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by InRO Staff Feature Articles Music Year in Review
Top 10 Albums of 2018 (So Far)
All last week at In Review Online, we presented our takes on some notable (and less notable) albums from the first six months of the year. In this fourth and final installment (find the first one here, the second one here, and third one here), we present our Top 10 Albums of the Year (so far).
Danielle Balbuena A.K.A. 070 Shake enjoyed a star-making turn on Kanye West's "Ghost Town," showcasing her raw passion and her intoxicatingly gruff vocals. She made two more appearances on Kanye's Wyoming cycle albums: on the chorus of Pusha-T's "Santeria" and the hook of Nas's "Not for Radio." These guest spots seemed to transform the 21-year-old artist into something of a household name — at least for hip-hop heads — and for most anyone that would make for a good year. But Shake's most impressive work of 2018 is actually on her debut EP, Glitter: The same combustible, but deeply vulnerable, passion of "Ghost Town" fuels "Stranger," a song which seems to threaten violence and tears simultaneously, as Shake howls over crisp 808s and shuddering synths. On "Somebody Like Me," this bottled energy explodes, about halfway through, into a fiery excoriation of an unappreciative lover, as Shake's vocal is pushed into the red, and pulled apart by Auto-Tune. Like the iconoclastic rapper Young Thug, Shake often plays with syllables, smushing words and phrases together — especially on "Lost in Love," where "I wash it down just with a little molta" is delivered in such a low register that it feels almost hidden away. The contemporary artist that Shake has most in common with, though, is Lil Uzi Vert; both are unabashedly emo, communicating in a hyper-melodramatic language of repetition and ad libs that sounds, at first, like mumble-rap laziness, but that serves as means to emote directly, and honestly, about their experience of heartbreak. Paul Attard
More than two decades into an illustrious career, Neko Case is tired of hearing flowery descriptions of her voice. "My voice is not the liquid waves / The perfect rings 'round a heron's legs," she sings on Hell-On's eerie, curtain-raising title track. "My voice is straight garroting wire." Case's voice has always invited hyperbole, whether belting out power-pop hooks with the New Pornographers or crooning on her acclaimed alt-country solo albums like 2002's Blacklisted or 2008's Fox Confessor Brings the Flood. Case's self-produced seventh album finds her voice honed to perfection, while her songwriting and arranging stake out new, thorny territory. Lyrically, Hell-On responds to a number of recent difficulties in Case's life (namely, her house burning down while she was away on tour and having to fend off a stalker) by reconnecting with traumatic memories and drawing strength and solidarity from a lineage of mythological women. Various contributions from Case's collaborators are expertly woven into these tales of loss and resilience: "Curse of the I-5 Corridor," a haunting duet with Mark Lanegan, recounts reckless youth, while a cover of Crooked Fingers's wistful ballad "Sleep All Summer" features the song's originator, Eric Bachmann. The caliber of craft that Case corrals from herself and others, in service of an unmistakably personal vision, makes Hell-On more than just another excellent album in a career packed with them — it's maybe the closest we've gotten to a definitive statement from one of the best singer-songwriters of her generation. Alex Engquist
Jonny Greenwood's score for Phantom Thread is as lovesick and labile as the characters in the film. In the first part of "Phantom Thread," Greenwood ladles on seasick strings, swoony and vertiginous, rising higher and higher like lofty aspirations before plummeting back down, sounding as if they've been salted by the ocean breeze. They buzz and bray, have sustained moments of great gaiety, moments of serenity and anguish. The stark melodies recall Chopin. Deadened piano keys clink along in "Hem," like unloved consorts, then come to beauteous life in "The Tailor of Fitzrovia." They foretell of the lamentful strings on the second part of the title composition, which are suffused with anxiety, the pangs of encroaching heartache — the feeling of inevitability. Greenwood's previous scores for Paul Thomas Anderson were eclectic but generally minimalist, sometimes just a note or chord sustained beyond a point of comfort, as in the opening sequence of 2007's There Will Be Blood; or infected by jaunty, burnt-out stoner rock, as with 2014's paranoid and impermeable Inherent Vice. For Phantom Thread, Greenwood conjures up leitmotifs which recur, recapitulate, grow familiar yet never predictable, like qualities in a romantic partner. The orchestral swells have the Empyrean airiness of the wind moving through lacy curtains. It's his most pervasive score — eerie and lovely, as raw and exposed as the garments of the film are fussed-over — and his most devastating. Greg Cwik
The relationship between Kanye West and Kid Cudi morphed from one of mentorship (West signed Cudi to his G.O.O.D. Music label in 2008) to animosity (Cudi left G.O.O.D. in 2013, and in 2016, West famously claimed that he "birthed" his former signee during an onstage rant), and now, roughly 10 years in, mutual respect. It no longer feels like Cudi's the disciple to West's master on Kids See Ghosts — both Ye and Cudi treat each other as equals. Whether trading boastful bars on the Louis Prima-sampling "4th Dimension" or contemplating gang culture and cycles of violence on "Cudi Montage," the two find ways to encompass a wide range of expressions in just 23 minutes. Take, for instance, the manic-high of "Freeee (Ghost Town, Pt. 2)," which is pure rockstar-level braggadocio, but mixed with the two rappers at their goofiest, trying to out-weird each other by bellowing "I'm freeee" over ear-rupturing guitar riffs. "I just wanna feel liberated," Kanye rapped on 2016's "Father Stretch My Hands Pt. 1," and he's achieved that here: independence from the stresses of rational thinking. The track that follows, "Reborn," serves as Kids See Ghosts's emotional center, harkening back to the Man on the Moon days. Cudi moans the track's melody over a spacey, minimalist beat, and stresses, in an almost mantra-like fashion, that he's "moving forward" and getting past his problems. The subject of mental health is always in the air, with the obvious headline-making controversy inundating West and Cudi's suicidal feelings both being brought to the fore, and used as a catalyst for healing. "I can still feel the love" goes Cudi's howled opening line on the album, and it serves as a proclamation of optimism for two artists who have seemingly found inner peace; who found harmony in shared pain. PA
Kacey Musgraves continues to carve out her own niche within mainstream country-pop with Golden Hour, an album that sees the artist stage something of a pivot from the winking traditionalism of 2015's Pageant Material and embrace a warmly realized adult-contemporary vibe, inspired by contemporaries like Imogen Heap. Eschewing the frat-bro braggadocio and trap beats of her male peers, Musgraves emphasizes simplicity in songwriting and lush, richly nuanced production. She hasn't lost the sharp wit that set her apart on her first two albums (see disco-tinged kiss-off "High Horse"), but the prevailing tone here is contentment and a kind of hushed wonder that works because it's never overstated. Something as wide-eyed and earnest as "Oh What a World" could easily have left a cloying aftertaste, but the combination of Musgraves's low-key delivery and the subtle, enveloping arrangement of the track — which melds together pedal steel, banjo, drum machine, and vocoder — is sweet without being saccharine. "These are real things," Musgraves gently insists as she sings of true love and other natural phenomena, and on the standout "Happy & Sad," she adds another shade to her emotional palette, reflecting on the melancholy that seeps into even the most joyful moments from an inescapable awareness that all bliss must pass. She's not the first songwriter to voice these feelings, but on Golden Hour, she manages to make them sound new. AE
Pusha-T's Daytona, the first G.O.O.D. Music drop of the summer, marks the rapper's most assured work as a solo artist to date, and emphatically reasserts his continued relevance, even his dominance, in the hip-hop world nearly two decades after Clipse's first studio album. Sonically, Daytona feels a bit like a stage that's been prepped for Push's arrival: Kanye tailors his production on the album specifically to the M.C.'s powers, favoring sample-heavy beats but with an overall pared-down atmosphere. Rat-a-tat snares, married to melodic keys and synthesized strings, provide the perfect setting for Pusha's signature, nasally cadence and his propulsive flow. Lyrically, Push strikes a newfound balance on Daytona, retaining the easy swagger of his early career while shifting from the revelry of coke-and-club cuts to the personal evolution demanded of come-up permanence: "The rooftop can host a paint and sip for like 40 / The Warhols on my wall paint a war story." This brass-tacks brashness feels less like a simple conceptual detour than an organic pivot for the rapper's career perception — and a testament to his survivor status. So when, on album closer "Infrared," Push weighs in on Lil Wayne's Cash Money situation ("See Wayne on tour / Flash without the fire / Another multi-platinum rapper trapped and can't retire"), it feels like self-preservation. Luke Gorham
Oh, muses of brazen confidence, what shall you deliver to me? SR3MM, that's what. The triple-disc odyssey from brothers Swae Lee and Slim Jxmmi — and, together, Rae Sremmurd — combines the duo's third studio with their two debut solo albums, just to outdo Outkast. With rumors of a break-up and doubts that they could helm more than 40 minutes of music, the result is shocking: each 9-track disc finally gives them the space needed to develop their craft. The first disc peaks with Rae Sremmurd's career highlight thus far, "Powerglide"; Swae revels in his element, laying down an infectious hook caught between braggadocio ("She wanna fuck / speak up") and childlike bliss ("Pooooooowerglide"). Jxmmi cuts through with much-refined aggression, and silly vocal inflections ("Got your broad in a rental?"). As energy builds, Mike-Will's frenetic sample of Three-Six Mafia's "Side 2 Side" facilitates the track's intense pathos: Juicy J completely shreds a beat he rapped over 12 years ago, as if time just stopped in 2006. That's what a collaboration with the Sremm boys means now; not some excuse to generate clout — it's a far cry from begging Big Sean to jump on their 2015 debut — but a way to share the bounty, cultivated by giving even superstars a place to get weird and grow. Swaecation certainly provides that space: on "Heartbreak in Encino Hills," Swae continuously re-invents melodies over looping instrumentals, indulging his clear interest in sensuality as his voice wavers over minimalist arrangements. "Brxnks Truck," the first track on Jxmtro, revitalizes the project with pulsing energy, as Jim screams, "I think the 'rari go faster without the roof!" Where Swae has writing credit on Beyoncé's "Formation," Jim has one for Jake Paul's "Litmas." Suffice to say, he had more to prove going solo. But like Takeoff on that other lengthy 2018 rap album, he comes through as the real MVP. Song after song, Jxmtro's effortlessly crafted hooks let some of the oddest (Pharell on "Chanel") and silliest (Zoe Kravitz on "Anti-Social Smokers Club") features shine. And after demolishing everyone's game on "Cap," he takes a wholly unexpected segue for the indignant refrain of "Changed Up": "Oh, you're saying that I changed on you? / How I change on you?" It's here where Jxmmi starts to reveal a bit more himself, a shift that leads to the aptly-titled finalé, "Growed Up." Joe Biglin
With Soil, Josiah Wise A.K.A. serpentwithfeet has delivered a debut album of extraordinary generosity. Rife with influences, Soil nonetheless feels like a wholly new musical language, a fusion of soul, R&B, and gospel filtered through cabaret. The result is a deeply varied mélange of style and tempo — from the slowed-down, Polka-influenced melancholy of "Cherubim" to the ebb/flow rhythms of the handclap-and-synth-laced "Wrong Tree" to the pared-down piano-and-choir denouement of "Bless UR Heart," perfectly unified by the consistent, affected character of Wise's voice (which, while mostly defying comparison, combines some of the rich silkiness of Frank Ocean's croon with Anohni's vibrato and theatrical playfulness). But if the aural temperament of Soil is primarily concerned with expansive aesthetics, its thematic and linguistic approach is far more indebted to the specificity of modern poetry. Wise's writing is abstract yet always deeply felt: "Today I'll find a kind and burrowing creature that can carry these pages into the ground / He'll recite the details of your love with his family / And what was once a whisper will become a deep rumbling sound." Preferring a thorough excavation of his subject of choice to any stereotypical pronouncments, Wise crafts an album built on exploring love as both metaphor and sustenance: "Boy, every time I worship you / My mouth is filled with honey." Soil is an accomplished album of forceful identity, but it's the broad palette of craft that sets it apart; it's the twinned linguistic and vocal sonorousness that makes this artist so unique. LG
What makes Columbian-American artist Kali Uchis's debut album standout from the approximately three dozen other alt-R&B releases in a given week is its genre eclecticism. "Body Language (Intro)" and "Nuestra Planeta" draw on Uchis's pan-American roots for credible takes on bossa nova and reggaeton, respectively, while the squelchy bass and breakbeats of "Your Teeth in My Neck" is all G-funk, and the charging "In My Dreams" — which sounds a bit like a GarageBand-tooled cover of Madonna's "Till Death Do Us Part" — is pure gauzy, utopian pop. Isolation mixes these disparate inspirations together and comes up with the rare coherent music style that's cross-cultural — and cross-generational. Uchis's sound is as much rooted in the kinds of contemporary internet R&B trends that are signified by the Tyler, the Creator-featuring "After the Storm" as it is beholden to pop traditionalism, demonstrated by the melismatic soul belter "Feel Like a Fool," the best millennial Motown rip since Rihanna's "Love on the Brain." Only one problem: the boundlessly searching, genre-desegregating Isolation could scarcely have a more inappropriate title. Sam C. Mac
There will come a day when Kanye West fails to translate the controversy and messiness surrounding one of his album releases into a compelling and singular body of work. But despite what you've heard, Ye is not it: All the poorly phrased opinions on slavery and the MAGA hats and the Twitter rants and Candace Owens support in the world aren't going to make these seven songs in just under 24 minutes any less impressive for the way they articulate an experience of mental illness, the varying methods of coping with it, and the painful collateral damage that often comes with it. That the specific mental illness that Kanye has been diagnosed with is Bipolar disorder (which is also scrawled across the album cover) is important in interpreting Kanye's lyrical and formal approach — starting with this album's very first track, which not only draws on the double meaning of "ye" in its purposefully slippery pronoun use ("Today I seriously thought about killing you"), but also uses distinct production choices to split the song into two halves. In the first part, a placid, almost medicated-sounding Kanye drones on emotionlessly over a spectral, oscillating vocal sample, looped like words caught in the back of the throat, while in the latter section, a surly and aggressive Kanye bark-raps over percussive synths and the rapper's own guttural screams. It's during the brief section between these two parts, though, that Kanye sounds most lucid, buoyant, and like himself: his flow locks in with the pulse of the bass, and his words express a desire for connection with the world outside of his own head ("I called up my cousins"). This is something like the "event horizon" moment of Kanye's psychology, whereas most of Ye delves into exploring the effects of the void — or, "the sunken place," as Kanye calls it. The licentious "All Mine" finds Kanye rapping, lewd and unapologetic, about "girls thats basic," as Jeremih protege Ant Clemons sings in a creepy falsetto about being "crazy in the Medulla Oblongata," while closing track "Violent Crimes" starts as a sweet lullaby for Kanye's four-year-old daughter, North West, but morphs into a panic-streaked screed of irrational fears about fatherhood. "The lie is wearin' off," sings 070 Shake on the hook of "Violent Crimes," and it's a lyric that begins to infect the song's earnest affection with an openly unflattering paternal anxiety. But this is partly why Ye works: As with My Beautiful Dark Twisted Fantasy, Yeezus, and The Life of Pablo, especially, but really as with all Kanye albums, there's a willingness to be unpolished, to destabilize, to provoke and challenge perceptions, as a means to humanization. What makes Ye different is the way in which Kanye often processes his personal flaws in relation to his own psychological imbalance, candidly recounting the strain that his off-meds TMZ meltdown put on his marriage ("Wouldn't Leave") and admitting "I scare myself sometimes" in practically the same breath as he boasts that Bipolar is his "super power!" ("Yikes"). That last line has largely been received as another troubling Kanye controversy, and that already indicates the value of a work like Ye — which speaks to those who both experience sobering fear and derive a measure of strength and pride from idiosyncrasies of their psyches. SCM
070 Shake2018Jonny GreenwoodKacey MusgravesKali UchisKanye WestKids See GhostsNeko CasePusha-TRae SremmurdserpentwithfeetSlim JxmmiSwae Lee
Not Dying Young: A Decade of Vampire Weekend
Bleach | Shinsuke Sato
Terminator: Dark Fate | Tim Miller


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The University of Sydney - Medicine and Health PG Handbook 2019
Medicine & Health PG
You are here: Home / Medicine and Health PG / Areas of study A-F / Dental Medicine / Unit of study table
About the Faculty of Medicine and Health
Sydney Dental School
Sydney Medical School
Sydney Nursing School
Sydney Pharmacy School
Sydney School of Medical Sciences
Sydney School of Public Health
Areas of study A-F
Advanced Nursing Practice
Brain and Mind Sciences
Cataract and Refractive Surgery
Clinical Dentistry
Clinical Epidemiology
Clinical Surgery
Clinical Trials Research
Evidence-based Complementary Medicine
Areas of study G-L
General Practice and Primary Health Care
Indigenous Health Promotion
Intensive Care Nursing
International Ophthalmology
Areas of study M-R
Medicine and Science in Medicine
Ophthalmic Science
Pharmaceutical and Medical Device Development
Primary Health Care Nursing
Areas of study S-Z
Surgical Anatomy
Trauma-Informed Psychotherapy
Research in Medicine and Health
Resolutions of the Senate
Resolutions of the Faculty
Unit of study table
Unit of study descriptions
Conscious Sedation and Pain Control
Oral Implants
Oral Medicine
Special Needs Dentistry
Unit of study
A: Assumed knowledge P: Prerequisites C: Corequisites N: Prohibition
Doctor of Dental Medicine
(a) Students complete 192 credit points in the sequence indicated by Years 1-4 below
(b) Enrolment is full-time
(c) All units of study are compulsory unless otherwise noted.
SDDM5111
Integrated Life Sciences 1 14 C SDDM5112, SDDM5113, SDDM5114
Foundations of Clinical Dentistry A1 6 C SDDM5111, SDDM5113, SDDM5114
Foundations of Clinical Dentistry B1 3 C SDDM5111, SDDM5112, SDDM5114
Research 1 1 C SDDM5111, SDDM5112, SDDM5113
N SDMD5111 or SDMD5112 or SDMD5113 or SDMD5117
Integrated Life Sciences 3 10 P SDDM5111, SDDM5112, SDDM5113, SDDM5114, SDDM5121, SDDM5122, SDDM5123, SDDM5124, SDMD5111, SDMD5112, SDMD5113, SDMD5114, SDMD5116, SDMD5117, SDMD5121, SDMD5122, SDMD5123, SDMD5124, SDMD5125, SDMD5126, SDMD5127
C SDDM5212, SDDM5213, SDDM5214
Foundations of Clinical Dentistry A3 6 P SDDM5111, SDDM5112, SDDM5113, SDDM5114, SDDM5121, SDDM5122, SDDM5123, SDDM5124, SDMD5111, SDMD5112, SDMD5113, SDMD5114, SDMD5116, SDMD5117, SDMD5121, SDMD5122, SDMD5123, SDMD5124, SDMD5125, SDMD5126, SDMD5127
Foundations of Clinical Dentistry B3 7 P SDDM5111, SDDM5112, SDDM5113, SDDM5114, SDDM5121, SDDM5122, SDDM5123, SDDM5124, SDMD5111, SDMD5112, SDMD5113, SDMD5114, SDMD5116, SDMD5117, SDMD5121, SDMD5122, SDMD5123, SDMD5124, SDMD5125, SDMD5126, SDMD5127
Research 3 1 P SDDM5111, SDDM5112, SDDM5113, SDDM5114, SDDM5121, SDDM5122, SDDM5123, SDDM5124, SDMD5111, SDMD5112, SDMD5113, SDMD5114, SDMD5116, SDMD5117, SDMD5121, SDMD5122, SDMD5123, SDMD5124, SDMD5125, SDMD5126, SDMD5127
Integrated Life Sciences 4 8 P SDDM5111, SDDM5112, SDDM5113, SDDM5114, SDDM5121, SDDM5122, SDDM5123, SDDM5124, SDMD5111, SDMD5112, SDMD5113, SDMD5114, SDMD5116, SDMD5117, SDMD5121, SDMD5122, SDMD5123, SDMD5124, SDMD5125, SDMD5126, SDMD5127
Integrated Clinical Dentistry A1 6 P SDDM5211, SDDM5212, SDDM5213, SDDM5214, SDDM5221, SDDM5222, SDDM5223, SDDM5224, SDMD5211, SDMD5212, SDMD5213, SDMD5214, SDMD5215, SDMD5216, SDMD5217, SDMD5221, SDMD5222, SDMD5223, SDMD5224, SDMD5225, SDMD5226, SDMD5227
Integrated Clinical Dentistry B1 7 P SDDM5211, SDDM5212, SDDM5213, SDDM5214, SDDM5221, SDDM5222, SDDM5223, SDDM5224, SDMD5211, SDMD5212, SDMD5213, SDMD5214, SDMD5215, SDMD5216, SDMD5217, SDMD5221, SDMD5222, SDMD5223, SDMD5224, SDMD5225, SDMD5226, SDMD5227
Integrated Clinical Dentistry C1 10 P SDDM5211, SDDM5212, SDDM5213, SDDM5214, SDDM5221, SDDM5222, SDDM5223, SDDM5224, SDMD5211, SDMD5212, SDMD5213, SDMD5214, SDMD5215, SDMD5216, SDMD5217, SDMD5221, SDMD5222, SDMD5223, SDMD5224, SDMD5225, SDMD5226, SDMD5227
Research 5 1 P SDDM5211, SDDM5212, SDDM5213, SDDM5214, SDDM5221, SDDM5222, SDDM5223, SDDM5224, SDMD5211, SDMD5212, SDMD5213, SDMD5214, SDMD5215, SDMD5216, SDMD5217, SDMD5221, SDMD5222, SDMD5223, SDMD5224, SDMD5225, SDMD5226, SDMD5227
Electives 1 P Year 2 of DMD
Note: Department permission required for enrolment
The Elective programme offers an opportunity for professional development
Research 7 3 P SDDM5314, SDDM5315, SDDM5316, SDDM5317, SDDM5324, SDDM5325, SDDM5326, SDDM5327
Guide to Student PEARLS (available on Canvas)
Integrated Clinical Dentistry A3 7 P SDDM5314, SDDM5315, SDDM5316, SDDM5317, SDDM5324, SDDM5325, SDDM5326, SDDM5327
Integrated Clinical Dentistry B3 7 P SDDM5314, SDDM5315, SDDM5316, SDDM5317, SDDM5324, SDDM5325, SDDM5326, SDDM5327
Integrated Clinical Dentistry C3 7 P SDDM5314, SDDM5315, SDDM5316, SDDM5317, SDDM5324, SDDM5325, SDDM5326, SDDM5327
Electives 2 P SDDM5328
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Andrew Froehlich
7 Cool Data Center Innovations
We've identified seven key innovations being integrated into data centers to further expand capabilities -- or to provide vastly improved efficiencies in terms of energy consumption. Here's what you need to know.
(Image: scanrail/iStockphoto)
Data centers are like snowflakes -- no two are exactly the same. Sure, they may all consist of similar building blocks, but each one is put together differently -- and each is designed with different priorities in mind. As time goes on, those differences continue to grow.
Computing needs and power consumption are the two primary driving forces causing data centers to be built with ever more customization. As the world's demand for data center facilities continues to expand, we see a departure from traditional data centers and a movement toward the next-gen data center, guided by several new innovations.
We've identified seven key innovations being integrated into data centers to further expand capabilities -- or to provide vastly improved efficiency in terms of energy consumption.
When we look at an expansion of capabilities, you'll find that the traditional, massive, and isolated data center structures to which we've grown accustomed are no longer meeting today's needs in terms of mobility, redundancy, and flexibility. Cloud computing, the internet of things (IoT), automation, and borderless security are among the technology movements forcing these types of changes to data centers.
Energy savings is a focus for many data center innovations. The old-school method of using inefficient and expensive air conditioning is no longer a suitable option in today's world.
Many great minds have been hard at work figuring out ways to cool computing components using far less electricity -- or sometimes using no electricity at all. It's interesting how these power-saving methods range dramatically from very simple -- almost painfully obvious methods -- to using advanced software intelligence techniques that are truly groundbreaking.
What does the data center of the future look like? Why? Once you've reviewed these seven key data center innovations, tell us what you imagine in the comments section below.
Andrew has well over a decade of enterprise networking under his belt through his consulting practice, which specializes in enterprise network architectures and datacenter build-outs and prior experience at organizations such as State Farm Insurance, United Airlines and the ... View Full Bio
SaneIT,
Cooling data centers
I think several of these will be interesting to watch, namely Facebook's free cooling via ocean breeze and underwater data centers. Salt being as corrosive as it is would worry me when it comes to sealing up a data center and lowering it into the ocean, one little leak and it would get ugly fast. The maintenance on Facebook's ocean breeze solution has to be much higher than a traditional HVAC system but the overall cost could be much lower than powering and maintaining traditional systems. I think we'll see more in rack/close coupled cooling will become the norm in large data centers as the systems continue to gain efficiency but I also see more companies going to micro data centers. I've cut the size of our data center down to just 1/4 of what it was 10 years ago while running more services and servicing more users. I suspect a lot of other folks are doing this too. If I had to spin up enough hardware that I'd need to reclaim some of that space I would take a very serious look at carving out a small space away from the current data center to save on floor space and allow for smaller cooling systems.


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Pre-Order BOOM!'s Complete Might Morphin Power Rangers Collection through Kickstarter
Posted on January 9, 2021 by Graphic Policy Team	Leave a comment
Kickstarter is dropping any pretense of being a crowdfunding platform as BOOM! Studios are currently running a pre-order on the platform for a collection of their Mighty Mophin Power Rangers series. The entire fifty-five issue flagship series Mighty Morphin Power Rangers, along with several key tie-in issues, will be collected in six premium, limited edition Deluxe Hardcover volumes and available for pre-order individually or in a complete set through Kickstarter.
Fans will have the opportunity to pre-order a complete set of the Mighty Morphin Power Rangers in BOOM! Studios "Deluxe" hardcover format, collecting the entire Mighty Morphin Power Rangers comic book series. This new pre-order campaign will offer three different versions of these hardcovers:
MIGHTY Editions: these Deluxe format hardcovers feature artwork by Goñi Montes exclusive to this campaign and not available on any other collected editions.
MORPHIN Editions: these Deluxe format hardcovers feature the previously mentioned cover artwork AND an exclusive slipcase featuring new artwork Goñi Montes, both of which will only be available through this campaign.
MEGAZORD Editions: these Deluxe format hardcovers feature the previously mentioned cover artwork, the previously mentioned exclusive slipcase, AND an acetate sleeve featuring new artwork of a portion of the Megazord.
Fans can pre-order at three primary levels including (1) individual volumes, (2) a complete set of all six volumes, and (3) ultra-premium, limited collectible sets through February 4, 2021.
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One whole chicken. Five different spicy flavors. Ramp up the heat with ancho, chipotle, pasilla, jalapeño and guajillo peppers.
Heat a well-oiled skillet over medium-high heat and cook onions and garlic for 3-5 minutes. Pour in the chicken broth and add all the peppers to hydrate. Heat for 7-10 minutes, flipping the peppers to have even hydration. Heat the mixture for 10-15 minutes or until broth has reduced by half.
Remove from heat and add in oregano, orange peel, salt and pepper and pour mixture into a food processor. Blend the mixture with the butter until well incorporated. Refrigerate the mixture until it is cool enough the touch.
Slip your hand between the meat and skin on the breast and thigh sections to loosen. Spread butter mixture between skin and meat. Cover and refrigerate overnight.
Place chicken on the baking pan with rack and cook for 1½ hours or until internal temperature reaches 180°F at the thighs.


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04/15/2021 @ Welshly Arms – I Will Overcome
I Will Overcome
To Wander around unknown places
Barns Courtney
Position Music
April's Playlist
02/23/2022 @ Calum Scott – If You Ever Change Your Mind
02/14/2022 @ SPARKLING – Not The Right Place
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It is my conviction that the healing of the world is ultimately dependent upon humanity living together as male and female; that the disjunction of relationship between the genders is at the root of all humanity's problems. It is my conviction that exhibiting the image of God through the male-female relational dynamic is the challenge set before us throughout the entirety of scripture. The misogyny of scripture is countered by literary subversion throughout its entire corpus.


Gyongyosi M, Wojakowski W, Lemarchand P, Lunde K, Tendera M, Bartunek J, Marbán E, Assmus B, Henry TD, Traverse JH, Moyé L, Suerder D,Corti R, Huikuri HV, Miettinen JA, Woehrle J, Obradovic S, Roncalli J, Malliaras K, Pokushalov E, Romanov A, Kastrup J, Bergmann MW, Atsma D, Diederichsen AC, Édes I, Benedek I, Benedek T, Pejkov H, Nyolczas N, Pavo N, Bergler-Klein J, Pavo IJ, Sylven C,Berti S, Navarese EP, Maurer GM.
Rationale: The ACCRUE (Meta-Analysis of Cell-based CaRdiac stUdiEs) is the first prospectively declared collaborative multinational database including individual data of patients (IPD) with ischemic heart disease treated with cell therapy. Objective: We analyzed the safety and efficacy of intracoronary cell therapy after acute myocardial infarction (AMI) including IPDs from 12 randomized trials (ASTAMI, Aalst, BOOST, BONAMI, CADUCEUS, FINCELL, REGENT, REPAIR-AMI, SCAMI, SWISS-AMI, TIME, LATE-TIME; n=1252).
Methods and Results: The primary endpoint was freedom from combined major adverse cardiac and cerebrovascular events (MACCE; including all-cause death, re-AMI, stroke, and target vessel revascularization). The secondary endpoint was freedom from hard clinical endpoints (death, re-AMI, or stroke), assessed with random-effects meta-analyses and Cox regressions for interactions. Secondary efficacy endpoints included changes in end-diastolic volume (ΔEDV), end-systolic volume (ΔESV), and ejection fraction (ΔEF), analyzed with random-effects meta-analyses and analysis of covariance. We reported weighted mean differences between cell therapy and control groups. No effect of cell therapy on MACCE (14.0% vs. 16.3%, hazard ratio 0.86, 95%CI: 0.63;1.18) or death (1.4% vs 2.1%) or death/re-AMI/stroke (2.9% vs 4.7%) was identified in comparison to controls. No change in ΔEF (mean difference: 0.96%, 95%CI: -0.2;2.1), ΔEDV, or ΔESV was observed compared to controls. These results were not influenced by anterior AMI location, reduced baseline EF, or the use of MRI for assessing left ventricular parameters.
Conclusions: This meta-analysis of IPD from randomized trials in patients with recent AMI revealed that intracoronary cell therapy provided no benefit, in terms of clinical events or changes in left ventricular function.


Freelance arts and culture communications consultant whose clients include GRAMMY Museum, Library Foundation of Los Angeles, USC, LACMA, CalArts, LA Times, and others.
The goal of any worthwhile communications work is to transform audiences into advocates. In my career, I love partnering with dynamic individuals and organizations to tell relevant stories with measurable impact that, ultimately (hopefully!), affect social change. With this course, I hope to equip students with the skills and enthusiasm to effectively communicate and spread the word about their own projects and artwork.


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HomeEditorial
Lack of cohesiveness grounded Haitian immigration activists in Miami on May Day demonstration
CSMS Magazine editorialThe May Day show of force by immigration activists was the latest of a series of mass demonstrations sweeping all major cities in the United States. From coast to coast, including America's heartland, the muscle flexing has sent chill deep into the heart of conservative politicians in Washington who, in a latest move to deviate attention from Iraq, the Mississippi gulf coast and other social problems plaguing the nation, have jumped on the weakest layer of society—those everyone loves to hate: the immigrants. But while 100, 000 poured into the Orange Bowl, Little Haiti, one the hottest and historic spots in the struggle for immigrant rights in South Florida remained virtually idle last Monday. Why? God only knows. Was it because our fellow Haitians have already succeeded in their quest to be legalized? Absolutely not. Just two weeks earlier, more than a thousand Haitians descended in Downtown Miami, demanding justice and more importantly the temporary status for thousand of Haitians whose status remains in virtual limbo throughout South Florida. Haitians did demonstrate on Monday, however. They were about 500-strong massed in front of the Court House in Down Town Fort Lauderdale. That stand was totally overlooked since the media and the whole world, for that matter, had their eyes on the biggest prize of the day: The Orange Bowl. It has been some time since the Haitian immigration movement in South Florida has been losing steam. And its leaders do not seem to have the magic formula to reverse the trend. As in all other communities, politics in the old country or the homeland weigh a lot on how the struggle for social justice is conducted. In the 1980s, the movement was strong and well coordinated not only because there were more illegal immigrants in our community—part of that is true—but because the struggle for immigrant rights within the Haitian community in South Florida was wholeheartedly linked to that of Haiti in an urgent quest to dechouke injustice, exploitation and all form of police brutality. There was one common enemy: the repressive machine of Duvalier supported by Washington, ushering a mass-migration never registered in the history of Haiti. The focus then was not solely on "personal responsibility" as George Bush's social conservatism is preaching. It was on education and collective accomplishments within the framework of justice for all. Those were the glory days. There were more community radio programs where press releases, public service announcements and mass-mobilization could be done. By the way, there were few social service agencies, but lot more was achieved. Today, social service agencies spring like mushrooms in the grass in the morning dew—a nonprofit business that has become very profitable to some individuals who do not seem to have anything to do with the plights of Haitian immigrants. Don't listen to what they say, watch their actions. Action speaks louder than words. They raise their voices loud in front of the television camera when Haitians are being paraded in the 6 o' clock news, displaying a kind of a wounded pride. But yet they are nowhere to be found when Fanm Ayisyen or Marlene Bastien launches an appeal for massive demonstration. Sadly, the old guards have retired, possessed by the get-rich frenzy while pursuing much more lucrative adventures, whether in Haiti or in the Diaspora. The new guards could not care less about the need to put forward a genuine front to fight off the latest challenge imposed by immigration officials. They have adopted a vulgar conformitism camouflaged under the codename of politic of integration, which is in fact nothing but politic of subordination. To top it all, their views on how Haiti should be run differ dramatically. Thus, they have little in common but a desire to make money off the ignorance of our people. No wonder they were nowhere to be found on May Day. Don't worry, they will find plenty of excuses to justify their absences. One of them will certainly be " the Orange Bowl is too close to Cuban territory." But that will expose their impotence and further open the eyes of the community. What needs to be done is a return to the status quo ante, so that Haitian immigrants will not be left alone to freeze out in the cold whenever they decide on the latest immigration reform. We need to be wise.
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