text:
Interview by Tony Hicks.
Dave reminded me that Slade and The Hollies did a gig or two together. .. I remember Nottingham, a ballroom where The Hollies were well known at the time, and it must have been very early days for Slade. But I do remember they went down ever so well- I also remember them being about three times as loud as we were!
IS THAT ABOUT RIGHT, Dave?
Yeah, and Allan Clarke came in and he was wearing a tassley ... did he used to wear a tassley coat?
Yeah, like a cowboy thing ...
Gosh, I do remember it, 'cos our drummer was laughing at him ...
That's nice!
Well Don's a bit like that, always throwing lines at you, and he said something like: "You'll never get anywhere looking like that!" And he'd got knee-length boots, like cowboy boots ... We were just happening, and you know how crucial fashion is then, when you're supposed to be carrying the fashion, so anybody that's like from a slightly older league ...
Right... we'll get off that subject... So when did Slade come about? Was it through Chas Chandler - formerly bass player with The Animals and discoverer of jimi Hendrix?
Well, he was important in shaping us, finding things in us. You see, some scout had been roving around up North, looking for groups to record for a strange French label, so we ended up being put in Philips studios, in London, to find out what we could do. There was this bloke named Jack Baverstock working at Philips at the time, and he said: "Whatever you do, you've got to get somebody down here to look after you". So he got Robert Stigwood who booked us to play the Rasputin Club, down New Bond Street. So we were playing this gig, and Chas, as he came down the stairs with his missus, said we sounded 'like a breath of fresh air'.
Now, we were doing what we'd always been doing - playing pubs and clubs, and just putting out our own personalities, not playing our own material, but not pop stuff - we never played the charts, it was always early soul stuff, you know.
Now, we were doing what we'd always been doing - playing pubs and clubs, and just putting out our own personalities, not playing our own material, but not pop stuff - we never played the charts, it was always early soul stuff, you know.
Were you writing then?
No, I think we mucked around with a couple of ideas and stuck a few words on, but nobody got serious ... Anyway. Chas spotted something there and he told us: "Whatever you do, don't alter the way you look".
So what did you look like at that time - was there a distinct image?
Probably a slightly honed-down version of what we ended up looking like ...
... Not the skin-head thing?
No, that was probably more late '60s. We'd been through the hippie period - long hair. beads and earrings, and tight velvet trousers. We'd go to London and buy some gear to try and look like the London groups. Anybody from London looked great! Anybody from the Midlands didn't look right so you went to London and came back looking a bit more professional.
So, Chas thought you looked like a breath of fresh air.
Sounded like it and, I think, looked like it. There was nothing new happening to him and I suppose something was coming off us - Nod with the way he talked to the audience, me with the way I looked - grinning, and all the things I was good at - so he wanted to record us. But Chas' importance was to get us to write our own stuff. His point was: "All the things that have gone into your heads, through learning other people's material and doing it your own way, try and put that into your own songs."
Do you remember the first one you wrote that he was really impressed with?
Well, our first hit was Get Down And Get With It, which originally Little Richard recorded - it was one we did on stage, and which went down really well. So, strangely, the song which cracked it for us wasn't our song! The first original one to do it was Coz I Luv You, which was our first number one. Now presumably that really impressed him! But I remember when we completed it, we didn't want it out - we thought it was a bit wimpy in comparison to Get Down And Get With It - which was more Noddy's power.
I remember, it was a real stomper! Did the record turn out more or less as you'd intended it?
Yeah. We were trying to create the live thing of course, but we couldn't without the audience, so we were thumping on boards to make a noise onto the record - no technology, just grappling with what you've got around the studio. It's not like now, where we can just program it - we programmed it with our own inspiration, our own effort.
Was Chas very important on the production side - did he change things?
Well, it was like: "Let's not use the big stage gear, let's use a little amp." We used to go down to Olympic Studios in Barnes - and you'll know what I mean, being a lead player you've got a certain sound going for you, and although you could probably take in a small amp, I was starting to get the big gear going - double cabs and 200 watts - you took that in the studio and it never worked. So Chas was getting me to do that - and also to stop me from playing long lead breaks. His point was: "If you don't sound as good as Jimi Hendrix or Eric Clapton, don't play long solos!"
That's what I meant about his contribution, because exactly those words were said to me. Whenever I went into the studio I'd worked out a solo which I thought was really clever, and sure enough, Ron Richards, our producer would say: "That's fine, but if you cut three quarters of it out we might have something that's usable."
So I'm looking down the Guinness Book of Records here, and between October 71 and October 74 you had twelve top three records. That's a phenomenal success - if you we;e footballers you'd be playing for England. And they were all really good things, Coz I Luv You, number one, Look Wot You Dun was four, Mama Weer All Crazee Now - one - Gudbuy TJane, number two, then Cum On, Feel The Noize and Skweeze Me, Pleeze Me, both number one, My Frend Stan, two and Merry Xmas Everybody, of course, number one!
That was our last number one, I think ...
That's right, and then you had two at three, you poor old sods -Everyday and Bangin' Man - then Far Far Away was number two.
Number two ... that's when we were slipping .. !
Did the companies start throwing equipment at you when you became big?
No, we just found stuff. From Vox we went to Sound City or something - Nod and I both tried one ... But we'd seen Mott The Hoople, at the Civic Hall Wolverhampton, and we figured our sound was thin in comparison to theirs - even if one guitarist stopped playing they still sounded the same - still sounded thick. So we thought: "Oh dear", and the group had the meeting the next day round my house: "We've gotta change our sound - we've just seen Mott The Hoople".
The meeting'!! (laughs).
Yeah, 'the meeting'. So we all bought our piece of gear to thicken up our sound ... Eventually we ended up with Hi-Watt - I'm not quite sure how that came about, but I think it was because Townshend used it.
Obviously you were getting bigger, more boisterous crowds ... would you have been miked up in those days?
No, in fact we weren't miked up until we went to America, and when they miked us up we tried to take the mikes off. We said: "We just play, and it comes out that way", and the Americans were going: "Oh man, hey, you know - this lovely mike".
I saw a gig of yours, at Hammersmith Odeon. There was a very boisterous crowd, it was a great set, I enjoyed it a lot.
You just went there yourself?
I didn't know you were there ... you didn't make yourself known, did you?
Well no ...
Just nosey?
Yeah, just popped in. I remember you had a thing built out from the stage, that you used to wander along ...
Oh yeah, that was just a thing we used to climb up on, to do solos.
But, as well as playing well, you did have great songs, songs that you could sing. Now, generally if that's the case with a song, you hear it once and love it, and you hear it three times and can't stand it. But they were quality songs, and they keep coming back. Have they released the Christmas one again this year?
It will be - we don't tend to control it, it just comes out anyway ... We've actually recorded a version of Chris Montez' Let's Dance. We just did a rock version of it for a laugh, and thought we'd stick it out. But of course Merry Xmas is always in competition with whatever we bring out, so we're just doing that because we've got nothing better to do we're not performing or anything.
Not at all?
Not at all. I haven't been on stage for two or three years now.
How does that feel?
At times it feels terrible because I have to cope with what's happening. I've got a family, three kids, and things are important in my life, in respect of the home.
So, as a live performing band, is it finished?
No, it's not finished full-stop. Nod and I are venturing into a project together, but we said we'd like to shelve the band for a year - no silly going on 'Wogan' or something daft. We thought, if we're going to further our careers we need to look for something special.
We've been together 21, 22 years, as the same four, and I think back to the days in the van, and the purpose and the reason you did it all... But that goes, because you don't want to be in the back of the van any more, you're in a car, you're chauffeured, you've experienced success, you've been in nice hotels and you don't really want to go back to that to survive. We finished touring when we were number two with My Oh My, in 1983, but then we started to have a go at America, and we had our first hit there. We went over to the States and immediately started to go through what we'd done seven or eight years before, and we suddenly saw red lights. It was a bit like: "Hang on a minute, we've already done this", and it felt like we were going to go through the same stupidity again touring with the wrong people, who were trying to get on tours to be seen - a favour for Fred, so we can get on his show. Plus we weren't twenty years of age any more!
It's very hard to turn the clock back.
Yeah, all I'm getting at is that the casualty of rock and roll is age, and it happens to us all at some point. We can mature and weather well - some of us do and some don't - and when you're in the minds of kids who grew up with you, unless they've seen you frequently, they don't see that gap. Then when you suddenly appear on lV, ten years later, it's: "Cor blimey! He looks ancient!" It happens to everybody - Jagger, and people like that, looning around as if it was years ago.
But the audience has possibly gone past that -you know what it's like: "I was never into the Bay City Rollers; I'm into Pink Floyd" - until the nostalgia thing whips round and then they go, confidentially: "Do you know, I always thought they were great".
But I think we've got longevity - you lot, us lot - various groups from certain periods seem to have longevity because their stuff lasts. It was well written and it's still good, whereas now it's quick and disposable - 'How fast can we get a record out? Who's new and who's sixteen?' You notice how young people are now, and it's hard to actually grab hold of anybody who's going to stay.
They certainly don't seem to ...
But we do want to tour and I do want to play. When I walk on there it just hits me immediately, and I feel it. We've had so many incredible shows, and we never finished it on any low ¸we finished on a real buzz. We always had a standard and a reason, so we're trying to look for a way of moving forward. I've started to write tunes and Nod wants to try production, and we thought maybe we'd rejuvenate ourselves by doing these things. And if we're to come together to make another LP - if somebody said: "Look, lads, we really want you to come back together and tour" - we'd want a reason, a product. Then we'd feel fresh and want to do it - not like: "We've got one more record on the contract to go, we'd better go and to it 'cos there's an advance ... "
I've always said we all take second place to a great song. If people go out and buy a record, they're generally buying what they think is a great song, and it really excites them to hear it. So, with the right song you could be right back there, if you wanted, and then the stage gigs would fall into place. But it's hard rock and roll that you played, and the older you get the less likely you are to want to do that. In our case, our stage gigs evolved, and it isn't actually that much different to what we've always done. But it's amazing how the audience has matured, and sort of come along with us, and the success of He Ain't Heavy, He's My Brother hasn't made as big a difference as people might tend to think.
Well people do tend to think things, and any success is good, and a number one is even better. In fact, if you look down the sales figures for this year, yours is the only single that's gone silver, if I remember rightly.
Well they do say the middle – of – the - road market is the biggest one ... I mean that song must have fallen into so many categories - people who heard it for the first time, people whose original copy was scratched, and of course it came out on CD, so there's another market. The funny thing was, Miller Light approached us recently and said: "We want to do another commercial, would you mind changing the lyrics slightly?" We said: "What are you thinking of?" and they said - wait for it: "How about - She Ain't Heavy, She's My Mother?" So you can imagine that... they're going to have this great hunky guy carrying his mother out of the pub, or something. So, apart from the fact that we didn't have the right to allow them to do it anyway, I think the song's a little more important than that...
Do you remember your first guitar?
Do you remember your first guitar?
It was a Kay's catalogue job about £7-50
Electric or hole - in - the - middle?
Spanish, hole-in-the-middle, a terrible guitar. I spotted it in the catalogue, and there was a kid down the road playing Tell Laura I Love Her at the time ...
But I'd always had the desire for music - my grandfather was a keyboard player, but a church player - I never met him but he was a Doctor of Music, he had some diploma - and I've always had a kind of affection towards piano playing, although I've never actually played the piano. At school I attempted to get involved in a stupid recorder, but all I got was: "He's a fool, he won't learn to read", so the headmistress made sure I didn't play it. Mum tried to get me into a violin class and it was the same thing: "He's a clown, he won't learn". I was fiddling around a bit you see ...
But in those days you're not serious about anything. I could have just taken it up and dropped it - I'm quite favourite for going mad on something and eventually leaving it alone. I think Dad spotted that when I wanted a guitar - he said: "Well, you can have a cheap guitar and see how it goes", and he insisted that I had some lessons. I had a biology teacher, named Brian Close, who was giving lessons to this other kid, so I went to see him with the guitar, on my bicycle. I was left-handed, so I was trying to play it with the strings upside down and he made me change it round. He was trying to teach me a bit of music, but he would at least allow me to learn what I wanted to learn - he didn't make it like a studious programme of learning the guitar ... He was a jazz guitarist and it always sounded great when he was playing chords - it sounded real smooth, you know?
So then I started to think of forming a little group on the estate. We didn't have an electric guitar then, so after about a year it was: "Dad, I ought to get an electric guitar", and there was a shop in Wolverhampton and I bought a Burns – a Vista Sonic… or something Sonic. It had a knob on it that would click and it would make three strings play bass and three strings play treble ... it was either Bi-Sonic or Vista-Sonic - a funny name.
It must have sounded dreadful ...
Well I thought it was a whizz! If you played in octaves you could have one of your top strings and middle strings going and do a bit of a Wes Montgomery. So in a way it was quite technical, but it probably did sound horrible ... It was a poor man's Hank Marvin guitar really, I couldn't afford a Fender ...
You played Gibsons, what do you think of them?
I've got one; it's a special. Dad bought it for me in London before we made it. Chas thought the Burns was a lousy sound - too bassy - so Dad came down with me to Shaftsbury Avenue ... It was in the window and it was a funny looking thing - it's a Gibson neck fitted on a funny body.
I've seen it and I've often wondered what it is ...
It's a 345 stereo neck on some odd body - it's a one-off, built by a bloke called Sam Lee.
So it was a Gibson neck on a bastard body?
That's right. But that was to be the guitar on all the hits, 'cos it had a nice ringing sound. That was a lot of our sound, you see, ringing, odd chords and notes, a kind of big sound. That's what I used until I got into this Hi-Watt lark.
Then I got away from that Gibson and got into the thick sound, which was caused by a bloke called John Birch, who made guitars for Tony lommi of Black Sabbath. I mean it was a big, thick sound.
Did you buy yourself an echo unit!
Yeah, a Watkins Copycat. That was big news - telling Dad that other guitarists' lead breaks only sounded great because they were played through echo ... a big bluff.
Yes, one of my aunties took me to Manchester and bought me a Watkins Copycat - same thing, magic ...
Obviously you had the same buzz as me in those days. There was such a magic in being young then and just expressing yourself through the guitar.
You felt so good with it, because it wasn't so easily available. You can have anything you want now, and the price is fair. I remember when I was first buying guitars, you felt so proud walking out of the shop with it - you felt honoured that you had something like that. These days, if kids want a Fender, they'll buy a Fender!
I get the impression, from what you say, that you were one of the few bands that didn't get ripped off?
I get the impression, from what you say, that you were one of the few bands that didn't get ripped off?
I think Chas was always up front there. But I don't think it's good to sit down and work it all out, because when there's money coming in you're not too bothered about anything in particular - you've bought yourself a car and a house, so I never scrutinised anything much at the time. I enjoyed the period of success - because I'd worked for it - and those days will never come back to me, it'll never be the same. I've received success the second time round, in fact the third time round, really, because we've had two comebacks! But Chas has always come across as somebody decent to me.
He was a musician in a famous group, he handled a famous guitarist and he knew the pitfalls and problems in groups.
And I don't think it's any secret that The Animals were pretty much ripped off themselves, so it's all credit to him that he didn't think: "Right, now it's my turn!"
He was a musician in a famous group, he handled a famous guitarist and he knew the pitfalls and problems in groups.
And I don't think it's any secret that The Animals were pretty much ripped off themselves, so it's all credit to him that he didn't think: "Right, now it's my turn!"
Tell us about when you went to the States.
We supported people like King Crimson, which was completely out of order. They were all like a bunch of 'public school wallahs' - sort of: "I say ... " and: "Everybody be quiet while we play our instrumentals". while the people are shouting:
"We want Slade!" It just wasn't fitting. We worked with The Strawbs - stupid, off-the-wall bills like that. In America we were being hailed as the 'new Beatles' - going to be as big as them - and that wasn't good at all. The reporters were slagging us off, expecting us to walk water ...
"We want Slade!" It just wasn't fitting. We worked with The Strawbs - stupid, off-the-wall bills like that. In America we were being hailed as the 'new Beatles' - going to be as big as them - and that wasn't good at all. The reporters were slagging us off, expecting us to walk water ...
That's a shame, because the Moody Blues went over supporting various people, and it did work for them. They did it for years, until they turned up at some place and asked who was on that night and were told it was Van Morrison. They asked what time they would be on, supporting, and they were told: "You're not supporting, this is your audience - he's supporting you!" Did you know Justin Hayward?
Oh yes, well! We supported them before we made it - we supported everybody, including Spencer Davis. Stevie Winwood was another one of my heroes - great voice.
There was this place in Walsall, it was a casino. Almost everybody used to play it, and this guy was always favourite for getting groups just as they were making it - he got Herman's Hermits for £25 when they'd just cracked it.
How would you feel about starting all over again - I don't mean in Slade, but in the business in general?
I wouldn't! I like the technology - I pillock around with a little four-track at home, and it's useful for putting ideas down. I'm aware of sequencers, but I find them nauseating actually. I relate to physically playing the guitar.
There's a physical thing about what we did in Slade because it was that energy - plus the back-up of what we were as individuals.
What was it like on the road - roadies to tune your guitars and suchlike?
Yeah, we had a drum roadie and a roadie to tune our guitars, but I think at the end of the day Nod and I would go in and start re-tuning them - I mean, I didn't have somebody playing for me!
Did you realise, then, that the taxman was going to appear a few years later, for his cut?
With Labour in control we paid an awful lot of tax. It was in the hit period, you see; it was very heavy going with Labour in.
But you were aware of it, you didn't get lumbered.
Well, we did get lumbered, we had to pay - we weren't hiding it! We had Special Branch on to us, you know, checking us out ... and we paid up!
Well at least you were in a position to do so. An awful lot of bands who are enormous for a year or two, get the cheques in, go out and buy a Ferrari and totally ignore the fact that he'll eventually come knocking on the door.
I think we're all a little bit subject to going out and buying things, but I bought a house and so did the rest of the band. I bought a house down a posh road in Solihull.
... Not a farm or anything. You weren't drawn to the land?
I thought about it, but as I wasn't writing the hits, the money was less for me ... But nobody ever did have a mansion in our group. We all just had decent houses ... nothing ever super big.
But, as I see it, twenty odd years on, when it comes up to Christmas, Slade start coming into people's minds, and that's a hole that we dug ourselves. Our hits were during the year, not at Christmas, but people relate us, like mince pies, to Christmas. Nevertheless it's nice to be remembered, at any time, but I'm not one to go polishing my discs and looking at past glories.
But, as I see it, twenty odd years on, when it comes up to Christmas, Slade start coming into people's minds, and that's a hole that we dug ourselves. Our hits were during the year, not at Christmas, but people relate us, like mince pies, to Christmas. Nevertheless it's nice to be remembered, at any time, but I'm not one to go polishing my discs and looking at past glories.


text:
|Eleanor (Delling) and Roman Boegel
Roman was the oldest of four known children born to John and Bertha Boegel nee Rosbeck.
Roman was my husband's great uncle.
"Roman Boegel
Roman W. Boegel, 78, of 445 E. Main St., Kewaskum, died Monday, March 31, 1980, at St. Agnes Hospital where he was a patient for three days.
He was born Sept. 16, 1901, in Milwaukee, a son of the late John and Bertha Rosbeck Boegel. On May 20, 1930, he married Eleanor Delling at St. Michaels.
Mr. Boegel was a retired Town of Theresa, Dodge County, farmer before moving to Kewaskum 16-1/2 years ago.
Surviving are his wife; a son, Paul of rural Kewaskum; a grandchild; and a sister, Mrs. Romand (Leona) Kuehl of St. Kilian. Two brothers preceded him in death.
Funeral services will be held at 8 p.m. Wednesday at Miller's Funeral Home, Kewaskum, and at 8:30 p.m. at Holy Trinity Catholic Church, Kewaskum. The Rev. John T. Budde will officiate, and interment will take place in Shrine of Rest Chapel Mausoleum, Ledgeview Memorial Park Cemetery.
Friends of Mr. Boegel may call after 3 p.m. Wednesday at the funeral home."

subset: commoncrawl


text:
Welcome to the world of Jay K. Hoffman & Associates.
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The Hoffman firm is one of the classical music world's leading public relations and marketing organizations, with a New York - based office and associates in Europe and Asia. Our client list includes festivals, soloists, singers, composers, conductors, events and arts organizations world-wide.
At Jay K. Hoffman & Associates, we constantly challenge the traditional definition of public relations and marketing. We integrate strategic planning, niche marketing, internet promotion, and communication management to offer our clients a new level of cutting-edge services in the ever more competitive music business - all aimed at building audiences of all demographics and ages.
Moreover, our clients enjoy highly personalized services from a team of dedicated professionals, who listen well, think creatively, and work hard to translate expectations into tangible successes, here and anywhere in the world.


text:
Newsletter July 2018
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text:
Samsung and Google to regroup for October 27 Galaxy Nexus launch in the UK
The news that Samsung and Google had decided to postpone the launch of the Galaxy Nexus smartphone and Ice Cream Sandwich software at a CTIA event in San Diego software surprised a lot of people, a delay that many speculate was as a result of Steve Jobs' passing on Thursday morning.
Just hours after the official co-statement, The Next Web has learned that the postponed event might not be delayed for long, with the new date for the Samsung event being set for October 27.
The location looks to have changed too, with London now welcoming both Samsung and Google to present their new hardware and software.
Whilst Google has remained quiet on the matter, we spoke with someone close to the situation, who mentioned that we "should be there" at the October 11th event, further reinforcing speculation that the search giant will use this event to unveil Ice Cream Sandwich and everything it has to offer.
So, Android fans, it looks like you will have to wait an extra couple of weeks – but from what we have seen in the Galaxy Nexus video leak and associated specifications, it will be worth the few extra days.
Read next: How AssuredSale plans to disrupt the UK housing market
Pssst, hey you!
Do you want to get the sassiest daily tech newsletter every day, in your inbox, for FREE? Of course you do: sign up for Big Spam here.


text:
Over the past few months, we of the Gawker Tech Team have put a ton of work into improving site performance and stability. If you don't recall seeing much evidence at all of the latter, you're right: we're only just now at the point of our time investment starting to pay off. More about that in a subsequent post! This post is about the performance side.
In the Google Analytics chart above, you can see that there have been steady improvements in load time from January up to now. We achieved these primarily by:
- Replacing sequential requests with ones that can be made in parallel, and cleaning up unneeded requests.
- Reducing the size of the styles and scripts that are needed to render a page.
- Freezing animated GIFs (pronounced "Gifs", with a hard "G"). Some sites, like Sploid, love to put GIFs all over the place, and these things add up (and even crash mobile browsers). Animated GIFs on mobile are now click-to-play, and on desktop they only play once scrolled to.
- Following general performance best practices, such as ensuring that our assets are cached for as long as possible.
These improvements offer much more than a theoretical advantage or an improvement in PageSpeed score. Here's a comparison of what a user's second view of the Valleywag homepage looked like on January 28 vs. on May 14th:
(Content starts displaying a lot faster and you can start reading about depressing tech stuff sooner.)
Here are details on some of the specific optimizations that got us here:
1. Deanimating GIFs*
Some people go through life joylessly, seeing the world through a prism of despair. The rest of us enjoy GIFs. And because we enjoy GIFs, we should understand their technical limitations and work around these as much as possible. GIF is an ancient file format that was really not made for motion. Since the time the animated GIF was introduced, a number of dedicated video formats have been released, which can offer order of magnitude improvements in efficiency. We're working on converting to a proper video format, but for the time being, we:
- (On desktop) show a thumbnail for GIFs, automatically loading the real GIF only when it is currently visible on the page
- (On mobile) show a thumbnail for GIFs with a Play button. The GIF plays when the user taps the Play button.
This is a GIF of a GIF that shows up with a Play button on mobile. (On mobile, this GIF will show up with a Play button.)
Besides a huge improvement in load time on pages with GIFs, this is much nicer to users on mobile data plans. Imagine that you're an American traveling to France, and that you have a Verizon phone which you neglected to switch from the default pay-as-you-go roaming option. In between wine tastings on the banks of the Garonne, you decide to see what's up on Sploid, and you navigate to this page:
In the past, because of all those GIFs, you would have incurred nearly $300 in data costs just loading that page! Now you're only charged for the GIFs you actually use. This is the way things should be.
Parallelizing Requests
One of the biggest changes was parallelizing download of our Javascript code. On every Kinja page, we load the following layers of JS:
1. "Main" - includes common dependencies for all pages
2. Context-specific layer (for example, "FrontPage" or "Post")
In the past, we needed to perform all of these steps in order to load a page's JS:
- Fetch "Main" JS layer
- Execute the "Main" layer
- Wait for a config file to load
- "Main" JS finds which context-specific layer we need and retrieves and executes it
After optimization, the steps look like:
- Fetch "Main" JS layer (now including config file) and context-specific bundle in parallel
- Execute "Main" JS layer, which in turn executes context-specific layer
We could have squashed the layers together, which would simplify the logic a good amount. But this would yield one giant, frequently-changing blob of JS. Visitors would be less likely to have the latest version of it cached as they browse the site, and so would be fetching a very large file more frequently.
There were a few other places we made operations non-blocking:
Reducing Page Weight
We built a few tools to aid us in reducing the size of scripts and other dependencies. One, soysauce, analyzes Closure Template dependencies, and among other things lets us know if we're pulling in unneeded templates.
Another, big-assets, builds a report of top Javascript dependencies by size, which is good for prioritizing what to focus on cleaning up.
Using these tools as well as some common sense we were able to dramatically reduce the amount of code needed on every page, and are continuing to monitor the codebase for things we can clean up.
About the last, biggest drop in early April, which allowed me to use the word "halved" and makes the chart look as impressive as it does: this is partly a lesson in how you shouldn't trust charts (and people bragging about their results). Around that time, we decided to show more images on our mobile view, which was previously a little sparse. To prevent phones from having to immediately load a large number of images on their limited connections, we started displaying "below-the-fold" images only after the user scrolled. This makes the numbers look pretty fantastic, but the perceived performance improvement on the user's side is disproportionately small to our earlier changes, because most browsers are pretty good at downloading images without blocking other site functionality from loading in. (Some good related discussion here).
So, in summary: we halved our load time by following recommended performance practices, reining in our GIFs, and also cheating a little. This is just the start, we're continuing to focus on making Kinja a speedy experience.
For more on frontend performance optimization, check out Google's performance best practices guide and High Performance Websites by Steve Souders. If you would prefer to read stuff written by a dog, check dog.gawker.com.
* "GIF" is pronounced "Gif", with a hard "G".


text:
Beat the Streak Report: Tuesday, May 26
Today's recommended picks
Albert Pujols, 1B, Cardinals
13-for-33 (.394 AVG) lifetime vs. Brewers starter Jeff Suppan
Carl Crawford, OF, Rays
7-for-16 (.438 AVG) lifetime vs. Indians starter Carl Pavano; Pavano: .318 AVG against in '09
Alfonso Soriano, OF, Cubs
9-for-18 (.389 AVG) lifetime vs. Pirates starter Ian Snell
BTS all-time leader: Michael Karatzia, 49
MLB all-time leader: Joe DiMaggio, 56
Yesterday's results
The BTS season-high streak for Choteria is up to 32 games, thanks to the selection of Washington third baseman Ryan Zimmerman (1-for-4). However, adnaz stayed right on the leader's tail, pushing his own streak to 30 games by getting just enough from Houston shortstop Miguel Tejada (1-for-5).
Third-place contestant stubs_22 didn't have to wait for his player to eke out a lone hit, as he quickly extended his streak to 27 games when Mariners outfielder Ichiro Suzuki rapped the first of his four base knocks. No Nickname and brett_chance rounded out the Top 5, at 26 games, with their respective picks of Tampa Bay's Carl Crawford (1-for-4) and Boston's Dustin Pedroia (3-for-5).
Yesterday's Top 5 most selected players
1. Hanley Ramirez (FLA): 13.6%, 1-for-4
2. Joe Mauer (MIN): 8.5%, 1-for-1
3. Dustin Pedroia (BOS): 6.6%, 3-for-5
4. Ichiro Suzuki (SEA): 4.2%, 4-for-4
5. Albert Pujols (STL): 3.0%, 0-for-2
4 Comments
Does any one know how to contact the powers to be to let them know that an error has been made… etc.. no credit for a player that did not play…
I joined beat the streak yesterday, and my pick was Guzman from the Nats against the Mets he went 2 for 4 but I have no hit accounted for what's up with that??????????????????????????????????????????????
Dan, you dont receive credit when a player doesnt play. Your streak stays the same.
Thanks dyankee3… I figured that out after I made the post


text:
As part of the medium-sized group steeped in tradition, Schön + Hippelein, sh minerals GmbH is responsible for the sale of their products in Germany and neighbouring European countries. Thanks to our GEOMIN Erzgebirgische Kalkwerke GmbH sites in Hammerunterwiesenthal, Lengefeld and Hermsdorf (Erzgebirge, Saxony) and Calcitwerk Schön + Hippelein GmbH & Co. KG in Heidenheim (Baden-Wuerttemberg), we are one of the biggest suppliers in the filler market. Carbonate fillers, dried grains and special commercial mineral products are among the highlights of the sh minerals range. The consistently high quality of our products, obtained from our own long-protected resources, is our guarantee for success now and in the future. Supported by our funded technical applications advice, sh minerals has the products and the expertise for a broad range of application areas in a wide variety of sectors.
Product catalogue preview
There is no catalogue in this language, but you can consult this company's catalogue in the following languages:


text:
- Home
- Exhibit
- Sponsor
- Benefits of Attending
- Gain insight
- Who's There
- Awards
- Match
- Practical Info
Founder, Feedback Global and Toast Ale
Tristram Stuart is an international award-winning author, speaker, campaigner and expert on the environmental and social impacts of food . His books have been described as "a genuinely revelatory contribution to the history of human ideas" (The Times) and his TED talk has been watched over a million times. The environmental campaigning organisation he founded, Feedback, has spread its work into dozens of countries worldwide to change society's attitude towards wasting food.
He is also the founder of Toast Ale, a beer launched in the UK in 2016 that is made using fresh, surplus bread.


text:
VIDEO: Simple tools help parents understand a child's risk of obesity
According to a study performed in the N.C. Children's Hospital, researchers confirmed previous reports that parents of overweight or obese children do not recognize their child's weight problem. But this time, by arming pediatricians with a "toolkit," including an easily used chart and a series of questions and suggestions, the researchers addressed several problems.
Some simple interventions used by pediatricians were enough to change a parent's perspective about a child's being overweight or obese, and change the parent's behaviors at home to reduce those risks.
According to a study performed in North Carolina Children's Hospital, researchers confirmed previous reports that parents of overweight or obese children do not recognize their child's weight problem. But this time, by arming pediatricians with a "toolkit," an easily used chart and a series of questions and suggestions, the researchers addressed several problems.
"Doctors often don't have time to discuss overweight; they don't have the tools to do it; and many aren't confident that they're going to make a difference in their patients' lives," said Eliana Perrin, MD, MPH, assistant professor of pediatrics at the University of North Carolina at Chapel Hill School of Medicine and lead author of the study, published in the July-August issue of Academic Pediatrics.
"Also, parents don't recognize weight problems or don't know how to make things better, and even if they do, there are often barriers to healthier eating or more activity for these families," says Perrin.
As First Lady Michelle Obama's "Let's Move!" campaign aims to reduce childhood obesity – almost one-third of young people are overweight – two leading questions are how to affect that change and if it can be successful.
Perrin's study is likely the first evidence that a parent's assessment of their child's weight can be changed. Her study also showed improved dietary behaviors in children and reduced time playing video games or watching television, called "screen time."
"We found something we can do to help stem the obesity epidemic," says Perrin, whose previous research in childhood obesity has shown that using a body mass index, or BMI, chart color-coded like a traffic light helps parents understand the often confounding measurement.
Perrin's research group trained pediatric resident physicians on how to use the color-coded BMI chart and a revision of a questionnaire called "Starting the Conversation," originally designed by Alice Ammerman, DrPh, director of the Health Promotion and Disease Prevention program in the UNC Gillings School of Global Public Health and a co-author on the study. The STC gives health care providers a snapshot of potential red flags to help counsel patients as well as tips to implement change.
Parents were asked about their children's weight status and discussions about weight in the doctor's office. The Starting the Conversation form used in this study was revised by Perrin and asked parents about non-healthy eating habits – frequency of sugary snacks, sugar-sweetened beverages and eating out at restaurants, as well as activity and screen time. It also asked about the parent's readiness to change. The pediatrics residents were instructed to show parents their children's weight status in a color-coded BMI chart and were taught to use the parents' responses to the questionnaire to engage the parents in discussions about healthier eating behaviors and activities.
Researchers enrolled 115 children ages 4 to 12 who were covered by Medicaid or the State Health Insurance Program and repeated the Starting the Conversation questionnaire as well as questions about weight status at one-month and three-month follow-up appointments.
The study showed the most significant improvement in dietary changes among children who were overweight. At follow up, they were more likely than healthy-weight children to drink lower-fat milk and showed the largest reduction in the frequency of eating out. But overall, children improved fruit and vegetable consumption, decreased sweetened beverages and unhealthy snacks, drank lower-fat milk more and reduced screen time.
In the initial visit, all of the parents of healthy-weight children accurately perceived their child's weight. However, only 57 percent of overweight children's parents did so at baseline. That improved significantly to 74 percent at three month follow up.
BMI was measured and tracked and a few children became more overweight, while more reached healthier weights but no significant improvements in weight status were noted in this short study, Perrin says. "The research has to be replicated and expanded, and it must determine if improvements in parental perception of children's weight motivates families to improve behavior and, ultimately, leads to healthier weight over time," she says.
"Everyone's talking about BMI and we have a lot of studies to show that parents do not see their overweight children as overweight. That often does not sink in with parents," Perrin says. "This is the first time we've seen a changed perspective from parents. We hope that parents who know their children are overweight will be empowered to help them achieve healthier lifestyles that can last a lifetime."


text:
DETROIT, July 30 (UPI) -- The driver of a Justin Bieber tour bus got a ticket after a small amount of marijuana was discovered at a Canadian-U.S. border bridge, customs officials say.
Bieber, 19, was not on the bus Sunday, the Detroit Free Press reported. Kenneth Hammond, a spokesman for U.S. Customs and Border Protection in Detroit, said the bus was searched after a dog alerted on drugs.
The bus was heading from Windsor, Ontario, to Detroit via the Ambassador Bridge. Bieber performed Sunday at the Joe Louis Arena in Detroit.
In March, marijuana was found on a Rihanna tour bus at the Ambassador Bridge. Like Bieber, Rihanna was elsewhere at the time.


text:
Ok, I'm sorry I was wrong, put back the thread's title on every post.
When I get to the pfhorums, what I do is open every unread thread (view new posts) in it's own tab. The title in the tabs don't help, they all read The Pfh..., and I have to scroll all they way up to check what the topic actually is.


text:
After another week dominated by tough budget news, here's a ray of light for Californians:
Most of us think our personal financial situation will improve in 2012.
That was the finding of a poll conducted last month from the Public Policy Institute of California. The poll got plenty of attention at the time for results showing that Gov. Brown's proposal to raise taxes temporarily has popular support. But the optimism that Californians have about themselves got ignored. Fifty-three percent in poll said their financial situations will improve some or a lot this year.
U.S. & World
News from around the country and around the globe
Of course, Californians are not optimistic about their state and its economy as a whole. Sixty-percent say the state faces bad times in 2012. And nearly half are concerned about members of their own family losing their jobs. But PPIC notes that the percentage of residents saying the state is in a recession is down to 43 percent, down from a high of 63 percent in March 2009.
Let's hope we're right about our own improving prospects -- and wrong in our pessimism about our fellow Californians.
Let us know what you think. Comment below, send us your thoughts via Twitter @PropZero or add your comment to our Facebook page.


text:
Hey guys,
Since we are having so much success with my Haflers, i thought I would take a look at my Soundcraftsmen PCR800. It seems to be doing the same thing so I checked the volt on the two caps in there. One reads 87VDC, 0VAC. The other reads 57VDC, 26VAC. I Also checked the DC voltage as I shut off the power switch. On the good one it reads high 80s and then starts dropping. The bad one goes instantly to 0 volts as soon as the switch is turned off. Looks like a bad cap to me. Now I pulled the caps and they are 11,000MFD 75V 85C. I can't seem to find 11000MFS. Do you think 10000 wil work OK? The next step up seems to be 18000 and those cans will not fit in the spot these go.
Thanks, Terry


text:
I slash monikers backwards
Haggle proof snaggletooth
Fabulous 5 Freddy Krueger finger discount bliss
Lou retton dismount
Spin out of control to doctor basics
Bladed cicada wings offer awkward facelifts
Leak laser to fade shit
I splash commoner fragments, rattle crews, cattle lose
Fabulous four finger ringer, backflip, discount mechanism
Sex distortion, terror born from old favorite phasing
Famous danger lacing agent, baby
Aim high, when a flying monkey swoops down over Dorothy sound system
To capture the bitches and Toto, two victims
Y'all pimps front on some indestructible day trip
With the lifespan of a box playing Public Enemy in Sal's famous
Feel dystopia vs. Elysium
Time ticks and the hand keeps feeding them
A billion try to bark revolution
When only knee deep in the medium, duck you lucked out
There's one out of every 99 fans on the same route
Another colossal blunder
Born as heir to Thor inside of spirit
Better scatter for your teepee
For every American sleepy teen parked in TV-friendly apartments
Carving this creepy nations of P.T. Barnums
(Where you at?) I'm right the fuck here right now
(Where you at?) I'm getting the fuck down tonight
(Where you at?) I'mma spread the fuck out something precious
Gavels for the guilty, rattlesnake bait for the snitches
Cackles for the silky, shallow lake wades for the midgets
Badges for the piggies that'll make hate seem less vicious
Shackles for the filthy, battle break plates for your interests
I'm a strap your dignity down and see what that bitch could bench press
Relentless, archon player
After dark parking lot cipher slayer, roll'em
Catch snake eyes in three dimensions for the artificial martyr
Freeze dried poltergeist, just add water
Excuse me sir, do you know how fast you were going? Fuck no
What's that in the back seat? that's a stolen can of Rusto
Who's that riding shotgun? That's the homie El-Producto
Pedal to the floorboard, Delorean be gone, peace
[Break, performed by DJ Abilities and Ill Bill]
I splash commoner fragments, rattle crews, cattle lose
Fabulous four finger ringer, backflip, discount mechanism
Sex distortion, terror born from old favorite phasing
Famous danger lacing agent, baby
[Aesop Rock]
I slash monikers backwards
Haggle proof snaggletooth
Fabulous 5 Freddy Krueger finger discount bliss
Lou Retton dismount
Spin out of control to doctor basics
Bladed cicada wings offer awkward facelifts
Leak laser to fade shit
These faggots hit like teddy bears thrown against wooden doors
By a misunderstood teenage girl in a moment of self-importance
Call it off beat, jagged, ragged, form the pattern
The mere thought of sounding like those who you revere fills me with sadness
It's a burner tone and outline bricks with shifty throw up
Laminated for my friends who had to croak before I grew up
Among the wildly uninhabitable traffic of bad bliss
Where the tainted droids of dummy noise cancer get unhinged
See me, kabuki theater leader, disease clips
Trying to handle contraband of an applause meter tint, bad scrimmages
Played with collectible bitch emcee copper mounted miniatures
Retard flow bee holder business, the "you don't show me shit" list
Megaplex is stress caress, all the time apocaloid
Bite bleak void, small world big noise
Since you're in the closet anyway, see if you can walk to Narnia, Skippy
Save the earthy wisdom, I'm immersed in millennial bad touch funk
Mayday man with 808 trunk
Ghostface tape bump, toolie clutched
Tony Robbins mantra mouth escape monk
Mega-magnetic MRI fingers scanning woman for breast lumps
C'mon chunk, you're not a fuckin' Goonie
Most of these advanced rappers grew up in the forest
I'm the walrus, sitting on my cornflake, trying to float out to the chorus
Sarcasm isn't advanced, it's the inexperienced man's preference
Criticism isn't smart, it's for the artfully dejected
Hardly holds the fluid, partly 212 crew, 718 create burner movement
Hybrid unfallable, funkadelic truancy smothered
Fell into the meat grinder like a classic Hustler cover
The silky legged ecto-thugs run and hug each other
For pilferers of sanctimony coldly pillow smother
1st is the originator (me), 2nd is the influence (you)
3rd is the innovator (me), 4th is the institution (my crew)
5th is perpetuity it lives throught the Delusion
Before I hop in the Delorean I shit in Mr. Fusion
Great Scott, Doc
We need to go back in time to when motherfuckers could rock
88 miles per hour, bring it back to the block and get (Mc Fly)
Peel the fuck out before the lightning hit the clock
The Delorean was the time-travel vessell in 1985's Back to the Future.


text:
Well, I've got tickets for preview rides at Disneyland this wednesday and saturday. Wednesday is looking a bit iffy but definately saturday I'll brave the two hour long preview line. I'll check the star trader for the figures. If you havn't got money in, please do so now.
I sent you money the day before yesterday... did you get it?
Page created in 0.067 seconds with 19 queries.


text:
Let us never forget what happened on this day 69 years ago at Pearl Harbor. Some of us can only remember it from the history books, the stories we have heard of heroes, and the movies we have seen. For some of our parents and grandparents, it is still a very vivid memory that changed their lives.
Now with the grand opening dedication of the new Pearl Harbor Visitors Center on the 69th Anniversary of the attack, this December 7th 2010 we have another way of honoring these men and women. We can visit there, take a journey back in time with the latest in digital technology, and reflect on what happened on that day in history.
Watch Pearl Harbor the movie and see how it relates to you.
Volunteer at the New Visitors center at:http://the-military-guide.com/2010/11/29/construction-tour-of-the-new-uss-arizona-memorial-museums/
Discover a captivating book about individual World War II soldiers and their stories at Everytown USA


text:
Over the past couple of weeks, I have been developing real time TCP/IP communication server. The server was implemented as .Net windows service. During the development phase, it was clear that the server will require configuration application, which I decided to implement as separate application. I wanted to avoid "desktop interaction" of my service. In addition, I wanted to experiment with IPC offered by .Net framework. I have considered following IPC mechanisms:
After some testing and experimentation, I decided to develop my own IPC mechanism. Below, you will find some reasoning behind the effort.
Posted in: .NET | C#
Tags: .net, c#, IPC
Visual Studio has always been my favorite development tool. From debugging to deployment, Visual Studio provides a developer with various options to produce excellent software. However, just like any other tool, there are some limitations. One of those limitations is Visual Studio Web Server (Cassini), which is included with Visual Studio installation.
Visual Studio Web Server has limitation (for obvious reasons) to serve web pages that are accessed via localhost exclusivly. In the past, that has not been a problem because development and debugging was performed on local machine. However, since the iPhone revolution, developing iPhone/Android applications that require connectivity to a web server requires connectivity from devices, which cannot access VS Web Server. Using single machine for development was not possible.
In order to solve such issue, I had to make sure that all my web requests are initiated from localhost. To achieve that, I decided to write a server that would forward all web traffic to Visual Studio Web Server; sort of a "man-in-the-middle-attack". Except that in this case, there is no "attack" but rather simple network traffic forwarding in both directions. Following port/address forwarding application was born:
Parameters are self explanatory:
To use it, simply set parameters and click on Start button. You should be able to access you Cassini web application from anywhere within you network.
Installation file includes source code. Source code is written in .NET using Visual Studio 2012, but it can be easily ported to .NET 2.0. I decide to publish source code for 2 reasons:
Download Installation (with Source Code) (1,011.41 kb)
Posted in:
Tags: .net, c#
Every once in a while, I receive emails stating that some of my libraries were utilized as part of larger project. Besides being very excited (and somewhat proud I must admit), I always felt a need to somehow share the information with the rest of the world. After some thought, I decided to simply write a post and provide author's original work for download (with author's permission).
The latest project that I received was Masters Project by Karlo Martin Zatylny from University of Texas at Austin. Karlo's project was to implement Korat - "a library for creating test structures and data" - in C# language (hence the name Korat#). Korat testing environment was originally implemented and utilized in Java programming language. Karlo enhances original Korat implementation by adding "regular-expression data generation engine to provide valid string-based input for the given methods and libraries" Karlo's paper and implementation can be downloaded below:
Download Karlo's Paper in PDF (473.81 kb)
Download Source Code (683.25 kb)
Tags: c#, .net
THIS POST IS RELEVANT TO EARLIER VERSIONS OF BLOGENGINE (1.4.5 and earlier)
For a while, I have been using Simple Download Counter Extension provided by Al Nyveldt. I really liked it because it was easy to install and use (just like any other BlogEngine extension), and it provided me with valuable information about download counts. However, I noticed following bugs:
Quick look at the code revealed that after the file name is retrieved from the path, no URL decoding is preformed leaving special characters in URL format (space = %20, slash=%2f, etc.) The fix is very simple (for 1 and 2) and it is applied in UpdateDisplay(string body) method of the extension. Let's look at the modified code:
private string UpdateDisplay(string body)
if (body.Contains("/file.axd?file="))
int pos = body.IndexOf("/file.axd?file=");
while (pos > 0)
pos = pos + 14;
/* Bug fixes:
- http://www.amergerzic.com/post/Simple-Download-Counter-Al-Nyveldt.aspx */
int quote_pos = body.IndexOf("\"", pos);
if (quote_pos > -1)
/* Get the file name */
string url_filename = body.Substring(pos, quote_pos - pos);
/* Get rid of special characters */
string filename = HttpUtility.UrlDecode(url_filename);
/* Find where the download link ends */
int linkTextEnds = body.IndexOf("</a>", pos);
/* Serch for link begin */
int linkTextBegins = body.IndexOf("<a ", pos);
/* If we found a link begin before the link end,
then our link end does not belong to the download */
if (linkTextBegins != -1)
if (linkTextBegins < linkTextEnds)
/* Verify that we found link end in the first place */
if (linkTextEnds > -1)
/* Look up the count */
int count = GetFileCount(filename);
/* Insert the number */
body = body.Insert(linkTextEnds, " [Downloads: " + count.ToString() + "]");
pos = body.IndexOf("file.axd?file=", pos);
return body;
Before passing the file name for lookup (GetFileCount method), we need to make sure that the file name is URL decoded, for which we use static method HttpUtility.URLDecode(...). In this way, the file name that contains any special characters is properly decoded and can be matched against XML entry.
Fixing bug 3 is somewhat trickier. The solution presented here is not perfect, but it provides decent workaround. The solution consists of multiple checks:
Posted in: BlogEngine.NET
Tags: blogengine.net
Couple of days ago, my blog application started crushing. At first, I assumed that my ISP provider is to blame. Somewhat irritated I submitted the question to the support crew and couple of emails later, they informed me that the blog application was taking over 100MB in RAM space (which triggers the server to stop the application). In addition I noticed that the number of visitors increased dramatically over the last couple of weeks. Quick look under the hood revealed that during post rendering, source code is rendered "on-fly", which utilizes Wilco.SyntaxHighlighter.dll control. Considering the fact that there are many posts that display the source code and that there are many visitors viewing them, it is possible that memory usage would increase drastically. To eliminate the issue I decided to render the code at the time of post editing (as opposed to rendering during page loading). The only elegant solution (in my case) was to use Windows Live Writer with source code plugin. However, I could not find a plugin that would satisfy my needs, so I decided to write my own.
Posted in: .NET | C# | Windows Live Writer
Tags: c#, .net, windows live writer
Amer Gerzić is Executive Vice President at Presort Services Inc. and founder of Infinity Software Solutions LLC. For further information please check LinkedIn profile.
The opinions expressed herein are my own personal and do not represent my employer's view in any way. All software and source code (except products) is published under following license (GPL v3.0). © Copyright 2012 Amer Gerzić


text:
Instructions on how to fill out the forms for an order of protection (Domestic Violence Petition or DVP)Please print all information as provided in the instructions associated with each form. Please type or complete in black ink, do not write on the back of any form. If needed, use extra 8.5" x 11" straight edge sheets of white paper. Links are provided to the applicable forms and their instructions.Before you begin working on these forms read the following paragraph.The unlawful harassment statute does not allow an order for protection from civil harassment to be issued in any action covered by the domestic violence laws (chapters 10.99 and 26.50 rcw). Domestic violence is defined as physical harm, bodily injury, assault, or the infliction of fear of imminent physical harm, bodily injury or assault between family or household members; or sexual assault of one family or household member by another. "family or household members" include adults or juveniles who are spouses, former spouses, person related by blood or marriage, person who are presently residing together, or who have resided together in the past, and persons who have a child in common regardless of whether they have been married or have lived together at any time.If you are a victim of domestic violence, fill out these forms.Forms are available online.Step 1 - Petition for order for protection (all cases)Step 2 - Child custody information sheetStep 3 - Law enforcement information sheetStep 4 - Confidential information form (info) and confidential form addendum (ad)Step 5 - Temporary order for protection and notice of hearing (all cases)Step 6 - Order for protection (all cases)Step 7 - Go to your hearingYou must appear in court on your scheduled hearing date. If you do not appearonlinetemporary order of protection is no longer valid and no other order for protection can be issued.General informationIf you decide that your order for protection is no longer necessary or that its conditions should be modified, you may request a hearing to change your order. Should you wish to modify and it is close to your present order expiring, please begin your request to extend your order no later that one month before the expiration date. Should you wish to terminate your order, please come into the clerk's office and file the appropriate forms. You will need to come to court to terminate your order or the order will stay in effect until the expiration date on the original order for protection.
**At the direction of the Superior Court Judges effective Monday, February 7th, the Superior Court Judges will be extending ex-parte signature times in Benton County. Please note: Benton County Ex-Parte signature hours: 8:00 AM - 9:00 AM and 1:00 PM - 1:30 PM. **


text:
Sunday, June 9th, 1918
Dear Sister Madaline:
Today being Sunday and nothing to do I went to church. The sermon was in french but it was similar or like the American way. You don't realize how hard it is for me to sit down and write as their are things that I would like to write you but of course the censor prevents me from doing so.
I am progressing rather slow with my french but will learn sometime I hope. The french language is much easier to learn than the changing of their money. Every American dollar that we boys exchange in this town we loss about ten cents. One franc is about eighteen cents and we get five francs for our dollars so you see we get only ninety cents.
Must close now with love to you all.
Your Brother
© Copyright 2011 by Lanny & Patti Brown, All Rights Reserved. No reproduction without permission.


text:
Cathy Voxland, an avid home cook from Newnan, Georgia, knows how to whip up a chicken and mushroom casserole for a church luncheon or put on a spread of "gooey desserts." But during Lent, Voxland presides weekly over a kitchen of volunteers at St. George Parish, making dishes like a collard green, tomato, and peanut stew from Angola, sour soup from Cambodia, and lentil dishes from Pakistan. Her inspiration? Operation Rice Bowl (ORB), a Lenten program established by Catholic Relief Services.
"The theme of Operation Rice Bowl is 'pray, fast, learn,' says Steve Swope, a deacon at St. George, which he describes as a working class parish of some 700 families southwest of Atlanta. "We pray for those who are hungry, we eat a spare meal such as people in a developing country might eat, and we learn about their circumstances," he says. They also donate; the parish raised $7,000 last year. It is a recipe, he says, for both a visceral and spiritual understanding of people's suffering.
On Friday nights during Lent, Voxland and seven other volunteers get together to prepare the ORB recipes. Parishioners gather to eat and to talk about hunger in faraway places as well as hunger close by. Portions are small. There is no salt and pepper on the table. Beverages are limited to water and coffee. "The food is always satisfying and tasty," says Voxland. But, she says, the ORB message comes through when "we stop to think that we eat three times a day — at least! — and this may be a person's only meal. Plus, they may eat the same thing every day. We realize how blessed we are to have access to food, clean water. It's humbling."
Operation Rice Bowl began in 1975 with an ecumenical group of religious leaders in Allentown, Pennsylvania, who were responding to a drought in Africa, according to program adviser (and Deacon Swope's daughter) Jennifer Swope. A year later, the program fell under the aegis of the Baltimore based Catholic Relief Services, the official international humanitarian agency of the Catholic community in the United States. Now, Swope estimates, some 13,500 faith communities around the nation participate in Operation Rice Bowl every year to help those in need in their own community and around the world. The program combines fasting, praying, learning, and giving concrete assistance to those who are hungry. Last year, she says, participants raised about $8 million, 75 percent of which went to relief efforts overseas. The remainder was designated for domestic relief.
The mission of Catholic Relief Services is to alleviate human suffering, foster justice and charity, and enhance the development of people all over the world. Swope says the group works in five main areas: agriculture, microfinance, health, education, and HIV/AIDS. Money raised by the relief agency through Operation Rice Bowl and other efforts are used to target problems in these areas.
But Operation Rice Bowl is not just a fund-raising program, Swope stresses. "It's about praying and learning," she says. "It's about understanding the challenges that face people in developing countries, or in our own backyard."
Different faith communities use Operation Rice Bowl in different ways. At St. Matthew's Parish in Baltimore, for example, Father Joseph Muth says that on the Sunday before Lent, the paper donation boxes — folded, origamistyle, to look like rice bowls — will be lined up on the altar rail. The congregation will dedicate prayers to the hungry, and then those who wish to may take a rice bowl home, he says. At the end of Lent, the rice bowls are returned, with donations for Catholic Relief Services. Some participants might give up a specific food or amusement and put the money in the paper rice bowl; others may simply donate. On Holy Thursday, the parish will hold a simple meal featuring meatless recipes from around the world, courtesy of Operation Rice Bowl.
"It's a wonderful way to acknowledge our connection to the rest of the world," says Muth. Not that that is difficult for his parish, in which the 812 member families represent 42 different countries. "It's a concrete tool for the kids, a statement about the interconnection of learning, praying, and sacrificing."
At the Shrine of the Sacred Heart School in Baltimore, fourth grade teacher Rosita Jackson says that the primary benefit of using Operation Rice Bowl in the school is to involve the children in "corporal and spiritual works to aid the hungry." But she says the program offers the extra benefit of incorporating meaningful geography lessons. "Operation Rice Bowl gives us the personal stories of people struggling all over the world," she says. "It makes those people and those far-off places seem more real to the children."
Through ORB materials, the children can learn about women like Amal, a mother of six in Egypt who has started a home bakery to augment her family's income; orphans like Sophia Nyoni of Tanzania, whose parents both died of AIDS; and Al Hassan Harouna of northern Ghana, who teaches in the village school where he once studied.
"It gives a face to suffering," says Jackson. Among her fourth-graders, a popular way of participating is to sacrifice allowances to the rice bowl. "The children are very proud to bring in their rice bowls at the end of Lent," she says.
Parishes like St. George's share meals, after which they pray the Stations of the Cross. "The simple act of sitting together around a table builds community," says Jennifer Swope of her parents' parish. "People come together in their own parish while showing solidarity with others far away." Some parishes host "hunger banquets," in which 10 percent of attendees (representing the richest inhabitants of the developed world) are randomly selected to dine on a full meal served on linen and china, 30 percent are served a small serving of rice and vegetables on paper plates (developed world level 2), and 60 percent must make do with rice and water, eaten without utensils while sitting on the floor (the developing world); a graphic illustration of the imbalances in global food distribution.
Individuals can also take part. Marie Marquardt, a mother of three small children in Atlanta, began the Operation Rice Bowl program in one parish but has since moved to another, which did not — as of the time this issue went to press — use the program. "At dinner during Lent, we read something about a developing country or say a special prayer. On Fridays, we give up meat — we're big meat eaters, so the kids notice — and we put a little more money into our rice bowl," she says.
Operation Rice Bowl offers a myriad of tools for churches, schools, and individuals, including notices and prayers for insertion in the church bulletin, placemats, and a calendar with a daily for the six weeks of Lent. For example, on one date, the calendar suggests that participants pray the Lenten prayer (see page 89), fast in solidarity for those who are hungry by eating a simple meal, and put the money saved into the rice bowl. Another suggests that participants "fast" from e-mail, cell phones, or other electronic devices, and make time to have face-to-face conversations with family and friends.
"I think people just get beaten down hearing about suffering and feeling powerless," says Jennifer Swope. "But Operation Rice Bowl says, 'Don't give up, give more. You can do something concrete, even if it's something small.' That's a message that's important to people." CD
For more information about Operation Rice Bowl or Catholic Relief Services, visit them on the Web by clicking here.
Oh loving Lord, during the Lenten season I lift up my voice to You. Instill in my heart the desire to hear your voice in the voices of the poor, your people. May I find in their example the path to my conversion. Bless my prayers, fasting, learning, and giving in this season of grace. May these actions answer the call to transform our world. Amen.


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atm(redirected from Ethernot)
Also found in: Dictionary, Thesaurus, Encyclopedia.
1. the entire gaseous envelope surrounding the earth and subject to the earth's gravitational field.
2. the air or climate in a particular place. adj., atmospher´ic.
Symbol for standard atmosphere.
ATMAtaxia telangiectasia mutated. A checkpoint kinase which transduces genomic stress signals to stop cell cycle progression and promote DNA repair, acting via p53, a tumour suppressor protein. Its cognate gene, ATM (see below), is mutated in ataxia telangiectasia, a rare neurodegenerative disease characterised by ataxia telangiectasias, increased chromosome fragility when exposed to ionising radiation and predisposition to lymphomas.
ATM (Gene)
A gene on chromosome 11q22-q23, which encodes a PI3/PI4 cell-cycle checkpoint kinase that phosphorylates, thereby regulating a broad range of downstream proteins—e.g., tumor suppressor proteins p53 and BRCA1, checkpoint kinase CHK2, checkpoint proteins RAD17 and RAD9, and DNA repair protein NBS1.
Mutated in
Abbreviation for standard atmosphere.


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N° 34–2007: ESA and Inmarsat sign innovative Alphasat satellite contract
23 November 2007
ESA and Inmarsat Global Ltd announce on Friday 23 November in Paris the formal signature of the contract for Alphasat satellite, one of the world's largest telecommunications satellites.
The Alphasat programme is a major cooperation between the public and private sectors. With Alphasat, Inmarsat will be the first commercial customer for the Alphabus platform, the new European high-power telecommunications platform jointly developed by Astrium and Thales Alenia Space and initiated by a partnership between ESA and CNES (Centre National d'Etudes Spatiales) as a coordinated European response to the increased market demand for larger telecommunication payloads, for new broadband, broadcasting and mobile communications services.
The Alphabus Alphasat programme represents an expenditure of € 440 million by 16 ESA Member States. Under the development schedule, Alphasat will be available for launch in 2012.
Positioned at 25 degrees East, providing extended coverage to Africa, Europe, the Middle-East and parts of Asia , Alphasat will supplement the existing Inmarsat satellite constellation and offer the opportunity for new and advanced services.
Astrium Satellites is the industrial prime contractor for the development of the satellite, including its advanced L-Band mission, which will augment the successful services already being offered by Inmarsat's Broadband Global Area Network (BGAN). Key to the implementation of this payload is the advanced Integrated Processor, being developed by Astrium Satellites in the UK, which will provide payload flexibility enabling full coverage reconfiguration and flexible power allocation.
Thanks to this increased efficiency of spectrum use and payload flexibility the Alphasat will further enable robust communications in crisis and disaster emergencies, allowing potential connection of houses, schools and businesses in remote locations and communications links for governments with dispersed populations and improve essential voice and data communications for a wide range of industry sectors such as media, maritime, oil and gas.
For this application, the flexibility of the Alphabus platform design will be demonstrated by implementing a 'geomobile configuration' with a 90 degree change to the satellite flight orientation and a large deployable reflector (12 metres in diameter).
In addition to the Inmarsat payload, Alphasat will also carry three ESA-provided Technology Demonstration Payloads (TDPs): an advanced star tracker using active pixel technology, an optical laser terminal for geostationary to low-Earth orbit communication at high data rates, and a dedicated payload for the characterisation of transmission performance in the Q-V band in preparation for possible commercial exploitation of these frequencies. A fourth TDP for space environments and effects Monitoring is also under discussion.
Background Information
Alphabus is a programme initiated by ESA and CNES to combine the technical resources of Astrium and Thales Alenia Space in the development of a Large multipurpose geostationary communications platform which would extend the capabilities of European Telecommunications platforms beyond those currently offered by the existing product lines of Eurostar E3000 and Spacebus 4000.
The Alphabus/Alphasat activities of ESA are implemented within the frame of the element 8 of the ARTES programme which is worth about € 440 million in terms of to-date subscriptions. The following sixteen countries contribute to this programme: Austria, Belgium, Canada, Finland, France, Germany, Ireland, Italy, Luxembourg, Netherlands, Norway, Portugal, Spain, Sweden, Switzerland and the United Kingdom.
For Alphasat this platform is utilised at the lower end of its capabilities, but the Alphabus is capable of supporting missions with more than 8 tonne launch mass and 18 kilowatt payload power.
Whilst being a new platform development, the Alphabus is a careful blend of core technologies resulting from the extensive heritage of the two industrial partners with the inclusion of well proven new technologies where deemed appropriate.
For further information please contact:
Dominique Detain
Communications Manager
Directorate of Telecommunication and navigation ESA
Tel: 33 01 53 69 77 26
For further information:
ESA - Media Relations Service
Tel: +33.(0)1.5369.7299
Fax: +33.(0)1.5369.7690


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He could name Gov. Schwarzenegger to some kind of environmental or energy post. Certainly, the governor wants the job, as he recently told the LA Times that he has plans to go to Washington and try to forge a "new approach to energy policy... People are very receptive when I talk about these things because I'm a Hummer driver... not a tree hugger." :
Practically, this makes all the sense in the world. Schwarzenegger knows these issues well, and a president running for re-election could use such an appointment to show he is reaching out to independents and Republicans.
But... but... but... It is hard to overstate the anger among California liberal Democrats and lefty activists at Schwarzenegger. (One prominent liberal blog, Calitics, often refers to Schwarzenegger as "Worst. Governor. Ever"). A Schwarzenegger appointment by Obama might be another finger in the eye that could cost the president even more support on the left.


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Southern Queensland Country is the most delicious state here in Queensland with endless food trails on offer. From Stanthorpe wineries to restaurants that celebrate local produce and olive trees embracing the highlands of the Great Dividing Range and the open plains out west, Southern Queensland Country serves up a menu ranging from wild adventure to relaxed indulgence.
With the cooler climate, the country setting, top shelf vineyards and fresher than fresh produce, you might just feel like you've landed in a little piece of heaven.
Ever wanted a real paddock to plate experience? Hand-pick your own cherries, apples, or strawberries right off the side of the road as you drive through the Granite Belt. And keep a look out for wild asparagus, fennel and saffron growing throughout the region and be sure to swing by the famous Peanut Van in Kingaroy!
Or avoid any heavy lifting and simply experience the historical setting of Steele Rudd's stories in one of Toowoomba's many country pubs and dig into a prime cut of locally produced beef paired with a bottle of your favourite drop.
Drive through the vineyards and cellar doors of the Granite Belt where grapes have been grown since 1870 and varieties range from top-shelf Shiraz and Chardonnay to Viognier, Mourvedre and Tempranillo. Indulge in South Burnett, home to the largest vineyard in Queensland called Murgon, which offers six vineyards and cellar doors within a 15-kilometre radius of the town.
Can't decide? Why not tempt your taste buds along the StrangeBird wine trail? A self-drive wine trail for the adventurous alternative variety wine seekers.


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Tuesday, 3 October, 2000, 22:31 GMT 23:31 UK
Yoko Ono: My fears
This is the text of Yoko Ono's letter to New York State Parole Board on the parole application of Mark David Chapman, her husband's murderer.
This is my reply to the petition of parole made by Mark David Chapman from here on called "the subject."
It is not easy for me to write this letter to you since it is still painful for me to think of what happened that night and verbalize my thoughts logically.
Forgive me if I fall short of your expectation of giving you a satisfactory opinion. But these are my sincere thoughts.
He tried to be a good power for the world, and he was. He gave encouragement, inspiration and dreams to people regardless of their race, creed and gender.
For me, he was the other half of the sky. We were in love with each other like the most vehement of lovers to the last moment.
'World shattered'
For our son Sean he was the world. That world shattered when the "subject" pulled the trigger.
For the people of the world, it was as though the light went out for a moment and darkness prevailed.
With his one act of violence in those few seconds, the "subject" managed to change my whole life, devastate his sons, and bring deep sorrow and fear to the world.
It was, indeed, the power of destruction at work.
At first, I had refused to acknowledge John's death. I announced that, "There is no funeral for John." In my mind, I was saying "BECAUSE HE IS NOT DEAD!" "Tell me he is not dead, tell me he is not dead."
I was screaming inside myself.
'Let the darkness go'
But then, I started to hear that young girls were jumping off buildings to kill themselves.
For the past 20 years, I've carried the torch John and I once carried together to try to let the darkness go.
I asked the fans to remember John's birthday, not the day of his passing.
When people asked how I felt about the killer of my husband, I have always told them that I didn't think about that day anymore.
I wanted to look to the future, and not to remember that horrible moment.
He was in no way ready to die. He was feeling good with the prospect of doing a concert tour after making the album which became his last.
He would have gladly changed his position with the "subject," and live the life of protection that the "subject" enjoys now.
Even in confinement, my husband John would have cherished hearing voices of people he loved, enjoyed creating songs, and simply appreciated watching the sky and its changes through the seasons.
'Anger and fear'
John cannot do any of that now.
If he were to be released now, many will feel betrayed. Anger and fear would rise again.
It would also give a "go" signal to the others who would like to follow in the footsteps of the "subject" to receive world attention.
I am afraid it will bring back the nightmare, the chaos and confusion once again.
Myself and John's two sons, would not feel safe for the rest of our lives. People who are in positions of high visibility and outspokenness such as John, would also feel unsafe.
'Violence begets violence'
Finally, it will not be safe for the "subject" himself. He will cease to have the security that the State provides him now.
I understand that he has been isolated from other prisoners because of the threat of possible harm to him. Well, there are more people in the outside world who are strongly distressed about what he has done.
They would feel that it is unfair that the "subject" is rewarded with a normal life while John lost his.
Violence begets violence. If it is at all possible, I would like us to not create a situation which may bring further madness and tragedy to the world.
I thank you in advance for your wise and just decision.
I am, Sincerely yours,
Yoko Ono Lennon
See also:
03 Oct 00 | Entertainment
John Lennon's legacy
25 Sep 00 | Entertainment
Lennon's killer speaks out
12 Jul 00 | Entertainment
Lennon's Liverpool homage top song
07 Jul 00 | Entertainment
Unique Beatles recording lost
08 Sep 00 | Entertainment
Lennon's birthday tribute
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Jennifer Lopez is coming back to American Idol!
The former judge will return to perform on the finale next month, a source exclusively tells me.
No word yet if Lopez will be belting out a tune—and shaking her iconic booty—on the first or second night of the two-part finale airing May 15 and 16.
Rumors that J.Lo was in talks to perform began circulating last week after it was reported that Idol producers tried hatching a plan to bring her back as a judge.
A supposed plan that, if you hadn't heard, included giving either Mariah Carey or Nicki Minaj (or both of them) the boot.
"There will definitely be changes to the judging panel for next season," a source told E! News last week. "Fox thought the Nicki-Mariah contrast would make for ratings, but there is concern it is like nails on [a] chalkboard for middle-America viewers."
But a rep for Idol shot down any chatter about changes at the judges' table, saying, "This is just another ridiculous Idol judge rumor, likely started by talks of Jennifer performing on the finale."
We're happy to see that the talks turned into something real. See you at the finale, Jennifer!
An Idol rep declined to comment on J.Lo's upcoming performance.


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As 2016 is slowly coming to its end, Widewalls editorial team for sure has a couple of aces up its sleeve. Joining the countdown began with the list of our must-see Christmas shows around the world are our most popular interviews of 2016. Knowing that our readers thoroughly enjoy what major artists, gallerists, and curators have to say, this year marked the rise of our Interview section. From the major stories of curators and organizers of art festivals to the ideas, thoughts, and future plans of major contemporary artists, Widewalls frequently offered an art world behind closed doors. Understanding that contemporary art production is not just the displayed image or a created sculpture, but more about the buzz and the styles of various authors, our most popular interviews tell the most interesting tales and investigate the latest trends in street and urban art.
Trying to reach our goal and to become one of the leading contemporary art sources, the chosen most popular interviews are windows into various cultures and scenes of the world. From India to the fusion of traditional Arabic calligraphy and graffiti, to the most vibrant murals of the world, the stories that follow shaped yet another year.
Speaking with Tomak, considered to be the bad boy of Austrian art, we understood more about his art, the symbols and the recurring portraits which make up numerous layers of his production. As a pure nature force, Tomak is not afraid to comment and to remind us of issues most of us would love to push underneath the carpet.
To learn more about the origin of his name, the return to the idea of true art read the full interview here.
Featured image: Tomak - Portrait of the Artist. Image via widewalls.ch
In an exclusive interview, Peter Combe discussed his style and unique process of art making. Inseparable from the rise of the digital era, most importantly the Post-Internet era, Combe's images resemble the assemblage of the digitally- formed imagery when in fact they are not. To find out how the state of the world today influences the artist and how he can be linked to the famous 1960's pop artist Andy Warhol, read the full interview here.
Featured image: Peter Combe - work in progress. Image via widewalls.ch
As one of the most anticipated exhibitions of 2016, The History of Graffiti Art, presented in Bologna, was not only the biggest exhibition but a source of major controversy as well. Offering to the public the history of New York graffiti scene, Christian Omodeo tells the tale behind the organization of such an event, touching upon the significance and the educational aspect, not to mention the relevance of the show to the contemporary graffiti art production. The full story and the interview await you here.
Featured image: Sane Smith - Untitled, 1989. Image via widewalls.ch
Known as one of the most celebrated art duos, Interesni Kazki opened their world to us. In this exclusive interview, the two artists told us what their name means, how they art is created and what surreal creatures will they celebrate. Considered as major mural painters, the team never stops to amaze us, and their images create a new identity for color and the world of dreams. To read the full interview, follow the link here.
Featured image: Artist duo - Interesni Kazki. Image via widewalls.ch
Working extensively with Nuart Festival, Widewalls gets to experience first-hand the amazing achievements of Martyn Reed and his team. In this exclusive interview, Mr. Reed told us about the history of Nuart festival, and how the event transformed the face of its hometown Stavanger. If you want to learn more about the past, the present, and the future of Nuart follow the link here and read the full interview.
Featured image: Nuart Stavanger 2016. Image via widewalls.ch
If you thought that embroidery, lace, and knitting was a past time producing the decorative household doilies than you must think again. Incorporating all that we have mentioned and even a little bit more is the amazing Polish street artist NeSpoon. On a mission to embroider the entire world, this artist was kind enough to offer some of her time to us in this exclusive interview. If by chance you missed the publication of this article before and would love to learn about NeSpoon's magical art process, read the full interview here.
Featured image; Nespoon - Portrait of the artist. Image via widewalls.ch
Widewalls was just over the moon once Rodrigo Branco accepted our invitation and agreed to give us a glimpse of his inner world which radiates from his images. Best known for his portraits, which at the same time reveal and hide, and which stand at the edge of abstraction, this Sao Paulo-born young artist has truly taken the world by storm. Please follow the link here in order to read the full interview.
Featured image: Rodrigo Branco - Artwork. Image via widewalls.ch
Understood as one of the most important and revolutionary art gallerist and curators, Magda Danysz's contribution to the promotion of both urban and street art inside four walls just can't be ignored. As one of the loudest voices which incorporate the urban and street culture inside the 'white box' of the gallery space, Magda Danysz is considered as the most renowned gallery owners of the world. Read the exclusive interview here and learn more about the fascinating persona and unstoppable force which is Magda Danysz.
Featured image: Magda Danysz - Work of Nicolas Ledoux, Photo by Celine Barrere, detail. Image via widewalls.ch
If there was ever an artist who made us believe that to follow one's heart truly leads to dreams coming true, then it is the Croatian artist Lunar. In an exclusive interview, which proved to be one of the most popular interviews of 2016, Lunar offered his thoughts on the changes occurring in street art culture, his beginnings, and future plans. To read the full interview, please follow the link here.
Featured image: Lunar - Portrait of the Artist. Image via widewalls.ch
Widewalls absolutely adores the minimalist approach and the fusion of the traditional weaving technique which stand at the core of the celebrated Taher Asad-Bakhtiari production. Famous for his Weaves series, the artist found the time to answer our questions concerning the use of color, symbolism, and his creative process in this exclusive interview. To find out more about the inspiration and the role of art in the words of the celebrated Iranian artist Taher Asad-Bakhtiari please follow the link for the entire interview here.
Featured image: Taher Asad-Bakhtiari - Portrait. Image via widewalls.ch
Known as the father of Calligraffiti, the urban combination of graffiti and calligraphy art, Niels Shoe Meulman has been transforming text and the ancient act of writing into a true art form. Recently, the use of increased color and the uncontrolled brush strokes have led his images right at the doorstep of abstraction. In this exclusive interview, which truly proved to be one of the most popular interviews, Niels Shoe Muelman told us all about his beginnings, the process of creating art, influences, future plans, and art market in general. For the entire article, please follow the link here.
Featured image: Niels Shoe Meulman - Mural for Nuart Festival, Norway. Image via widewalls.ch
The art's eye just had to turn towards the blasting energy of the young artist Kajal Singh aka Dizy. The reference, to an extent even appropriation of the typical lettering style known to decorate New York city during the birth of graffiti art in the 80's, shines through her vibrant production. Defined as the first female Indian graffiti artist, Kajal Singh aka Dizy told us about the difference between Berlin and Delhi, her beginnings, and why she only paints on the walls which she gets permission for. The entire interview is available here.
Featured image: Kajal Singh aka Dizy. Image via widewalls.ch
Miami, Florida, United States of America
Soest, Germany
Berlin, Germany