunde kan være en relativt høj pris og den begrænsede anvendelighed på grund af det lille bagagerum og de trange pladsforhold på bagsædet.

I juli 2005 blev produktionen af Lupo indstillet. Lupoens plads i Volkswagens modelprogram blev derefter besat af den i Brasilien byggede Volkswagen Fox. Fox-modellerne blev i Brasilien og Mexico markedsført under Lupo-navnet.

Lupo er det italienske ord for "ulv", og skal hentyde til hovedfabrikken i Wolfsburg.

Motorer
I starten fandtes Lupo kun med sugedieselmotoren og benzinmotorerne med 37 kW (50 hk) og 55 kW (75 hk). I 1999 fulgte begge TDI-motorerne og Lupo 16V med en 1,4-liters benzinmotor med 74 kW (100 hk) og centralt placeret udstødningsenderør. Hullet mellem de to mindste motorer blev i 2000 lukket med en 8-ventilet version af 1,4-liters benzinmotoren med 44 kW (60 hk).

Samme år fulgte Lupo GTI med 92 kW (125 hk) og FSI-modellen med 77 kW (105 hk), som begge var udstyret med karrosseriet fra Lupo 3L TDI. FSI var den eneste version, som ikke blev produceret frem til 2005 men allerede udgik i 2003. 1,0-litersmotoren med motorkendebogstaverne AHT var baseret på Škoda Favorit/Felicias 1,3-liters stødstangsmotor, som i princippet var den samme motor som var monteret som hækmotor de sidste år i Škoda 130.

Tekniske data

Benzinmotorer

Dieselmotorer

Lupo 3L TDI
Lupo 3L TDI (type 6E) kom på markedet i 1999 og var med et normforbrug på 2,99 liter dieselolie pr. 100 km verdens første seriefremstillede 3-liters-bil. Bilen var udstyret med en trecylindret rækkemotor og havde en lav c-værdi på 0,29.

I Danmark er 3L-udgaven den mest kendte version af Lupo. Mange af dem der havde bestilt en ny 3L-udgave, kunne ikke få bilen leveret. Dette medførte en stor efterspørgsel på nyere brugte modeller. Danmarks største importør af disse, Eurobiler, gik på storkøb i Tyskland for at stille de danske kunder tilfredse. Denne handel kunne lade sig gøre, da den i moderlandet var forholdsmæssigt dyr, idet andre Lupo-modeller med dieselmotorer på 1,4 og 1,7 liter kunne fås til betydelig lavere priser. Dermed havde tyskerne ingen økonomiske gevinster i form af det lave brændstofforbrug pga. den høje anskaffelsespris.

Folketinget besluttede i 1999 en ændring af loven om registreringsafgift. Dette betød, at særdeles brændstoføkonomiske biler fik et afslag i registreringsafgiften. Da loven næsten udelukkende blev benyttet af Volkswagen, blev den populært kaldt for Lupoloven. Reduktionen i registreringsafgiften var til og med 2005 33,3 % – herefter 20 %.

Reduktionen i registreringsafgiften medførte, at de forskellige dieselvarianter i Danmark stort set kom til at koste det samme, og dermed blev det mere interessant at købe 3L-udgaven – netop pga. det lave brændstofforbrug og en årlig ejerafgift på blot 160 kr.

Ud over udviklingen af en sparsom motor blev der under udviklingen af Lupo 3L TDI også satset på letbyggeteknik. Dertil hørte brugen af de lette byggematerialer magnesium og aluminium og den dermed forbundne nyudvikling af byggedele. Derudover var ruderne i Lupo 3L TDI fremstillet af tyndere glas end i den almindelige Lupo. Dermed var Lupo 3L TDI ca. 150 kg lettere end Lupo 1,7 SDI.

Motoren var en trecylindret TDI-dieselmotor på 1,2 liter med 45 kW (61 hk), fremstillet komplet af aluminium.

Eco-tasten i 3L'eren skal være aktiveret for at man kan leve op til at køre 33,3 km/l, og der tænder en grøn kontrollampe på instrumentbrættet, der meddeler dette. Ved dette program skiftes gearene ved maks 3.000 omdrejninger, uden Eco først ved omkring 4.000 omdrejninger. Selv om Eco er aktiveret, kan der dog udføres "kickdown" ved overhalinger, hvor omdrejningsbegrænsingen så bliver sat ud af kraft.

Lupo 3L TDI er udstyret med et start/stop-system: Holdes bremsen nede i mere end 4 sekunder, slukker motoren, og så snart pedalen slippes, starter den igen. Dette gælder dog ikke for versioner med elektromagnetisk servostyring. Funktionen kan slås fra, hvis Eco-tasten slukkes.
Slipper føreren speederen, kobler elektronikken ud og bilen ruller videre i friløb. Denne funktion er heller ikke til stede, når Eco-tasten slukkes.

Bagklappens aerodynamik blev optimeret. For at nedsætte bilens vægt yderligere blev bagrudens glastykkelse reduceret og bagklappen fremstillet i to dele: den yderste del af aluminium og den inderste af magnesium. Denne vægtreduktion førte til, i forbindelse med de til udnyttelsen af afgiftsfordelene foreskrevne energisparedæk, til problemer med bilens køreegenskaber: Specielt når føreren kørte alene i bilen, havde den en stor tendens til overstyring. For at kunne bibeholde den allerede udviklede aluminium/magnesium-bagklap og de allerede eksisterende produktionsanlæg, blev der monteret blyvægte i den bageste kofanger. Denne specielle bagklap blev kun monteret frem til maj 2001, og blev fra modelåret 2002 erstattet af stålbagklappen fra den "almindelige" Lupo. Allerede til modelåret 2001 (fra juni 2000) blev startbatteriet monteret i reservehjulsbrønden i bagagerummet for at belaste baghjulene mere. Med disse forhold kunne en af de 7 kg tunge blyvægte fjernes. Ligeledes bortfaldt muligheden for, i stedet for det som standard medleverede dæktætningssæt, at kunne bestille et nødhjul som ekstraudstyr. Som følge af flytningen af batteriet og monteringen af den tungere bagklap kunne begge vægte nu undværes.

Motorhjelmen og dørene blev dog fortsat fremstillet af aluminium. En automatiseret manuel gearkasse, som på mange måder svarende til den i Polo III benyttede almindelige manuelle gearkasse, sørgede for tidlig opgearing og dermed lave omdrejningstal. Gearkassen havde en meget høj udveksling. Teknisk set var det en speciel løsning: En almindelig manuel gearkasse og en kobling blev betjent hydraulisk. Gearkassehuset er udformet lidt mindre end normalt for at nedsætte mængden af gearolie. Nogle af tandhjulene er ligeledes hullede, igen for at nedsætte vægten. En udskiftning af en sådan gearkasse er meget dyr.

På trods af, at gearkassen i sin tekniske opbygning svarer til en almindelig manuel gearkasse, opfatter føreren den som et automatgear:
Gearene vælges af bilens styreboks, der finder frem til det rette tidspunkt gennem mange forskellige målinger, der løbende foretages under kørslen. På den måde køres der altid i det mest økonomiske gear. Med tiptronic-systemet kan føreren dog ligeledes skifte gearene manuelt.

På grund af den indskrænkede funktionalitet (tre døre, lille bagagerum og dårlig plads ved bagsædet) og den høje anskaffelsespris fandt Lupo 3L TDI ingen bred købergruppe.

Med et skadestofudslip på 81 gram CO pr. kilometer har Volkswagen Lupo 3L TDI siden sin introduktion opfyldt kriterierne for billig klassificering som 3-liters-bil i hjemlandet Tyskland (max. 90 g/km CO). Derudover var modellen den første dieseldrevne personbil, som opfyldt Euro4-normen. Ældre modeller opfylder Euro3-normen. Udvidelsen af start/stop-systemet med friløb (rulning med åbnet kobling) bidrog til brændstofbesparelse og dermed også nedsat CO-udslip.

Hele Lupo-serien kunne fra maj 2005 ikke længere bestilles som nye biler. Et partikelfilter tilbydes ikke af Volkswagen til Lupo 3L TDI, heller ikke mod merpris eller som tilbehør til eftermontering, men bilen kan dog alligevel tildeles en grøn miljømærkat uden partikelfilter.

Ifølge bilens instruktionsbog kan Lupo 3L TDI også køre på rapsmethylester (RME) uden nogen form for justering eller ændring af motoren.

Dansk popularitet
Lupo 3L blev i Danmark solgt i et hidtil uset antal sammenlignet med det samlede antal produceret. Det første år aftog Danmark 15 procent af den samlede produktion af Lupo 3L, og andelen steg med årene helt op til 60 procent. For sammenligningens skyld tildeler Volkswagen i gennemsnit 0,6 procent af produktionen til danske kunder. Årsagen til den store danske aftagelse af den samlede produktion af Lupo 3L skyldtes, at Lupoen er helt speciel i afgiftsmæssige henseender, da den sammen med Audi A2 3L TDI er de eneste bilmodeller, som kvalificerer sig til laveste ejerafgift for dieseldrevne personbiler og til år 2005 kvalificerede sig til en trediedels nedslag i registreringsafgiften.

I oktober 2000 tildelte Motorjournalisternes Klub Danmark Lupo 3L TDI en ærespris på grund af modellens miljøvenlighed.

Lupo FSI
Lupo FSI var en slags benzinudgave af Lupo 3L, med et brændstofforbrug på ca. 5 liter/100 km. Modellen havde samme automatiserede gearkasse som 3L, men med andre udvekslingsforhold. Udefra var modellen næsten identisk med 3L, men med en mere almindelig kølergrill og uden magnesiumrattet fra 3L. Lupo FSI blev udelukkende markedsført i Tyskland og Østrig.

Lupo GTI
Lupo GTI blev fra juni 2000 og frem til 2002 bygget på hovedfabrikken i Wolfsburg og fra 2003 i Bruxelles i Belgien, men på grund af den lave efterspørgsel og den nye indstigningsmodel, Fox, udgik modellen af produktion i 2005.

1,6-litersmotoren med 16 ventiler (med variabel indsugningsknastaksel, forhjulstræk og fra 2001 sekstrins gearkasse) med en effekt på 92 kW (125 hk) ved 6500 omdr./min. og et drejningsmoment på 152 Nm ved 3000 omdr./min. brugte 8,2 sekunder fra 0 til , og gav bilen en topfart på . Modellen var af fabrikanten opgivet til et gennemsnitligt brændstofforbrug på 7,3 liter Super Plus (98 oktan) pr. 100 km. Motoren opfyldt Euro4-normen.

De påskruede forskærme, dørene og motorhjelmen var fremstillet af aluminium. Batteriet var for at spare vægt monteret bagi bilen, som ikke havde noget reservehjul.

Bilen var ca. 20 mm sænket, og havde bredere forskærme, dæk i størrelse 205/45 R 15 V, dobbelt udstødningsenderør i midten og en forstørret hækspoiler. Kabinen var udstyret med sportssæder med røde syninger, røde sikkerhedsseler, pedaler af aluminium, højdejusterbart rat, kombiinstrument med kromringe, forkromede visere og udendørstermometer samt rat, gearstangspose og håndbremse af læder. Tagbeklædningen, fartgrebene samt solskærmene var i modsætning til den normale Lupo sorte. Bilen var som standard udstyret med bixenon-forlygter og Bosch Aerotwin-vinduesviskere.

For den aktive sikkerhed sørgede skivebremser samt ABS, ASR og ESP. Lupo GTI kunne bestilles i de udvendige farver sort, tornadorød/flashrød, ravennablå/laserblå, reflexsølv/moonsilver og blå-antrazit. Den præcise farvekode for farverne rød, blå og sølv er afhængig af modelåret.

Tidslinje

I løbet af sin syvårige byggetid gennemgik Lupo en hel del mest tekniske men også få optiske modifikationer, men dog aldrig − i modsætning til f.eks. Polo eller Passat − noget egentligt facelift. De vigtigste modifikationer i årenes løb var som følger:

1998
Introduktion af Lupo med følgende motorer:
 1.0 37 kW (50 hk)
 1.4 55 kW (75 hk)
 1.7 SDI 44 kW (60 hk)

1999
Yderligere motorer:
 1.4 74 kW (100 hk)
 1.4 TDI 55 kW (75 hk)
 Økonomiversion 3L TDI med 1.2 TDI 45 kW (61 hk) og letbygget karrosseri.

2000
Maj: Modificeret midterkonsol; betjeningskontakterne flyttes fra under radioen til over askebægeret.

Juni:
 GTI-version med 1.6 16V 92 kW (125 hk)-motor fra Polo GTI og karrosseri fra Lupo 3L TDI, kommer dog ikke til Danmark.
 Batteriet i Lupo 3L flyttes fra motorrummet til reservehjulsbrønden, samt bortfald af muligheden for at bestille nødhjul i stedet for dæktætningssæt.

September: Yderligere motorer:
 1.4 44 kW (60 hk); bliver ny basismodel i Danmark hvor 1,0 samtidig udgår.
 1.4 FSI 77 kW (105 hk) med direkte benzinindsprøjtning og karrosseri og gearkasse fra Lupo 3L TDI, kommer dog ikke til Danmark.

2001
Maj: Aluminium/magnesium-bagklappen på Lupo 3L erstattes af stålbagklappen fra de øvrige Lupo-versioner.

Juni: GTI nu med seks gear.

2002
Maj: Bortfald af nødnøglen.

2003
November: Indstilling af Lupo FSI.

2004
Dansk import af samtlige versioner (med undtagelse af 3L TDI) ophører.

2005
Juli: Produktionen indstilles, og den brasilianskbyggede efterfølger Fox introduceres.

Volkswagen Lupo (Mexico)
I Mexico sælges den brasilianske Volkswagen Fox, som i sommeren 2005 afløste Lupo i Europa, med 1,6-liters benzinmotor som tre- og femdørs under navnet Lupo.

Stelnumre
Stelnumrene var lavet ifølge den internationale norm og blev fastlagt pr. modelår. De fortløbende serienumre begynder hos Volkswagen i hvert modelår normalt med 000001 og fortsættes under fabrikationen af førserie- og seriebiler. Det højeste stelnummer i hvert modelår antyder dermed også det i det pågældende modelår antal fremstillede førserie- og seriebiler.

Der findes dog undtagelsestilfælde, hvor førseriebiler, hvor de allerede løbende numre er blevet benyttet, af produktionstekniske eller kvalitive grunde ikke er blevet meldt færdige. Derudover sælges førseriebiler ikke som nye biler.

Produktionstidsrummene i Volkswagens modelår er ikke identiske med kalenderårene. Lupo blev oprindeligt udviklet og typeprøvet med modelkoden 6X. Efter produktionen af 121 førseriebiler af denne modeltype som 1998-modeller startede serieproduktionen på fabrikken i Wolfsburg til modelåret 1999. Med modelåret 2002 blev produktionen af 6X-modelserien flyttet til fabrikken i Bruxelles.

Udviklingen af Lupo 3L TDI med letbygningskarrosseri blev som en selvstændig modelserie, 6E. De første førseriebiler af denne modeltype blev fremstillet som 1999-modeller, og de første seriebiler som 2000-modeller. Da letbygningskarrosseriet i modificeret form også blev benyttet til GTI og FSI, tilhører disse versioner også modelserie 6E.

Højeste stelnumre for type 6X Lupo
 Modelår 1998: WVW ZZZ 6X Z W W 000121 (kun førseriebiler)
 Modelår 1999: WVW ZZZ 6X Z X W 107945
 Modelår 2000: WVW ZZZ 6X Z Y W 068501
 Modelår 2001: WVW ZZZ 6X Z 1 W 091800
 WVW ZZZ 6X Z 1 B 000010 (kun førseriebiler fremstillet i Bruxelles)

Højeste stelnumre for type 6E Lupo letbygning
 Modelår 1999: WVW ZZZ 6E Z X W 000218 (kun førseriebiler)
 Modelår 2000: WVW ZZZ 6E Z Y W 007952
 Modelår 2001: WVW ZZZ 6E Z 1 W 009718

De enkelte tegns betydning
 1. tegn: Produktionsland (W = Tyskland).
 2. og 3. tegn: Fabrikant (VW = Volkswagen).
 4. til 6. tegn: Udfyldningstegn (ZZZ).
 7. og 8. tegn: Modelserie (6X = Lupo, 6E = Lupo letbygning).
 9. tegn: Udfyldningstegn (Z).
 10. tegn: Modelår (W = 1998, X = 1999, Y = 2000, 1 = 2001, 2 = 2002 osv.).
 11. tegn: Produktionssted (W = Wolfsburg, B = Bruxelles).
 12. til 17. tegn: Fortløbende serienummer.

I kalenderår (ikke at forveksle med modelår) blev der under betegnelsen Lupo bygget:
 1998: 64.844 stk.,
 1999: 89.757 stk.,
 2000: 97.403 stk.,
 2001: 82.238 stk.,
 2002: 70.377 stk.,
 2003: 53.061 stk.,
 2004: 24.434 stk.,
 2005: 5.742 stk.,
 Totalt: 487.856 stk.,

Logoer for specialmodeller

Noter

Litteratur
 Automobil Revue. Katalog 2001 (på tysk og fransk).
 Etzold, Hans-Rüdiger: So wird's gemacht. Band 118: VW Lupo/SEAT Arosa von 9/98 bis 3/05. Delius Klasing, 5. oplag 2010.  (på tysk).
 Volkswagen Lupo servicemappe, hæfte 3.3 "Tekniske data". Volkswagen AG, november 1998. Varenr. 991.551.LUT.38.
 Volkswagen Lupo servicemappe, hæfte 3.3 "Tekniske data". Volkswagen AG, maj 2001. Varenr. 221.551.LUT.38.
 Volkswagen Lupo 3L TDI servicemappe, hæfte 3.3 "Tekniske data". Volkswagen AG, oktober 2000. Varenr. 211.551.3LT.38.
 Volkswagen Lupo 3L TDI/FSI servicemappe, hæfte 3.5 "Tillæg". Volkswagen AG, december 2002. Varenr. 231.552.EFM.20 (på engelsk).

Eksterne henvisninger

Lupo
Mikrobiler
Forhjulstrukne biler
Biler introduceret i 1998
Biler fra 1990'erne
Biler fra 2000'erne

redpajama_set_name: RedPajamaWikipedia


text:
#ifndef TALK_APP_WEBRTC_PEERCONNECTIONFACTORY_H_
#define TALK_APP_WEBRTC_PEERCONNECTIONFACTORY_H_

#include <string>

#include "talk/app/webrtc/mediastreaminterface.h"
#include "talk/app/webrtc/peerconnectioninterface.h"
#include "talk/base/scoped_ptr.h"
#include "talk/base/thread.h"
#include "talk/session/media/channelmanager.h"

namespace webrtc {

class PeerConnectionFactory : public PeerConnectionFactoryInterface,
                              public talk_base::MessageHandler {
 public:
  virtual void SetOptions(const Options& options) {
    options_ = options;
  }

  virtual talk_base::scoped_refptr<PeerConnectionInterface>
      CreatePeerConnection(
          const PeerConnectionInterface::RTCConfiguration& configuration,
          const MediaConstraintsInterface* constraints,
          PortAllocatorFactoryInterface* allocator_factory,
          DTLSIdentityServiceInterface* dtls_identity_service,
          PeerConnectionObserver* observer);

  bool Initialize();

  virtual talk_base::scoped_refptr<MediaStreamInterface>
      CreateLocalMediaStream(const std::string& label);

  virtual talk_base::scoped_refptr<AudioSourceInterface> CreateAudioSource(
      const MediaConstraintsInterface* constraints);

  virtual talk_base::scoped_refptr<VideoSourceInterface> CreateVideoSource(
      cricket::VideoCapturer* capturer,
      const MediaConstraintsInterface* constraints);

  virtual talk_base::scoped_refptr<VideoTrackInterface>
      CreateVideoTrack(const std::string& id,
                       VideoSourceInterface* video_source);

  virtual talk_base::scoped_refptr<AudioTrackInterface>
      CreateAudioTrack(const std::string& id,
                       AudioSourceInterface* audio_source);

  virtual bool StartAecDump(talk_base::PlatformFile file);

  virtual cricket::ChannelManager* channel_manager();
  virtual talk_base::Thread* signaling_thread();
  virtual talk_base::Thread* worker_thread();
  const Options& options() const { return options_; }

 protected:
  PeerConnectionFactory();
  PeerConnectionFactory(
      talk_base::Thread* worker_thread,
      talk_base::Thread* signaling_thread,
      AudioDeviceModule* default_adm,
      cricket::WebRtcVideoEncoderFactory* video_encoder_factory,
      cricket::WebRtcVideoDecoderFactory* video_decoder_factory);
  virtual ~PeerConnectionFactory();

 private:
  bool Initialize_s();
  void Terminate_s();
  talk_base::scoped_refptr<AudioSourceInterface> CreateAudioSource_s(
      const MediaConstraintsInterface* constraints);
  talk_base::scoped_refptr<VideoSourceInterface> CreateVideoSource_s(
      cricket::VideoCapturer* capturer,
      const MediaConstraintsInterface* constraints);

  talk_base::scoped_refptr<PeerConnectionInterface> CreatePeerConnection_s(
      const PeerConnectionInterface::RTCConfiguration& configuration,
      const MediaConstraintsInterface* constraints,
      PortAllocatorFactoryInterface* allocator_factory,
      DTLSIdentityServiceInterface* dtls_identity_service,
      PeerConnectionObserver* observer);

  bool StartAecDump_s(talk_base::PlatformFile file);

  // Implements talk_base::MessageHandler.
  void OnMessage(talk_base::Message* msg);

  bool owns_ptrs_;
  talk_base::Thread* signaling_thread_;
  talk_base::Thread* worker_thread_;
  Options options_;
  talk_base::scoped_refptr<PortAllocatorFactoryInterface> allocator_factory_;
  // External Audio device used for audio playback.
  talk_base::scoped_refptr<AudioDeviceModule> default_adm_;
  talk_base::scoped_ptr<cricket::ChannelManager> channel_manager_;
  // External Video encoder factory. This can be NULL if the client has not
  // injected any. In that case, video engine will use the internal SW encoder.
  talk_base::scoped_ptr<cricket::WebRtcVideoEncoderFactory>
      video_encoder_factory_;
  // External Video decoder factory. This can be NULL if the client has not
  // injected any. In that case, video engine will use the internal SW decoder.
  talk_base::scoped_ptr<cricket::WebRtcVideoDecoderFactory>
      video_decoder_factory_;
};

}  // namespace webrtc

#endif  // TALK_APP_WEBRTC_PEERCONNECTIONFACTORY_H_

redpajama_set_name: RedPajamaGithub


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This entry was posted in Uncategorized and tagged EPUB, FUTSAL, TACTIQUE on November 10, 2018 by admin.


text:
Jharkhand: Congress MLAs meet CM Hemant Soren, air grievances
A majority of Congress MLAs met Chief Minister Hemant Soren for the first time since the government was formed in Jharkhand and apprised him of problems they face as public representatives.
Written by Abhishek Angad | Ranchi | Updated: December 25, 2020 2:13:18 am
Jharkhand Chief Minister Hemant Soren. (File)
From collection of electricity dues that are becoming a burden on the poor to providing more jobs, and conducting panchayat elections on time, a majority of Congress MLAs met Chief Minister Hemant Soren for the first time since the government was formed in Jharkhand and apprised him of problems they face as public representatives.
The Jharkhand Mukti Morcha-led government will announce its first year's achievements on December 29.
Sources in the Congress Legislative Party said the party's Jharkhand in-charge, R P N Singh, arranged the meeting.
An MLA who was part of the meeting said: "One major issue was the manner of collection of electricity dues from the poor. The Covid-19 pandemic has already broken their backs, and people in various constituencies are feeling overburdened by notices served by the electricity department on dues. We asked the CM to go a little slow on this."
With pending dues running into nearly Rs 5,600 crore, the Damodar Valley Corporation (DVC) is carrying out outages in various parts of the state. Recently, the Union Power Ministry wrote to the Jharkhand government and asked it to pay the dues to DVC, otherwise as per agreement the RBI would deduct Jharkhand's money in four equal installments.
At a recent departmental review meeting, Soren had asked for self-reliance in power generation.
Another Congress MLA said that there was a problem with the panchayat elections due next month. The legislators said works in the panchayats would come to a halt.
The discussion came on the back of a letter from Panchayati Raj director Aditya Ranjan to all deputy commissioners, stating that panchayat polls could not be completed on time due to the pandemic. "As a result, for future term the constitution of three-tier Panchayati Raj Institutions is not possible," the letter stated.
It stated that after the end of the tenure, the seats will be understood as empty and further directions will be given to them. This has led to uncertainty among people in rural areas.
Another major issue discussed was officers not listening to the legislators, one MLA who took part in the meeting said. The MLA said: "There will always be a problem between the political leaders and bureaucrats. But we have apprised him (Soren) that many officers are working as they used during the previous regime, which needs to be changed."
The issue of minority rights in the state also cropped during the discussion, as did illegal mining of sand in Dhanbad area, it is learnt.
Abhishek AngadAbhishek Angad reports from Jharkhand for The Indian Express... read more
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PartnerAid UK has a partner project in the Dohuk province of Iraq, part of Kurdistan, working with Operation Mercy. Ancient churches in Dohuk have collaborated to run the Mar Narsai Charity Health Clinic for Refugees, providing free, high-quality healthcare to IDPs, regardless of religious or ethnic background. Operation Mercy was proud to partner with this clinic, and thanks Swedish Church Relief for their generous donation, used toward the purchase of an ultrasound machine for the health clinic.
A priest who returned to Dohuk after PhD studies in Rome, two months before Mosul fell to ISIS in the summer of 2014, realised this was not the time for business as usual. He redirected his fervor from studying theology to uniting the ancient churches of Dohuk for humanitarian projects. For over a year food and other supplies have been supplied to over 10,000 IDP families, and their health clinic serves 2,400 patients a month.
The health clinic is staffed by 32 volunteers, including specialists who serve on a rotating schedule. When Operation Mercy first visited the clinic, it was well-managed and well-supplied, but there was an outstanding urgent need for an ultrasound machine. In partnership with two other iNGOs, Operation Mercy has contributed toward the purchase of a $39,000 high-quality ultrasound machine, a Phillips ClearVue 350, enabling specialists to administer free, on-the-spot tests needed for accurate diagnoses. Before the purchase of this ultrasound machine, the clinic was borrowing an insufficient, older model from the Ministry of Health, and many patients opted to pay for a more upto-date test at a different facility, but now the clinic can offer the same high quality testing as other facilities, but at no cost to these IDPs.
One of the countless Yezidi families displaced by the ISIS attack on August 3, 2014, the twist in their story is that 3 of the 8 adults that fled the Sinjar area have physical and mental disabilities. Fleeing their village the oldest son and leader of the family after his father's death, sent his brother aged 27 and sister 30 - both unable to walk due to childhood accidents - along with his own wife and two kids in a car toward Syria, while he wheeled his psychologically disturbed mother in a wheelbarrow across the Iraq/Syria border. As typical for most IDPs, it took time for them to find a safe place to live, and they journeyed from place to place before they stopped at a village where Operation Mercy is working.
Even then, their family was divided between two IDP camps and a rented house. He says, "I am always thinking about my disabled brother and sister." To care for the special needs of disabled family members in the trauma of flight and displacement has been a burden too much for him to bear alone. A local person asked Operation Mercy to provide wheelchairs for them. Having got to know the family during previous visits during his time off work, he was glad to arrive this time with the much-needed wheelchairs in-hand.