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Gladdy Wax
This is one of the interviews I'm most proud of. Anyone who knows me knows that if you are looking for me at Notting Hill Carnival, I'll be on top of Portobello Road listening to the tunes played on Gladdy's fantastic rig. It's hard to find anyone playing music that ranges from 50s r&b all the way to current anthems by the likes of Chronixx. So after enjoying Gladdy dj for a couple of years, I really had to sit down with him and find out more about his history.
Let's begin at the beginning. You were born in Jamaica, right?
I was born in Jamaica. 1951.
When did you leave?
When I was fourteen and a half. I left Jamaica in 1965. Got to England in December. 18th of December. My father was here before me and then he came and brought myself and my brothers and sister to this country. But the music thing started from Jamaica. I think it was mostly influenced by my mother. My grandmother was an organist and choir leader. We had a lot of singing in the family. Through church and even at school. One of my uncles played guitar at Studio 1. He used to teach music in Canada, in the university, but he's dead now. He died about four years ago. The sound of music has always been in my home. People in my home played instruments, my grandmother, my mother, my uncle… My mother always listened to the radio and I listened with her. So I was exposed to dance type music. My grandmother's music was mainly religious type music.
What kind of music was being played on the radio back then?
Music from America mostly. What they would have called rock'n'roll at the time. That and the old rhythm and blues. Typically Fats Domino, Shirley and Lee… In fact, before I was listening to radio, I was listening to sound systems. Shirley and Lee, Rosco Gordon, Fats Domino, Lavern Baker, people like that, Ruth Brown. I was listening to that when I was four, five years old. We used to actually put the dances on. My mother used to make the dance. We had the dancehall: a typically Jamaican business set up – dancehall, grocery shop and bar. We had that. Friday night, Saturday night, there was always dance with sound systems. Those artists are what I would listen to firstly. And then, when my father came to England, I moved away from the town and moved back to the country where I had been born. That's when I started listening to the radio as there weren't many dances in the country. But there was a good deal of it, it was always on for me to listen to. This is 1956, '57. I grew up listening to music all the time. When I moved back to the town again, it was jukeboxes, radio and sound systems. I lived in Spanish Town for a while and that's where a lot of sound systems were. That's where I was exposed to Jamaican music firstly. Jamaica started recording music around 1955. We used to listen to American music mostly. People talk of mento as being Jamaican. I remember listening to mento, but listening to it live, not on records. I used to watch mento bands play when I was a kid. I've seen the Skatalites play live as well. Then Jamaica really started getting heavy into recording in 1959, '60. You were hearing sounds and you knew this was made in Jamaica. Joe Higgs had a very early hit with a record called Oh Manny Oh. It was Higgs and Wilson. I grew up to find out that Higgs was Joe Higgs. Then there was Alton Ellis, his first recording Muriel was booming out in 1960. Keith and Enid… After a while the beat would change. Jamaica was really a vibrant place! People would play so much and then they would play more of it until it was so much that it evolved. It would change. This was happening around '60, '61, '62. Jamaica became independent. I remember the ska sound was emerging then. In '62 there was a big hit from Derrick Morgan, which is ska, Forward March, a tribute in celebration of independence for Jamaica. At that time it was jukebox or sound systems. I was standing outside listening to the sounds play because I was too small to go into the dances.
But the sound carried far enough…
Yeah, but I wasn't far from it, I was just outside. In fact, I would go inside when they set the sound system up in the day time, in the afternoon. We could listen all day. But when it became night, in Jamaica it would be dark after half past six, seven, then you would have to leave as a child because it was time for adults to come. Outside we would stand and listen while they would play inside. And then of course the jukeboxes… Every penny went into the jukeboxes! Then my cousin started bringing home records from Derrick Morgan and Prince Buster, Shenley Duffers, Eric Morris. One of my older cousins was friendly with Shenley Duffers and if you knew one, you knew all of them, they were all singers. So we used to have records. I was djing before I came to England. I tell people this and they don't know, they think I started playing in England. I was the dj for my send off party in Jamaica. I was fourteen then. We had turntables and we would go through a German made radiogram – a radio with an extension for a speaker so you could play like a sound system: put a big speaker outdoors or on the veranda. You could play records like a sound system, but smaller. It was a Telefunken radio. A lot of people in Jamaica had a Telefunken. It was the name to have as a radio. The jukeboxes were usually Wurlitzer. That was what the early sixties was like.
I left Jamaica in November 1965 and got here in December. On a boat. We came here as a family, myself, four brothers, a sister and my parents, my dad had been here ten years previous. He just came back for us. When we came here, we were looking for music, because we were used to music. We were music lovers! So we wanted to know how we could get music. We turned the radio on and we heard the Beatles. We were used to the Beatles from Jamaica. But then we were hearing bands like The Troggs, the Tremolos, British bands, the Rolling Stones… We didn't know the Rolling Stones in Jamaica, though they were big here. We were taken aback by the way the bands were laid out and by the music they were playing. We thought it was no good at all, it was rubbish compared to the ska that we were listening to. We liked the Beatles because we heard them very often on the radio. The songs were ok, "I wanna hold your hand…" You could relate to that. When we came here, we saw bands with five guys with guitars and one guy on the drums and that was it. We were used to seeing people play keyboards, organs, guitar, banjo, trumpet, trombones, flutes… We were used to seeing bands with a bigger scope of instruments. We came here and all the pop bands were just guitars… We thought that this was not good. Some of them were melodious, pleasant; I got some pop music from the sixties in my collection. But by and large it wasn't fulfilling the desire we had for the ska or for the American music we had left back home. So we started writing to Jamaica saying we want some music.
Birmingham was where you first moved?
Yes, Birmingham, not London. We searched for record shops quickly, me and my older brother who is also a music lover and collector. We found a record shop not far from home that we could walk to. They had Blue Beat in that record shop. We liked some of the Blue Beats, but they weren't what we listened to in Jamaica. We found them humdrum. We bought the ones we liked. We'd go weekly and buy two records, three records. In those days they were seven shillings and six pence. I wonder how much that would be now – about thirty-five pence. Anyway, we wrote back home. I think this started with reading The Gleaner to keep in touch with news in Jamaica. In The Gleaner, they would have the Top 10 and there was an advertisement in there for importing records from Caribbean Distributors. So my brother wrote to them. I remember it was one Mr. Robinson, and he sent us the price. We could get seven records for five pounds and postage. So we would get seven records every two weeks. As soon as one parcel came, we would repeat. We would send five pounds again for seven more. It was handy, it was enough. We could get used to seven records in two weeks. We didn't know what the records were but we gambled that if they were in the Top 10, they would be good. So we would send for one to seven. Occasionally we would recognize the artist. "Oh, this is Eric Morris, it must be good!" Whether it was number ten or number one, we'd get that. The Maytals… It would be good. Doesn't matter if it was number ten! We'd collect like that. My older brother also was a electronic technician, electrical, really, but he learned some electronics. He made an amplifier in about the first year we lived in England. The circuitry was from Mullard, it was a ten watts valve amplifier and we played it as a sound system in the home. We started acquiring friends, we'd play records and we started having parties at home. Buying drinks on the weekend. I didn't drink but it was wine for the adults. We played because we had records. And then people would say "We're having a wedding, would you like to play?" And we'd play at weddings for free, as a hobby.
So you were the only people around who had records?
At our age – there were sound men before us, a couple. But we wouldn't go to the dance. My oldest brother would, because he was already sixteen. He was old enough to stay out. But I didn't go at first. I used to do the same thing we did in Jamaica. I would walk with him to the dance, listen for a bit and then go back home before it got too late. We had sound systems in Birmingham that we heard about. A sound called Duke Neville and a sound called Duke Sonny. Duke Sonny, I don't know what his real name is, but he's reputed to be the first sound system in Birmingham. When I became sixteen, I went to listen to those sound systems. By then we had a small sound and we used to go and listen to see if they had better records than us. Well, they did. Especially Duke Sonny! Duke Neville had great records too! He was a fantastic selector. You could listen all night, he never played a bad record! But we were coming up with our own sound. We were playing now. We went to youth clubs, because we started going to school and when school finished, we started going to youth clubs on Friday evenings. They had a disco there and we said, "we have a disco, we can play." So we brought the sound system to the disco and played Jamaican records. All the youngsters were looking to us for music because they had never seen that before, they didn't know they could play music on a sound system. They only heard about the sounds that were there and they were too young to attend those dances. They will tell you that in Birmingham, that myself, my family started all the younger sounds, loads of them. Dozens of kids built sound systems because of myself and my brothers.
That must be a good feeling to have inspired people.
Now it is! I didn't realize it was happening at the time but every time I visit, they come and tell me "it's you who made us do this!" Some of them were born here, they didn't even know how to speak Jamaican. They picked it up from us.
So your audience was mainly Jamaican or children of Jamaican immigrants?
Yes. Or some other place in the West Indies. Maybe Grenadians, maybe people from Saint Kitts, maybe Barbados, but mostly Jamaicans. Where I lived in Birmingham is heavily Jamaican populated.
What was it like to come to England?
I found it gloomy! We were used to the sunshine and we came here in December. It was gloomy! At the end of December it started snowing. I remember I started school in January and we all wanted to go back home, crying, because it started snowing. But we couldn't go home, we had to go to school. We got on with it. It was exciting, because we were young, but it wasn't exactly welcoming. The temperature, the climate wasn't welcoming. We were wearing two trousers to go to school – gloves and things over our heads and heavy coats… But we dug in and got used to it.
What were British people like? Can you describe their attitude towards immigrants?
I can only speak for myself. I remember going to school and finding that they weren't the people I thought they were. Coming from Jamaica, a former slave plantation island, you think that these people are English. When I got here, no one spoke English, they spoke Brummie. We were taught to speak English in a grammatically correct way and we didn't hear that. When I went to school, I was bored. I was a bright person in school. In my school in Jamaica, I was top of the class all the time. My teachers asked my father not to take me to England so that they could educate me. These people, when I went back now, they said "are you a professor?" I said "No." They said "you didn't get an education?" I said "No." I just went to a normal school and I lost interest, because of the way school was here. I lost interest in studying and I was really a bright person. The keenness with which I did my studies in Jamaica, I lost it here – daydreaming of Jamaica, not making friends, getting used to a different way of life… It throws you.
The British people that I met here – some were welcoming, some were not. I went to a boys school and they were always fighting. They were curious, but not in a positive way. They wanted to know about you but they thought they knew about you already. People talk about racism and I see it. Racism doesn't worry me personally. It worries me for what it does to a whole set of people, that prejudice against a whole set of people. That I detest! But me personally? You can't make me feel bad because I'm black or of a different colour. You can't! It's not possible! It's not in my nature to feel bad about myself! There were people here who would call you a black bastard or a wog which was really meant for people from Asia. It's abbreviated wog – western oriental gentleman. "You wog!" or "you black bastard!" they would call us. They were very concerned about your colour…
When I left school, I started working in a chemical laboratory because my o level grades were good and I liked science. I really wanted to be a scientist. That was my ambition when I was small. I remember asking the careers officer at school "Where would I have to go to learn about nuclear fission and atomic energy?" They said "Well, you'd have to leave home and probably have to join the forces" and things like that. I even joined the forces for a time but it wasn't the army, it was the air force. I was a cadet and I learned to fly and glide between the age of fifteen and twenty. When I was twenty-one, I had to make a decision: you have to join the forces properly or leave. You can't be a cadet after twenty-one. I liked flying, it was exciting and fun. But I left anyway. It was an ambition but I wasn't encouraged into it. I liked it for myself. I've got my license for gliding but I didn't get my license for flying. But I can fly. It's like driving a car – you can do it but you need so license so that people can see that you can do it. I used to fly Chipmunks, single-engine planes.
When I left college and got my job in the laboratory, I was still studying as I wanted to improve my knowledge of science. But then I started going to the dances because I was sixteen and I was working. I could buy my own beer if I wanted it. When my sound wasn't playing, I would probably visit Duke Neville with my bigger brother.
One night I went to Quaker City's dance. I went and I heard it and it blew me away! It was just like Jamaica! It was heavy, you know, loud, clear and powerful like the sounds in Jamaica! I stood there and after a time I went over and took the mic. There was a boldness about me when I was young. I'd just go and do something if I thought it was right to do it. I picked the mic up and no one stopped me. So I started toasting, mimicking what I heard back home in Jamaica and what I had in my head. It was reggae then, this was 1968, just behind the rocksteady. I was toasting and everyone was amazed because they hadn't heard that before. I was the first person to be doing that there the way I did it. I think I was getting records from Jamaica then with U-Roy. I remember U-Roy's big hit Sound of the Wise produced by Lloyd Daley, the Matador. I remember mimicking words like that "Whether you're sick or you're sad or you lost the love you had…" Rhyming. And they all liked it and I got to know them.
By the next week they were playing again and I went there again and I just started using the mic. The week after that they were playing but I had to go back to my sound and play at the youth club. So they would come and ask my mother "Is he home?" They were saying "We want him!" And they got me when they said they were going to Manchester. I had never been out of Birmingham! So I went to Manchester with them. Quaker was really growing then. There were promoters who had caught on to his entertainment value and so they were booking him. Every week: Manchester, Nottingham, Leeds, Derby, Wales.
I was the chief, you know, the man on the mic, presenting and toasting and introducing records. Any week that we didn't play, I would play my sound. My brother still had the sound going in the youth club and we still had records. I would take some of my records to Quaker and play. If we had a set of tunes we'd think he didn't have, new tunes. We were music fanatics! You could build a sound anytime but you had to have records if you wanted to have music. My sound was growing and I went between both sounds. Then the clashes started and I had to be there when there was a clash. Otherwise the other sound could outdo Quaker if he didn't have an mc. It was clashing all the time now. A lot of great sounds in Manchester at the time, '69, '70, '71, '72 – Skylark, Rocket 88, a whole heap of sounds…
That was still before clash became all about playing dubplates?
Yeah, that was clashing with the music, better music. It was about the crowd dancing. By the time I was really good on the microphone. So even people who knew me didn't know how good I was, because they weren't traveling with us. Even my brothers didn't realize how good I was. We would go to Manchester Friday and not come back until Monday. That incidentally is where I lost my job – for going with the sound system and coming back late on Monday and going to work late. They'd say "Where have you been?" This would happen regularly. Eventually they told me "You can't work here if you can't come on time!" So I lost my job because of sound system. That was the very reason. After that I didn't work much.
Did the sound system pay well enough to make a living out of it?
No. I didn't do it as a living, just as a hobby. I had odd jobs and I was still living at my mother's house. So she was looking after me. Even when I was in my twenties, I was still living with my mother. I went on with Quaker for a while until there was a kind of falling out with myself and Quaker. There was another sound called Duke Neville. They had admired my microphone skills and they wanted a special. Duke Neville was more innovative than the owner of Quaker City. So he said "Let's go to the studio!" Quaker had never taken me to the studio but this other sound offered me to come to the studio and record. So I went with them and we made like five specials for him. Lo and behold, in another three weeks, they were to play together. Quaker was doing fine on the night because he had a bigger sound. But Duke Neville played the special I made and Quaker was upset as this other sound was beating him because of the special I made. He told the rest of the crew to boycott me. It was foolish, because I was there to help him. I had my own sound, I had my own talent. My input made his sound rise really high. When I left, it was a different crowd, attendance wasn't the same. The crew would come for me and get me. "It's no good without you, come on!" Then I would drive the truck for them. I was young but I could drive the truck. None of the other crew, not even the older men could, but I could. Then I used to drive the truck to Oxford for them, Northampton, wherever they were playing. I wouldn't touch the microphone anymore but I would help out, because one of the main selectors, George, was a good buddy, and he would say "Come on, we need to go, drive the truck for us." Quaker was like "Don't let him touch the mic again!" But I didn't want to! I could touch my mic on my own sound! That's how we had a falling out. It's not the same now, me and him speak now. Then I went back to my sound, well, it was always there. My sound is a family sound, we were always playing somewhere. Weddings, parties, friends parties, Christmas parties,… I didn't build it like other men, to go out and make money.
You didn't do clashes either?
We did, with other youth sounds. But it's not like the clashes you'd see today. We would play in competition and the crowd would say "Yeah, this sound plays the better music!" We were ahead of the game, we were using better equipment. My approach to sound system is from a musicians approach. Most soundmen, I don't even know if they are music lovers, they just love to hear something powerful going "boom boom!" The reason I play a sound system is that I can't take a band with me everywhere. So you play the records but you try to play them on quality equipment so you can hear them like the musician intended. Some of the sounds I hear, I wouldn't play a sound like them just for the sake of it. My approach is for music! Not just specials and swearing and bravado. My love is music! That's what it is!
The last clash I've been to was mostly about playing intros and then pulling up the record. You didn't get much of a chance to find out if the dubplates that were being played were any good.
That's not my game! My game is music! Sound system is a hobby. I didn't see it as a career. Then there was a singing competition in Birmingham and I joined the competition. I thought singing was a more serious way to move forward, career-wise. I won the competition and Dennis Bovell who was one of the judges invited me to London. He said "If you're in London, you could make it." He didn't even know that I was a sound person, he thought that I was just a singer. He invited me to his home and I stayed with him over weekends. I would come to him from Birmingham on the weekend and show him my lyrics and he would take the guitar and we'd make up songs. But I didn't live in London and I had to run back. Then he said "If you lived here, you'd make it." So I hitchhiked to London. I didn't actually know where I was gonna stay. I had a friend here who put me up on a couch and then they suggested that I'd get a job. If I wanted to stay in London, I had to get a job. And I did get a job. That's how I came here, I came here with nothing – only a guitar.
What year was that?
In 1980 – when I won the singing competition, Dennis Bovell was the engineer. The prize was a recording contract from the company that held the competition. So Dennis came to Birmingham and he recorded me singing but that record was never released because the people who held the competition couldn't afford to buy the master-tape from the studio. In those days the studio provided the master-tape. We had an acetate copy but we didn't get the master-tape ever. You know Steel Pulse? The competition I won, Steel Pulse won as a group, I won as a singer. Steel Pulse were recording as well, they recorded a track called "Handsworth Revolution" on the same day. The competition also launched me into a band. There was a band there with four brothers who had no lead singer. So I joined them. The Pathfinders. I toured with them around the country. At the same time my brother kept the sound going. We didn't have to make any money. My brother is an electrician, that's how he makes his money.
The singing brought me to London and then you find out that it doesn't always happen like that. So I had to find work to stay in London. When I made my first record, I still lived in Birmingham and when I moved to London, the people who had the Arawak label that had released my first record offered me somewhere to stay. I had to pay for it but at least I had somewhere to stay. I was alright. So I went back to Birmingham for my bed and a few of my things and set up in London.
I was hanging around record shops to hear what music was coming from Jamaica. While hanging around a shop, people were coming into the shop and asking for records. The salesman in the shop didn't know the records and I was telling them what it was, pointing them to it. The guy who owned the shop was like "How come you know this and the man I'm paying to do it doesn't know? Do you want the job?" I said "I don't want anybody's job!" He replied "If you want the job, you've got the job" and they sacked the guy. So I started working in the shop. It was a nice way to stay in London as I was still involved in music. I had already worked in a record shop before as a student in Birmingham. When we had holidays for twelve weeks, I would work in a shop called Black Wax Records run by a guy called Keith Thornton. That's where I got the Gladdy Wax. We started buying records from him. He turned out to be not so bad. He had some records from London and Trojan. I told him that you could get records from Jamaica, pre-release, and he asked "how?" So I gave him the address to Caribbean Distributors and he wrote to them. Because he was a shop and he had money, he would get ten tea chests full of records. So I would go there on the weekend and work. He offered me a job, because he realized that I knew titles and artists. May pay would be records, not money. And I was still importing records anyway. It's very diverse, you could get a hundred records in the shop and you could get ten records from Jamaica that were different. That's what it was then.
Then I started distributing records because the owner of the shop who was a producer as well, started travelling to Jamaica and America; he was from America in the first place. He started traveling and thought that he could leave the shop with myself to run. He was producing Freddy McGregor, Gregory Isaacs, all the big artists.
This was 1980, Bob Marley had died just when I moved to London. This was an era of change in the music business and I felt it. Yellowman became number one and I wasn't collecting that. I was relating to the records, checking on the state of Jamaica. You could check on the state of Jamaica by the records that were coming out, that's what we always did. You could tell the political state of Jamaica by the popular records. Jamaica is like that. They sing about everything. You could plot a sociograph with the records that you hear.
You never liked Yellowman?
Not the man himself, I didn't like the music. I look for hope in music, for inspiration. I look for something that can lift me up or inspire me to a better heights or a better meditation and to confirm inner meditations as well. Reggae does that a lot for me. I get a thought and I meditate and I hear someone like Burning Spear or Bob Marley saying the same thing I'm thinking. That's music, that's reggae for me, you know, the rasta tradition! I relate to that pretty well, that's me. The kind of lyrics that were being put forward now… It was almost immediately after Bob Marley died – I remember other changes were gradual: ska to rocksteady, that was gradual, rocksteady to reggae, that was gradual – but when Bob Marley died all of a sudden – "boom!" It was dancehall and lewd lyrics and unpolished artists. It worked though! It was what was for the time.
Distributing records was good, fun, doing what I wanted to do. That was a job, I was working for the label. One day this fellow came to my office, I had an office then, and he said he was interested in making a radio station. I said "You can't make a radio station!"
"Haven't you heard about pirate radio?"
"Yeah, I listen to them. But how do you do it?"
"Well, let's put some money together and do it!"
"How much?"
"300 pounds each. Give me 300 pounds."
I had 300 pounds and he said "We can get a transmitter, that's all it is, a transmitter and turntables and you put it on the roof…" By this time I was listening to pirate radio and so I knew it was possible, because the people on it were people like myself. Just ordinary guys. It was fun to listen to as you were hearing the music you wanted to hear. You were hearing reggae music. So I said "Ok!" and I gave him 300 pounds. We talked, we exchanged numbers and he went away. About four days later he phoned me and said that he had got the transmitter. He invited me to his home and there he said "Let's put it up!" I didn't even know what was happening! I just went with him and he drove. It was easy in those days, it wasn't like now. There's Ofcom and they put security on rooftops, you can't get up there now. But in those days you could. He put it up, turntables and tuner. And we started playing records on it. I was playing some of the records that I distributed and then I decided that I could do a proper radio show. I would go on on Sundays, that was 1986, late 1986. I had a collection of records and I just played old r&b records and old reggae. People would phone in and say "Where did you get those records?" They weren't usually hearing music like that. It was something from the past, 60s soul. They weren't used to much of that here. There were radio stations that did it but it was limited – once weekly or late at night. I was playing all the music I knew from the 60s 'cause I had a collection of records. Some old reggae that people had forgotten about as well. The pirate radio gave a landslide to some of the legal stations. People were sending in postcards and phoning the studio. People were telling me that I must have been raving in their time and they were much older than me. I was 32 and they were 50 and in their 60s and I was playing records that related to them. I played the music that my mother listened to. I don't see it as older than me. I played Ray Charles, Rosco Gordon, Shirley and Lee. Some of the djs who were just a couple of years younger, they didn't know. They were playing reggae and I would be playing the original r&b version.
I had always thought that Lollipop by Millie…
… was by Millie? And it wasn't! And it is that that made me go back into sound systems. "Do you do weddings? Do you do parties? We want you to play the records that you play on the radio at our party!" I said "No", because I had left that behind in Birmingham. The collection was there but the sound system wasn't. So I decided to build some small boxes just to be able to do parties because the demand was heavy. I built a couple of speaker boxes and they weren't any good. They were useless! I remember going to the builder and he was building four, the first two I played them but I wasn't satisfied. Then the second two… I said "If you haven't finished the boxes, give them to me", because I wanted to put wheels on them so they'd be easy to shift. I took them from him. I found this guy in west London called Michael Cotter Acoustic Sound Systems who repaired speakers. I asked him where I could get proper casters to roll speakers on. He sent me to this guy in Southend who makes heavy duty equipment for bands and night clubs. I took the speakers there just to buy wheels for them and the guy asked "What are you doing with these?" I said "I play them." He replied "Nah, they're no good!" I knew he was right. He said that he had one box that would knock the head of these four and he took me around and he had a warehouse full of speakers. He had a factory. So I said "Ok then, make me two." He made two and I heard them! They blew me away! That was what I was looking for. That was what I left in Birmingham! I told him to make me six more. At the same time I shouldn't have been doing this, I shouldn't have been making a sound system. I only wanted something small to do private parties but they sounded so good! I ended up having twelve eighteen inch scoob bins. Of course I had to buy the tops as well. I was resident in a nightclub because of the radio on Saturday and I put on a few promotions so I made enough money to buy the speakers and the amplifiers. It was easy, well, kind of. The club would full up because I was on the radio and it was adult Jamaicans, adult West-Indians. I was playing oldies, revival music, 60s soul, r&b, 70s reggae, 60s reggae, ska.
That's how I rebuilt the sound again and then I joined Notting Hill Carnival, looking for places to play. I went there and joined BASS, British Association of Sound Systems, because you have to join that to play in Carnival.
When did you start playing Carnival?
I started in 1989, 1990. Something like that. With a big sound. Bigger than I should. I was back into sound system. I already had the knowledge from having my sound in Birmingham, from being with Quaker. It was easy to assemble a good sound.
You still enjoy Notting Hill Carnival?
Very much!
A lot of people I have spoken to keep saying how good it used to be back in the days and that they haven't gone in years.
People say it was better, because the security was more lax. It was free. There wasn't so many police telling you where to go. It wasn't that militant. That's why. It was a more relaxed atmosphere. But, you know, things change and evolve. Some people do make trouble in the Carnival. That's why it has changed. They have to bring more force in to calm the youngsters. It used to go until twelve 'o clock at night, one 'o clock. You just played until you felt like going home. You'd ask no one! You'd just find some electricity and put your sound up and play. Now, it finishes at seven and you have to have serious licensing to go there.
You do have to pay to play there as well, don't you?
Yes. Until about ten years ago they used to give us an appearance fee – 250 pounds. Then they started saying the budget was low and they were making excuses. People think that we get money! They don't believe that we go there and play for people for free. It is really a disgrace. We should be sponsored or something. We pay to be there and every year they increase it.
Look at how many people we entertain! Officially eighty percent of the crowd there come for the sound systems. Initially, firstly, it was for the floats, the costumes and the dancing and the soca music. But it grew that out. Sound systems took over. Most of the people want to hear that. That caused a rift between the sounds and the floats. They are saying "This is carnival, this is for floats and not for sound systems." But this is London, people like sound systems!
If I were a singer, I'd make sure that I'd go to carnival.
And sing?
For exposure?
Yes. I don't see many people doing this. A lot of singers I talk to don't go. Gappy Ranks seems to be around every year.
He was with us. He's got hit records, that's why. He's got the spirit! If you don't have hit records, sometimes it's not encouraging to go and sing. If you have a hit record then you're promoting to make sales continue.
Please tell me a little more about your career as a singer.
I made a record that sold some, got popular. They used it in Eastenders about three times. But singing – my approach to singing is – if I lived in Jamaica, I probably would have made a lot of records. In Jamaica, they only have to know you can sing and you will get the chance. In England, people know you can sing but they are not interested. It's a different approach. Everyone wants to do things like business, like "Who's your manager?", who owns the tape and all that. In Jamaica, if you can sing, a producer will record you. It's like that. But if you sing well, it will be a hit and if it's a hit, nobody can deny that it's your record. So you get a chance to expose yourself without any stringent agreements and securities and contracts. If King Jammy hear you sing… "You're a singer? Come!" You record. If it's good, it's a hit. If it's a hit, it's yours! Then you make your contracts and you can tour and make your money. But in England people try to stop it before it started. Because I can do other things, I don't really struggle with it.
Musicians as well… In Jamaica it's easier to get musicians that will work with you. I've got sessions where I've gone to Jamaica to record but I haven't released them. I've still got them on tape with Sly and Robbie, Willie Lindo… I recorded with them.
It's almost unbelievable on how many records Sly and Robbie played.
Oh yeah. I say this to people all the time, all of the Jamaican music you hear is played by a handful of people. I don't even know if it's two hundred people. All of it is played by the same handful of people! The same band that's called The Crystalites might have themselves called The Dynamites depending on which producer they are playing for. It's the same handful of men that play a lot of Jamaican music. Sly and Robbie? An enormous amount of records they play on! They are session men. Jamaican music is so popular and so plentiful you'd think all of Jamaica is musicians. No! It's a handful of people! Perhaps a hundred who have been playing all the music you've been hearing from the sixties up to now. They know their craft!
I still sing. When Susan Cadogan visits, I do the harmony with her, 'cause she's a friend. She had a hit record here with Ruddy Thomas, a duet, but he passed away. I sing when the opportunity arises but I don't pursue it as a serious career anymore.
This turned out an incredible history lesson that exceeded the thirty minute interview we had initially intended to do and I'm beyond thankful for Gladdy taking the time to take me back to school. After I finished recording, he told me about djing when Bob Marley first came to Birmingham and a couple of other things that most people would have made sure to be included in an interview. This is saying a lot about Gladdy, I guess.


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Application programming interfaces, a key technology component expected to give consumers access to healthcare information from electronic health records, also could carry some privacy and health or safety risks, especially in the early stages of use of the technology.
A recent series of draft recommendations by a task force of a federal advisory committee is receiving some criticism because it does not address liability protection for vendors and should provide more guidance to consumers about their rights and responsibilities in data access.
However, the recommendations, by a Health IT Policy Committee task force, has received generally positive reviews, after the group completed a review of the potential privacy and security vulnerabilities of the technology,
The work by the committee is important because application programming interfaces (APIs) could be the impetus for the development of a series of third-party health data apps for patients, which could give them far better access to their healthcare information contained in electronic records. APIs allow a software program to access the services provided by another software program.
The use of APIs were included in the final Meaningful Use Stage 3 rule, which would require certified EHR technology to provide an easy-to-use interface through which patient information can be viewed, downloaded and transmitted to a third party. In addition, APIs are included in the 2015 Edition of Health IT Certification Criteria, which requires certified EHRs to demonstrate the ability to use an API to provide an patient's app to access the Common Clinical Data Set.
Within the framework of 2015 Edition and MU Stage 3, patient data must be "available for the patient (or patient-¬authorized representative) to access using any application of their choice that is configured to meet the technical specifications of the API in the provider's [certified EHR technology]."
The HIT Policy Committee's API task force, co-chaired by Harvard Medical School research faculty member Josh Mandel, MD, and Cerner's Director of Health Policy Meg Marshall, recently released draft recommendations designed to help enable patients to leverage APIs to access their data, while ensuring an appropriate level of privacy and security protection.
Specifically, the task force recommendations "focus on read-¬only access to a single patient's record for disclosure to an app selected by that patient, and used to access data elements defined in the Common Clinical Data Set." To come up with its recommendations, the panel held virtual hearing sessions with stakeholders and reviewed written testimonies and public comment.
Overall, the API task force's draft recommendations have been well received by both providers and vendors.
"The recommendations are thoughtful and timely," says John Halamka, MD, CIO of Boston's Beth Israel Deaconess Medical Center, a teaching hospital of Harvard Medical School. "Josh Mandel works closely with all of us in real-world settings, so the suggestions in the report are likely to be widely deployed and tested among Harvard hospitals."
For its part, EHR vendor Cerner in a written statement said it "supports the task force and the process by which it's developing recommendations, and we look forward to the final recommendations this month."
Micky Tripathi, CEO of the Massachusetts eHealth Collaborative, believes that the task force's report is extremely thorough and well-written. However, he is concerned that some patients will unwittingly use API-based apps in ways that may have negative effects, especially in the early stages of adoption when the app ecosystem is immature. Problems may arise with either privacy-related or reputational vulnerabilities or with some health or safety-related issues, he contends. As a result, in those circumstances, Tripathi is convinced that some of those patients will want to sue their provider or vendor for whatever harm they may have incurred.
"I think that the report should address the question of whether providers and vendors should be given some type of liability protection, and should recommend that ONC provide clear communications and guidance to patients regarding their personal responsibilities in app validation and the restrictions being placed on providers and vendors to validate such apps for patients," he argues.
Tripathi points out that the task force states in many places that ONC needs to remind API providers, specifically healthcare providers and vendors, that they are not responsible for validating the apps that patients bring to them, and they are not allowed to block access regardless of any concerns they might have about the integrity, security or safety of such apps. "Well, they might not be responsible for it, but many providers and vendors will consider that part of their duty to their patients," he asserts.
On that issue, Mandel told an April 19 joint Health IT Policy-Standards Committee meeting that the task force "heard very frequently from hospitals and healthcare provider organizations is that they would feel more comfortable living in a world where they knew which app existed and which app they should trust ahead of time." Nonetheless, he said the panel concluded that this kind of "perfect assurance" regarding the security and safety of apps was not realistic.
Mandel added that providers should not be focused on those considerations, which "are really a decision between the patient and the app" and "API providers are not obligated to protect patients by identifying suspicious apps."
Likewise, in terms of the task force's scope, Marshall told the federal advisory committees at the same meeting that API "terms of use, licensing requirements, business policy formation, fee structures, certifying authorities, formulation of standards, electronic documentation of consents and issues unique to writing APIs" were all considered "out of scope" in the mandate of the panel.
However, Tripathi contends that the task force report doesn't cover all of the issues that are going to be critical to widespread API adoption.
"Some of the items that are out-of-scope, such as terms of use and licensing, are key elements in the kind of rich ecosystem that's going to be needed to support an API-driven world," he says. "That's not a criticism of the report, just a reminder that there are other important issues besides the ones that they address."
At the same time, Tripathi finds it curious that the task force recommended that ONC "should analyze the feasibility of a single, simple, comprehensive oversight framework mechanism that would address the needs of the patient-¬directed API ecosystem," saying that while congressional authority may be needed, such steps may be necessary to "harmonize conflicting, redundant and confusing laws that govern access to health IT."
Tripathi believes that that the meaning of this recommendation remains ambiguous. "If it means that ONC should consider having some kind of additional regulatory oversight over the patient-directed API ecosystem, then that seems like a bad idea," he says. "If it means that ONC should identify, clarify and align the various existing laws, regulations and agency activities that currently cover such APIs, I'm all for it."
The 30-page draft report on APIs can be found here. The task force will present its final recommendations to a May 17 joint Health IT Policy-Standards Committee meeting.
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subset: commoncrawl


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Silvio Berlusconi resigned as Italy's prime minister on Tuesday, ending the billionaire TV tycoon-turned-politician's five-year stint at the country's helm, a period that saw his Mediaset empire thrive.
Berlusconi held a final cabinet meeting, during which he told outgoing ministers that their government would be "sorely missed," before tendering his resignation to President Carlo Azeglio Ciampi.
His conservative coalition lost the April 9-10 elections by a very slim margin to the center-left bloc headed by economist Romano Prodi. Prodi is now working to form a government following election of speakers of the two houses of parliament last week.
Many Italians are wondering whether the new regime may try to throw a legislative monkey wrench at Mediaset, which saw profits increase fourfold during Berlusconi's reign, with net profit rising almost 10% to $722 million in fiscal 2005.
New Lower House speaker Fausto Bertinotti, leader of the RefoundedCommunist Party, has urged rules to make Mediaset "leaner" and to limit the web's advertising intake; the cap was raised by the Berlusconi government.
But Prodi has played down the prospect that Mediaset be forced to shed one of its three channels. And most analysts say Italo media reforms aren't likely soon given the new government's razor-thin majority.
Berlusconi, whose Forza Italia remains the country's largest single political force, will now lead the opposition.
"The new government will not have an easy life," the pugnacious exiting premier said on his last day in power.


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Science Specialists
"To begin, nothing is possible, then we learn. Through discovery, in the end all will be possible."
– Glaedor the Ousian
Racial Traits:
Ouisian Rule: Increase in science output of all cities.
Rigid Experimentation: Player gets to choose their innovations rather than it being randomly determined.
Special Abilities:
Infinite Curiosity: No limitations on how many times a player can innovate a technology; however, the cost is doubled each time a particular technology is innovated.
Special Buildings:
Advanced Research Site (tile improvement): Replaces research site, increase to research yield on the site.
It is believed that the first large scale problem caused by the Gravitational Waves occurred on the homeworld of the Phaedon over a millenia ago. Volcanoes sprouted, almost all at once, across the length and breadth of the entire planet. Either by chance or providence, the King at the time had become enamoured with a group that had dedicated themselves to the study of nature — the Ousians. The King was convinced that the only way to save the Phaedon was to put all hope into this group of burgeoning scientists and divert all resources into executing whatever plan they devised. The Ousians first determined the safest places to move the cities, then the best ways to contain the rivers and oceans of lava, and finally ways to use and convert the volcanoes into sources of power. All of this was achieved in less than two generations. The king decreed that the study of nature would be the highest activity for all Phaedons, then renounced his throne and declared that the Ousians would rule the Phaedon empire henceforth. Science has been heralded ever since as the salvation of not only the Phaedon, but the entire Universe.


text: Assembler Wednesday, July 25, 2018 Spokane, Washington Temp to Perm US$ 11.50 - US$ 13.00 per hour Simple assembly, may use small tools by hand, some Inspection, some inventory. Mostly temp-to-hire after 3-6 months. Occasional solder positions, some inventory, packaging and on occasion, some forklift positions too. Also mention if you have fork ... see job description


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Features: Bible, Bulletin, Calendar, Online Giving, Podcast Player, Reading Plan, Video On Demand
Epic Church
Step into the story with the official Epic Church app. Download the free app to listen to Epic podcasts, get caught up on our events, and connect with the Epic Community via social media. Epic Church is focused on connecting new generations to the Epic Story of the Bible in the Lehigh Valley. Step into the Story. www.livingthestory.com.


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Research Associate, University of Cambridge.
College Research Associate, St John's College, Cambridge
The goal of my research is to understand how neural networks learn to perform difficult computations, such as probabilistic inference in deep generative models. My approach is to combine techniques from machine learning, statistical physics and neuroscience.
Office BE-435,
Information Engineering Division,
Department of Engineering,
University of Cambridge
Cambridge CB2 1PZ
I received an undergraduate degree in Theoretical Physics from Trinity College Dublin in 2006, and an M.Sc in Sparse Coding in 2007. I completed a Ph.D in Computational Neuroscience and Machine Learning at the Gatsby Unit, UCL, with Prof. Peter Latham and Prof.Prof. Peter Dayan in 2012. After my PhD, I held a joint-research position at the École Normale Supérieure, Paris and the Champalimaud Centre for the Unknown, Lisbon. In May 2014, I joined theComputational and Biological Learning Lab at Cambridge University, where I have been working with Máté Lengyel. I am also a College Research Associate at St John's College, Cambridge.
Research Themes
Departments and Institutes
Research Interests
Neural Networks, Sparse coding, Variational Inference, The Helmholtz Machine, Auto-encoding, Optimal compensation theory, Quadratic Programming, Balanced network theory, Noise correlations, Visual cortex tuning, Natural sound processing and Information theory.


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Power Prescription Sunglass Lenses
Prescription Sunglasses: Empowering Fashion
Power Sunglasses are becoming very important for every outfit these days whether you wear them for eye protection or as a style statement. There are numerous designs getting popularity with all types of outfits whether it's for men or women. Latest trends in the sunglasses industry are getting attention of the customers. The sunglasses are either carried for eye protection or vision correction. The prescription sunglasses referred to as Rx sunglasses are the rage nowadays, because of the capability to flaunt colourful, power-based, designer lenses they are equipped with. The sunglasses for vision protection are normally purchases on the prescription of the doctor's. There are numerous designs and shades available in the prescription sunglasses also these days. Power sunglasses are also available in cool, exotic and elegant designs on Lenskart and make you look stunning.


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The Sideliners Club will not meet tonight, Nov. 27, in light of the Thanksgiving holiday. The meeting has been moved to Tuesday, Nov. 28th at 5:30 p.m. in Room E-108 in the Elmer Redd Athletic Department at the Lufkin High School campus.
- Football
- Basketball
- Baseball
- Softball
- Soccer
- Other Sports
- Watch Now
- Forum
- Contact


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At the age of 15, my father gave me my first 35mm camera. He was the one to inspire me on my journey into a passion for photography.
After studying Art and for a while painting portraits for commission, I moved to Europe, then into a world of full time sales/customer service and raising a family, it left me little time to follow my dream of becoming a professional photographer.
Some 20 something years later, a loving husband (who is my assistant photographer at weddings), 3 grown up children, the passion has become my profession and feel very privileged to be doing a something I simply I adore. I have a love for classical portraiture and this is reflected in my work, both for the client and personal projects. I believe in creating a piece of art for your wall for you to enjoy for many years to come.
In 2013 I was awarded a Licentiateship by the British Institute of Professional Photography (BIPP). A Licentiateship shows an established professional level of skill and competence, this was achieved in Portraiture. I am also a member of the SWPP, so you can feel confident in the level of service you will receive.
2014 London and Essex
Family Portrait Photographer
2013 BIPP South East Regional Awards


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2500 Hospital Drive, Bldg 1Mountain View, CA 94040ph: firstname.lastname@example.com
Dr. Smolenski's professional and academic careers in medicine have included private practice in California and Hawaii, as well as an appointment as an Assistant Professor in the Department of Psychiatry, School of Medicine, at the University of Hawaii, Honolulu. Presently Dr. Smolenski is in private practice in Mountain View, California.
Dr. Smolenski attended Stanford University for his premedical education, and received his M.D. degree from the University of California at Davis. He completed the residency training in psychiatry at the University of California at San Francisco, and has been board certified by the American Board of Psychiatry and Neurology.
Prior to his medical career, Dr. Smolenski completed graduate study in engineering, held a position of an assistant professor in engineering, and was awarded a Fulbright Scholarship to the University of Illinois at Urbana-Champaig
More recently, Dr. Smolenski has been trained to perform NEBA EEG testing for ADHD by NEBA Health and Transcranial Magnetic Stimulation for treatment of depression in Dr. Mark George's Clinic at the Medical University of South Carolina.
Web Hosting by Yahoo


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Ilocos Norte gov't to uplift youth in bicentennial "Tan-ok" contests, awards program, fun runJan 22, 2018
Through the Ilocos Norte Youth Development Office (INYDO), young Ilocanos will have major involvement in the province's bicentennial celebration with literary competitions, the annual Sirib Awards, and "Taray ni Ayat" ( "run of love").
While Ilocos Norte's 200th year is to be officially launched with the 7th "Tan-ok ni Ilocano Festival of Festivals," the festival showdown will be preceded by a series of activities, including contests for students and other youth on January 27.
INYDO Executive Weenter Ventura shared that together with the Ilocos Norte Tourism Office (INTO) and Provincial Education Department (PED), "we are preparing for a quiz show, a singing contest, vlog (video blog)-making contest, debates, and a digital poster-making contest. "
Guidelines have been posted at the "Tan-ok ni Ilocano Festival of Festivals" Facebook page.
Meanwhile, the Sirib Awards will be held on February 16. It is a recognition program for Ilocano youth aged six to 30 who have gained awards or titles in the national or international level, whether in academics, sports, music, leadership, community or public service, and the like.
"Last year, we had around 49 groups and 141 individual awardees, so that's more than 141 youth who brought honor and pride to Ilocos Norte through their hard work and achievements," explained Ventura, "The Sirib Awards began because the Governor [Imee R. Marcos] wanted such youth to be appreciated by their home province and not only by external organizations or competitions.
"We do this not only to show our appreciation for them but also to inspire other young Ilocanos to face the national and international arena, para makita nila na kayang-kaya ng kabataan Ilocano na makiharap kahit sa global level."
Sirib Awards was institutionalized through Provincial Ordinance No. 010-2016 sponsored by Senior Provincial Board Member Matthew Marcos Manotoc. Thus, even after the term of Governor Marcos, the Provincial Government will continue honoring young Ilocano achievers every February alongside the foundation anniversary.
The "Taray ni Ayat" fun run will then take place this February 17, an activity encouraging both physical fitness as well as the forming of relationships, as participants are given discounts when registering to run with groups.
Nominations or applications for the Sirib Awards should be either dropped off at the INYDO in Marcos Memorial Stadium, Laoag City, or e-mailed to email@example.com together with a photo of the original award, a photo of when the award was given, and certification that the nominee or applicant was awarded.
Inquiries about the "Tan-ok" literary competitions, "Taray ni Ayat," and other youth affairs should also be forwarded to the address above.


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This report is a requirement of MBA program in East West University. We are doing it to complete the course Business Communication (MBA 506). We were provided a list of topics in the class and from that we chose our topic SAARC - An Overview'.
The South Asian Association for Regional Cooperation (SAARC) was established when its Charter was formally adopted on December 8, 1985 by the Heads of State or Government of Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka. It provides a platform for the peoples of South Asia to work together in a spirit of friendship, trust and understanding. In this report we shall try to go through the main goals of the association. The main goal of the association is to accelerate the process of economic and social development in member states, through joint action in the agreed areas of cooperation.
This report highlights the following areas of SAARC:
-Areas of Co-operation
-Regional Convention/Agreements
-Regional Centers
The data and information used in this report are collected from the internet and books, journals and periodicals related to SAARC.
SAARC- South Asian Association of Regional Co-operation
SAFTA- SAARC Free Trade Area
SAPTA- SAARC Preferential Trading Arrangement
SEG- SAARC Expert Group
SMCs- SAARC Member Countries
SEA- SAARC Economic Association
SAEU- South Asian Economic Union
SACODiL - SAARC Consortium on Open and Distance Learning
ISACPA- Independent South Asian Commission on Poverty Alleviation ADB- Asian Development Bank
FDI- Foreign Direct Investment
ASEAN- Association of Southeast Asian Nations
R&D- Research and Development
WHO- World Health Organization
UNDP- United Nations Development Program
UNICEF- United Nations International Children Emergency Fund
Most of the data used in the report were collected from third party sources. We did not have the opportunity to conduct any research or survey on our own.
Report Preview
The report starts by providing a brief idea about SAARC. It describes how the association was formed and its main objectives. It also gives an outline about different bodies of SAARC and their activities. We present detailed information on different areas of co-operation of its member countries in the next section. The major areas covered are Agriculture and Rural Development; Health and Population Activities; Women, Youth and Children; Environment and Forestry; Science and Technology and Meteorology; Human Resources Development; Transport. Then we highlight on SAARC Secretariat and its Regional Centers. The SAARC Secretariat is supported by different regional centers established in different member countries. In the latter sections of the report we introduced brief descriptions of different SAARC Agreements, Funds, Awards/Internships and publications. Finally the report is concluded with some recommendations.
Brief on SAARC
The idea of regional cooperation in South Asia was first mooted in May 1980. The foreign secretaries of the seven countries (Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Srilanka) met for the first time in Colombo in April 1981. The committee of the whole, which met in Colombo in August 1981, identified five broad areas for regional cooperation. The South Asian Association for Regional Cooperation (SAARC) was established when its Charter was formally adopted on 8 December 1985 by the Heads of State or Government of seven countries. The objectives of the Association as defined in the Charter are: -To promote the welfare of the peoples of South Asia and to improve their quality of life -To accelerate economic growth, social progress and cultural development in the region and to provide all individuals the opportunity to live in dignity and to realize their...
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Bank of Hope Founders Cup
March 14 – March 19, 2017
Wildfire Golf Club at
JW Marriott Phoenix
Desert Ridge Resort & Spa
Phoenix, Arizona
Golf courses are plentiful here in the valley, but did you know that Phoenix is home to three professional golf events? There is the Charles Schwab Cup Championship, the Waste Management Phoenix Open, and the LPGA's Bank of Hope Founders Cup. While the 2017 Bank of Hope Founders Cup has a new look with a new title sponsor, Bank of Hope, the event has a long and impressive history. Established in 2011 by LPGA Commissioner Mike Whan, the Founders Cup was created to celebrate the hard work and dedication of the 13 strong women who, in 1950, set out to pave the way for women in golf: the founders of the LPGA. The tournament logo pays homage to the Founders with the presence of 13 stars and a swinging lady. Since the inception of the tournament, several of the Founders have made appearances, taking photos and signing autographs for fans. Every year, Valley resident and LPGA Founder Marilynn Smith can be found onsite making friends with the next generation of female golfers.
A large part of the pride found in the Bank of Hope Founders Cup can be attributed to how this event gives back to the Phoenix community and the game of golf. The first year for the tournament had a million dollar purse, but no money went directly to the players. Instead, the top 10 players each decided to donate their winnings to a charity of their choice, and the remaining $500,000 was given to the LPGA-USGA Girls Golf program. This is quite a testament to their commitment to grow the game of golf and nurture the talent of young girls. Girls Golf was founded in Phoenix, Arizona in 1989 by Sandy LaBauve. What started out with just 10 sites, is now a national program found in more than 300 communities in the United States with over 50,000 active members. The program has introduced to more than 300,000 young girls to the game of golf. The LPGA-USGA Girls Golf program remains the tournament's top beneficiary.
The Bank of Hope Founders Cup is played annually at Wildfire Golf Club at the JW Marriott Desert Ridge Resort and Spa in Phoenix. Players such as Cristie Kerr, Paula Creamer, reigning champion Sei Young Kim and local favorite Cheyenne Woods plan to be in this year's field. The 2017 event will once again consist of 144 and take place March 14th – 19th. Whether you are just discovering golf or a lifelong fan, this tournament has something for everyone. The week kicks off Tuesday, March 14th with player practice rounds followed by the Pro-Am on Wednesday the 15th. The Pro-Am provides a unique experience for participants to play a round of golf with two different LPGA players, one on the front nine and a second player on the back nine. Fans have been able to catch a glimpse of local celebrities like Larry Fitzgerald or Patrick Peterson teeing up alongside LPGA pros.
General admission will once again have access to the Viewing Deck on the driving range, viewing bleachers on select holes, the official LPGA merchandise tent, sponsor exhibits and access to Autograph Alley for a chance to meet their favorite player and maybe snap a selfie. For spectators who wish for a little something extra, there are tickets for the variety of hospitality venues which may include snacks, food and beverages and great views of tees and greens. Volunteer opportunities are also available in a number of areas. Tickets are on sale now starting at just $20 online. For more information on tickets or volunteer opportunities visit www.LPGAFoundersCup.com.


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Update: Lookin at Lucky
To trainer Bob Baffert, 2010 is starting off like the days when his barn was loaded with top-quality 3-year-olds seemingly every year. This doesn't assure him of a fourth Kentucky Derby victory, of course, but it beats the alternative.
At the head of his roster is the new juvenile champion:
Smart Strike-Private Feeling by Belong to Me
Owners- Karl Watson, Mike Pegram, Paul Weitman
Trainer- Bob Baffert
Jockey- Garrett Gomez
Dec 19—Hol---Hollywood Futurity---1 1-16---1-¾----49-56-70 86
Nov 7-----SA---Breeders' Cup Juv------1 1-16---2-hd---31-51-73 89
Oct 4------SA---Norfolk-------------------1 1-16---1-1¾--55-65-79 89
Sept 7----Dmr--Del Mar Futurity-------7 furs----1-1----58-73-86 86
Aug 9-----Dmr--Best Pal----------------6½ furs---1-¾---74-78- 87
July 11---Hol---Maiden-------------------6 furs----1-¾---72-77- 85
Lookin at Lucky didn't win the Breeders' Cup Juvenile, but he should have.
He isn't undefeated, but he should be.
Lookin at Lucky was so much the best at Santa Anita he gained stature in defeat. Like Colonel John and Pioneerofthe Nile before him, he has competed only on synthetic surfaces and never on dirt. But at this point, Lookin at Lucky has to be considered the early Derby favorite.
In the Breeders' Cup, Lookin at Lucky's No. 13 post position doomed him to an unacceptably wide trip: four- to six-wide around the first turn and four- to five-wide on the second turn. On ground loss alone, Lookin at Lucky could be judged five lengths superior than Juvenile winner Vale of York, who beat him by a head with a dream inside run.
But pace figures illustrate another element of his misfortune. In an attempt to minimize the impact of the post position, Garrett Gomez eased Lookin at Lucky back leaving the gate in hopes of dropping behind the speed and angling closer to the inside. The pace was slower than expected, however, and the bunched-up field left Gomez no room to maneuver. Those tactics plus ground loss had Lookin at Lucky nearly nine lengths behind a slower-than-par pace. Look above at his slower pace figures in the Juvenile.
In that race, at least, we were lookin' at unlucky.
Six weeks later, Lookin at Lucky figured to dominate an overmatched Hollywood Futurity field. And he benefited from a perfect trip. But instead of running away with it, he seemed to flounder a bit late.
Trainer Bob Baffert believes he knows why. He theorizes Lookin at Lucky eased up when he got to the lead in that race, and intends to ask permission to equip the colt with blinkers for his next scheduled start in the March 13 San Felipe Stakes.
"It looked like he would open five (lengths) on them easy, but he just shut it down," Baffert said. "(Garrett) said he felt like a sitting duck."
Baffert never considered blinkers for Lookin at Lucky at the beginning of his career because "he was such a smart horse." He briefly considered blinkers after the Oct. 4 Norfolk Stakes, in which he believed Lookin at Lucky coasted after getting to the front in the stretch, but ultimately chose not to tinker too much with the Breeders' Cup Juvenile fast approaching.
After the Hollywood Futurity, Baffert asked Gomez about adding the blinkers. Gomez replied that he was planning to recommend them to Baffert. Blinkers were added to Lookin at Lucky's repertoire in a subsequent workout, for which Gomez was in the saddle for feedback.
"I was afraid about him getting rank," Baffert said. "But (Gomez) came back smiling and said, 'I like this.'''
Baffert had indicated after the Hollywood Futurity victory that Lookin at Lucky could get at least one prep race on dirt prior to the Kentucky Derby, but now he says that appears doubtful.
"If the track were to change or he has a hiccup with training, I might take him somewhere else," Baffert said. "I don't know for sure, but right now, I don't see him traveling. I can sit right here for the Santa Anita Derby. He's already done a lot, so I just have to keep him healthy and fit. And he's still developing, changing, starting to fill out more and growing."
Another factor in Lookin at Lucky's future schedule is the other talent in Baffert's 3-year-old arsenal, including San Rafael winner Conveyance, maiden graduate Take Control (a son of A.P. Indy and Azeri), and Tiz Chrome.
"Those other horses are starting to catch up to (Lookin at Lucky) right now," he said. "Take Control is a serious horse. It took a long time for him to come along, but he's caught up real fast. Tiz Chrome is another one. And Conveyance reminds me of Holy Bull. Those horses will probably be shipping. But right now, I would probably run Lookin at Lucky (in the San Felipe) and then the Santa Anita Derby."


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"Would just like to say "Thank You" 6 years of terrible IBS within 1 week of replacing my milk intake with a2 Milk – I have not had an episode in 5 months!"
"Many people who consume A2-only milk generally find it easier to digest and have fewer symptoms"
15% of adults in the UK are diagnosed with IBS. A report published by The Specialist Gastroenterology group of The British Dietetic Association (BDA) recently acknowledged that the A1 protein, commonly found in regular milk, could be to blame for IBS symptoms.
Julie Thompson, registered dietitian with the British Dietetic Association and co-author of the new IBS guidelines comments: "this is a progressive time for research into IBS and the growing evidence around the A1, A2 beta casein proteins and their impact on digestion was deemed important enough to include in the discussion of the BDA's recent report".
In October 2016, The Functional Gut Clinic selected 12 of their patients diagnosed with IBS to participate in a cows' milk trial to see if milk with only the A2 protein was easier to digest than milk which contained the A1 protein. This trial demonstrated that their issues with dairy could in fact be specific to the A1 milk protein that's found in regular cows' milk.
Many people say that their IBS symptoms get worse when they have milk and often self-diagnose or consider themselves lactose intolerant. However, according to Ms. Thompson "some people with IBS still report problems on consumption of lactose free milk, suggesting it could be a reaction to the A1 beta-casein protein in this group of individuals. We welcome further research into this topic, specifically in IBS."
A simple switch to a milk that is free from the A1 protein could help many IBS patients manage their symptoms.
"I have been on a2 for 5 days now and it's fantastic, I was seeing a dietitian who put me on a lactose free diet because of IBS, I still was suffering, so I came across this a2 milk whilst browsing for an alternative to lacto free, and I've felt a difference almost immediately. No more bloating and stopped feeling sick. Great milk, thank you x"
a2 Milk™ and Intolerant Gourmand bring you a weeks worth of IBS friendly, A1 protein free recipes.
1. Many people tell us that switching regular cows' milk to one that is free-from A1 protein, helps to ease symptoms.
2. Eat fresh meals with whole foods. Ready meals and takeaways can contain ingredients that aggravate IBS symptoms.
3. Avoid fad diets or 'detoxes'. Your gastric system is already very sensitive. Make one small change at a time.
4. Eat small meals at regular intervals. Small portions cause the stomach to stretch less and digest faster.
5. Reduce the total amount of fat in your meals. Look for foods labelled as 'low fat' or '0% fat'.
1. Slow down! Eating too fast can mean you swallow air, making bloating worse.
2. Exercise can help shift any trapped air which will alleviate some of your bloating.
3. Stress-relieving activities such as yoga, meditation, massages or even a warm bath can be fantastic to calm symptoms down.
If you have been medically diagnosed with any milk intolerance, seek advice from your doctor before use.
"I suffer from irritable bowel syndrome so I am very careful withNINA
my diet A2 milk helps me with my symptoms so I don't need
to miss out on milk with my diet."
Kerry Ann"My niece who suffers from ibs has been having a2 from the age of 2!"
Neil"I have had I.B.S problems for almost 10 years now and tried everything from the chemist to treat my problem.. But amazingly enough just by using A2 milk for a short few days my problems seem to be calming down up to the point of going altogether. I am blown away by this !!!"
Kimberley"I suffer with IBS and have found it has helped a lot."


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To access the databases to the right, log into your Atlas account and click the "Search the Library" link in the "My Courses" tab on the right hand side of the page. Once the library catalog opens, you will see the "Databases A-Z" Link in the top center of the page, above the search box. Then find the database you want in the alphabetical list, and connect. Click the icon below to access the Atlas login page.
You can also access databases by visiting the Library Website and logging in using your VID number. Your PIN is the last four digits of your VID number. From there, you can select the "Databases A-Z" option, find the database you want, and connect. Make sure you also select "Valencia College" from the dropdown menu. Click the icon below to log into the library's databases using your borrower ID and PIN.
Clicking the database links within this guide without logging into Atlas will require you to log in using your VID.
These journals often have articles discussing various partnerships between Community Colleges and their local communities.


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What is 'study' in Zoology?
Study involves watching the creatures, watching multiple individuals of a species, both old and young. Each species has a requirement for the number of individuals to watch, the total time need to watch them and what percentage of the time must be spent watching babies. In ARK a baby is any non-adult member of the species, so juveniles and adolescents count towards the percentage of 'baby watching' that is required. Some animals can be studied by anyone without special knowledge, others require the player to have some prior knowledge, either an engram or knowledge of another animal.
After study a period of contemplation is required before suddenly it all clicks and the character learns the way of the dodo (or other animal),
How do I study animals in Zoology?
You can only study a creature that is untamed, so watching your friends pets is of no use. Studying involves keeping animals in the center region of your field of view but not the necessarily the exact center.
Think of it like an imaginary cylinder attached to each character's head, approximately three foundations in diameter and ten foundations in length. Dinos outside of this imaginary zone are considered to far away to make a detailed study of the animal. Closer animals do not need to be centered, but the further away they are the closer they need to be to your center of attention to be studied.
From the moment a creature enters the viewing zone it starts to record the time. Once the player has stopped studying an animal they will need to think about it and make notes in their notebook. This process is represented in game with two icons, one for the contemplation phase and one for making notes about what has been seen. If the study time exceeds a minimum time (defaults to 5 seconds) this is then counted towards the total time spent studying that species.
Most animals require that you study multiple individuals of a species, and that part of the total required time is spent studying the young of the species. Often players will over study the adults and neglect to study the young, in this situation a brief period of studying the young will allow you to learn the species.
After study and a short period of contemplation the animal has been learnt, a message will display on screen, a sound will play and an icon will be shown in the buff area of the player's hud. This period of contemplation will depend on how many animals that player has been studying recently.
This is designed to simulate a survivor paying attention to the animals on the ARK, and learning what they like and eventually having gained enough knowledge to attempt to tame one. With this in mind you can not gain knowledge or study a creature if you do not yet have some related prior knowledge, just as in real life you need to study basic maths before moving on to algebra. You could stare at algebra all day but without the basics you can not understand it. (spoiler information on study times)
When inside the zone any creature you do not have Zoological knowledge of will display an icon. A red circle with a cross means you can not yet study that animal, must first learn the appropriate certificate of diploma (engram) or obtain the knowledge of another species. A black circle with a magnifying glass indicates an animal you are currently studying, If there is no icon the animal is either a tamed pet or a species you already know (unless the icons have been disabled by the server admin – see ini settings).
Beginner and Advanced Study
The creatures of ARK are divided into two groups. Those that do not need an engram (higher knowledge) to study, and those that do. These creatures do not need an engram to be known before you can study them with the aim of eventually knowing enough for taming. Most of them will give you an engram when you first tame them, this engram is a prerequisite for learning the main engrams of Zoology.
The Beginners Pets
- Archaeopteryx (Grants the player the Basic Pet Handling Certificate)
- Compy (Grants the player the Basic Pet Handling Certificate)
- Dilophosaur
- Dimorphodon (Grants the player the Basic Pet Handling Certificate)
- Dodo (Grants the player the Basic Pet Handling Certificate)
- Ichthyornis (Grants the player the Basic Pet Handling Certificate)
- Jerboa (Grants the player the Basic Pet Handling Certificate)
- Mesopithecus (Grants the player the Basic Pet Handling Certificate)
- Pegomastax
- Vulture (Grants the player the Basic Pet Handling Certificate)
Once you have the basic pet handling skills you can start to learn the more advanced Zoology certificates. Before you can start to study any other creature on the ARK you will need to learn the appropriate knowledge, this does not allow you to tame the creature, it allows you to start studying them. All animals not listed above require one of the main certificates or diplomas before you may study them.


text: I'm really sorry I have been MIA as of late. It's been SO crazy busy here at home that I hardly have time to put a thought together! But, since the temps have gone from 80F down to 47F (YES-in only a day!!!), I'm finding I have a few minutes to sit down and check in on my Fishy Friends. Please-can you catch me up here by replying to this post? I see there is a ton to read and I know I don't have a lot of time to reply to all, so I'm sorry :'( Please forgive me!!! As for my fishies...I noticed this morning, a weird 'object' in my tank. It looks like a wad of slimy bubbles. I think it's eggs, but from what/who, I am clueless!!! It doesn't look like cotton, just slimy bubbles. :-\ SO-I hope as the weather changes, I'll have more sit-down time with ya'll. Miss you all!!! :-*


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February 10, 2010 – The enterprise portal market finds itself in limbo as companies stall purchasing, waiting for software to mature according to "The Enterprise Portals Report." from CMS Watch.
CMS's latest research of 13 portal vendors finds major product changes from a number of vendors, including Microsoft, IBM and Oracle. No less than six vendors are considered to be "overhauling" or "refreshing" the software, CMS Watch Analyst Jarrod Gingras was quoted to say.
With a significant number of vendors updating their portal software, IT directors are dragging their feet on new portal solutions purchases. They do not want to be the first to deploy new software, according to the report,
Mid-development, buyers may be wary of the upgrades, but they are a sign of an active market place and economic rebound.
"It is rare to see so many products in one market go through such overhaul at the same time, but as portal technology has returned to fashion, the vendors realized that their offerings were overdue for an upgrade," Gingras said in a press release.
In 2000, portals were expected to solve all of the world's problems, experiencing a major boom before the bubble burst, said Alan Pelz-Sharpe, CMS Watch principal analyst. "That ended in tears really."
But because of changes in the economic environment or other unforeseen shifts, 2010 is seeing a tempered return of enthusiasm for the technology, as lots of public and private organizations move toward the self-service model, said Pelz-Sharpe.
That said, most buyers are making the right move by remaining cautious, Pelz-Sharpe told Information Management. As vendors upgrade, it is important to genuinely understand vendors' product roadmaps
"With any major upgrade, unless your very confident or want to get a lead on your competitor, it's usually best to wait a while," he said. "It all comes down to the buyer's appetite for risk, but most buyers don't want to be the guinea pig."
If you are looking for a good deal however, there are some great options for those willing to be early adopters. And if not, the waiting period is not expected to last long, CMS Watch expects a strong buying period late this year once the new products are released.
Click here to read "Transforming Information Management with Enterprise Mashups." Eric Kavanagh discusses how mashups will emerge as the new strategic view of enterprise data.
Click here to join the discussion about desktop mashups and phone applications, and share your favorites mashup tools.
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Marcus KPO Services LLC
Warning of the Securities and Exchange Commission (SEC) of the United States of America.
1 October 2015
Public Alert: Unregistered Soliciting Entitie.
Marcus KPO Services, LLC
180 N. LaSalle Street
Chicago, IL 60601
Phone: (773) 649-1570
Website: www.marcuskpo.com
The Financial Conduct Authority ("FCA") of the United Kingdom would like to alert all recipients that:
Name- Marcus KPO Services LLC
Address: 180 North Lasalle Street, Chicago, Il 60601, USA
Tel- (1) 00127736491570 (2) 01269849592
Website- www.MarcusKPO.com
Email- firstname.lastname@example.com
is NOT authorised under the Financial Services and Markets Act 2000 ("FSMA") to carry on a regulated activity in the United Kingdom. Regulated activities include, amongst other things, advising on investments and dealing and arranging deals in investments ("investments" include stocks and shares).
The FCA believes that this organisation may be targeting UK customers. Therefore, we have added this firm to our list of unauthorised firms and individuals list. This list can be found at:
If you have any further questions on this matter please email our Consumer Contact Centre at firstname.lastname@example.com, or alternatively by telephone on 0800 111 6768. Overseas callers can contact us on (+44) 20 7066 1000.
2 September 2014


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When we are under stress, certain hormones will increase so that we tend to look for something that makes it convenient. Foods containing fat or sugar usually is something that can cause a sense of comfort. This condition will be repeated if we can not control stress.
Mean heart restrict calories, what power continuous stomach rumbling. Stomach hungry again quickly though already filled it into complaints of many people. If ignored, this condition can make it difficult to concentrate. But if followed, might the scales continue to grow.
There are various ways that we can do to prevent a hungry stomach is not easy.
Here are Some Ways to Prevent Hunger
1. Sports
Quite a lot of people who actually eat more after exercise. In fact, the number of calories in the larger of the newly burned. Actually, this circle can be terminated with a fun physical activity or sports activities considered as something fun.
Quite a lot of physical activity that actually burns calories but do not feel "heavy" like sports, such as dancing, walking, riding a bike, swimming, and much more. Although not as many calories are burned if you are exercising at the gym, but if done regularly every day of the results will not disappoint.
2. Get enough sleep
Lack of sleep not only makes appetite increased, but also makes us more interested in junk food. Research also shows that lack of sleep will make us eat more, especially carbohydrates and fat. So, there is no longer any reason for not prioritizing bedtime.
3. Drinking water
Consuming enough water has been shown to suppress appetite. A study showed that people who drink 7 glasses per day to consume 200 fewer calories than those who drank one glass of water. Drink a glass of water before a meal can also be a trick to make the stomach feel fuller so that food intake is reduced.
4. Eat on time
Our bodies like consistency, including eating a timely manner. Try breakfast at least one hour after you wake up and take a break of 3-4 hours before lunch. Eat according to meal times will reduce the desire to eat. In addition, note also the type of food. Always consumption of lean protein, vegetable fat (like avocado), and a modicum of healthy starch. This diet will make your body is always energized.
Thank you for reading this article.
Please share this information with others


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text: The Sunday School stained glass project has now been installed in the Schoolroom. We had a lovely celebration at the beginning of March, when Stewart blessed the window, the children sold cakes, and we enjoyed our monthly coffee in the schoolroom. Well done to everyone involved, and special thanks to Julie who received flowers in recognition of her significant involvement.


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American Oak Balmain East, SYDNEY NSW
This naturally beautiful and warm American Oak floor was created working closely with the Builder, Home Owner & Architect. The flooring was USA production 180 x 21 mm Prime Grade American Oak which was milled by Hurford Wholesale. In this instance we installed the wide board flooring over varying substrates including 68 x 32 mm hardwood timber battens and particle board. It was necessary to top nail the 180 mm wide boards to properly fasten, secure and comply with our 'best practice' installation methods. Learn more about our installation methods in Our Services.
Initially the specification called for the direct staining of the American Oak flooring, but after much deliberation it was decided that a subtle, natural coloured finish would work best, so we put forward Bona 'Naturale'. Naturale has a very high wear resistance and is classified R10 (low risk of slipping), making it suitable for use on floors as well as stairs. The R10 rating satisfies the new Building Code requirement for slip resistance to stairs, download Bona 'Naturale' Slip Certificate.


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Flash Midi?
Here's a link to Fred Leighton's project that uses both hardware and flash to create stunning visuals. Fred's project basically takes MIDI notes and velocity values from a MIDI instrument track directly to MAX/MSP where the values are sent to Flash via the Flashserver. The values are then mapped to movieclips that adjust RGB settings in flash. I'm thinking about porting this over to AS 3 and adding a bit more fun to it. Now, if only time will enable me to do this.
CLICK HERE for Presentation.
Dynamic Live Flash animation via MIDI and Game Controllers


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WL residents near Bolton Fault 'live on the edge'
South of the city of Portland, in the hills of West Linn, you can catch stunning views of Mount Hood from the windows of homes perched on the ridge above Willamette Drive (Highway 43).
The slopes are steep enough that your downhill neighbor's house may not block your view of the Willamette River valley below.
Hidden Springs Road is just one of many throughways that wind down this ridge. Slopes with up to a 20 percent grade can make the area nearly impassable during the winter months when snow and ice descend upon us.
This is life "living on the edge," or perhaps more correctly "living on the fault-edge."
The Bolton Fault creates this ridge that forms the backbone of West Linn, including neighborhoods such as Hidden Springs and Rosemont Summit. Homeowners living on the fault-edge carry some extra risk of property damage from both earthquakes and landslides.
A fault is a boundary between two pieces of earth that have moved in opposite directions. In the case of the Bolton Fault, the piece of earth forming the ridge above Willamette Drive moved up relative to the road.
Faults and their associated earthquakes are a fact of life in the Pacific Northwest. The entire landscape of greater Portland has been shaped by seismic activity and faulting over millions of years.
It is easy to appreciate the unique topography this provides, but this topography also leads to problems for homeowners.
Portland's most densely populated area is heavily influenced by three main faults that run parallel to the Willamette River. These faults include the Oatfield Fault, the Portland Hills Fault and the East Bank Fault.
The Portland Hills fault is responsible for the steep change in elevation between Washington Park and the city center. The Portland Hills and Oatfield faults are estimated to be up to 30 miles long. The uplifted area between these two faults forms the forested, northwest trending ridge that we call the Tualatin Mountains, also known as the West Hills of Portland.
These Portland faults and the Bolton Fault are known as near-surface faults and are different in many ways from the more famous Cascadia fault, which lies beneath the Pacific Ocean off the Oregon Coast.
The Cascadia Fault extends much deeper below the surface of the earth than the Portland and West Linn area faults.
Near-surface does not necessarily mean less dangerous. Major slippage on the Portland Hills fault or Bolton Fault could be just as damaging locally as an earthquake caused by the Cascadia Fault.
Dangers posed by earthquakes on these near-surface faults can be divided into three major categories: shake damage, liquefaction and landslides.
I have not mentioned the tsunami risk that all Oregon coastal travelers are aware of from the tsunami zone warning signs.
If there is an earthquake on the Cascadia fault, then the resulting tsunami is one of the biggest threats to Oregon homeowners along the coast. The West Linn and Portland faults are not below the ocean and would not create a tsunami if they move.
Shake damage means exactly what it says, damage to your home from shaking caused by an earthquake. It can crack foundations, topple homes, and destroy belongings.
Liquefaction is a "quicksand" effect that can be triggered by tremors in the ground. When soils that are saturated with groundwater start to shake, it causes the soil particles to disaggregate and become suspended in the water. Your foundation soils become like quicksand or mud and your home, which is resting on those soils, will start to sink and tilt.
The third risk, landslides, may represent the biggest risk for many West Linn homeowners. Landslides include processes ranging from slumping of soils to collapse of entire slopes.
Landslides around Portland do not always occur as a catastrophic or sudden failure. Rather you will start to see cracks in the soil as parts of the groundcover slip slowly down the slope.
The problem for homeowners is that it doesn't take much soil slippage to crack walls and foundations. Shaking from an earthquake can exacerbate an existing landslide problem and increase the chances of a catastrophic slope failure.
Now that we've got the bad news out of the way, we can focus on the positive. Major earthquakes don't occur very often in the Portland region.
Movement on the 600-mile-long Cascadia Fault Zone is estimated to create major earthquakes every 350 to 600 years, with the last one being in the year 1700.
The Portland and West Linn faults are estimated to have a major earthquake every 10,000 years or so.
Predicting these earthquakes is not a precise science, and the best we can assume is that sometime between now and the year 2300 we would expect another major earthquake.
So, when someone tells you that we are "due" for another major earthquake, you can put that comment into the proper time perspective.
Of course, this doesn't mean you shouldn't be prepared for a large earthquake. It is one of those hazards with a low chance of occurring in any given year, but the life-threatening damage it can cause demands preparation and a good plan on your part.
The best way to prepare for any natural disaster is to keep yourself informed. The West Linn City website contains interactive maps that allow you to see risks and hazards in your neighborhood.
The maps are a great source for understanding how your lifestyle in West Linn interacts with the natural world around you (westlinnoregon.gov/maps/natural-hazards-mitigation-maps).
You can see from these maps that around the Bolton Fault the earthquake shake risk is moderate, but the landslide risk is high.
Good preparation includes many things, and part of that preparation should be a talk with your insurance agent since most basic homeowner's insurance does not cover earthquake or landslide damage.
Protect yourself physically with a family disaster plan, but also protect yourself financially. Then relax and enjoy those views.
William House is a West Linn


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یک مدل تعامل مبتنی بر عامل برای توزیع درآمد شخصی در چین
|کد مقاله
|سال انتشار
|مقاله انگلیسی
|ترجمه فارسی
|تعداد کلمات
|سفارش دهید
|4654 کلمه
Publisher : Elsevier - Science Direct (الزویر - ساینس دایرکت)
Journal : Physica A: Statistical Mechanics and its Applications, Volume 436, 15 October 2015, Pages 933–942
چکیده انگلیسی
The personal income distribution in China was studied by employing the data from China Household Income Projects (CHIP) between 19901990 and 20022002. It was observed that the low and middle income regions could be described by the log-normal law, while the large income region could be well fitted by the power law. To characterize these empirical findings, a stochastic interactive model with mean-field approach was discussed, and the analytic result shows that the wealth distribution is of the Pareto type. Then we explored the agent-based model on networks, in which the exchange of wealth among agents depends on their connectivity. Numerical results suggest that the wealth of agents would largely rely on their connectivity, and the Pareto index of the simulated wealth distributions is comparable to those of the empirical data. The Pareto behavior of the tails of the empirical wealth distributions is consistent with that of the 'mean-field' model, as well as numerical simulations.


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Recent PostsIn Praise of an Old Workhorse The Importance of Manually Setting White Balance The Cycle Of Life in the Big Woods One Camera, One Lens and One Focal Length for 500 Miles Favorite Photos From the Camino de Santiago It Ain't Over 'Til It's Over Seven Reasons Why I Prefer My Nikon DSLRs to Mirrorless Straight Out Of Camera Emotionally Compelling Photographs Seeing In 35 Millimeters
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Seeing In Black And White
In The Marsh
This weekend's weather has reminded us that it is November and this is Minnesota. It's been chilly and blustery, but that didn't stop me and many others from venturing out into the woods on Saturday. Now that the leaves are gone and the skeletal structure of the forest is laid bare, my mind tends to think in black and white. With that in mind, I put my 28mm f/1.8 prime lens on my D800, laced up my hiking shoes and hit the trails, with black and white imagery on my mind. By the way, I might suggest that you click on these photos to view them larger. I find that the textures and tonalities are more apparent when seen at a larger size.
Cracks In The Forest
When shooting black and white, I'm largely thinking about tonality, structure and texture. The shot above is a retake of a favorite from the fall, but this time I was able to isolate the diagonal lines of the trees fanning out more clearly without the visual distraction of all the leaves. I will try this shot again once we have snow cover.
The scene in the photo above may seem like a cacophony, but what attracted me was the texture of the leaves still hanging onto the dead branches. There was something graceful about them that drew my eye. Who knows, maybe in a year or so I'll look back at this photo and wonder what I was thinking, but right now, I like it.
Sunset Through The Bare Forest
As I was leaving the forest I was treated to this view of the setting sun through the bare forest. Space opens up so dramatically after all the leaves have fallen, the forest takes on a much more expansive feel. The leaf-carpeted forest floor starts out golden colored and morphs to brown before turning white with the first snow. This is such a peaceful place for me. I will enjoy capturing its many facets throughout the seasons.
Keywords: Big Woods, Photo Walks, vision
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