text:
sonny skies
A quarterly magazine takes some time till publication. So here's my piece in the Winter issue of JAZZIZ, inspired by Sonny Rollins and, sort of, by my brother Leslie.
Blu Notes
Winter 2010
Sonny Skies
by Larry Blumenfeld
Pull quote: "It was a metaphysical
experience, not a musical experience. You had to be there."
It was the best thing I'd ever done for my older brother Leslie -- a seventh-row seat to Sonny Rollins 80th birthday concert at New York's Beacon Theater in September. Back in the '70s, when I was listening to Billy Joel, Leslie was into modern jazz. I couldn't wrap my head around the music he listened to then -- Dexter Gordon, Thelonious Monk, Rollins. A few years later, while he was off studying music at college, I grew to appreciate those LPs enough to steal them before heading off for my sophomore year at Boston University.
Though he earns his living in computers in Jacksonville, Florida, Leslie remains a dedicated reedman, playing on weekends in wine bars and restaurants. (I like him best on tenor sax, Rollins' instrument of choice.) But he had never heard Rollins in person. So with Leslie turning 50 and Rollins turning 80, I figured it was time to get the former in front of the latter. Who knew how many more chances there'd be? I sprung for concert and plane tickets.
Rollins no longer performs in clubs. The Beacon show was his first in New York in three years, making it the sort of hot ticket rare these days in jazz. Rollins was billed with his working quintet, plus trumpeter Roy Hargrove, guitarist Jim Hall and bassist Christian McBride and "surprise special guests." Since Rollins' last New York concert, at Carnegie Hall, featured him in trio with McBride and drummer Roy Haynes, I suspected Haynes would be among the surprises. At least I hoped so. At Carnegie, Haynes and Rollins had maintained a musical dialogue loose as a barbershop conversation. For all his harmonic genius, Rollins' rhythmic prowess (and an adventurousness grounded in that ability) has been just as elemental to the brilliance of his epic solos. Haynes' driving and utterly organic brand of swing time -- which has anchored music by Louis Armstrong through Charlie Parker, John Coltrane and today's best -- is the perfect complement. I couldn't wait for another taste of that hookup. I happened to interview Haynes for an article about jazz families the day before the Rollins show. He confirmed that he'd be on the date. "And there's someone else, too," he said, eyes agleam. "Not gonna say who, though."
In the days leading up to the show, I listened to some of Rollins' recordings: "Saxophone Colossus," the Prestige classic he recorded at 25; "The Bridge," which marked his return after a three-year hiatus, in 1962; and "Without a Song: The 9/11 Concert," recorded at a Boston venue just four days after Rollins evacuated his apartment near the World Trade Center in 2001. On that last one, his bold, blistering sound, always potent with feeling, sounded just a bit more emotional. "Maybe music can help," he told the audience then. "I don't know. We have to try something."
The Beacon Theater show was scheduled for September 10, one day shy of the ninth anniversary of 9/11. The site of the former World Trade Center was still largely a hole in the ground, around which swirled vague and angry controversies. Protests were mounting against the proposed Park51 Islamic Cultural Center, the so-called "Ground Zero mosque." Some preacher in Florida was organizing a Koran-burning event. We needed still to "try something."
Despite the duck-like hobble with which Rollins took the Beacon stage, I don't know why I worried about his vitality. He played for more than two hours, fierce from the outset, strongest at show's end. If he couldn't walk that well, he managed, once he began blowing, to pretty much dance. Rollins' working band, including longtime bassist Bob Cranshaw, guitarist Russell Malone, drummer Kobie Watkins and percussionist Sammy Figueroa, performed with precision and well-calibrated drive, especially on the opener, a new Rollins tune titled "Patanjali." When Rollins soloed, it was all there, intact: the bold and bristling tone, the ceaseless, unfurling ingenuity, and the focus and force of breath to carry it all through. And he was just getting started.
Maybe his selection of the ballad, "I Can't Get Started" was intended as an ironic comment. More likely, Rollins chose it as an accommodating vehicle for Roy Hargrove's lovely flugelhorn tone. "Rain Check," a Billy Strayhorn tune Rollins recorded in 1955, made for fast-grooving traded 8's between he and Hargrove. The trumpeter, who is precisely half Rollins' age, was up to the task, projecting just the right balance of fiery pride and sincere humility as Rollins tossed him one challenge after another.
Jim Hall was unfortunately still tuning his instrument a third of the way into "In a Sentimental Mood," yet he managed a lovely solo toward the end. Better -- beautiful, actually -- was a bossa-based "If Ever I Would Leave You," which he and Rollins recorded in 1962.
When Christian McBride came onstage, sure enough, there was Roy Haynes along with him. Their trio section began with Duke Ellington's "In My Solitude," which Rollins essayed with all sorts of harmonic license at a stately pace until Haynes jumped in for a solo, the brilliant bombast of which erased any thought that, at 85, he had lost any degree of vigor or daring.
The three began Rollins' "Sonnymoon for Two." Rollins stepped up to the mic and said, "There's someone backstage who's got his horn, and he wants to wish me a happy birthday." I guessed it was tenor saxophonist Jimmy Heath, who I'd seen in the audience earlier. The band vamped, facing stage left. No one. Pregnant pause. Finally, out strode Ornette Coleman. He bowed gently to Rollins, then listened intently as Rollins messed masterfully with both the key and meter of the 12-bar blues.
Coleman eased in with almost otherworldly gentleness and little formal relationship to what had come before. Yet it all fit and flowed. Haynes didn't miss a beat, literally. McBride seemed momentarily flustered, then found his footing. After Coleman had walked out, a little voice in my head had begun fairly screaming: "Rollins and Coleman have never performed in public before! This is historic!" That voice wisely shut up. This was happening now, before me. And it got even better.
Rollins began to play. The best I can do to describe what he did is this: Once Coleman had played his version of Rollins, Rollins offered up Sonny playing Ornette playing Sonny. Something like that, anyway. Rollins had entered the key-less space of Coleman's music, fully free of the blues form of his tune. He played in something close to Coleman's ineluctable dialect, yet through his own familiar voice.
Days later cornetist Graham Haynes, Roy's son, gave me his analysis. "Sonny and Roy and Christian were pushing the 12-bar blues to its furthest abstraction," he said. "My dad and Sonny both have ways of opening up rhythmic possibilities that seem to defy time and space. They do this on a regular basis. That's where they live. But Ornette is going to play Ornette. Melodically, harmonically, he opened things up to the point where what they had been doing was neutralized. It became something else. The rhythms were not covered up, but they become illusory. The most fascinating thing about that episode is that someone could have recorded it, and it would sound great, but it would never approach what actually happened. It was a metaphysical experience, not a musical experience. You had to be there."
I was. So was Leslie.
If Rollins' encore, his beloved calypso "St. Thomas," performed with all the musicians except Coleman, was an anticlimax, it nevertheless served as closing ritual for an experience with meaningful overtones. The next morning, September 11th, I watched a plane, maybe Leslie's, slide across a sky as cloudlessly blue as the one pierced by terrorism nine years ago. Yet I wasn't thinking about destruction. My head was filled with something beautiful and inscrutable heard the night before, born of creativity.
Alex Ross: The Rest is Noise
Dave Douglas: Greenleaf Music
point of departure
Jazziz magazine
Jazz Journalists Association
Steve Smith: nightafternight
Willard Jenkins: Open Sky Jazz
music/food/justice in NOLA
Howard Mandel's JazzBeyondJazz
Stereophile:Fred Kaplan


text:
We define the basic concepts for modular, layered design: protocols, systems, configurations, executions, and models, and three relations: indistinguishability (between two systems), satisfaction (of a model by a system), and realization (by protocol, of one model over another model). We prove several basic properties, including the {\em layering lemma} and the {\em indistinguishability lemma}. The indistinguishability lemma shows that if two systems \Gamma_L, \Gamma_R are indistinguishable, and \Gamma_L satisfies some model M, then \Gamma_R also satisfies M. The layering lemma shows that given protocols {\pi_i}^u_{i=1}, if every protocol \pi_i realizes model M_i over model M_{i-1}, then the composite protocol \pi_{1||...||u} realizes model M_u over M_0. This allows specification, design and analysis of each layer independently, and combining the results to ensure properties of the complete system.
Our framework is based on {\em games}, following many works in applied cryptography. This differs from existing frameworks allowing compositions of cryptographic protocols, based on {\em simulatability of ideal functionality}. Game-based models are more general and flexible than ideal functionality specifications, supporting different adversarial models and avoiding over-specification, which is essential for practical distributed systems and networks.Category / Keywords: foundations / Layered specifications, secure e-commerce layers, composability. Publication Info: This is draft of full version; extended abstract (with some errors) will appear in proc. of TCC'08. Date: received 8 Nov 2006, last revised 22 Jun 2008 Contact author: amir herzberg at gmail com Available format(s): PDF | BibTeX Citation Note: This is draft of full version; extended abstract (with some errors) will appear in proc. of TCC'08. Version: 20080622:140011 (All versions of this report) Short URL: ia.cr/2006/398

subset: commoncrawl


text:
Coaching Programs
For individuals who want to develop their communication skills, we offer one-on-one coaching programs. These are highly customized programs designed to address the participant's specific training needs. One of the advantages of attending our coaching programs is that the participant can learn at his or her own pace.
Effective Business Communication
This program covers English grammar, business writing, oral communication and presentation skills.. Thus, if developing your self-confidence in communicating is your goal, then this is the right program for you.
Effective Business Writing Coaching Program
The Effective Business Writing Coaching Program provides practical tips to help you develop your English proficiency and write clear, concise and organized business letters, emails and memos.
Effective Business Writing Distance Learning Program
The Effective Business Writing Distance Learning Program is a self-paced program that allows you to learn how to write effective business correspondences wherever you are in the world. You will be given a manual and some exercises to aid you in your learning.
Powerful Presentation Skills
The Powerful Presentation Skills Coaching Program allows you to overcome your stage fright and develop the right skills to face an audience and deliver a business presentation.
Effective Oral Communication
The Effective Oral Communication Coaching Program lets you discover your own personal barriers in communicating, particularly in speaking. This will help you develop your confidence in speaking with different kinds of people in business and social scenarios.
Interview Skills
Effective communication skills are vital in job or school admission interviews. This program aims to equip you with the techniques in answering questions and tips on how to confidently carry yourself in job and school interviews.


text: tibba 782 Posted January 11 @triplem I don't get her hair lol maybe she's not over being Kangsoon? I guess it's cute in certain angles since she's cute anyway. Lol idk. Hot oppa always delivers though. He's just really really really attractive I hope they have a good time tonight. Everyone worked hard. 4 2 Quote Share this post Link to post Share on other sites


text:
For one day only, August 31, "Wear A Flower In Your Hair – A dialogue with Sadie Mae Glutz" is available on Kindle absolutely free. You can get it here.
The story of Sexy Sadie as told by herself from prison. A shocking and horrific account as to what happened and why, explaining the real philosophy behind her mass murdering – a powerful belief system that shakes one's own sense of stability and understanding about the world and people around us. Are you ready to open your mind?
Here is what one reviewer had to say about "Wear a Flower In Your Hair":
"It's a visceral. It's gripping. It's soul-stirring. As Sadie Mae Glutz recounted her life in her own words, I felt the full gamut of emotions. This is an American tragedy of the highest order. A mirror maze of contradictions and red herrings.
Yes, this is a bold and uncompromising vision from Kaden Brown. A master stroke of creative writing. You owe it to yourself to check it out. It's not easy reading, but then again, it's not meant to be. Two thumbs up from me!"
WATCH THE PROMO HERE [http://livestre.am/5br9p]
Naturally, "Wear a Flower In Your Hair" is also available in hardback, either by ordering from your high street retailer, or by ordering online, through vendors such as Amazon , The Book Depository, and Barnes & Noble.
Product Details
Publisher:CreateSpace Publishing
Publication date:02/01/2015
Product dimensions: 6.00(w) x 9.00(h) x 0.25(d)


text:
Last week's edition of the Preston Leader ran with an item on the Darebin representation review under the headline 'Locals shore up support'. It described a 'tidal wave' of support for the current system, which has given the ALP's Labor Unity faction nine out of nine elected councillors in Darebin.
However, the Leader report failed to factor in the preliminary submissions when it said that only 16 out of 53 submissions supported change. While I actually have 18 of the response submissions down as supporting change, we shouldn't forget that only three of the 31 preliminary submissions supported the current system. In total, of the 84 submissions, 45 supported change, and 38 supported the status quo - one submission was unclear.
Three of the community groups supporting the current system are from the Lebanese community, of which two Darebin councillors are members. It should also be noted that councillor Stanley Chiang is president of another group submitting in support of no change - the Northern Melbourne Chinese Association.
While both these groups together represent only a combined 3.3 per cent of the Darebin population of about 128,000, they would in fact be better represented under the proportional representation system proposed by the VEC in its preliminary report.
PR reflects 75 per cent voter support in three-member wards, while the current system reflects just over 50 per cent. And while it is true that council currently includes a relatively diverse membership, they also represent a political monopoly at odds with the diversity of views held by Darebin's communities.
The Leader report also failed to note the submission by the Preston Reservoir Progress Association, choosing instead to promote a petition submitted to the VEC by a Darebin councillor. This despite the fact that council would have done better to promote actual submissions rather than collect signatures no doubt responding to an ALP pitch. Instead of doing almost nothing to promote the review process, council could have encouraged participation - especially by referring our various ethnic communities to multilingual information offered by the VEC.
Instead, council opted to mobilise support informally among those it could count on, thereby undermining the formal consultation carried out by the VEC. Unfortunately for council, so far it hasn't quite worked. In my presentation to the VEC's public hearing, I urged the VEC to maintain its stated commitment to the reasoning of submissions, and reject what it had earlier called a 'straw poll' comprising merely of numbers for and against. It is the strength of the arguments that should win the day, and that's where the ALP has fallen down.
Monday, May 7, 2007
Leader Needs to 'Shore Up' Review Coverage
♦Add to Kwoff ♦DiggIt! ♦Add to del.icio.us ♦Add to Technorati
Posted by Darren Lewin-Hill at 8:33 PM
Labels: Darebin, Darebin representation review
No comments:
Post a Comment
Comments are most welcome on any of the posts at Northcote Independent. I encourage feedback - positive or negative. Feel free to disagree, but remember that posts are moderated to ensure they are on the topic and in the spirit of open debate, as outlined in my editorial policy.
Subscribe to: Post Comments


text:
Alberta ends B.C. wine boycott after B.C. premier announces court action on pipeline standoff
'In a small way today, B.C. blinked,' Alberta Premier Rachel Notley says
The two-week boycott of B.C. wine by the Alberta government is over.
Alberta Premier Rachel Notley made the announcement on Thursday afternoon, an hour after B.C. Premier John Horgan said his government would turn to the courts on the question of whether it could implement a temporary ban on increased exports of bitumen from Alberta, the issue that sparked the disagreement.
"In a small way today, B.C. blinked," said Notley.
"I'm confident the courts will not give B.C. rights it does not possess under the constitution. In other words, I'm confident the constitution will be upheld and we will see the last of these ridiculous threats."
Her remarks came after Horgan told reporters earlier Thursday he hoped pushing the matter to the courts would temporarily resolve the conflict.
- B.C. creates more uncertainty for Trans Mountain with bitumen restriction
- Alberta government boycotts B.C. wine
"This is intended to have cooler heads prevail. We believe the rule of law is important in this country," said Horgan.
"The contentious point that was drawing the ire of the province of Alberta and some consternation from the federal government will be put to the courts. We want to make sure British Columbia as a government is focused on the issues that matter to them."
Temporary ban on increases
The contentious point was the fifth of five proposed regulations the B.C. government said could take place after consultations on oil spills.
Announced on Jan. 30, it raised the possibility of an interim ban on increased exports. That created more uncertainty for Kinder Morgan Inc.'s Trans Mountain pipeline expansion from Edmonton to Burnaby, where construction is underway on a second pipeline that would transport 590,000 more barrels of various petroleum projects every day.
Notley immediately claimed B.C. did not have the constitutional right to unilaterally impose caps on an interprovincial pipeline, but Horgan initially said there was nothing untoward about his government's actions.
- 'Sabre-rattling doesn't get you very far': John Horgan downplays Alberta threats over bitumen caps
- Trans Mountain pipeline project will be built, prime minister vows
"There's nothing to take to court. We're in consultation with the people of B.C., and we're going to put in regulations if required to protect the public interest," Horgan said on Feb. 1.
Notley announced a boycott of all B.C. wines five days later. B.C. did not initiate a counter-boycott and Horgan continued to defend his government's right to implement a temporary ban on increased exports, subject to consultations.
Now, that is off the table.
"We've had one province and the federal government making suggestions that they know best. We've seen numerous precedents that suggest we're in the right, so that's why we're going this route," said Horgan, referring to the decision to take the issue to court.
What comes next?
B.C. is now consulting with its lawyers about how to proceed, but any submission to the federal courts will be done without a joint submission by the federal government
For their part, the Alberta government says a market-access task force — created to provide legal and strategic advice on what the government could do if B.C. blocked construction of the Trans Mountain pipeline project — will remain in place.
Notley said the dispute could flare up again.
"However, I do want to be very clear. If it becomes clear if this action is in fact part of a deliberate strategy to harass the pipeline and its investors with frivolous or unconstitutional legal challenges, we will act immediately," she said.
But she also made clear she was glad the boycott was, at least for now, over.
"It's possible there may be B.C. wine soon again in our house."
With files from Michelle Bellefontaine
To encourage thoughtful and respectful conversations, first and last names will appear with each submission to CBC/Radio-Canada's online communities (except in children and youth-oriented communities). Pseudonyms will no longer be permitted.
By submitting a comment, you accept that CBC has the right to reproduce and publish that comment in whole or in part, in any manner CBC chooses. Please note that CBC does not endorse the opinions expressed in comments. Comments on this story are moderated according to our Submission Guidelines. Comments are welcome while open. We reserve the right to close comments at any time.


text:
Well, replacing the lyrics from a famous song with coal-related facts is one heck of a way to spread environmental awareness, especially if it's to the heel-tapping, feel-good hit, "Folsom Prison Blues."
Portland-based Johnny Cash tribute band, Counterfeit Cash, has so cleverly performed "Coal Train Blues" that it's bound to get stuck in your head and spread as fast as -- eh, coal dust.
Though catchy, Counterfeit Cash's new hit is no heel-tapping, feel-good song after all. Companies are seeking to transport coal from Montana and Wyoming's Powder River Basin through the Columbia River Gorge -- an 85-mile long river canyon in Oregon and Washington -- for eventual export to Asia. U.S. coal exports would double under this plan, with 25 coal trains passing through the Gorge every day and barge traffic doubling, according to Friends of the Columbia Gorge. The resulting coal dust and diesel emissions pose a tremendous threat to the Gorge's air and water quality, natural habitat and human health, critics warn.
(h/t Grist)


text:
In an interview, Wolfgang Gartner talks about his mastering process: "I decided to start mastering my own stuff last month and invested in some nice hardware to help do the job. My main tools now are... a pair of Empirical Labs Distressors with British Mode that occasionally work for mastering, but not always." Original Q&A can be found [here](http://www.soundstosample.com/blog/q-a/wolfgang-gartner).more
Two Empirical Labs EL8 Distressors can be seen on top of one another in this image of Muse's rack units.more
This can be seem 0:17 into this video.more
added a nw gear in heremore
At 2:50 in this video, we can see all the items Wiz Khalifa use in his home studiomore
"A Distressor compressor is probably my favorite compressor just because it's so versatile. And the amount of sweet distortion that you can get with it. It's one of the most modern pieces of gear that I've picked up and was like 'OK, this is great someone added on to the legacy of gear.'"more
A pair of EL8 Distressors can be seen mounted in a rack in Calvin Harris' studio.more
"I also like to use the Distressor on [Kendrick's] lead, because it adds some grit and presence at the top. So the RCompressor and S1 smooth and widen out his vocal sound, and the Distressor opens up the top end, making it crisp and allowing his vocals to cut through."more
Used on Lullabies to Paralyze for Josh's vocals. Sound engineer Joe Baressi : "When I'm mixing I'll compress the vocal further, perhaps using an 1176 again or something that's a little cleaner and more accurate, like a Distressor or the SSL console compressor."more
"Compressor test was awesome! The differences were huge but my choice was easily made: 2 Distressors & 2 Trakkers."more
A pair of Empirical Labs EL8 Distressors can be seen at the top of the rack below his desk on the right, in this Instagram of Markus Schulz's studio setup.more
In this video detailing the production of "One", Axwell mentions that they're in Metropolis Studio in London. According to http://www.thisismetropolis.com/wp-content/uploads/2013/01/Studio-A.pdf, there are two Distressors in Studio A, where this video— and the production of "One"— took place.more
In this Instagram video, Angger's camera pulls away from his computer screen to the right, revealing an EL8 Distressor compressor processing the mix.more
In this photo from Thomas' Instagram, there are two Distressors in the center of the shot. The screws are to the right of the white border, which is indicative of the original EL8 model as opposed to the EL8X.more
In the photo "Studio A.." you can see two Distressor compressors in the middle rack of Justin Vernon's (Bon Iver) studio April Basemore
Used as Chris's compression on the Drones tourmore
The #24 post explains that they use one of these for Maynard's vocals, with Tool.more
"Drums: NI Battery, Waves Renaissance Bass, Avid Reverb One, Valhalla Room, IK Classik Reverb, Elysia Mpressor, Empirical Labs Fatso and Distressor, Neve 33609, Dbx 160 and 120, Valley People Dynamite, Drawmer DS201."more
At 1:36, you can see part of his rack and you can clearly see a distressor in there.more
[This article](http://www.emusician.com/artists/1333/recording-bob-dylan/40613) says, "Shaw then compensates by adding some additional low end and a little airy EQ around 12kHz, then heavily compressing the signal through an Empirical Labs EL8 Distressor. 'I drive it untill the red lights don't blink anymore,' he says. 'You can hear all the bleed from the band into the vocal microphone pumping under the compression and it adds a cool thickness to the sound.'"more
In this photo, which shows MacDonald's rig, Empirical Labs Distressor is seen. Many thanks to narcist for the info!more
In the October issue of Sound on Sound Magazine, in a photo of the band's studio, in the bottom right corner in a partially obscured hardware rack you can see 2 Distressor 's mounted on top of each other.more
In this photo, 2 Emprical Labs Distressor units are visible.more
"Tito, who acted as engineer, had a bunch of API preamps and some outboard gear, like [Empirical Labs] Distressors, which he used on some of the snare tracks." - Rostammore
"Tim Holmes (of Death In Vegas) was with us, encouraging me to use more professional methods, like running the mic through [Neve](http://equipboard.com/items/ams-neve-1081-mic-preamp-equalizer) preamps and running the bass and vocals through an (Empirical Labs) Distressor." - Kevin Parker from this *Tape Op* article.more
Tom Rowlands, of Chemical Brothers fame, working in his studio. Just check out the complete list of this synthesizer nerd … an instant daydream … and also explains the original sounds on their records!more
At the [0:58](https://www.youtube.com/watch?time_continue=35&v=D65llNDTrFs) minute mark of this video the Empirical Labs Distressor is shown in Mark Ronson's studiomore
In Tape Op interview with Larry Crane, he mentions buying an Empirical Labs Distressor during recording Portastatic's "Summer of the Shark" album at home: > If I'm working on a Portastatic record and I'm at an impasse or I just finished a song and I don't really know where to go next, I just sit down at the piano or start using something that I'm not necessarily as comfortable with and it leads to something. I recorded Summer of the Shark at home and I needed some gear. I borrowed some stuff and I bought an [Empirical Labs] Distressor. That changed my life. That alone gives you ideas.more
The Empirical Labs Distressor. Geez, another compressor. But I'm a sucker for colored lights and this unit has a blue LED next to the Nuke button. I can't say anything but YES to that. I began using the Distressor in my King Crimson touring rig. Since the attack of my tapped instrument is so intense on the bass strings, I would put this compressor right at the front. I would set it to 20:1 and sort of soft limit the highest energy notes. If I didn't do this, then I would have to turn down the input on the pre-amps far lower than they liked. Then I would split the signal into a clean line and distorted line. This two would come back together with the Raven Labs 2 channel (yes, I am selling that one) and into a final compressor: the DBX 160. The last compressor turned all the disparities of the two lines back into one big sound. Now I just use the Distressor in my studio for recording bass and guitar and vocals and percussion and harmonium and violins and bagpiges and.....more
According to Instagram photo, one of many rack mounts he uses is also an EL8 Distressor.more
In this studio photo posted by Cheney, the Empirical Labs EL8 Distressor can be seen.more
This interview says James Blake uses the Empirical Labs Distressor for his live showmore
A FOH stage hand sent out a couple pictures of Chris Stapleton's live rig on May 27, 2016 in Simpsonville, SC at the Charter Spectrum Amphitheatre. The stage setup clearly matches the setup seen in various videos around the web from early-2016 shows. The Empirical Labs EL8 Distressor can be seen in Chris' rack setup.more
In this photo of the rack posted by Benton on his Instagram page, one of the things visible is the Empirical Labs Distressor.more
"I use my Distressor all the time. I'm going to buy a second one so I can use one for the kick drum and one for the bass," says Riva Starr, in [this article](http://www.attackmagazine.com/features/interview/riva-starr-interview/).more
4 minutes into this video, we can see 2 Distressors in the rack. "You can use that in a very creative way, so you can distort stuff, and compress the waveform, so it sounds really, really tight..."more
Michael says he uses a Distressor Compressor in this interviewmore
1x Distressor can be seen at the bottom of rack in this photo from artist's studio.more
In this heavy bass recording tutorial, Glenn Fricker can be seen using a Voxengo Boogex, AudioTechnikk Equilibre and a Modern DeathCore Compressor VST. For the analog route, he uses a Tech 21 Sansamp Bass DI and a rackmount Distressor.more
Very good bit of kit, very crisp sound, very good on heavy bass sounds! I have two side by side for stereo processing. I got mine second hand, but they aint the cheapest of signal processors out there
Don't read about these-go use them if you can or find examples online somewhere-preferably a place with high fidelity. Your ears will tell ya all you need to know.
its rare to get the versatility of the Distressor with the exceptional tonal properties, from clear to colored to lofi
I'm new here but Jim, you're awesome for and at filling the blanks or expanding on my slightly drunken ramblings. Thanks man! The versatility he mentioned is a huge strength of the Distressor indeed.
I was drunk too! Go wine!!!
The last serious record I made in a traditional studio I think the distressor was the only compressor that got used as an insert on every song (other than an old Gates radio limiter on vocals) and we had access to a lot of stuff at those 3 studios. We used other stuff for buss work and such, but the distressor was just easy to pop on an insert and dial in because it really covered everything from SSL G series type VCA control to dirty old 1176 stuff. The thing puts you in a position to tweak the settings and print a new track while a song plays back so with one compressor you can change the dynamics processing on the fly, riding the gain and changing it from clean to mean for different sections of a song. Try that with an 1176? Its not happening, you know?
100%. They fall under "essentials" for me for sure. Expensive? Yes, but so much bang for the buck!
I no longer have a big enough home studio to justify keeping a lot of outboard around, especially at the Distressor's price point, but I certainly owned one at one time and I still won't book a commercial facility that doesn't have at least a pair of them
You see UA came out with a Distressor plugin? I haven't demoed it & even tho it's getting rave reviews from other hardware owners I still would rather stick with the Arouser. That thing kicks a just silly amount of ass. Why give up the expanded feature set for a "accurate" GUI??!!
"This compressor works great on drums and enhances transients in a way that no other compressor does. It's also okay on vocals in opto mode with the attack around 6-7 and the release around 3-4. Not my frist choice for vocal compression though. It tends to shrink the size of the singal and add a bit of a gitty texture. Sometimes that what you want. Expecially in rock music"
A studio staple. I use it on Bass, Drums, Vocals, Guitars and more


text: FEDO has undertaken many projects on a turnkey basis, involving civil works, supply of plant hardware and its erection, in addition to the normal service packages. Such turnkey assigments like consultants, vendors, contractors, etc. The single point responsibnility for managing project schedules, costs and quality vests on the turnkey contractor.


text:
Recently, the endless problems with 'that man next door' and his dogs had left her feeling that she really did prefer cats. Many people had strong opinions on the dogs versus cats debate, and she had heard all the arguments for and against – especially since moving to Stillwater. But cats were definitely more independent, laid-back and cleaner than their canine counterparts. And most importantly: they were quieter. They didn't keep her awake each and every night.
There were exceptions to this, of course. The occasional sounds of a late night cat fight could be very disconcerting; Teresa always thought that they sounded like screaming babies. And these altercations could go on for some time, with the participants not actually engaging in battle, but holding a kind of stand-off in which both animals attempted to out-scream each other. This, of course, would soon lead to the dogs joining in as well.
There was a theory doing the rounds on her street – most likely perpetuated by 'that man next door' – which claimed that even silent cats stalking through the night provoked the dogs into a frenzied excitement. The dogs smelt them, saw their shadows creeping past or heard them rustling through the bushes and long grass. In other words, the dogs noise was the cats fault – the 'moggies' taking the blame even though they were merely going about their business in a quiet and orderly fashion. How ridiculous, yet typical of 'that man next door' and his muddled and vindictive ways.
Teresa though, was also well aware that cats weren't always the cute and fluffy angels that some people made them out to be. She remembered a particular incident a few months back:
Taking a short walk to the supermarket, Digby and her had come across a beautiful Siamese lying serenely at the side of the road. It had looked up at them, adoration pouring from its sparkling blue eyes and with a 'meow' rolled playfully onto it's back, exposing it's tummy for a friendly stroke or tickle.
"What a beautiful cat," Teresa had said, bending down to rest a hand on the animal's stomach.
A mistake. Like lightning, the cat had shot forward and dug its claws viciously into her arm. With an evil-sounding hiss it had followed up with an attempted bite on the same limb. But Digby had been too quick. In a flash, he had it by the scruff of the neck, tearing it off her and throwing it to the ground with a force violent enough to bounce it off the pavement. He had followed up with a beautifully-timed drop-kick that would have been the envy of any Springbok fly-half. With a guttural wail, the animal had flown haphazardly over a five foot hedge never to be seen again, leaving Teresa with long bloody scratches on her arm and tears running down her cheeks.
The shopping trip abandoned, they had turned for home so that ointment and bandages could be applied as soon as possible. They'd only gone a few paces, however, when a woman claiming to be the cat's owner had sprinted out of a gate to remonstrate with them. It quickly became apparent that this woman had been pottering about in her garden and had narrowly missed receiving a direct hit in the face from the airborne animal. Teresa wasn't sure if the choice obscenities that followed were more to do with this near miss, or with the painful ignominy suffered by the woman's cat. Either way, her choice of language had not been pleasant, although, come to think of it, neither had Digby's.
All in all, a nasty experience, even though Teresa felt that this particular cat was more the exception to the rule. Mind you… a lesson learnt: she would never again risk a tummy tickle with an unknown moggy.
Click Follow to receive emails when this author adds content on Bublish


text:
This fishtail braid hair tutorial is the 3rd tutorial in our 4 part braid series from the lovely Jesse of Our Labor of Love, Alison Brislin, and Kelly Shew. I remember being young and asking my mom to put my hair in a fishtail braid, so I'm excited to have a little guide to use on my own little girl now!
Fishtail Braid Tutorial
1. Backcomb/tease the crown of your head. This makes the hair "sticky" for starting the fishtail.
2. Gather a small handful of hair from the back center of the head and separate the hair into two sections.
3. + 4. Take a small strand of hair from the right section, pull it back and cross it over to join the left hair section.
5. + 6. Take a small strand of hair from the left section, pull it back and cross it over to join the right hair section.
7. Repeat these steps all the way down the back of the head. Continue throughout the "tail".
8. Secure with hair tie. Fishtails looks beautiful a little disheveled. To achieve this look gently pull apart/loosen the braid. It's ok if it's uneven or little pieces falls out. Gives the fishtail a youthful, messy ease.
Extra Tips
– You should brush your hair before braiding. Knots and tangles make it hard for the person braiding your hair. Might also hurt a little bit!
– Part on your natural side. Adjust instructions according to your part.
– Day old hair is best. A little grit is good for braids as they hold-up better. Clean hair is too slippery.
– These tutorials are written for someone to braid your hair, not intended for self-braiders. Unless you are really clever and talented!
Photography: Jesse of Our Labor of Love // Hair: Alison Brislin // Makeup: Kelly Shew
To see more ideas for wedding hairstyles for long hair, check out french braid bun and waterfall braid!
Comments (23)
Ah! SO helpful! Thanks!
Thanks for sharing this tutorial! Absolutely love this for a bm hairdo
Oooh cool! Thanks for sharing this. I've tried to do this on my own, but failed so hard.. Can you actually do a fish braid right by yourself?
Yes, it just takes a little practice. I also braid my hair when it is slightly wet. This seems to work best for me.l
Linda, if you can do a traditional french braid on your own hair, you should be able to do a fish tail, with a little practice.
Yes u can it just takes practice I have my hair a little wet when I do this though.
Yes you can fish bone braid by yourself…I do! It just takes some practice…
Thanks for sharing this tutorial!
Thank you very much. It looks lovely. I have long red hair and try to do a different braid each week. I look for instructions on line mostly. Thank you. Lisa LaBarre-Kurz
i really love braiding my hair, and this tutorial help me to discover another kind of braid
awesome ideas:) loving ur blog!!! I also love fish tail braid!!! you have awesome hair!!!!
Glad if you check my blog too
i used to french braid my girls hair alot and i think i did a back word french braid it looked just like this fish tail i love doing all the girls hair . thanks for the info. Barbara from dallas tx.
"Take a small strand of hair from the right section, pull it back and cross it over to join the left hair section."
That's it? The other words up there say next to nothing, and that one sentence is basically all the instructions. The pictures would be helpful, if there were instructions more than pull some hair from one section to another section.
Was looking to find a different way to braid my daughters hair this morning since I have been taking her to daycare this week. My search goes on…
I guess I just don't know enough about hair to do it. These instructions are probably good for other people.
Thanks for such a nice tutorial for fishtail Braid Hair. Definitely, I will try out for my sister wedding.
Seriously guys…. uTube it….
Can you provide how to fishtail braid your own hair?
this website is good I love it and awesome website
Great ideas! I love the look of these!


text:
Mission Trip Adventures
As hundreds of participants have had life-changing experiences while serving on an In Motion Mission trip, we know that each trip is as different as the individuals who make up the team. Every team member leaves their mission trip with different experiences, perspectives, and memories to take home with them. IMM mission trips are planned with the needs of local pastors and churches in mind as well as your gifts, abilities, and goals for your group.
In Motion Missions works in a variety of amazing countries! Some we have only been to a time or two, and still others we send teams to several times a year. To explore what these locations would be like and to help you decide which country would be the best fit for you and your group, please visit this page.CountriesCountries
Ministry Options
You know your group, your church, and yourself. Therefore, we allow you to choose ministries that would be best suited for you! On our Ministry Options page you will find a variety of ministries to choose from as you customize your mission trip. Each form of ministry has proven to leave a lasting impact on those to whom you minister. Choose the options that fit your group well, and we will maximize their use on your mission adventure.Ministry OptionsMinistry Options
In Motion Training (IMT)
In Motion Training, or IMT as we like to call it, is a very important part of your overall mission trip experience. It is IMM's goal to provide you with all that you need to be an effective short-term missionary. We want you to have a lasting impact, and we want you to have fun. Without training, these two goals are greatly hampered. IMT is really all about giving YOU what you need for your missionary adventure.
To Begin the Mission
All IMM mission trips begin with what we call IMT (In Motion Training). IMT is normally 2 to 3 days in length, depending on the type of ministry you will be doing on your mission adventure. IMT will take place just before you depart to your country of destination.
The goal of IMT is twofold
Bonding Time – Training will be focused on activities that will help your team, including your IMM leader, to bond together as a ministry team.
Mission Training – Training will be focused on the types of ministry/work you will be doing, the culture you will be working in, language and other things unique to your trip.
At IMT we provide: Ministry training (based on how your team will be ministering), team building exercises, times of prayer as a team, general Bible study classes geared at the work that you will be doing on your mission trip, culture training, practice working with an interpreter and a general trip briefing.
Your IMT will set the stage for an effective and productive mission adventure. We frequently have missionaries and pastors thank us for taking the time to prepare our teams for missionary work. You will be more effective as a missionary team by taking the time to prepare before you go.
To End the Mission
Debriefing – Every IMM Mission Adventure ends with a day of debriefing. You have had an amazing time as God has used you on the mission field. It is now time to go home, and we want to help you incorporate your missions experience and the impact that it has had on you into your daily life.
Every IMM mission adventure includes some much earned R&R. The rigors of missionary work, the rich culture you are working in, and the great opportunities that most countries afford, all demand that you have some time to enjoy yourself. Every country in our world offers unique opportunities to relax. It may be a beach, or shopping, or a museum. But rest assured, we will find some great opportunities that your team will enjoy.
To Continue Life
Returning home, as a changed person, can be the most difficult part of your mission adventure. You are leaving team members that you have grown close to and that you have shared an experience that no one else will be able to understand. You are leaving new friends and a nation that have deeply touched your heart.
Debriefing will help you with this process. You will be given a lot of suggestions to help you assimilate your new normal into your life at home. In Motion Ministries will follow up in a couple of ways with you after you arrive home. Our hearts desire for you is that you will maintain your passion for missions throughout your life.
A very high percent of our team members return for repeat mission adventures with In Motion Missions. We hope to see you again!


text:
Every once in a while I have to be direct and tell people the truth. Who am I kidding, I'm always direct! This episode deals with why your feelings are a horrible substitute for biology, thermodynamics and exercise science. Find out why starving yourself and working out like a psychopath will only result in your lights getting turned off.
Additionally, I address the 99% male trait of trying to lift too much, too soon and why it's okay that you're not as fast as Percy Harvin. Confused about calories? Squeamish about squats? Send me a question at email@example.com and I'll reply in the next episode.
Download with a good old right-click here.


text:
Feather Hair Extensions NYC
Welcome to Our's Feather Hair Extensions Salon!!! Feather Hair Extensions Salon is the one stop shop for all your feather hair extensions requirements. You can treat the fine Our's feather hair extensions same as your own hair. your relatives and family members will notice this exquisite difference in your look as well and they will readily obey your fashion ideas.
Want feather hair extensions in NYC? Want 100% Real Feather hair extensions in NYC? We sell only 100% natural feathers extensions in NYC. We don't offer fake feathers. Our feather hair extensions come in different colors and lengths. We have some of the longest feathers in NYC! We also have a special method of combining hair feathers to make certain strings of feathers. No other feather salon in NYC offers this advanced, custom technique when it comes to feather extensions. So if you are in NYC, or near NYC, visit our salon for same day feather extensions, no appointment is necessary. Our selection is great, the best in NYC area!
Feather hair extensions NYC are all the fashion trend right now. Young Adults and teenagers of all ages are rushing to Our's feather hair extensions salon across the country to get special rooster feather extensions attached to their hair. These hair feathers come in all different sizes and colors, the most popular being the Whiting Saddle Grizzly Rooster feathers
Our's feather hair extensions salon will easily attaches feather hair extensions to your hair by using a few strands of hair. Feather extensions only take about 10 minutes to apply and can last up to 6 months. They are also safe for washing, curling, and flat ironing.
Feather hair extensions are not only for those people with long hair. We provide feather hair extensions for short hairs also, which comes in about three inches in length and are ideal for shorter lengths. Some women may just wear the longer feather hair extensions and let them extend well below their short and sleek hairdo. Because Our's feather hair extensions can be treated just like regular hair, the hair can be styled in many ways just as it would normally be done without the feathers.
Our Our Hair Extensions Salon is well known for Feather Hair Extensions. We can say that we are the best in feather hair extensions and there is no doubt in it. We provide you with a wide range of feather extensions, all sizes, shapes, colors, real feathers which meets your dream. We are experts in Feather Hair Extensions.
Our Feather Hair Extensions in New York Salon uses only quality rooster feather which are branded and of top quality. They gives you all comforts and opulence and indeed very much hygienic. The staffs in this salon are all certified and well trained and experienced in treating all types of hairs. This salon pursues the latest technologies in their salon where you can see nowhere but here. Our Feather Hair Extensions in NYC offer a drastic change to the hair. Whether you need extra length for a wedding Updo or desire more volume. You have tons of options available in Our Feather Hair Extensions Salon.
Other Links
- Feather Hair Extensions Manhattan
- Feather Hair Extensions Salon
- Feather Hair Extensions New York
- Feather Hair Extensions NYC
- Contact Us
- Sitemap
Contact Info
30-71 Steinway St
Astoria, NY
New York, NYC
Monday Thru Saturday 10:00A.M. To 8:00P.M.
Sunday From 10:00A.M. To 5:00P.M.


text:
Separate names with a comma.
Discussion in 'Electric Instruments' started by MA Pete, Feb 23, 2016.
Way to join the club
Oh my stars... @cubby61 CRAZY congratulations to you! I've drooled incoherently over that instrument since it was originally posted. It's so magnificent that I've run out of fresh adjectives.
Cubby, that's a really special guitar!
Very nice! how are you liking the semi hollow tone versus solid body?
So hot! Congrats!
I haven't played it enough to know yet. I have a HB II and JA-15 which are both hollowbodies and Sig Ltd and 513 which are solid. Without the f hole I'm guessing this will be more of a solid sound with weight relief. I don't know if the semi-hollow will make a lot of difference but I'm sure enjoying the weigh or lack thereof. But the 58/15 LT pickups add a new element to that so I'll be glad when I can spend some time figuring it all out.
Great choice!! Amazing guitar. Enjoy the heck out of it!
So I played it a little last night and I was surprised just how great and versatile this guitar is. I have watched every video review I could find prior to deciding to buying a 594 but they don't do it justice. I am playing though a Mesa/Boogie Mark V:35 and a 2x12 Mesa Lone Star cabinet. The 58/15LT pickups have really surprised me. In the Clean channel with very little gain I swear I am getting some very acoustic-like tones. Maybe it's the semi-hollow body but it's very clean, pure and almost acoustic like sound. Switching to the Fat channel I start hearing the jazzy type sounds. A little more bass but still quite clean and clear. Going to the xtreme mode and spinning the volumes up towards 10 and now I have a mean growling beast. In the Crunch position with the tone knobs pulled up and the coil-taps engaged I get a little bit of Strat like honking. Not a Strat replacement by any means but still a quite nice sound. All in all I find the 594 to be very versatile and has became my favorite guitar. My 513 might have more sounds but the neck profile is what made me decide I had to have the 594 and it is still the most comfortable neck profile of any of my guitars.
So it was a long answer to simply say, I think the semi-hollow body really makes a difference in tone. A positive difference.
I came up with a question I'm hoping some of you can answer. I have always liked hanging my guitars on the wall. If they're seen they will be heard. If I leave them in the case I will tend to gravitate to the one that's out and play that one. I have really enjoyed the DiamondLife system for hanging my guitars but the 594 has a Nitro finish and I've been reading where the foam/rubber on the hangers can mess up the finish. Can anyone confirm that or educate me about this. If true, what alternatives are available that won't hurt the finish?
Family photo showing the hanging system.
Wrap a piece of an old T-shirt on the hanger between the neck and the hanger.
This works. Also, Hercules locking hangers are Nitro friendly.
I've got 3 nitro finishes hanging in them with no issues.
I JUST made a video about why I love my 594! Check it out:
This is what I do.
Cool! I find the pattern vintage neck carve to be my favorite by far. Some of the older wide/fat a close second - the SCT ME I is just perfect for me, but I like the slight V carve of PV a bit better. I agree with you on the coil taps - I like using the neck in tap with some nice crunch. 594s are such a joy to play.
I have a love/hate relationship with semi-hollow. Both had f holes and I end up moving on from both after a few months. Haven't tried one with a solid top though.
Nice family! Soon you'll need to move on from the Taylor for a PS Angelus - you'll thank me later (your wallet not so much)!
Great report, I was dying to know how it was performing for you. We're in the same tonal wheelhouse. Cheers!
I'd like to put this on a billboard somewhere downtown.
Right there with you.
Full disclosure: I am not fond of f-holes, personally. Love the tone, don't get me wrong, it's just the aesthetic. Feel free to break out the torches and pitchforks.
I laughed out loud on the billboard comment!
First I liked pattern regular the best
Then I liked pattern the best
Now I like pattern vintage the best!
Which means whatever new neck carve they'll come out with next I'll clearly be a sucker for it! Or at least my wallet will be - oooh, wait, does it come in blue!?!?
Also I see I forgot to type that I tried 2 different SH Guitars in the past. First was Exp LTD SH with 408s and trem. Liked it at first, but later on not so much. Also found that particular pattern neck was larger than the pattern neck I had on a PS - different day when they were sanded I guess.
Next was the PS SC594 SH - I liked it better than the previous one, but gave up on it for multiple reasons. Now I'm scared of trying a SH again and being permanently barred from the SH club!
The Taylor is a 914ce and I really like it. I was looking at a 600 series but my wife said she liked the Cindy inlay on the fretboard and thought it was pretty and said I should get it. Who was I to argue?
When I was at Brian's guitars last week, he had a PS Angelus and I have never seen or played one before so I thought what the heck. I must say I wasn't all that impressed. We all know that guitars are very individual instruments and what appeals to one might not to another. One thing I like about most PRS owners is that they seem to get this. Whether it be the model, the level (SE,S2,Core,PS) the color or the options, the PRS family seems to be extremely enthusiastic towards what anyone likes. That's very hard to find in other brands (Gibson cough, cough). So back to the Angelus. It sounded nice, it played well. There was no doubt this was a quality instrument. But the feel and sound just didn't make me feel like my Taylor does. That being said, I did just buy a 2017 Alex Lifeson SE acoustic guitar to do most of my acoustic practicing on. The Taylor is great but something about accidentally dinging or scratching up a $5000 guitar was just haunting me. I wanted something I could be a little less careful with and still enjoy. For the price, the SE- Alex Lifeson was an easy decision. It plays beautifully and I love how thin it is. Plus after I bought it everyone put it on sale for $120 less so I got my refund and I am even happier.
I'm also looking at the new SE Custom 24 Exotic Top - Zebra Wood guitars. I have all Artist package and now a PS electrics and the same decision about keeping them in nice shape is in the back of my mind. I am thinking one of these might do for me what the SE-AL is which is for primary practicing.
Normally I try not to stir the pot but couldn't resist being a bit cheeky - sorry if this came off poorly (my humor is suspect to begin with).
That said, Taylors have a very defined, clear mid-heavy (to my ears) sound that obviously players love and with good reason, especially with how they sit in a mix. They always play very, very well. For my ears I prefer the McManus. But as you said far more eloquently, to each their own!
I was a huge Taylor fan-boy, had several different models over about a 20 year period. Met Paul at a clinic and played the Tony McManus model and poof! Sold all my Taylors (5 at the time) the next day. They all sounded 'tinny' compared to the McManus which was more of a Steinway grand piano sound if that makes sense. Don't know if the McManus is different than the regular Angelus, but mine has Cocobolo B&S, Bearclaw Euro Spruce top, Peruvian Mahogany neck and Ebony board. Before that I gravitated toward hog/cedar or maple/spruce from Taylor - never bonded with their rosewood models...
I think the SE line, both electric and acoustic offer phenomenal value for the money - can't go wrong with either. I saw an SE SC exotic top that I'd love to acquire, but they already sold out of the run - oh well!
I also have other acoustics from a luthier on the Big Island of Hawaii and I love his for very different reasons. As you said, part of the equation is how these instruments make you feel and that will always be unique to each one of us! I tried some Preston Thompson old growth Braz wood (his 'shipwrecked' ones) models that were fabulous but cost 2x what I paid for my McManus. Maybe some day....though they rarely come up used.
I've had several Taylor 800 and 900 series guitars, and they're quite nice, but I think WA Paul is right on the money in his tone description.
The PRS PS acoustics (I have a Tonare in maple with Adirondack spruce top) are 9 foot concert grands, whereas a Taylor with its more shimmery but thinner sound, is more of an upright piano. What I mean is, the PRSes go full-range, and support all the frequencies with a stronger fundamental note, where the Taylors accentuate the higher harmonics.
That isn't to say the Taylors aren't good; in fact, they're terrific guitars. All of us simply have different preferences. Some prefer the more jangly sound of the Taylor acoustics. I'm good with that!
When I heard my first Collings, I immediately sold of my Taylor 900; it seemed too thin in comparison. And when I heard my first PRS acoustic, I sold the Collings to get one. I like its overall balance, top to bottom, as well as its room-filling power.
One interesting side story; on my trip to the PRS factory two years ago at the 30th Anniversary Event, I met the guys in the acoustic building area. I waxed enthusiastic about the guitar, and like a complete mug, pulled out a pic of my guitar on my phone.
"I remember building that guitar! Are you Les?"
I was astounded. The head of the acoustic department not only remembered the guitar, he knew who it was being built for nearly two years later. And I assure you we'd never met before.
That was pretty damn cool. And it'd never happen at most shops.


text:
Through Facebook, public polling systems can be generated for voting for or against a service or a product. Necessary feedbacks and reviews can be obtained which in turn help promote the business for its future existence.
(PRWEB) May 05, 2012
Facebook has aptly become the face of the new age world. Facebook is one of the numerous social networking sites that are available to internet users. However, none of these has had any of the success and popularity that Facebook has experienced. Facebook started out as any other networking site, but in time, it was targeted by small business owners and individuals. These groups sought to utilize the benefit of generating more money through effective communication, as well as promotion and visibility for many reasons. Social media optimization (SMO) has been used by most companies these days as an online promotional strategy, be it a small company, or even a company that is featured amongst the fortune 500.
"To make them get counted by major search engines, we at Philadelphia SEO Company have drafted out a new set of strategy that will surely help a website rank and higher than before." says Lance Bachmann, President, 1SEO.com. The effective use of media through social networking sites has been observed by search engines and most have realized its importance. Links to pages on these sites have attained higher page rankings from a search engine giant such as Google. Facebook has the best of other net giants like YouTube, Twitter, and Flickr. It has features and a structure that is unmatched. Facebook can be used for optimization of search engine results in various ways. A person can upload images of products, businesses, or even individuals provided with a description that helps in promotion. Images are an effective way of communicating with people any network, common groups, and other forums available on Facebook. New groups can be formed, and various promotional offers and events can be spelt out informing people. People can be given an option of online shopping and various discounts they can avail by being a part of a network or a group. This is an effective marketing strategy because a person can not only promote or advertise his or her product and services, but also sell them.
Through Facebook, public polling systems can be generated for voting for or against a service or a product. Necessary feedbacks and reviews can be obtained which in turn help promote the business for its future existence. Links can be posted of personal websites and with the quality description, one can even get the page ranking of the websites increased, since these help in an increase in search engine results. All in all, Facebook is not just another social networking tool, but an effective and also tested business tool, and marketing strategy. Certain important tips for Facebook optimization are to include high quality content as Facebook is very popular with the search engines as one should not take chances with his or her reputation, by including social bookmarking, and providing maximum links to the website. These tools are really effective if used properly.
About SEO Company Philadelphia, 1SEO.com
1SEO.com is a quality-focused customer-centric organization that benchmarks its performance against the parameters of "customer value" and "customer satisfaction." It is involved in web designing, web development and Search engine optimization, social media optimization, pay per click management, reputation management and mobile search optimization, SEO services pa offering a wide range of end-to-end services in the web domain. With well-designed improvement strategies, 1SEO.com provides business-tactical solutions on time, within budgets, and within the estimated levels of performance. They would take their own initiative to chat about Philadelphia's finest SEO Service offerings.
Visit http://www.1seo.com or call (877) 311-7361 for more information about the SEO Plans and other services provided by 1SEO.com.


text:
CATS Pipeline & Infrastructure Sold for $954m
BG Group agreed to the sale of its equity interest in the Central Area Transmission System (CATS) gas pipeline in the UK North Sea and associated infrastructure to Antin Infrastructure Partners for total proceeds up to $954 million.
Under the agreement, BG Group will sell its 62.78% interest in CATS for a consideration comprising $888 million on completion of the transaction and a deferred amount of $66 million.
The sale does not impact BG Group's rights to capacity in CATS.
CATS comprises a fixed-riser platform linked to the Everest oil and gas platform, a 404-kilometre, 1 700 million-standard-cubic-feet-of-gas-per-day (mmscfd) capacity subsea pipeline and a two-train onshore gas processing terminal at Teesside which has capacity of 1 200 mmscfd.
It is anticipated the transaction will close in the second half of 2014.
The sale of CATS is expected, on completion, to create a post-tax profit on disposal of approximately $700 million. This may be partly offset by a potential impairment of BG Group's associated UK North Sea assets following the categorisation of the Group's interest in CATS as held for sale in the second quarter.
The sale of the CATS interest is in line with BG Group's strategy to actively manage its asset portfolio and deliver value to shareholders.


text:
Each time I meet with clients, I hear my grandma's voice reminding me to listen more than I talk. When I sit back and quiet my tendency to chatter, my professors step forward and begin that hour's lesson. Some days, the lessons flow easily from the mouths of individuals who believe in the power of their words. Other days, the lessons come around after a couple hours of discussing a client's goals and laying out the best method for achieving the desired ends. This past year, I have been the object of some shouts, almost missed the whispers, and often offered a tissue and a shoulder for the sobs. And my grandma: she was right — more than the books I read or trusts I write, it's the people I work with and next to that shape what I learn every day. This is my favorite part of this job; the reason I come in early and stay late: every day, my clients show me why it is important to recognize the humanity behind every smiling or grumpy or mourning face. It's these people who show you who you are and why what you do in the world affects more than just yourself.
"We have been married for sixty-three years. And we've never fought! Well, maybe not never… rarely have we fought. Do you want to know our secret for a happy marriage? Well, I'll tell you. Number one, we say 'I love you' to each other every day. Number two, we laugh at everything – serious or sad. You've got to laugh together. And number three, we like each other. We are best friends. We love and we like. You've got to have both. Now… would you like us to introduce you to our grandson?"
"I have been making decisions for myself since I was forty years old. No one makes them for me! So, I went to Thom's seminars seven or eight times before I decided to come in and talk to him. Once I spoke to him, I knew he knew that I knew he knows what he's doing. It took me three years to get through those doors, but I'm happy that I did."
"I've lived a farmer's life — I raised cattle with my daddy and granddaddy; rode the combine like most kids ride bikes; spent nights in the barn tending to sick animals; seen the price for beans rise and fall — and I've kept going all just to keep the farm running like my family has done for a hundred years. My kids have all moved away and I don't know if they will want to come back to all of this once I'm gone. But I'll be d****d if I'll let a lien be placed on this land. I ain't never owed nobody a dime and I sure won't leave this life with a bill to my name. Thom said he could help me keep that from happening. I'll accept that promise and hold him to it — even from the grave."


text:
What the Fuck, America? – An Interview with Joseph Arthur
By: Oliver Webb
An eccentric venue, the Oslo, Hackney is situated in a redeveloped railway station and has a Nordic aesthetic. It also serves as a live music venue. I arrived slightly early, only to find the stage area and upstairs bar deserted. After paying an extortionate £4 for a can of Red Stripe, I watched the crowd begin to arrive – mostly couples. Although it soon became crowded, there was no pushing or shoving, everyone relaxed and content, drinking cans of Red Stripe.
First to the stage was British newcomer Reuben Hollebon, opening with indie-folk tracks "Faces" and "Haystacks" from his debut album "Terminal Nostalgia" released earlier this year.
After a short break, Joseph Arthur rocked onto the stage wearing a military-esque jacket and sunglasses. Performing solo, Arthur used looping techniques, recording vocals and guitar solos which he then looped throughout the entirety of a song. Throughout his set, he would paint on a canvas he had placed centre stage, simultaneously painting and singing. A renowned artist, Arthur has designed the artwork for each of his albums, as well as having his work displayed in galleries.
After a calm display of songs from his latest album, "The Family", the relaxed atmosphere soon changed, with Arthur turning to politics, angrily shouting "Do the right thing, America!" into the microphone before playing his recently released "The Campaign Song". The crowd was chanting "What the fuck, America" along with him as he fiercely clamoured the lyrics: "Let's make America great again is the slogan of a liar, who is stoking up the fire of the racists and the bigots who are following him. Trump is a chump, Trump is a con."
Altering back to his relaxed manner, Arthur gave an outstanding performance of "Out on a Limb", completing his canvas and announcing "That should have been my last number, but as I'm drunk I'm going to play a few more", before a beautiful rendition of "Honey and The Moon" and closing the set with a heartfelt cover of Lou Reed's "Walk on the Wild Side".


text:
New Concrete House is a family home located in Caviano, Gambarogno, Switzerland and completed in 2015. The house was designed by wespi de meuron romeo architects. The goal in designing this property was to create a comfortable home for a family of three people in just 128 square meters.
From the architect:
To the mountain-sided street the construction presents itself as a closed, simple one-storey volume. The only opening towards the street is the raw steel gate leading to the entrance court.
A 3 m wide forecourt with a natural stone pavement and two palms connects the house to the street and upgrade it spatially.
To the valley-side, the house appears as a narrow 3-storey tower.
The house is organised on three floors: the top floor on the street level accommodates the entrance, the main living area and dining with the open kitchen, on two sides it's completely closed and on the other two sides it's completely vitrified towards the courtyards.
The entrance courtyard on the mountainside protects the house against insight from the street and in the meantime it lets the sunlight in.
The inner courtyard on the seaside releases the view to the lake and the mountains through a big roofed opening; while it's closed wall surfaces reflect the sunlight to the inside.
Both courtyards, each with a wisteria, let the living room becomes a "garden" room and let the inhabitants experience in an unusual intense way the varying atmospheres of the weather and the light.
A skylight above the staircase allows light to penetrate into the lower floor, which accommodates two bedrooms, each with its own outdoor loggia, the bathroom and the stairs to the cellar, where is the technique and a workspace.


text: This is a vote in favour of using attributes rather than processing instructions (or a linking element) for linking to stylesheets. At 08:02 19.04.97 +0100, Jon Bosak wrote: >Method 3: The stylesheet attribute > >... For example: > > <chapter xml-stylesheet="foo.dsl"> > >Unfortunately, this doesn't leave us with any clean way to indicate >the stylesheet language unless we assume a limited number of them >(which is not unreasonable): > > <chapter xml-dsssl="foo.dsl" xml-css="bar.css"> > >One senses that a further level of indirection may be needed here. I propose we use entities, as follows: <!NOTATION DSSSL-O PUBLIC "ISO 10179:1996//NOTATION Information processing - Text and office systems - Document Style Semantics and Specification Language//EN"> <!NOTATION CSS PUBLIC "-//W3C//NOTATION Cascading Style Sheets//EN"> <!ENTITY book.dsl SYSTEM "tei1.dsl" NDATA dsssl-o> <!ENTITY chapter.dsl SYSTEM "tei2.dsl" NDATA dsssl-o> <!ENTITY book.css SYSTEM "tei1.css" NDATA css> <!ATTLIST book xml-style ENTITIES "book.dsl book.css"> <!ATTLIST chapter xml-style ENTITIES "chapter.dsl tei.css"> The notation declarations could be predeclared and implicit in the XML profile in the same way as the character entities lt, amp, (etc.) are. That way they wouldn't have to be declared in every document, but there would still be the possibility of declaring other notations (e.g. Synex, DynaText, FOSI, etc.) The attribute values would not have to be specified inside the instance, unless one wanted to override the defaults on an element-by-element basis. This solution permits multiple stylesheets in multiple notations at any level of the element structure. And I'm sure I don't need to point out that all the declarations required could be tucked neatly away inside a LINKTYPE declaration (provided one didn't require the ability to use element-by-element overrides :-) Regards, Steve -- Steve Pepper, SGML Architect, <email@example.com> Falch Infotek a.s, Postboks 130 Kalbakken, N-0902 Oslo, Norway http://www.falch.no/ tel://+47 2290 2733 fax://+47 2290 2599 "Whirlwind Guide": http://www.falch.no/people/pepper/sgmltool/


text:
I utilized our improved "recording studio",
Live Announcements-Not perfect but w @wistia tutorials we are getting better! pic.twitter.com/VguePXBEtt— RecessDuty (@RecessDuty) February 19, 2016
a small tripod for an iPhone, iMovie for iPhone, and Wistia to host the video. To use Wistia, I transferred the produced video file to my computer and uploaded it to Wistia. I chose Wistia because they do a great job (I'm using the free version) of gathering viewing statistics on a video.
Connect with me on Twitter (use #iPadU), or you can view my latest blog post at iPaddiction.blogspot.com


text:
It's that time again! The Highway 60 Yard Sale is looking for participants – and why wouldn't you want to get involved?
This 200+ mile yard sale celebrates its fifth year in 2010 and has grown to include 8 western Kentucky counties. These include Livingston, Crittenden, Union, Henderson, Daviess, Hancock, Breckinridge & Meade counties. The annual sale will be held the weekend of Oct 1-3, 2010 along Highway 60.
Hundreds of local individuals, businesses, and groups are expected to participate this year, setting up yard sales and craft booths on their properties along the highway. This unique event allows visitors from Kentucky and surrounding states to enjoy an exciting shopping experience, while taking in the distinctive flavor of the Ohio Valley's unique restaurants, shops, and southern hospitality. The sale will also provide an excellent opportunity for local organizations and clubs to hold fund-raising events.
In addition to the Highway 60 Yard Sale, shoppers may also want to check out the Green River Area Development District's Arts & Crafts Festival, held concurrently at John James Audubon State Park in Henderson, along the western portion of the route, on Saturday and Sunday, October 2 and 3. For the past 38 years, this annual event has been delighting visitors with artisan and craftsman booths, artist demonstrations, delicious food, and live music, set against a scenic natural backdrop.
Property-Owners: You may have received a form via mail. If so just fill this out and return it to The Depot at 101 N. Water St, Suite B, Henderson, KY 42420 or FAX (270) 826-0234. If you have not received a form, call us at 1-800-648-3128 and we'll fill one out for you over the phone. Once registered you can pick up promotional signs at The Depot.
Non Property-Owners: Property owners along Highway 60 in Henderson County have offered lots for use in the 5th Annual Highway 60 Yard Sale, Oct. 1-3, 2010. Non-property owners who wish to participate in the sale are encouraged to contact the Henderson County Tourist Commission at (270) 826-3128 for a list of those offering space, either for a fee or for free.


text:
We love to support self-published authors. At the moment, we are overwhelmed with consignment requests and simply do not have the ability to give each book a read and the attention each author deserves.
We will remove this message when we are able to start accepting consignments again.
Thank you for understanding.
If you would like to sumbit your book for review you can:
1. Read our Guidlines for Consignments
2. Fill out the consignment application here
*Please note that at this time we just gathering
applications and not processing new consignments.*


text:
Myrtle Mae Urkel made her first appearance in the eighth episode of season 2, "Cousin Urkel", as part of an exchange agreement between Big Daddy Urkel and Dr. Urkel. She was played by Jaleel White.
Character Biography Edit
Myrtle was a rich Southern belle from Biloxi, Mississippi (living in the fictional Urkel Oaks, a rich antibellum house presumably in Biloxi's rural outskirts) who fell in love with Eddie at first sight, despite his obvious dislike for her. Her rich father, Big Daddy Urkel (played by Reginald VelJohnson), was a loving and caring father to Myrtle but did not approve of Eddie being his daughter's boyfriend except when bribed with cash. Like Urkel did in his pursuit for Laura, she frequently went to great lengths to capture the object of her affection, such as sneaking into his bedroom at night and trying to kiss him. However unlike Steve, Myrtle refused to ever leave Eddie alone and disrespects his personal space by stalking him, much to his extreme terror. After several years away, she returned to Chicago to visit her cousin and renew her pursuit of Eddie; by this time, he and Greta had started dating. Unlike Laura's would-be boyfriends, Greta was more successful in warding Myrtle off.
Finally, in the episode "Don't Make Me Over", after finally realizing Eddie doesn't like Myrtle and reaffirms his love for Greta, she relinquished her love for him. She decided to pursue other guys in the hopes of finding her true love and starts to leave. Although happy at first, Eddie quickly realizes that now Myrtle's leaving, his life would be boring without her mixing it up by reaffirming her love for him and asks for her to stay. Myrtle refused and leaves, telling him that she will find another man who will love her for herself.
Cancelled the sitcom Edit
Season 10 Edit
Had the show continued for a final tenth season, Myra and Myrtle would become friends and have a girls' night out, but get held hostage at one of the clubs. Eddie rescued the girls, but Myrtle still acted very cold around him. She also had a good time helping Stefan get to know the Urkel family before he disappeared in Death of Stefan. She, Maxine, Myra and a pregnant Laura would hang out at the Sizzle Club, but Laura grows concerned when the guys are more attracted to Myrtle, Maxine and Myra than her. It is unknown on whether or not she would witness the birth of Stephanie Laurine Urkel or not, as this would have been her true final appearance in the series.


text:
Help us to improve this page.
This webinar outlines a sound framework for your performance and career success at UIC. Guides you to tools ready to support your development and focuses on actions you can take to understand how successful performance is defined and achieved at UIC.
Register and View
Course Time: 30 minutes webinar
Do you want to delete all occurrences of the recurring appointment "You & UIC: Professional Development at UIC - webinar", or just this one?
Delete this occurrence.
Delete this series.
Copyright © 2013 The Board of Trustees of the University of Illinois | Web Privacy Statement | Login ( Guest )


text:
Coin (iOS)
One credit card to rule them all
#2 Product of the DayAugust 28, 2014
MakersThere are no makers yet
You need to become a Contributor to join the discussion.
The problem I have with the app is the same reason I never preordered a Coin card - it doesn't support Chip & Pin which is set to become the US standard next year and is already a standard in most international countries. In a recent interview, the founder of Coin dismissed the need to innovate for Chip & Pin. He may have been being coy about future product roadmap, but it doesn't give me great confidence this solution will work more than a year or two. EDIT: Looks like I was wrong about this. Swipe cards will still be accepted for the foreseeable future and Coin is a viable replacement. I still see trouble because by their own estimates, Coin only works at about 80% of merchants. However, I thought with Chip & Pin it'd a much worse problem.
Chris Carella@ccarella · Venture Partner, Five Four Ventures
@eric3000 this is the reason I asked for a refund, when they sent out an email last week offering one.
@eric3000 @ccarella Chipped cards only protect fraud in "card-present" transactions. Your number can still easily be hacked via a Target like breach. Plus with @simple, @getmoven and now @coin sending real time notifications for every transaction, you will know immediately when someone other than yourself uses your card. So how does the chip really help?
@mzuvella Im going to punt on your question because I am not a security expert. Whether they are hackable or not, chip and pin is going to be US standard by law. To pay, you'll need it and Coin doesn't have it.
@eric3000 You don't need to be a security expert...a chipped card means you insert into the card reader and it reads the chip vs. today's traditional swipe. The chips are harder to duplicate but your number can still be used without your consent. And required by law? VISA and MC have said they are making the switch in Fall 2015 but I haven't heard anything about it be required by law.
@mzuvella I understand how the chip works vs. swipe. I was passing on your question because I cannot comment on how easy to hack any of these security measures are. As for the law, I was mistaken. There was heavy pressure from the government for the change, but no law was passed: http://blogs.wsj.com/corporate-i...
Paul Gambill@paulgambill · Co-founder of You Enjoy My Stickers
The morse code tap to unlock (as opposed to a pin) is an interesting design choice. I was listening to music while I set my tap code, so hopefully I can remember it. I haven't seen yet how they deal with forgotten tap codes.
@paulgambill was just going to post a question about that. Anyone know why this approach would be more beneficial than numeric input?
Sol Weinreich@solfrombrooklyn · Founder MINR
@paulgambill I don't like the tap i set a super simple tap because I'm sure ill never remember a complex sequence. To me thats a huge security flaw. Im sure I'm not the only one who doesn't speak morse code ;)
@paulgambill I really don't like this. 1) Strikes me as being different just for the sake of being different. 2) It's less secure than a four-digit code because there are few possible combinations 3) It requires users to remember one more password. I really hope Coin ditches this feature.
Ash Rust@ashrust · Cofounder, & CEO SendHub
@paulgambill I think the morse code element is a very bad idea. It's not in my traditional password/pin workflow and nor will it be - either memory or software like 1Password. I expect people will either forget or do something very simple, a la 'password' as your password.
Fareed Mosavat@far33d · VP Product, RunKeeper
@paulgambill The morse code is ridiculous. I wonder what % of passwords are just all short taps? Otherwise, how would anyone remember? I can't think of a single reason this is a good decision other than novelty (which should be reserved for non-security features).
Surprised this wasn't on PH sooner...excited to use this if it ever launches.
@mzuvella this is the ios app. Launched today. The app store link hit PH before any other site :)
Super pumped for the product to ship. Not crazy about some elements of the app right now. Confident they'll get it right though.
Trying to add a card, but I can't because the small amount that Coin supposedly charged to my account hasn't posted. My only way out of the screen I'm stuck on now is to cancel and lose all of the information that I entered. Very frustrating. EDIT: Apparently my patience has a one-hour time limit. Just deleted the Coin app. Not sure that it really added any value anyway.
@maxwendkos You check your pending/authorizations? It doesn't actually post to your account.
@mzuvella Yup. I have no pending charges.
I don't understand why I'm asked to take a picture of the front and back of my cards, then enter the information manually, and then Coin presents me a generic version of each card by brand. I carry two Visa cards (debit and credit), and I can recognize them VERY easily in my wallet since they look completely different. Not so much with Coin.
mina@minarad · eir@redpoint, advisor@cowboy, startupper
@adamsigel totally agree. there are a lot of poorly thought out things with the app. there are easy ways to do picture scanning and automate the card entry - I was confused and then surprised that I had to manually enter it. Card entry also isn't as smooth as I'd like it to be. Moreover, you can't even change the name of the cards in your wallet. I have two mastercards, and they are both labelled MC. It seems that the only thing you can do is change the colour by swiping. I'm not sure I understand why I took the picture if I can only see it when I click in to edit it.
@minarad I didn't even see the swipe-for-color option. Thanks. Still doesn't help too much since the color options don't match well to the actual cards they represent. (Also interesting that this is shaping up to be the #2 hunt of the day but the comments are overwhelmingly negative. Has that happened before?)
Joel Monegro@jmonegro · Union Square Ventures
@adamsigel it let's you change the style of the cards (color) in the edit screen by swiping left/right.


text:
Universal Home Care (UHC) has developed a unique/multidisciplinary approach in managing and treating patients with acute or chronic levels of pain as a supplemental resource for maintaining ones maximum level of wellbeing. Our collaborative Pain Management Program provides education, skilled services and focuses on sustained improvement in quality of life.
Furthermore, the goals of treatment provided via our Program are an emphasis on improving function limited by pain through the development of long-term, self-management skills - including fitness and a healthy lifestyle. Through assessments/reassessments, the patient directs the focus of the plan and our certified Pain Management Specialists guide our patients by providing them a hand-on-approach to improve mobility as well as, pain interference techniques during daily activities as a means to prevent hospital readmissions from intractable pain.
In addition, the Program is intended and appropriate for:
To learn more about our Pain Management Program, please contact us at: (800) 200-1020.
Your nurse demonstrated a high level of professionalism, diligence and thoughtfulness. Your nurse's level of service exceeded all expectations. - A.D.
Please know how appreciative I am for the wonderful RN you sent to take care of me. I wish there were more professionals as competent and caring. - R.G.
Want to learn more about Universal Home Care (UHC) & the quality of services that we offer?
151 North San Vicente Blvd.
Suite #200
Beverly Hills, CA 90211
Tel: (800) 200-1020
Fax: (323) 852-6768
Department of Developmental Services: www.dds.ca.gov/complaints or (916) 654-1987
Copyright © 2019 Universal Home Care. Privacy Statement. Sitemap.


text:
fine art
Inspired by nature, these sculptures are made with materials gathered from nature, such as branches and seed pods, which then become part of the
lost wax process of metal casting. They are made of polished and patinaed aluminum and bronze.
bronze and aluminum, 2 7/8 x 7 x 5 1/2"
Qeep, bronze
Breaking out some new scupltures, ready for clean up