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BongaBest of
Icon of Angolan music Bonga is on first-name terms with the stars and has given true meaning to the concept (albeit multifaceted) of 'Africanness'. From Luanda to Rotterdam, Paris to Lisbon, and everywhere else, Bonga belongs to that caste of African singers who have sublimated their roots. His rasping, powerful voice is immediately identifiable and anyone listening to his albums remains entranced from start to finish. With its eighteen tracks, this "Best of" illustrates a fascinating career that spans different periods and continents with the Atlantic Ocean as its connecting thread.
He was born José Adelino Barcelo de Carvalho in Kipri in 1943, but changed his name to Bonga Kuenda when he reached his teens, already showing a keen awareness of the realities of Portuguese colonialism. He learned about music from his father, a fisherman and accordionist, and rapidly grasped its potential impact when linked to the political aspirations of his generation and an inexhaustible melancholic vein.
As he is always ready to explain, he never faltered in his principles. "All Angolan culture was under Portuguese domination. Traditional languages were banned, as was African music. We had no weapons to fight with, so we organised cultural resistance, especially by forming folk groups, including Kissueia, my first band. With Kissueia, I sang songs that revived ancestral African forms and whose lyrics clearly referred to the troubled situation at the time, poverty, colonial violence and latent revolt."
In the mid-Sixties, Bonga's athletic talents took him to Portugal. There, he ironically became the national 400-metres champion under his birth name while playing an active part in the Popular Movement for the Liberation of Angola. When the Salazar regime finally realised he was playing a double game, he managed to get out just in time and went into exile in Rotterdam in the Netherlands.
In 1972, he recorded a harrowing first album soberly entitled "Angola 72" . This key record quickly became something of a soundtrack for Angola's struggle for independence. Its star song was the emblematic Mona Ki Ngi Xica, a lamento of unfathomable Atlantic depth.
His wanderlust then took him to Paris, where he recorded a second album that proved just as important as the first - "Angola 74", featuring a magnificent version of Sodade, which would be popularised by Cesaria Evora nearly twenty years later. With Salazar ousted and Angola now independent, Bonga divided his time between Lisbon and Luanda. He had many hits, but refused to play the part of a Portuguese-speaking Julio Iglesias, although certain producers urged him to do so.
It was not until 2000 that he signed with Lusafrica and immediately released the irresistible Mulemba Xangola, sung as a duet with Lura. The song dealt with disturbingly-topical, universal themes. In a way, with its ambience of national reconciliation, this record marked the end of the Angolan Civil War. Three more equally cosmopolitan and danceable albums formulating strong identity-related demands - "Kaxexe" in 2003, "Maiorais" in 2005 and "Bairro" in 2008 - added the final touch to the legend of a singer in perpetual motion.
Bonga is unstoppable on stage, and also when he talks about his country with stars in his eyes and a tremor in his warm, hoarse voice. Although he has been living in Lisbon and Paris for around thirty years, his personal history is terribly coherent. "I began my career as a protest singer. I criticised the Portuguese first, and then my own people. The people lost out in the end. Angola has incredible wealth. Today, the aim is happiness. I don't want to go into politics. I'm too genuine in what I say. I'm not the kind of person to hang around waiting for freedom to happen."
A collection of classics and previously-unreleased (Dikanga), rare (Agua Rara, De Maos A Abanar) and remixed (Kapakiao) songs, this eighteen-track compilation covers the legacy of a free man and a great singer. Breaking down physical and musical frontiers with songs and music that appeal to the majority, Bonga is the champion of a sublimated 'Africanness' and the voice of a modern, peaceful Angola.
Other albums by same artist
Recados de Fora
12.00 €
Angola 72
20.00 €
Angola 74
20.00 €
Angola 72 / 74
18.99 €
Hora Kota
12.00 €
12.00 €
12.00 €
12.00 €
CONCERTSAll shows
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McBusted star reveals wedding tears
McBusted frontman Danny Jones tied the knot with girlfriend Georgia Horsley, complete with a wedding song from his bandmate Dougie Poynter's girlfriend Ellie Goulding.
An emotional Jones admitted he burst into tears as he watched Horsley, a former Miss England, walk up the aisle.
He told Hello! Magazine: "When I saw Georgia, I couldn't really take it. My legs shook. It was the amazing view I've ever seen."
Danny Jones of McBusted has married girlfriend Georgia Horsley
His bandmate Tom Fletcher, one of six best men on the day, joked: "I thought Danny was going to pass out."
Band mates Harry Judd and Poynter joined other celebrity guests including Towie star Mario Falcone and Olympic boxer Luke Campbell.
Jones's sister Vicky, who appeared as a contestant on The Voice, performed at the service in Georgia's home town of Malton, North Yorkshire, as did McBusted at the end of the evening.
Jones said: "I was a bit drunk. Harry said to me, 'Mate, sing faster, sing in time'."
:: Read the full interview in Hello! Magazine, out now.
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subset: commoncrawl


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You know, the holiday season isn't all about egg nog, two-hour lines to sit on Santa's lap and eagle-eyed elves on shelves eager to rat your kids out to their white-bearded boss.
No, for many of us this is the time of year to watch other people schlephuge pine trees across town or listen as they kvetchabout last-minute shopping runs and other mishegoss.
Because while 91% of Americans will be celebrating Christmas, that still leaves a pretty substantial number of non-celebrants too, many of whom are Jewish. And as kind as reindeer sweater-wearing America has been to share their culture with everyone else, perhaps it's time to return the favor, with a lesson on a cherished, quirky language.
So since most people's familiarity with Yiddish begins and ends with SNL's " Coffee Talk with Linda Richman" and a lot of "I'm getting a little verklempt!" references, here are a few more Yiddish words and phrases you may hear during Christmas time.
1. Bupkes (Loose definition: Nothing, nada, usually used to express disappointment)
Example: "All those naughty boys and girls? Getting bupkes this year."
2. Schmutz (Loose definition: Dirt, filth)
Example: "I put down that half-eaten candy cane for just, like, 20 seconds and now I have all this sticky schmutz all over my desk."
3. Chazerai (Loose definition: Miscellaneous stuff, junk; the "ch" is more a rolled "kh" with a gentle, little throat-clearing sound; click to hear it)
Example: "The real Christmas miracle? That that sled ever takes off, what with all that chazerai weighing it down."
4. Alter kocker (Loose definition: An elderly person)
Example: "I almost made it out of the mall in an hour, but got stuck behind this alter kocker who kept pumping her brakes the whole way down the parking deck. Then I felt awful when I realized it was my bubbe."
5. Bubbe (Exact definition: Grandma)
Example: See above.
6. Shmata (Loose definition: A raggedy piece of clothing, sometimes unusual)
Example: "Not that I'm surprised, but his new girlfriend showed up at the holiday party in some ridiculous furry-looking shmata. Seriously, I don't even know if it was dead or alive."
7. Chutzpah (Definition: Nerve, confidence, but not in a good way; again the "ch" is a rolled "kh")
Example: "Hold on. I wasn't finished. She's got a lot of chutzpah even showing up at that party in the first place!"
8. Plotz (Loose definition: Collapse, from exhaustion or shock)
Example: "I almost plotzed when I found out all those iconic Christmas songs were written by Irving Berlin, who was Jewish!"
9. Mishpucha (Loose definition: Family, all of them; click to hear it)
Example: "Christmas night we're just gonna follow the stereotype and go out with the whole mishpucha for Chinese food."
10. Pupik (Exact definition: Bellybutton)
Example: "Stop poking your brother's pupik! Can't you see he doesn't like that? When does winter break end again?"
11. Shpilkes (Loose definition: nervous energy, anxiety; click to hear it)
Example: "I don't know. He didn't say which size fruitcake to get. They all look the same to me anyways. This whole thing is giving me shpilkes. Just pick one and let's go already."
12. Tchatchke (Loose definition: Little trinket; click to hear it)
Example: "Why are you handing me a holiday wish list with like 40 things on it? You already have a million tchatchkes lying around your room that you never even touch."
12. Fakakta (Loose definition: messed up, ridiculous)
Example: "What's with this fakakta Elf on a Shelf thing? It's kinda creepy, right? And you have to name it? What's next? Clothe and bathe it too? My God, it's like a Tamagotchitoy all over again, just with rosy cheeks and fewer feedings."
13. Meshuggenah (Loose definition: A little crazy, nutty)
Example: "Look, I love a good Christmas lights display. But you gotta be a bit meshugunnah to sync the whole thing to Skrillex."
We could go on forever with this schtick, but don't need this thing getting too ungepatchka. Have some favorite Yiddish words or sayings that we missed? Be a menschand add them in the comments!
Follow Jonathan Anker on Twitter @JonFromHLN


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NEW YORK (Reuters) - A New York man was arrested on Wednesday in the death of a subway passenger who was shoved onto the tracks ahead of an oncoming train at a station near Times Square earlier this week, police said.
Naeem Davis, a 30-year-old street vendor from Queens, was charged with one count of intentional murder, second degree, and one count of murder with depraved indifference, second degree, police said.
He is accused of pushing the victim, a 58-year-old man, onto the tracks as the southbound Q subway pulled into the station at 49th Street, police said.
(New York City police have corrected the first charge in second paragraph to intentional murder from attempted murder)
(Reporting by Chris Francescani; Editing by Sandra Maler)


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Jamal Malik, an 18 year-old orphan from the slums of Mumbai, is about to experience the biggest day of his life. With the whole nation watching, he is just one question away from winning a staggering 20-million rupees on India's "Who Wants To Be A Millionaire?" But when the show breaks for the night, police arrest him on suspicion of cheating; how could a street kid know so much? Desperate to prove his innocence, Jamal tells the story of his life in the slum where he and his brother grew up, of their adventures together on the road, of vicious encounters with local gangs, and of Latika, the girl he loved and lost. Each chapter of his story reveals the key to the answer to one of the game show's questions. Intrigued by Jamal's story, the jaded police inspector begins to wonder what a young man with no apparent desire for riches is really doing on this game show? When the new day dawns and Jamal returns to answer the final question, the inspector and 60 million viewers are about to find out.
Official Site: www.foxsearchlight.com/slumdogmillionaire
Director: Danny Boyle
Writer: Simon Beaufoy
Producer: Christian Colson
Cast: Dev Patel, Madhur Mittal, Freida Pinto, Anil Kapoor and Irrfan Khan
Sorry there are no upcoming showtimes for Slumdog Millionaire


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For the past three weeks, readers of "Historically Speaking" have been treated to articles written by Carolyn Krause, now retired, who was a science writer at Oak Ridge National Laboratory for 35 years and editor of the ORNL Review research magazine for 25 years. She is a good friend and offered to provide a few articles to give me a well needed break from weekly deadlines.
For the past three weeks, readers of "Historically Speaking" have been treated to articles written by Carolyn Krause, now retired, who was a science writer at Oak Ridge National Laboratory for 35 years and editor of the ORNL Review research magazine for 25 years. She is a good friend and offered to provide a few articles to give me a well needed break from weekly deadlines.
Previously, Carolyn worked as a feature writer for the Pittsburgh Press and science reporter for The Oak Ridger. She is a fellow of the Society for Technical Communication and served as president of STC's East Tennessee Chapter for a year. A native of Pittsburgh, Pa., Carolyn holds a B.A. degree in English from the College of Wooster, an M.A.T. degree from the University of Pittsburgh and an M.S.J. degree from the Medill School of Journalism of Northwestern University. So, she is well qualified to research and write historical materials for your reading pleasure.
Currently, she is engaged in volunteer publicity and newsletter writing for the Rotary Club of Oak Ridge, First Presbyterian Church and Oak Ridge Institute for Continued Learning. She is a member of the ORICL board and the Oak Ridge Civic Music Association board, for which she does publicity for concerts and fundraising events and manages the content of the ORCMA website (www.orcma.org).
She is a volunteer in ORNL's History Room and has assisted in editing oral histories, which form the basis for contributions she has made and intends to make for The Oak Ridger's weekly "Historically Speaking" column. She and her husband Herb, a retired atomic physicist from ORNL, have two grown children and two grandchildren.
I wanted you to know more about Carolyn as I see her epitomizing what is so valuable in Oak Ridgers. She has had an excellent career based on a well-rounded education, is retired and devotes a major portion of her time volunteering. I think it is important to realize Oak Ridge is blessed with a high percentage of people like Carolyn, many of whom not only impact Oak Ridge with their expertise used in volunteer service and also reach communities outside Oak Ridge. Some even reach to the East Tennessee region, the state and across the nation. Some even have impact internationally.
Now let's enjoy another of Carolyn's articles, this one featuring Enrico Fermi.
Just over 70 years ago, on Dec. 2, 1942, at 3:20 p.m. at the University of Chicago, the first self-sustaining nuclear chain reaction was achieved, initiating the controlled release of energy from atomic nuclei. The event was hailed as the "Dawn of the Atomic Age."
Enrico Fermi, Nobel Laureate from Italy and one of the greatest scientists of the 20th century, supervised the design and assembly of an "atomic pile" in the squash courts under the west stand of the university's Stagg Field. Pile was a code word for nuclear reactor.
A nuclear chain reaction is a self-perpetuating reaction in which neutrons from radioactive uranium or plutonium nuclei "split" other nuclei into lighter radioactive nuclei (fission), with the release of more neutrons and lots of energy (heat). The neutron was identified in 1932, and nuclear fission was discovered and reported in 1939.
Fermi received the Nobel Prize in physics in 1938 for his "discovery of new radioactive elements produced by neutron irradiation, and for the discovery of nuclear reactions brought about by slow neutrons." After Fermi and his family traveled from Italy to Sweden so he could receive the award, they left permanently for the United States. Fermi's wife was Jewish and the Fascists of Italy were aligning their policies with those of their ally, the Nazis of Germany.
Fermi accepted a position as professor of physics at Columbia University. In 1942 he and his family moved to Chicago.
Several people who later lived and worked in Oak Ridge interacted with Fermi in various ways during his Chicago days. They included Martin Whitaker, director of Clinton Laboratories in Oak Ridge, 1943 to '45; Richard Fox of Oak Ridge National Laboratory's Instrumentation and Controls Division; Ernest Wollan, who pioneered the use of reactor-based neutron scattering for research; Eugene Wigner, research and development director at Clinton Laboratories, 1946 to '47, and winner of a Nobel Prize in physics in 1963; and Alvin Weinberg, ORNL director from 1955 to 1973.
Nobel Laureate Arthur Compton headed the Metallurgical Laboratory, which he formed as cover at the University of Chicago. He recruited researchers from coast to coast, including Nobel Laureate Glenn Seaborg, who discovered the man-made element plutonium.
In his book "The First Nuclear Era," Weinberg wrote about his time at the Met Lab. He claimed he initially understood its aim "was to investigate the possibility of creating a chain reaction in ordinary uranium. That the real purpose of the project was to create plutonium for use in an atomic bomb was not explained to me until after I had met Wigner."
Later, Weinberg learned that Compton had placed Seaborg "in charge of the research on plutonium chemistry and assigned him the task of devising methods to separate plutonium from irradiated uranium in quantities sufficient for bomb production." Producing plutonium from irradiated uranium for research purposes became an Oak Ridge mission in 1943.
Whitaker's assignment initially was to help Fermi and Walter Zinn build subcritical uranium and graphite piles, described by Weinberg as uranium raisins in a graphite cake. The purpose of the graphite was to slow down the neutrons so more would react with uranium atoms.
Wigner headed the theoretical physics group, which studied how best to arrange uranium and neutron-absorbing materials for achieving a controlled chain reaction. Besides Weinberg, Wigner's group included future Oak Ridgers Gale Young and Katherine Way.
Young became Wigner's technology guru, and Way helped Wigner estimate the residual radioactivity and heat production after a halted chain reaction. Arthur Snell, later an ORNL associate director, worked in Samuel Allison's cyclotron group assessing nuclear activities in uranium and graphite piles.
Impurity-free graphite from Union Carbide (future operator of the Oak Ridge nuclear plants) and pure uranium metal from a research team at Ames, Iowa, were obtained for the Chicago pile. Future ORNL chemist George Boyd helped analyze these materials to ensure they had no impurities that might impede the chain reaction.
To control the reaction, Fermi directed the phased withdrawal of a control rod coated with neutron-absorbing cadmium. As he stood behind Fermi, Fox — who rigged the control-rod mechanism for the pile — was concerned that his cotton clothesline tied to two lead weights would slip off the pulley. It didn't, and Fermi's experiment was successful.
Some 50 invited spectators viewed the historical event from a balcony, including Fox, Wigner and Wollan, who monitored and recorded the radiation emitted by the world's first sustained nuclear reaction. Wigner reported how the participants felt:
"Nothing very spectacular had happened. Nothing had moved and the pile itself had given no sound. ... For some time we had known that we were about to unlock a giant; still, we could not escape an eerie feeling when we knew we had actually done it. We felt as, I presume, everyone feels who has done something that he knows will have very far-reaching consequences which he cannot foresee."
After the spectators departed, Wigner brought out a bottle of Italian Chianti in honor of Fermi's achievement and shared toasts with the workers.
"My only direct collaboration with Fermi," Weinberg wrote, "was in calculating the escape of neutrons through an empty cylindrical channel that traversed a reactor — for example, a channel carrying fast-flowing air or helium to cool the pile."
Weinberg was not present at the first chain reaction on Dec. 2, 1942. When asked about this during an ORNL oral history interview, Weinberg said, "That's because the admission badges were given out numerically and my number was too high; it was 54.
"But I went bowling with Wally Zinn and, I think, Fermi the evening before the pile went critical. I was invited to see the pile the following morning (after it went critical) by Walter Zinn, who was Fermi's chief assistant and later director of Argonne National Laboratory."
Weinberg had the good fortune to work in the company of intellectual giants at the Met Lab but the bad luck of missing its most historical scientific achievement.
Thank you Carolyn for another exceptional glimpse into Oak Ridge history that is not fully realized nor appreciated. Look for more articles from Carolyn in future "Historically Speaking" columns.


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Former University of Alabama Athletic Director Mal Moore dead at 73
TUSCALOOSA | Ten days after stepping down from the athletic directorship at the University of Alabama, Mal Moore — the former backup quarterback who became an administrator and led UA back to national prominence in athletics — died Saturday morning at the Duke University Medical Center in Durham, N.C.
Moore was hospitalized March 10 in Birmingham for treatment of pulmonary problems. On March 13, he was transferred to Duke Medical Center, where he died Saturday morning.
"There's no question we have lost a great man today," Alabama football coach Nick Saban said in a statement Saturday. "What won't be lost is Mal's legacy in serving our university to make it a better place today and in the future. Nobody genuinely cared more about the Crimson Tide than Mal did. Mal has positively impacted athletics at Alabama unlike anyone ever has or probably ever will.
"We can talk about all the championships Mal has been involved with, but I think what will be remembered most was the man he was. He always put the best interests of others ahead of his own, he carried himself as a first-class gentleman, and he helped bring out the best in those around him. Mal was an outstanding leader in terms of all he did for Alabama athletics. Most importantly, he was a great friend to me and my family. Mal was the number one reason we decided to make the move to Tuscaloosa."
Moore was a popular administrator who symbolized, for thousands of Alabama fans, the bridge between the Paul "Bear" Bryant era and the current football success under Saban. His time at UA began when athletics (and the school) were racially segregated and when women did not participate in varsity sports. By the end of his tenure, athletes of all races and both genders were part of the athletic mainstream at Alabama, participating at a national championship level.
"Mal Moore was a champion by every measure, and his impact on his alma mater and his native state will be felt for many years to come," said Robert Witt, chancellor of the University of Alabama System. "We greatly respect his constant commitment to excellence, his unwavering professional and personal integrity, and his lifetime of exemplary service."
UA President Judy Bonner called Moore "a transformational figure, a true visionary and a real friend to all who worked at the University of Alabama and loved it."
Moore was born on Dec. 19, 1939, in the small Crenshaw County town of Dozier, where he became a star athlete, signing with the Crimson Tide out of high school.
"Dozier was a small school, but Coach Bryant took a chance," Moore said in a 2011 interview, adding with a wry smile that "we didn't have scholarship limits then, fortunately."
Moore never became a star, although he did impress Bryant with his football acumen, enough to earn a spot as a graduate assistant on the 1962 Crimson Tide. After serving one year on the staff at Montana State, Moore returned to join Bryant's staff, coaching quarterbacks and serving as offensive coordinator.
"Coach Bryant had great respect for Mal's coaching abilities," recalled Gene Stallings, who served as an assistant coach during Moore's playing days and later hired Moore on his staffs with the Cardinals in the National Football League and, later, at Alabama. "After I became a head coach (at Texas A&M), Coach Bryant used to call me and say, 'Don't you forget that Mal is just as good a coach as you are.'
"When Mal worked for me at Arizona, he had been at Notre Dame and came straight from college. Now, it is extremely hard for anyone who has never played or coached pro ball to gain the respect of some veteran players. But it didn't take long for him to do that."
Moore returned to Tuscaloosa with Stallings in 1990 and was the offensive coordinator of the 1992 national championship team. He moved into athletic administration in 1992 and, after being passed over for the athletic director job in 1996, was selected by then-UA president Andrew Sorensen to take that post in 1999.
Despite the imminent onset of an onerous NCAA probation, Moore led major capital-donation and construction projects that helped UA maintain a competitive position in the Southeastern Conference. By the end of Moore's tenure as athletic director, he had overseen some $240 million in capital improvements at UA.
Moore held the distinction of being a part of 10 national championship teams as a player, coach and athletic director (1961, 1964, 1965, 1973, 1978, 1979, 1992, 2009, 2011 and 2012), 16 SEC championships and 39 bowl trips. He is the only individual connected with the Crimson Tide program — and likely the only person in collegiate athletics — to be a part of 10 national football championships.
He was equally proud, he said last summer, of five other NCAA championships won by UA athletics during his tenure as AD: three by the gymnastics program and, in 2012, the school's first NCAA titles in softball and women's golf.
He was most noted, though, for his November 2006 decision to replace Mike Shula as Alabama's head football coach and — after a sometimes agonizing monthlong search — the hiring of Saban, who has gone on to build a dynasty at UA, winning three of the last four Bowl Championship Series national titles.
"I was in Miami and had visited with Coach Saban and was sitting in a cab outside his house waiting for an answer," Moore said in an interview last January in south Florida as Alabama was preparing for the BCS title game. "I told the driver that if Coach Saban said 'yes,' we would be going back up to the house. He said, 'What if he says 'no,' and I said 'Can you take this cab to Cuba?' "
Moore was married for 41 years to the former Charlotte Davis before her death in 2010. She had battled Alzheimer's for 20 years and, in 2012, Caring Days, a Tuscaloosa program for adults with memory disorders, honored the Moores by naming its new 11,000-square-foot facility the Mal and Charlotte Moore Center.
In 2007, as a permanent tribute to his lifelong contribution to the University of Alabama, the UA board of trustees officially dedicated the facility formerly known as the Football Building as the Mal M. Moore Athletic Building.
In 2011, Moore was elected to the Alabama Sports Hall of Fame for his accomplishments as a coach and an administrator. After the completion of the 2011-12 academic and athletic seasons, Moore was named the winner of the John L. Toner Award, given to the nation's best athletic director.
Moore was involved in the selection of his successor, his former college teammate Bill Battle, as UA athletic director, who was appointed March 22, two days after Moore stepped down.
"The University of Alabama and the world of intercollegiate athletics have lost a legend, and I have lost a dear friend," Battle said. "My heart goes out to his family and close friends in this time of sadness. After a time of grieving, we can begin to celebrate Mal's life, as his legacy will last for generations."
During Moore's tenure, Alabama produced national championship teams in football, gymnastics, softball and women's golf as well as Southeastern Conference championships in football, basketball, baseball, gymnastics, men's and women's golf, men's cross country and softball. Alabama athletes earned some of the highest honors the SEC and NCAA have to offer, including SEC Athlete of the Year, SEC Scholar-Athlete of the Year, NCAA Top VIII awards, which recognize athletes for success on the field, in the classroom and in the community, NCAA Postgraduate Scholarships and NCAA Sportsperson of the Year.
In addition to making his mark on Alabama, Moore also had a national impact as a key member of several prestigious NCAA and college football committees. He served on the NCAA Division I Football Issues Committee, the SEC Athletic Directors Bowl Advisory Committee and the Big Six Conferences Minority Coaches Forum.
He is survived by one daughter, Mrs. Steve (Heather) Cook of Scottsdale, Ariz., a granddaughter, Anna Lee, and a grandson, Charles Cannon. Funeral arrangements are pending.
Reach Cecil Hurt at email@example.com or 205-722-0225.


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New ZEW Music Listen and Rate: Graffiti6
Stare Into the Sun
|[display_podcast] [poll id="271″]Website
About Graffiti6
Colours, the debut album from Britain's Graffiti6, is as vividly vibrant as both the project's moniker and its album title suggest: an uncategorizable mélange of pop, psychedelia, R&B, and British Northern Soul that fully capitalizes on the soaring uplift of Jamie Scott's emotionally transparent voice and gift for melody and TommyD's irresistible rhythms and inventive production. Songs like "Stone In My Heart,†"Stare Into The Sun,†"Annie You Save Me,†and "Free†are "latter-day psych-soul nuggets, all phased vocals and sunshine melodies given the warp factor,†as London's Guardian newspaper put it, while the remainder of Colours zigzags all over the musical map from the folk-soul balladry of "Goodbye Geoffrey Drake,†to the spare, gospel-inflected feel of "Over You,†to the down-tempo sultriness of "Calm The Storm,†to the jangly indie-rock vibe of "Lay Me Down.†"For me, the unexpectedness of the sound is the whole point,†Scott says. "It's fun to mess with people's heads.â€
The relentless experimentation on Colours reflects the lively imagination of its creators, singer-songwriter Jamie Scott and songwriter-producer Tommy Danvers (who goes by TommyD) — both London-born multi-instrumentalists who began making music together in 2009 and decided to call the resulting collaboration Graffiti6. (A third member, the British artist and illustrator Jimi Crayon, designs all of Graffiti6's artwork and is responsible for their bold logo and Technicolor visuals.)
Scott grew up enthralled with soul and folk music, thanks to his father's love for Donny Hathaway, Curtis Mayfield, and Marvin Gaye, and his mother's predilection toward James Taylor, Cat Stevens, Carole King, and Joni Mitchell. Upon hearing Mitchell's Blue at the age of seven, Scott picked up a guitar and taught himself to play. "At school, friends would be talking about bands like Bon Jovi and I didn't have a clue who they were talking about as I didn't start to listen to pop radio till I was 15,†he says. Scott began writing songs, and, by 17, had left school to focus on a career as a musician. He signed his first publishing deal at 20, followed by a record deal with Sony Music in the U.K., and began working with Jamiroquai keyboardist Toby Smith, but his album was never released due to the merger between Sony and BMG. After signing with Polydor in 2006, Scott released his solo debut album, Park Bench Theories, under the name Jamie Scott and the Town. The album was a folky, acoustic-based affair on which Scott was backed by members of the Scottish band Travis. Jamie Scott and the Town toured for two years (including opening for Alicia Keys, Kelly Clarkson, and Take That) and built up a sizable following in Europe and Asia.
Scott was considering working with new collaborators as a way to repackage the album when an A&R executive at Polydor suggested he meet Danvers, who had remixed tracks by Michael Jackson and Björk, and arranged and orchestrated concerts and recordings, along with his wife, for Kanye West, Jay-Z, Adele, Beyoncé, and Noel Gallagher, among others. A multi-instrumentalist, Danvers grew up listening to psychedelic rock, punk, and blues music before falling in love with hip-hop at age 17. "Public Enemy, Run-DMC, LL Cool J — it was that era,†he says. "I used to fly to New York City just to buy records and sneakers.†Danvers played guitar, keyboards, drums, and sang in a number of bands around South London, worked as a tape op in a commercial studio, and sold musical and studio equipment before he began DJ'ing at a local club at age 18. Over the next 13 years, Danvers made a name for himself as a DJ. He was a resident at Ministry of Sound and a regular at Cream and Back to Basics in the U.K., as well as Danceteria, Twilo, and DV8 in the U.S. Influenced by the sound of New York's Paradise Garage and the rise of House music, Danvers formed a production duo with musician/DJ Jeremy Healy under the name Ezee Posse. Around that time, Danvers was asked to produce a track by an unsigned band called Right Said Fred. The song, "I'm Too Sexy,†debuted at No. 1 in the U.S. and hit the Top 10 in nine countries. Although it propelled his remix career, Danvers was more interested in writing, which led to his penning several songs for KT Tunstall, Corinne Bailey Rae, Janet Jackson, and Kylie Minogue. "Jamie came along soon after that,†Danvers says.
"Tommy and I hit it off straight away,†Scott says. "I brought in an idea I had for a folk thing I was doing and he said, 'Let's go for it,' so we wrote it on acoustic guitar.†The track was "Stare Into The Sun.†Scott left to go on holiday for two weeks and received an email from Danvers when he returned saying he'd done a bit of work on the track and what did Jamie think? "When I first heard it, I was like, 'What the f**k has he done to my song?'†Scott says with a laugh. "I was literally fuming. I had been expecting it to sound like my solo album. But then after listening to it a few times, I thought, 'That's not going on Park Bench Theories, but I love it.'â€
"I was already a fan of Jamie's music,†Danvers says. "He was playing in this intricate style with amazing lyrics, and I just said, 'Look, you've got to let rip on this, mate.' We both love a lot of the same music, so I think I awakened the Otis Redding and Marvin Gaye in him. He has a truly unique voice. It doesn't sound like anyone else and that's what I love about it.â€
Rather than repackage Scott's solo album and have Danvers produce it, the two decided to start writing original material together. "I didn't want it to be a producer producing a solo artist,†Scott says. "It was a collaboration. The sound was just too strong to be anything else.†"Basically we just thought, 'This is really good, there's something happening here between us,'†Danvers says. "A musical relationship is very much like a personal relationship in the sense that you've got to just see where the road takes you, so we put our heads down, shut the doors, and kept working.†Over the next year and a half, the songs began to pour out. "It opened a door to a whole new way I could start thinking about some of the songs, with all these big harmonies,†Scott says. Indeed every song on Colours can be stripped down and performed on acoustic guitars and sound just as exciting. Check YouTube for Graffiti6's stellar versions of "Annie You Save Me,†"Stone In My Heart,†"Calm The Storm,†and "Lay Me Down,†as well as covers of Adele's "Rolling In The Deep†and Black Eyed Peas' "I Got A Feeling.†Graffiti6's live shows have also earned them a growing devoted fanbase around the world.
"We really are just two musicians enjoying the sound we make,†Danvers says. "It's a sound that neither of us could make without the other.â€
Graffiti6 released Colours on their own NWFree Music label in the U.K. in October 2010 and in April 2011 signed to Capitol Records, which will release a digital EP in June, followed by Colours later this year. Their songs have already been heard on such shows as Grey's Anatomy, Covert Affairs, CSI: NY, One Tree Hill, and in the new MTV series Teen Wolf. Scott has relocated from London to Los Angeles and is looking forward to spending much of his time Stateside. "I've been signed to record labels for nine years and I've always wanted to come to America,†he says. "It was the one place where we got a load of love right away from the industry, so the minute my manager said, 'Let's do it, let's move,' I said, 'I've got my bags packed, man. I've had them packed for nine years.'â€


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SAP ERP Sales and Distribution Community
SAP ERP Sales and Distribution provides a complete sales management solution for a broad range of industries. It is a part of the logistics module that support your customers, starting from quotations, sales order and all the way towards billing the customer. It is tightly integrated with the MM and PP functional modules. It allows companies to input their customer sales price, check for open orders and forecast etc.


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Wikianswers is FANDOM's main answers-based wiki, with a format where pages are created as questions that other users can then answer. This page will outline everything you need to know about maintaining and using an answers wiki.
Asking a question
As opposed to a normal wiki, where you can add content under a specific page title, your question will serve as the title of the page. Just type the questions into the big "Ask a question" box at the top of any page and press the ask (depending of the wiki) button or hit enter. Submitting the question automatically creates a new page, while the text you entered is your question.
The question will then be labeled "Un-answered" until someone answers it. An un-answered question is automatically listed under the "New Questions" section on the wiki's main page. Once it is answered, it is moved over to the "New Answers" section.
To find out when your question is answered, it's important to log in when you ask the question. You will be able to follow the question and be notified by e-mail when it is updated.
Rephrasing a question
To rephrase a question, simply click on the "rephrase question" link in the dropdown next to the "Edit" button.
You will then be brought to a new page, where you can rephrase the question. The new question will create a new page on the wiki, so make sure to check the box that says "Leave a redirect behind". This is redirect the old question, to the newly rephrased question. Then click on the "move page" button (which may say save or rephrase depending on if it has been modified) to save.
You are encouraged to rephrase badly written questions. This can include spelling or grammar errors, as well as statements that are not in a question format. For example, if someone asks "dog food", you could turn it into "where can I buy dog food" or "what is the healthiest type of food for dogs".
Getting your question answered more quickly
- Add categories so that people can find it more easily when browsing.
- Post your question to Facebook, Twitter or other sites so your friends can help answer it.
- Have a clear, specific, well-worded question that people can understand. If your question isn't clear enough, reword it.
- Make sure your question is not vague. A question like, "What type of government does our country have?" may sound clear, but remember people from many countries may read questions and answer them. Specify as much as you can. Change the question to: "What type of government does the United States of America have?" (or the name of whatever country you may live in).
- Have a question that other people can answer. Questions like "how old am I" are not suitable and probably won't be answered (at least not correctly).
Answering a question
To answer a question, all you need to do is fill in the "Answer this question" box below the question. Once you've completed your answer, just click save.
You do not need to change the answered and un-answered categories as these change automatically when you add or remove an answer.
Anyone can ask and answer questions. You don't even need to create an account. If you're logged in, you can be notified when your question was answered or your answer was improved.
What is a good answer?
Try to give a good objective answer. Don't worry if your answer is not complete - anyone can edit the page again and add to or improve your answer. If the question has already been answered, you can edit the answer to make it better.
You can also help by rewording questions and adding categories to questions.
Edit an answer
If an answer does not correctly answer a question, then it should be reworded or edited. Short answers that provide little description, such as "yes", "no", or "sometimes", can have additional information added to it. You can also make spelling and grammatical changes if necessary.
If you find an answer that needs to be reworded, simply click on the "Edit" button to the right of the question title.
You will then be brought to an edit page, where you can make the necessary changes. Once you are done, click "Publish", and the new answer will appear.
Adding categories
On answers wikis, there are also categories. They are used in order to help find questions that have already been asked and, therefore, answers to those questions. By default, the categories that show whether a question is answered or un-answered are automatically added when you ask or answer a question. You do not need to make any changes to this.
You can add categories that are specific to your community's topic. For example if you have a community on cooking, you may want to add categories for different food types, such as "Italian" or "Mexican".
Adding categories to an un-answered question does not change its state from un-answered to answered. If you can not answer a question, you can still help by adding categories it. That way, someone who can answer it is more likely to find it.
You can create new categories just by typing it into the tag section below the question. With this, it is also recommended to create the category page by clicking on it, and adding some text (a main category, for example).
Pages can have more than one category at once.
You can view all questions that have a certain category by following the link in the category section at the bottom of the page.
Adopting an answers wiki
Ever since FANDOM has removed the option to create an answers wiki, interested users can instead adopt an answers wiki as opposed to starting a new one. Adoptions are fairly easy and fast to do. Firstly, you will need to do some cleanup about questions (tagging, renaming, answering). Secondly, you should read the criteria for filing in an adoption request (seen at the top of this page). When you are ready (minimum of 1 week of editing, more suggested), file it in by using the form and wait for the response.
Extending an answers wiki
As with a standard wiki, be sure to promote it. There are plenty of ways you can attract some new contributors to the community, including means such as Facebook, Twitter, other social media sites, or on FANDOM itself.
Keeping your wiki neat and tidy is always a good thing too. Make sure questions are a full sentence and start with words like who, what, where, when, why, how, etc. Editing and modifying answers will help the wiki look neat and more professional.
See also
- Learn how to create a new FANDOM wiki
Further help and feedback
- Browse and search other help pages at Help:Contents
- Check FANDOM Community Central for sources of further help and support
- Check Contacting FANDOM for how to report any errors or unclear steps in this article
- Learn how to use FANDOM in FANDOM University: short how-to videos for all levels of experience


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Sign up for Equitymaster's free daily newsletter, The 5 Minute WrapUp and get access to our latest Multibagger guide (2018 Edition) on picking money-making stocks.This is an entirely free service. No payments are to be made.
Here is the latest stock price and chart of SUPREME YARNS. For a sector overview, read our textiles sector report.
|Live BSE Quotes
|Aug 23, 2018 (Close)
|Price (Rs)0.57
|Open (Rs) 0.57
|High (Rs) 0.57
|Low (Rs) 0.57
|% Change0.00
|Volume 5,508
|Value (Rs) 3,139
|52-Week H/L 4.05 / 0.56
|Live NSE Quotes
|Aug 23, 2018 (Close)
|Price (Rs)0.55
|Open (Rs) 0.55
|High (Rs) 0.55
|Low (Rs) 0.45
|% Change10.00
|Volume 75,271
|Value (Rs) 36,693
|52-Week H/L 4.10 / 0.45
|BSE Sensex | CNX Nifty
After trading on a volatile note throughout the day, share markets in India witnessed selling pressure during the closing hours and ended the day in red.
Sorry! There are no related views on news for this company/sector.
This company has not only created a niche in the pharma space, it has done so profitably.
Richa has discovered the single most profitable opportunity in the market - read on to discover more...
PersonalFN explains how blindly investing in equities can prove hazardous to your wealth and health.
PersonalFN elucidates if you should redeem from equity mutual fund now, and the approach to follow before you decide to sell mutual funds.
Strong Well established Indian Brands have comfortably outperformed the index in the decade post the global financial crisis.More


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CHICAGO (AP) — Illinois politicians are taking a leading role in the push for tougher national gun laws.
On Friday, U.S. Sen. Dick Durbin was in Chicago trying to earn support for two bills he co-sponsored. One would ban assault weapons and the other would crack down on straw purchasers who legally buy weapons for others who are prohibited from doing so.
Also on Friday, Chicago Democratic Congressman Mike Quigley reintroduced a bill that cracks down on the illegal gun market by improving gun tracking data.
And Illinois' other senator, Republican Mark Kirk, is poised to draft bipartisan gun legislation with Democratic senators Kirsten Gillibrand of New York and Joe Manchin of West Virginia.


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An event every day that begins at 12:00am, repeating until May 7, 2019
Categories: Visual Arts
The flowing lines of the Missouri River watershed now greet thousands of travelers at St. Louis Lambert International Airport (STL) as part of a temporary mural at the Terminal 2 Baggage Claim.
St. Louis artist Megan Singleton created "Ebb and Flow IV" at Carousel 2. Her work interprets USDA geospatial data of the Lower Missouri River watershed, which encompasses the area near the Airport. Singleton used pulp paper to mimic the lines of the watershed, which creates a dynamic relief along the wall. The opposite wall displays a series of botanical drawings of native Missouri aquatic plants. The drawings were laser cut from handmade paper, made from the very plants that the cut out drawings depict.
Singleton focuses much of her work on the investigation of ecological relationships within society and the landscape. She's interested in the intersection of dendritic systems, patterns that are found in waterway, plants, and intersecting paths of travel.
Copyright © 2018 Regional Arts Commission of St. Louis. All Rights Reserved.


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pt-diskstats - An interactive I/O monitoring tool for GNU/Linux.
pt-diskstats [OPTION...] [FILES]
pt-diskstats prints disk I/O statistics for GNU/Linux. It is somewhat similar to iostat, but it is interactive and more detailed. It can analyze samples gathered from another machine.
The following section is included to inform users about the potential risks, whether known or unknown, of using this tool. The two main categories of risks are those created by the nature of the tool (e.g. read-only tools vs. read-write tools) and those created by bugs.
pt-diskstats simply reads /proc/diskstats. It should be very low-risk.
At the time of this release, we know of no bugs that could cause serious harm to users.
The authoritative source for updated information is always the online issue tracking system. Issues that affect this tool will be marked as such. You can see a list of such issues at the following URL: http://www.percona.com/bugs/pt-diskstats.
See also "BUGS" for more information on filing bugs and getting help.
The pt-diskstats tool is similar to iostat, but has some advantages. It prints read and write statistics separately, and has more columns. It is menu-driven and interactive, with several different ways to aggregate the data. It integrates well with the pt-stalk tool. It also does the "right thing" by default, such as hiding disks that are idle. These properties make it very convenient for quickly drilling down into I/O performance and inspecting disk behavior.
This program works in two modes. The default is to collect samples of /proc/diskstats and print out the formatted statistics at intervals. The other mode is to process a file that contains saved samples of /proc/diskstats; there is a shell script later in this documentation that shows how to collect such a file.
In both cases, the tool is interactively controlled by keystrokes, so you can redisplay and slice the data flexibly and easily. It loops forever, until you exit with the 'q' key. If you press the '?' key, you will bring up the interactive help menu that shows which keys control the program.
When the program is gathering samples of /proc/diskstats and refreshing its display, it prints information about the newest sample each time it refreshes. When it is operating on a file of saved samples, it redraws the entire file's contents every time you change an option.
The program doesn't print information about every block device on the system. It hides devices that it has never observed to have any activity. You can enable and disable this by pressing the 'i' key.
In the rest of this documentation, we will try to clarify the distinction between block devices (/dev/sda1, for example), which the kernel presents to the application via a filesystem, versus the (usually) physical device underneath the block device, which could be a disk, a RAID controller, and so on. We will sometimes refer to logical I/O operations, which occur at the block device, versus physical I/Os which are performed on the underlying device. When we refer to the queue, we are speaking of the queue associated with the block device, which holds requests until they're issued to the physical device.
The program's output looks like the following sample, which is too wide for this manual page, so we have formatted it as several samples with line breaks:
#ts device rd_s rd_avkb rd_mb_s rd_mrg rd_cnc rd_rt
{6} sda 0.9 4.2 0.0 0% 0.0 17.9
{6} sdb 0.4 4.0 0.0 0% 0.0 26.1
{6} dm-0 0.0 4.0 0.0 0% 0.0 13.5
{6} dm-1 0.8 4.0 0.0 0% 0.0 16.0
... wr_s wr_avkb wr_mb_s wr_mrg wr_cnc wr_rt
... 99.7 6.2 0.6 35% 3.7 23.7
... 14.5 15.8 0.2 75% 0.5 9.2
... 1.0 4.0 0.0 0% 0.0 2.3
... 117.7 4.0 0.5 0% 4.1 35.1
... busy in_prg io_s qtime stime
... 6% 0 100.6 23.3 0.4
... 4% 0 14.9 8.6 0.6
... 0% 0 1.1 1.5 1.2
... 5% 0 118.5 34.5 0.4
The columns are as follows:
This column's contents vary depending on the tool's aggregation mode. In the default mode, when each line contains information about a single disk but possibly aggregates across several samples from that disk, this column shows the number of samples that were included into the line of output, in {curly braces}. In the example shown, each line of output aggregates {10} samples of /proc/diskstats.
In the "all" group-by mode, this column shows timestamp offsets, relative to the time the tool began aggregating or the timestamp of the previous lines printed, depending on the mode. The output can be confusing to explain, but it's rather intuitive when you see the lines appearing on your screen periodically.
Similarly, in "sample" group-by mode, the number indicates the total time span that is grouped into each sample.
If you specify --show-timestamps, this field instead shows the timestamp at which the sample was taken; if multiple timestamps are present in a single line of output, then the first timestamp is used.
The device name. If there is more than one device, then instead the number of devices aggregated into the line is shown, in {curly braces}.
The average number of reads per second. This is the number of I/O requests that were sent to the underlying device. This usually is a smaller number than the number of logical IO requests made by applications. More requests might have been queued to the block device, but some of them usually are merged before being sent to the disk.
This field is computed from the contents of /proc/diskstats as follows. See "KERNEL DOCUMENTATION" below for the meaning of the field numbers:delta[field1] / delta[time]
The average size of the reads, in kilobytes. This field is computed as follows:2 * delta[field3] / delta[field1]
The average number of megabytes read per second. Computed as follows:2 * delta[field3] / delta[time]
The percentage of read requests that were merged together in the queue scheduler before being sent to the physical device. The field is computed as follows:100 * delta[field2] / (delta[field2] + delta[field1])
The average concurrency of the read operations, as computed by Little's Law. This is the end-to-end concurrency on the block device, not the underlying disk's concurrency. It includes time spent in the queue. The field is computed as follows:delta[field4] / delta[time] / 1000 / devices-in-group
The average response time of the read operations, in milliseconds. This is the end-to-end response time, including time spent in the queue. It is the response time that the application making I/O requests sees, not the response time of the physical disk underlying the block device. It is computed as follows:delta[field4] / (delta[field1] + delta[field2])
wr_s, wr_avkb, wr_mb_s, wr_mrg, wr_cnc, wr_rt
These columns show write activity, and they match the corresponding columns for read activity.
The fraction of wall-clock time that the device had at least one request in progress; this is what iostat calls %util, and indeed it is utilization, depending on how you define utilization, but that is sometimes ambiguous in common parlance. It may also be called the residence time; the time during which at least one request was resident in the system. It is computed as follows:100 * delta[field10] / (1000 * delta[time])
This field cannot exceed 100% unless there is a rounding error, but it is a common mistake to think that a device that's busy all the time is saturated. A device such as a RAID volume should support concurrency higher than 1, and solid-state drives can support very high concurrency. Concurrency can grow without bound, and is a more reliable indicator of how loaded the device really is.
The number of requests that were in progress. Unlike the read and write concurrencies, which are averages that are generated from reliable numbers, this number is an instantaneous sample, and you can see that it might represent a spike of requests, rather than the true long-term average. If this number is large, it essentially means that the device is heavily loaded. It is computed as follows:field9
The average throughput of the physical device, in I/O operations per second (IOPS). This column shows the total IOPS the underlying device is handling. It is the sum of rd_s and wr_s.
The average queue time; that is, time a request spends in the device scheduler queue before being sent to the physical device. This is an average over reads and writes.
It is computed in a slightly complex way: the average response time seen by the application, minus the average service time (see the description of the next column). This is derived from the queueing theory formula for response time, R = W + S: response time = queue time + service time. This is solved for W, of course, to give W = R - S. The computation follows:delta[field11] / (delta[field1, 2, 5, 6] + delta[field9]) - delta[field10] / delta[field1, 2, 5, 6]
See the description for stime for more details and cautions.
The average service time; that is, the time elapsed while the physical device processes the request, after the request finishes waiting in the queue. This is an average over reads and writes. It is computed from the queueing theory utilization formula, U = SX, solved for S. This means that utilization divided by throughput gives service time:delta[field10] / (delta[field1, 2, 5, 6])
Note, however, that there can be some kernel bugs that cause field 9 in /proc/diskstats to become negative, and this can cause field 10 to be wrong, thus making the service time computation not wholly trustworthy.
Note that in the above formula we use utilization very specifically. It is a duration, not a percentage.
You can compare the stime and qtime columns to see whether the response time for reads and writes is spent in the queue or on the physical device. However, you cannot see the difference between reads and writes. Changing the block device scheduler algorithm might improve queue time greatly. The default algorithm, cfq, is very bad for servers, and should only be used on laptops and workstations that perform tasks such as working with spreadsheets and surfing the Internet.
If you are used to using iostat, you might wonder where you can find the same information in pt-diskstats. Here are two samples of output from both tools on the same machine at the same time, for /dev/sda, wrapped to fit:
#ts dev rd_s rd_avkb rd_mb_s rd_mrg rd_cnc rd_rt
08:50:10 sda 0.0 0.0 0.0 0% 0.0 0.0
08:50:20 sda 0.4 4.0 0.0 0% 0.0 15.5
08:50:30 sda 2.1 4.4 0.0 0% 0.0 21.1
08:50:40 sda 2.4 4.0 0.0 0% 0.0 15.4
08:50:50 sda 0.1 4.0 0.0 0% 0.0 33.0
wr_s wr_avkb wr_mb_s wr_mrg wr_cnc wr_rt
7.7 25.5 0.2 84% 0.0 0.3
49.6 6.8 0.3 41% 2.4 28.8
210.1 5.6 1.1 28% 7.4 25.2
297.1 5.4 1.6 26% 11.4 28.3
11.9 11.7 0.1 66% 0.2 4.9
busy in_prg io_s qtime stime
1% 0 7.7 0.1 0.2
6% 0 50.0 28.1 0.7
12% 0 212.2 24.8 0.4
16% 0 299.5 27.8 0.4
1% 0 12.0 4.7 0.3
Dev rrqm/s wrqm/s r/s w/s rMB/s wMB/s
08:50:10 sda 0.00 41.40 0.00 7.70 0.00 0.19
08:50:20 sda 0.00 34.70 0.40 49.60 0.00 0.33
08:50:30 sda 0.00 83.30 2.10 210.10 0.01 1.15
08:50:40 sda 0.00 105.10 2.40 297.90 0.01 1.58
08:50:50 sda 0.00 22.50 0.10 11.10 0.00 0.13
avgrq-sz avgqu-sz await svctm %util
51.01 0.02 2.04 1.25 0.96
13.55 2.44 48.76 1.16 5.79
11.15 7.45 35.10 0.55 11.76
10.81 11.40 37.96 0.53 15.97
24.07 0.17 15.60 0.87 0.97
The correspondence between the columns is not one-to-one. In particular:
rrqm/s, wrqm/s
These columns in iostat are replaced by rd_mrg and wr_mrg in pt-diskstats.
This column is in sectors in iostat, and is a combination of reads and writes. The pt-diskstats output breaks these out separately and shows them in kB. You can derive it via a weighted average of rd_avkb and wr_avkb in pt-diskstats, and then multiply by 2 to get sectors (each sector is 512 bytes).
This column really represents concurrency at the block device scheduler. The pt-diskstats output shows concurrency for reads and writes separately: rd_cnc and wr_cnc.
This column is the average response time from the beginning to the end of a request to the block device, including queue time and service time, and is not shown in pt-diskstats. Instead, pt-diskstats shows individual response times at the disk level for reads and writes (rd_rt and wr_rt), as well as queue time versus service time for reads and writes in aggregate.
This column is the average service time at the disk, and is shown as stime in pt-diskstats.
This column is called busy in pt-diskstats. Utilization is usually defined as the portion of time during which there was at least one active request, not as a percentage, which is why we chose to avoid this confusing term.
It is straightforward to gather a sample of data for this tool. Files should have this format, with a timestamp line preceding each sample of statistics:
TS <timestamp>
<contents of /proc/diskstats>
TS <timestamp>
<contents of /proc/diskstats>
... et cetera
You can simply use pt-diskstats with --save-samples to collect this data for you. If you wish to capture samples as part of some other tool, and use pt-diskstats to analyze them, you can include a snippet of shell script such as the following:
while true; do
sleep=$(date +%s.%N | awk "{print $INTERVAL - (\$1 % $INTERVAL)}")
sleep $sleep
date +"TS %s.%N %F %T" >> diskstats-samples.txt
cat /proc/diskstats >> diskstats-samples.txt
This documentation supplements the official documentation on the contents of /proc/diskstats. That documentation can sometimes be difficult to understand for those who are not familiar with Linux kernel internals. The contents of /proc/diskstats are generated by the diskstats_show() function in the kernel source file block/genhd.c.
Here is a sample of /proc/diskstats on a recent kernel.
8 1 sda1 426 243 3386 2056 3 0 18 87 0 2135 2142
The fields in this sample are as follows. The first three fields are the major and minor device numbers (8, 1), and the device name (sda1). They are followed by 11 fields of statistics:
This tool accepts additional command-line arguments. Refer to the "SYNOPSIS" and usage information for details.
type: string; default: .
Print columns that match this Perl regex.
type: Array
Read this comma-separated list of config files; if specified, this must be the first option on the command line.
type: string
Print devices that match this Perl regex.
type: string; default: all
Group-by mode: disk, sample, or all. In disk mode, each line of output shows one disk device, with the statistics computed since the tool started. In sample mode, each line of output shows one sample of statistics, with all disks averaged together. In all mode, each line of output shows one sample and one disk device.
type: Hash; default: group,scroll
If group is present, each sample will be separated by a blank line, unless the sample is only one line. If scroll is present, the tool will print the headers as often as needed to prevent them from scrolling out of view. Note that you can press the space bar, or the enter key, to reprint headers at will.
Show help and exit.
type: int; default: 1
When in interactive mode, wait N seconds before printing to the screen. Also, how often the tool should sample /proc/diskstats.
The tool attempts to gather statistics exactly on even intervals of clock time. That is, if you specify a 5-second interval, it will try to capture samples at 12:00:00, 12:00:05, and so on; it will not gather at 12:00:01, 12:00:06 and so forth.
This can lead to slightly odd delays in some circumstances, because the tool waits one full cycle before printing out the first set of lines. (Unlike iostat and vmstat, pt-diskstats does not start with a line representing the averages since the computer was booted.) Therefore, the rule has an exception to avoid very long delays. Suppose you specify a 10-second interval, but you start the tool at 12:00:00.01. The tool might wait until 12:00:20 to print its first lines of output, and in the intervening 19.99 seconds, it would appear to do nothing.
To alleviate this, the tool waits until the next even interval of time to gather, unless more than 20% of that interval remains. This means the tool will never wait more than 120% of the sampling interval to produce output, e.g if you start the tool at 12:00:53 with a 10-second sampling interval, then the first sample will be only 7 seconds long, not 10 seconds.
type: int
When in interactive mode, stop after N samples. Run forever by default.
type: int; default: 1
In –group-by sample mode, include N seconds of samples per group.
type: string
File to save diskstats samples in; these can be used for later analysis.
Show inactive devices.
Show a 'HH:MM:SS' timestamp in the #ts column. If multiple timestamps are aggregated into one line, the first timestamp is shown.
Show version and exit.
type: string; default: off
Send program versions to Percona and print suggested upgrades and problems. Possible values for –version-check:
https, http, auto, off
auto first tries using https, and resorts to http if that fails. Keep in mind that https might not be available if IO::Socket::SSL is not installed on your system, although --version-check http should work everywhere.
The version check feature causes the tool to send and receive data from Percona over the web. The data contains program versions from the local machine. Percona uses the data to focus development on the most widely used versions of programs, and to suggest to customers possible upgrades and known bad versions of programs.
For more information, visit http://www.percona.com/version-check.
The environment variable PTDEBUG enables verbose debugging output to STDERR. To enable debugging and capture all output to a file, run the tool like:
PTDEBUG=1 pt-diskstats ... > FILE 2>&1
Be careful: debugging output is voluminous and can generate several megabytes of output.
This tool requires Perl v5.8.0 or newer and the /proc filesystem, unless reading from files.
For a list of known bugs, see http://www.percona.com/bugs/pt-diskstats.
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Thanks for helping YES! win on Support Your Media Day!
February 15th, 2012 was the first ever Support Your Media Day. Thousands of people around the country came together to support media for the 99% by donating to their favorite independent news organization. Thank you to everyone who participated.
A BIG thank you to each of our 146 supporters who helped raise $5,630 for our campaign spread the solutions far and wide in the"End Corporate Rule" issue of YES! Magazine.
What your donation makes possible:
Your donation keeps YES! a strong, independent voice for a more just and sustainable world. In particular, your contribution helps get copies of our spring issue, "We Can End Corporate Rule," to grassroots organizers, teachers, students, journalists, and legislators all across the country.
Thanks to everyone who pitched in to spread stories of people undoing Citizens United, keeping the internet free from corporate control, and using pranks to raise awareness.
Our deepest thanks for supporting YES! and all independent media that care about the 99%.


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Craig HouseTexas Rangers
Relief Pitcher | Ht: | Wt:
|Rangers | House Signs
Sun, 06 Mar 2005 07:18:33 -0800
The Dallas Morning News' Evan Grant reports the Texas Rangers have signed RP Craig House, whose fastball has been clocked at more than 100 mph. House has battled command problems and is with his sixth organization since 2002.
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Thursday, August 6, 2009
The Real Problem With Obama Is Not His Birth Certificate
With Barack Obama's birthday earlier this week, let's take a moment to revisit the claims of the "Birther" Movement afoot in the Republican Party today. It revolves around a conspiracy theory that President Barack Obama's birth certificate from Hawaii is a forgery and that he is not in fact a U.S. citizen, but a citizen of Kenya.
To begin with, it's extremely irritating that the Palin wing of the Republican Party has become so enamored by this Birther movement after it gave the Ron Paul campaign so much abuse for being a hive of conspiracy theorists and 9-11 "Truthers."
It's especially irritating when you note that Ron Paul himself adamantly and unequivocally denied any belief in such theories, calling them "preposterous" and "bizarre" (like here at 35:45 - this is near the end of a Glenn Beck interview. You should watch the whole thing whenever you get a chance).
If you want the truth about 9-11 or Barack Obama's birth, I've got it for you: 9-11 was planned, organized, and executed by Al-Queda at the direction of Osama bin Laden on the premise of a Holy War against America for its strategic alliance with Israel and troop occupation in lands that Muslims consider holy and use for their pilgrimage to Mecca.
Oh yeah, and Barack Obama was born in Hawaii, making him a U.S. citizen. Sorry- that's just the truth. You can even ask my friend, Occam. He'll tell you. These explanations fit the facts best and are the least problematic. Al-Queda orchestrated the World Trade Center attacks and Obama was born in Hawaii. Period.
To see the Republican Party fall prey to the alluring political trump card of Obama's non-citizenship on the premise of so many different, false, and often contradictory claims about his life and birth, is frankly embarrassing when it's not outright irritating because of the Party's disdain for 9-11 "Truthers" and erroneous association of them with Ron Paul.
But there's a deeper issue here, and it's related to the Republican Party's failure to fight the battle in the ideological arena, which is the reason why it is rapidly losing its own soul and identity (in addition to elections everywhere). That issue is the GOP's entire approach to President Barack Obama.
Why shouldn't he be President according to the Palin Republicans? "Because he's not a citizen of this country!" they say, which isn't even true. But if we delve into the world of ideas and challenge Obama's very ideological premises, then we can produce an even better reason why he shouldn't be President (and it helps that this one's true): Barack Obama is not a citizen of reality.
That's right. He shouldn't be President because he's not a citizen of this universe. He doesn't live in a world of cause and effect, where you can't just go spending trillions of dollars that you don't have and expect an economy to recover. Obama doesn't live in reality, where you have to produce something before you can consume it.
He's a citizen of the Big Rock Candy Mountains or something, where "handouts grow on bushes" and "where they hung the jerk that invented work." He lives in a socialist Twilight Zone where bizarre and inexplicable things happen, where you can really have your cake and eat it too. Unfortunately the rest of America lives in the real world and has to suffer for Obama's attempt to live out his contradictions and force us to live them out with him.
My problem with President Obama isn't that he isn't a citizen of the United States. It's that he isn't a citizen of planet Earth.
And now, your moment of Zen:
6 comments:
If I was on a conspiratorial miondset, I would think the birthers were a plant by the Obama adminsitration to divert attention away from other matters.ReplyDelete
Sadly, however,, knowing a few otherwise sane people who have fallen to the birther madness, that is not the case.
If the bortehrs spent a tenth as much time reading the health care bill or cap and trade as they do noting a misplaced pixel on Obama's birth certificate, the world would be a happier place.
I agree Messamore, it is highly distracting and discrediting to bring this stupid thing up. It does a great disservive to the liberty cause and empowers Obama....ReplyDelete
Great post
@Anthony Honestly! Every chance we have to talk about health care that we waste talking about Obama's birth certificate brings the possibility of socialized medicine just a tiny bit closer (and the GOP has been wasting a lot of such chances).ReplyDelete
@LeftCoastRebel Thanks!
- AnonymousAugust 7, 2009 at 3:17 AM
lets just give Obama the benefit of the doubt and say yes he is a natural born citizen ok so he is just not proud enough to show it that is why he has wasted money that could have been donated to charity's so he could help the economy like he says he wants to do hay what can we say i think maybe him not wanting ti show his BC is the only thing he has done to help with jobs that last loger than 36 hours right because you know all the liars i mean lawyers and judges that he has to pay to keep his BC from coming out in the open as i said what can we say its probably the only way he is helping the from keeping the unemployment from going up moreReplyDelete
Here's a thought... Maybe he doesn't want to show his birth certificate because it might list him as Caucasian. His mother was white and at the time of his birth his race would have been the same as him mom's. Or it might be that he can keep the mystery alive and the "Birthers" demanding to see the certificate to make all the repubs look like kooks.ReplyDelete
Interesting thought, Heidi. I've actually never heard that before. It might be a little embarrassing if the long form birth certificate list's the baby's race and it happens to be "Caucasian" for Obama. Or it could be something similar, some minor detail that would be a little politically embarrassing, and which Obama wants out of the spotlight. Oh well- just get ready for this all to flare up again in 2012!ReplyDelete


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Here is her biography
Lisa Hannigan started her singing career at the age of 6 as the fairy on top of the Christmas tree in the school play. Although she still remembers three quarters of the words she is no longer convincing as a fairy. On the long car journeys down to west cork for summer holidays she sang the backing vocals to her mothers' front seat Joni Mitchell and Nina Simone and to this day knows all of the words to Paul Simon's Graceland and the Queen back catalogue.
The first record that Lisa ever bought was Michael Jackson's Bad. Although in those days it was called a tape. She sang and danced along until the tape wore out, not only improving her singing but also affirming her lifelong dedication to the art of uncoordinated dancing, believing strongly in the scientific correlation between the amount of fun had to the stupidity of the dance moves.
Lisa then spent many years singing in choirs and musical choruses in school, all the while taping songs off the radio. After hearing a recording of Maria Callas singing "The Bell Song" from Delibe's Lakme (a cd at this point), she became fixated with the idea of learning how to sing like her. After a few years of study and development she realised that her chances of playing a consumptive operatic heroine were severely hampered by both her naturally quiet voice and her insatiable love of cake. The former could be helped by a microphone; the latter could not be helped at all.
A chance meeting with singer songwriter Damien Rice led to a long period of collaboration and development. Lisa spent the next few years touring the world, meeting wonderful musicians and friends, writing songs, forgetting then remembering how to ride a bike, contributing backing vocals on many friends records, including the Frames and Mic Christopher, singing with the legendary Herbie Hancock and gradually finding her voice, needing the microphone less and less. When this collaboration came to an end after seven years, Lisa was left with a notebook of songs and the desire and confidence to put them onto a record. Gathering a talented band of friends together, including Tom Osander on drums, Shane Fitzsimons on double bass and Donagh Molloy on trumpet, they got to work.
After a few months demoing and working through the arrangements, Lisa and her band, rehearsed and full of coffee and cake, went to the Cauldron studios in Dublin and spent fourteen days putting them on tape. Starting early in the morning, the band spent their days down in the basement studio, playing glockenspiels and harmoniums, violins and organs, trumpets and guitars, and sang until they were hoarse, emerging in the small hours to stagger home to sleep. Friends' contributions punctuated the long days, including Gavin Glass on piano, Lucy Wilkins on violin and Vyvienne Long on cello. Together with engineer Jason Boshoff, Lisa and the band marked off their contributions on a blackboard, until they were left with a record both warm and creaky, sparse and full.
Jason Boshoff then took the record home with him to London where he, Lisa and Tomo mixed it in the Strongroom in the east end. Lisa's mother Frances began knitting in preparation for the cover artwork. After spending a happy month stitching the lyrics onto rough cotton, and picking out the many references to the sea in the lyrics, Lisa decided to call the album Sea Sew.
"Lille" is the first single to be taken from the album. It's a story set to guitar, harmonium, glockenspiel, double bass and pizzicato strings and features beautiful backing vocals from Cathy Davey. It is the last song on the record but the first to come together in the demo stages with a cohesive sound and it is full of hope and optimism.
Please enjoy the performance video from her show at The World Café Live.
You are now Tuned In to Lisa Hannigan
On the web-


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Today at All Things Considered, we continue a project we're calling NewsPoet. Each month, we bring in a poet to spend time in the newsroom — and at the end of the day, to compose a poem reflecting on the day's stories.
The series has included Pulitzer Prize winner Tracy K. Smith as well as Craig Morgan Teicher, Kevin Young, Monica Youn, Carmen Gimenez Smith and former poet laureate Robert Pinsky.
Today, poet Paisley Rekdal brings us the news in verse. She is the author most recently of the books Animal Eye and Intimate: An American Family Photo Album, as well as The Invention of the Kaleidoscope and The Night My Mother Met Bruce Lee: Observations on Not Fitting In. She teaches at the University of Utah, and has spent much of the past year traveling in France and Vietnam.
Paisley Rekdal sat down with NPR's Robert Siegel to talk about her day at All Things Considered watching "the news sausage being made." But she said that what fascinated her most wasn't the news that made it into the show.
Much of her poem focused on ideas from the morning meeting that were rejected — sea birds ingesting plastic, Russian floods, and rooftop missiles to protect the London Olympics.
She was also taken by some writing that had been left on the whiteboard in the NPR conference room. "As always, I'm attracted to the absolutely obscure facts," Rekdal said. "On the whiteboard was a list of reasons why someone named Rick should or should not go to Texas."
The Rick in question is NPR editor Rick Holter, who will soon be leaving and moving to Dallas. The reasons were "hilarious," said Rekdal, "but I thought, well, obviously this is not technically news." Later, though, she changed her mind: "I got sort of obsessed with what makes news and what doesn't," she explained.
Rick did, in fact, make it into her poem, as did a piece about science and technology. Listening to a story about phone apps that turn into medical devices, she thought to herself, an app is just "something that's just supposed to just get you through the day," but they often turn into something more — "a major crutch to help you deal with major life decisions. And I thought, should Rick go to Texas? That could actually be an application on an iPhone."
One more story made her cut. Rekdal's line "the brothel / slowly sliding into a sinkhole" was a reference to a piece by host Melissa Block about some buildings across the street from NPR's office that have been moved. "The story is all about that question of what do you save and what do you erase," said Rekdal. "And I find the issue of erasure constantly fascinating. Especially as I hit middle age."
All Things Considered's NewsPoet is produced and edited by Ellen Silva with production assistance from Rose Friedman.
It's time now for our NewsPoet. Each month, we invite a poet to the show to observe the news sausage being made and then write a poem about the day. And this month, we are joined by Paisley Rekdal. Her most recent poetry collection is called "Animal Eye." Welcome to the program.
PAISLEY REKDAL: Thank you.
SIEGEL: You came up with a poem on the fly today. How do you like deadline poetry writing so far?
REKDAL: Well, it's good. It's a little terrifying. This last year, I had a lot of time to write, and I found myself spinning endlessly out of control. So, actually, having a deadline made me far more productive than I've been in about six months.
SIEGEL: OK. You were inspired, it seems, both by some items that are on today's program but also some story ideas from our meeting that didn't make it on the program - seabirds ingesting plastic, Russian floods, rooftop missiles to protect the Olympic Games.
REKDAL: Mm-hmm.
SIEGEL: But you seem to have been most taken by something written on the conference room whiteboard.
REKDAL: Yes. As always, I'm attracted to the absolutely obscure facts. On the whiteboard was a list of reasons why someone named Rick should or should not go to Texas, and they were hilarious. And I thought that it would just be a great found poem, but I thought, well, obviously, this is not technically news. But then I got sort of obsessed with what makes news and what doesn't. And, you know, when I was reading and listening to the story about medical applications turning into devices, I became really interested in this, you know, crossover between something that's supposed to just get you through the day that becomes some sort of major crutch to help you deal with major life decisions - medical and psychological and personal. And I thought, should Rick go to Texas? That actually could be an application on an iPhone.
SIEGEL: OK. Well, with a special shout-out to NPR's Rick Holter, who indeed is leaving NPR to move to Dallas. There's a brothel allusion in the poem. That's actually to Melissa's story about the...
REKDAL: Yes.
SIEGEL: ...block across the street from our offices.
REKDAL: Yes. At first, I didn't think that that was going to be a very interesting story - the idea of moving buildings. But the story is all about that question about what do you save and what do you erase, essentially. And I just find the issue of erasure constantly fascinating, especially as I hit middle age.
SIEGEL: Especially as you hit middle age.
REKDAL: Yeah.
SIEGEL: Why don't you read us the poem?
REKDAL: (Reading) Should Rick go to Texas is a question for the ages, so much we've developed an app for his decision, to ease the agony that may appear ridiculous and yet, small as it is, how much time is spent wavering in uncertainty: The heart more device now than compass, which itself was once an apparatus? If life was an app, we'd call it Sisyphus: Why, when we can control floodwaters and blood, not free ourselves to be what we are: An ice cube melting in a sun-warmed glass, the brothel slowly sliding into a sinkhole?
(Reading) Didn't we realize too many options would make us only smaller increments of time? What choice when we know the end is always the same, any rooftop can hide a missile, and plastic still winds up in the belly of the albatross? It is our decisions that make, not mark, the journey now. Imagine yours erased: What would you save, forget; which shifts of the heart could you begin to follow? Such is the state that Rick will face: its arid, expansive plot. And yet, few hopes remain he'll stay the course. Even with our GPS, he'll manage to get lost.
SIEGEL: Paisley Rekdal, thank you very much for that poem.
REKDAL: Thank you.
SIEGEL: Paisley Rekdal's poem was called "Should Rick Go To Texas?" She has a new book out, not in verse. It's called "Intimate: A Hybrid Memoir."
You're listening to ALL THINGS CONSIDERED from NPR News. Transcript provided by NPR, Copyright NPR.