text:
How ambitious are you with your music career?
Are you actively trying to get to the point where you can make a decent living from it?
Do you think getting to such a point is nylon impossible these days anyway?
Is having the explicit intention to become popular another form of selling out? Do you even think of you musical exploits as your music career?
If you are trying to rise through the ranks, how are you going about it?
zero ambitious
i ended up hating it when i used to make myself rehearse once a week. now i do it whenever i want. the last few years i've only played about 3 gigs per year. and now i actually enjoy it when i do it.hip_young_gunslinger this'd this
oh and when people make music with the intention of becoming popular
the music is ALWAYS awful. no exceptionsgonad, JaguarPirate, and incandenza_ this'd this
Expand on that.
Does that mean all music that is popular right now is - in your opinion - awful? Is the only good popular music popular by accident, or against the intentions of those that created it?
any band i've ever heard who were pushing hard to 'make it' sounded terrible
i don't personally believe all popular music right now is terrible.
this is so wrong
but whatevz
i'd still really like to release something at somepoint
get it reviewed and stuff - i doubt this will ever happen, but would be lovely to do some beautifully deigned and printed packaging fro some incredible album of mine, i don't really want to end up with 500 or so records just littered around he flat
- i don't want to play any gigs again really
I don't think there's much chance of anyone hearing anything I do, but would love it if they did.
stuff like this
basically me pissing about with any instruments i might have lying around, cutting it all up and then sticking it back together, usually ends up as a kind of glichy, mostly unstructured electronica stuff, just got a mic so i can record guitar stuff properly, so any new things i might make will probably have a more organic feel.
i don't take it seriously at all - used to be in a duo which was a bit more serious, would have liked that to have worked out, but really it was fairly similar stuff, a bit niche really. Was a bit hard getting gigs! ha!
You also made this pretty cool video right?
Are you doing more of those at all? I think your music suits that kind of visual quite well.
yeah I did1
that's a track of mine on that as well.
yeah, I'm going to make some more. It took AGES tho! And like the music stuff it's kindof pointless experimentalism, not sure there's an end point to any of it ( which can feel a bit like a massive waste of time (sorry - not in the best of moods at the mo)).
same working method interestingly enough (not really, but I find it interesting ) - like all the little bits are made, and then they just get cut up and loads of effects slammed on them!
^5 on gigs
More effort and hassle than they're worth.Icarus-Smicarus this'd this
Things have begun to pick up in a major way in the past few months. I've been enlisted to provide press / content for a host of festivals - Pleasure Principle, Dimensions, Primavera, Unknown & maybe a few others - mostly through doing interviews. I had a piece published on Clash with Loefah and another on Noisey with Krystal Klear, and off the back of those two (+ a Jackmaster interview I did in NYC + lots of writing I did for a NYC-based publication), the floodgates have truly opened. Material with Ben UFO, Chunky, Mister Saturday Night, Optimo is all waiting to be published, and this weekend I'm speaking to Juan Atkins / Model 500, with a camera crew for the first time. It's daunting. I've also started to get booked for more DJ sets outside of Nottingham, my uni town. sets in York, Exeter and Leeds, so hardly that impressive, but the ball is rolling.
I appreciate it's not literal music-making, but for someone with strong designs on journalism or - ideally - radio, it's starting to happen in a really gratifying way
well done!
You should post in the dance mongrel thread
I think I read some of those bits without even knowing it was you or even knowing you where into much dance music. Good work dude.
my old employer became a bit overzealous with checking my online life
and I've pulled back from DiS recently as a result. but I moved back to London recently, so will definitely start contributing more!
I had a simular semi journo rise haha. I never really liked writing for anyone other than Sonic Router tho cos I pretty much co-founded it so didn't se the point of doign anything anywhere else. Major high was playing Fabric, London, Leeds, Hull, York. Played a festival too, but I don't really like festivals so it doesn't rate as high haha. Never really corted any of it so I'm more than happy.
That's great! I'm glad doors are opening up for you.
So do you have an end goal in mind? Perhaps a regular radio show on a popular network?
And where can we find your stuff online please?
ah cheers! yeah, end goal would be a Benji B / Huw Stephens kinda role. pipe dream though
here's a smattering:
noisey.vice.com/en_uk/blog/krystal-klear-interview // clashmusic.com/features/pleasure-principle-loefah [2013 interviews for Pleasure Principle, plenty more to come]
http://soundcloud.com/szatan [some radio shows and mixes, plus recorded interviews, mostly a year+ old and a bit amateur; the 'dollop interview w/Jackmaster' is what kicked everything off though, worth a listen]
http://beatsperminute.com/author/gabriel-szatan/ [bulk of recent writing for a NYC publication]
''you should be the uk bass version of Nardwaur''
I hope that's the first sentence of your CV, journalistic praise doesn't get much higher.
Did your wisdom tooth agony stop you from getting the Model 500 interview then?
That Interpol interview is also really good.
if I ever get business cards, I know what's going in bold haha
M500 pushed to tomorrow morning fortunately. probably won't end up on camera anymore now, oh well. bricking it but very excited ^_^
thanks - the second one, with Sam, got held indefinitely; it's actually a lot better. I'm vying for it to go live somewhere
cheers for the support man!
So there is a part two?
You can go ahead and PM it to me, I won't tell anyone.
I don't actually know much about most of the music you've covered (except Interpol obvs.), and I've never really cared to either, but I dig your enthusiasm. Keep up the good work.
And good luck tomorrow! Is it also gonna be for beatsperminute?
yeah it should get published soon but if not, fuck it, I'll wing it over for sure
tomorrow is for Dimensions Festival, set in Croatia end of summer, where Model 500 are headlining. first thing for them - a real litmus test!
Not very ambitious at all...
unfortunately I'm now at a stage in my life where I make good money and have too many commitments to be in a position to dedicate myself to it enough to 'make it' (hate that term), and even if I did I know I wouldn't make enough money to support my current life. Read somewhere recently that some members of Grizzly Bear cant even afford healthcare which shows what a dire state alot of musicians are in! Like Chis-Budget above I'd like to do a proper release and tour on holidays from work...few support slots of decent bands maybe..
I think I originally wanted to make something out of it.
But now not really bothered. It's a hobby, maybe a gig here and there at the weekends but I would never drop anything to take it on full time. You have to remember that most of the bands you like now have given a chunk of their life to music and probably the most important chunk. When your band fails, playing music for six years isn't great to have on a CV.
'playing music for six years isn't great to have on a CV'
If you really wanted to DO music 'properly'/dedicate your life to it this is exactly the kind of thing you would never say or think
But unless you are consumed by inspiration
the pursuit for success can become a burden, and so you would start to look at it in such practical and unflattering terms.
I would say if you aren't consumed by inspiration
then you should probably be doing something else instead.
I won't be happy until I've made the best record of all time
That is the only reason I'm still aliveincandenza_ this'd this
It's not the best music ever yet
So I'm afraid not
i think we might have had conversations about the flaw in this thinking before
good luck with it bam!
Force yourself to share it with others
otherwise you'll be forever circling your unfinished work, safe in the knowledge that if it's not good enough then no one will have to know.
Take it from someone who has been sitting on demoes of music for over 5 years now. If you don't put it out there, you'll never have someone tell you that something sounds good. And there is no better way to get your juices flowing than to have someone compliment your work.
People have complimented my stuff
But I know it's not there yet otherwise I could give up the burden of obsessing over writing songs
I'm very ambitious in the sense I want everything I write, record , play live etc to be amazing
and that often holds me back, as I'm never happy with it, so never do anything with it.
On the other hand, as far as it being my primary way of paying the bills, or even just being semi professional, no not ambitious at all, almost the opposite.
'nylon impossible' heh
I'm almost as unambitious as it's possible to be. I'd love it if I ever got something of mine played on national radio, or even if one song got put out on an indie comp, but I've no desire to achieve those things just for the sake of it. I'm very slow at making music and very lazy at jagging it, mainly because I don't feel any urgency about it.
I feel like achieving my pretty low ambitions would be easily possible if I was single-minded enough about it, but if it's going to happen I'd prefer it to happen because I'd made something good rather than through sheer self-belief/bloody-mindedness.
From everything I've ever learnt about the music biz, success is a mixture of talent, hard(ish) work and luck, and isn't as rewarding as it's made out to be. I can't do anything about talent, hard work can do one, and you can't rely on luck, so *ambition* is out the window for me really.
Not at all...
I enjoy messing around making it, and the process of making it into a 'release' and sending emails around & reading reviews is good fun and pretty interesting. Am happy just plopping things out as free downloads. Would be nice to do a physical release at some point, but wouldn't be fussed about making any money from it.
Most of my ambitions are focused elsewhere these days but I'd quite like to play another big festival at some point and do another Radio 1 session.
I don't think there's anything wrong with an expressed intention to be popular - you can only sell out if doing so conflicts with principles you have and it's silly to base your life on other peoples principles.
I think where most bands go wrong is that it's probably better to make a decision that you want to succeed and go all out for it, or decide it doesn't matter and not worry about it. Far too many bands (as my band used to) used to be kind of half-ambitious but never want to do anything that looked ambitious so we just got nowhere. I think it's far better to commit all-in or embrace amateurism.
I think you've hit a nail on the head there
There's a palpable shrugging-of-shoulders attitude in this thread towards pursuing popularity; which is fair enough if that's your attitude towards making music as well.
But if you're really pouring yourself into the music you make, why wouldn't you apply the same attitude towards sharing it with as many people as possible? Is there some stigma around this attitude that stops people from doing so?
I think it's partly the fact that it seems a bit arrogant and showy to start bragging about how good you are and admit you want more.
The reality is that most bands - and I suspect they know this deep down - aren't good enough or individual enough to ever succeed even if they really wanted to. Or perhaps are simply scared of appearing to fail. So there tends to be a lot of suspicion towards anyone who actually aspires for success as it seems vain and preposterous to do so. It's the same stigma that means lots of people play themselves down on CVs and in job interviews but the people who actually sell themselves and apply for things above their station tend to be the ones that quickly get high salaries.
Well, it's a different skill set isn't it?
And it takes a lot of time. Time you might want to out into making stuff.
And a lack of confidence maybe?
Stuff like that.Royter-Hatfood this'd this
Also, re: selling out
A friend of mine made quite a compelling argument that merely writing a song was selling out.
Care to share that argument here?
I've only thought so far as - if you've ever made someone else pay you to hear your music then you've sold out.
- Blackjack_Bauer, rikx, and JaguarPirate this'd this
Yes and no
I think it's about how much you compromise the music you want to make in exchange for success. Loads of bands have had to rewrite albums because their record company wanted 'a hit', and at one extreme you forsake any creative input in exchange for ca$h. I'd call that selling out, but everyone has different degrees of it that they're comfortable with.
My friend's argument was just taking the concept to its logical conclusion - putting your musical ideas into song form is inherently a compromise because it's impossible to do without taking the audience into account, so by 'writing' a song you're compromising your artistic vision.
Think the workings are pretty clear. If you see 'selling out' (or compromising your artistic vision) as a broad spectrum from writing advert jingles at one end to, I don't know, taking out a harsh dissonant noise from a song to make it more palatable to an audience then you can take logical steps to see what the 'purest' form of creativity is. Anything that compromises the 'purity' is selling out to some degree.
It's an interesting thought experiment rather than a ethos (this guy has written loads of songs, obviously).
I do see where he's going. I'd just say that he's outright wrong.
It assumes some muddy jumbles in your head represent pure creativity whereas I'd say the creativity comes when you turn those muddy mixed up jumbles into something with a form and intent. To me creativity is how you bridge the gap between what you want to achieve and what your ability enables you to achieve and the fixes you come up with to stretch your ability. Until you actually try to turn things into a form of expression I don't think any creativity even exists - just a mess of vagueness.
I'd also disagree with the premise that you have to take the audience into account when writing a song. That's definitely not my experience of songwriting.Matt_was_taken, GoatmeatMF, marke, incandenza_, and Teeej this'd this
id agree with you
and put forward the idea that selling out isnt writing music, but showing people the music youve made.
music is you, your idea etc, and once you give it to an audience for either plaudits or money then it could be seen as selling outtheguywithnousername this'd this
Yeah - I definitely think that as soon as you perform music live or sticking things on Soundcloud or even playing to your friends then you're clearly doing things with an audience in mind.
I'd agree that's where the line is.
But the music that's made just for yourself is pretty hypothetical, surely?
I'm sure people have hours and hours of 'ideas' and such stored on their computers that'll never see the light of day (I know I do) but they represent either unfinished songs, and therefore something created with the intention of playing it to an audience, or they're experiments made with the intention of honing your skills so that you can make music for an audience.
The 'I just make music for myself and if anyone else like it, that's a bonus' cliche is essentially a myth. Even if you believe you're not writing for an audience, you are. Even if that audience is you or is entirely abstract, you're still formalising your music to satisfy something other than yourself.
If you did make music purely for yourself and never intended it for an audience, even an abstract hypothetical audience, you wouldn't need to put it into song form - they'd be no need to formalise it or rationalise your ideas.
That's the bit I don't agree with.
When I first started writing songs it was because I had loads of ideas in my head and things I wanted to put into words in some form and songs seemed the best way to do it.
I've got quite a few songs I've written - particularly when I was younger - that are essentially the equivalent of keeping a diary. I'd absolutely hate anyone to see them - and, aside from myself (and you'e really stretching out selling out if you link it to writing something for yourself) there really was no intended audience. The need to formalise and rationalise the ideas was therapeutic and to help me try to understand where my mind was.
Some songwriting is done with audiences in mind but the argument that all of it is is simply not true. In fact, being slightly glib. I'd say I've been to open mics where the music clearly hadn't been written with an audience in mind and it was awful to watch as a result.
But selling out is compromising your artistic intention
If you are making music with the intention of performing it for other people, at what point are you selling out?
No problem.
Just a pet hate of mine when people confuse a hobby with a job.
I don't think anyone here has claimed that they do have a music career
Except for Scrotum. And even that's more music journalism.
Otherwise it's been a universal ''This is more of a hobby than anything else'' response.
Come now. Let him have his fun.
Don't try to confuse the poor fellow with actual facts.
You read the title just fine
But in the rest of the OP I ask if anyone even considers what they're doing a career. And almost no one here does.
it's a pet hate of mine when people call it a hobb
it's not a job, either - unless you're a session musician - it's a dream.
a hobby suggests something you casually do in your spare time, which is pretty insulting considering the importance of it all to those who make music.
really fucks me off when my main reason for existence is reduced to the status of a hobby by some smug dickhead. (sorry pal, just in this instance).
i'm willing to sleep with anyone to get to the top
i would like to make a solid 40 minutes of music I was happy with and put it on a record but just for myself really
also I would like to do some fun free improv type music and get away with spending 10 days going round the country playing in tiny awesome places to about 30 people, that would be ace.skellywager this'd this
I don't think I'd want to do music full time
Even just being in a band I find a bit tiring sometimes. Can't be bothered playing gigs or anything, the fun starts to wear off. Right now I'm at the stage where I just want to record stuff in my bedroom and put it on the internet (but so far I'm too lazy to even do this).
I'd quite to put out a full-length and tour more
on a decent sized indie label, that's the life for medanger this'd this
I'd love to make a living from music.
Nothing fancy. No private jets or anything, just enough to buy a small house and build my own wee studio.
Although, in saying that, I'm not putting all my eggs in that basket.
Instead I'm going into the multi-billion pound industry that is conceptual and foundational mathematics research.
Looks like a unanimous no so far. Is no one here daring to dream the impossible dream?
Wasn't there a thread on here once called ''I think my band is going to be huge?'' where someone claimed their band might actually make it and everyone else in the thread demanded to know who the band was but the person didn't want to say and so everyone else was less than encouraging?
I'd love to be in a band and tour etc
But my lack of musical accomplishment playing anything other than messy & noisy guitar music and singing equally messily and noisily, the lack of friends that want to form a band making that sort of thing, the fact that I don't live anywhere near the radar for any kind of audience/record company (currently in Bath, originally from Shropshire) and the fact that I don't particularly have an ambitious and driven personality means this will never be anything but a pipedream.
Having said that, I'm pretty good at writing pop songs.
So if anybody in the industry is reading and needs a songwriter for hire, hit me up. Maybe I could even write for and end up marrying Taylor Swift.
It's just been a year since I started making music. It's only now that I
started considering doing a professional course. There's so much to learn!
I hate everything I make and end up deleting it.
does that mean I have lots of or no ambition?
I used to do that
now I keep everything and when I go back after a time there's always some little bit of everything that I like. Even if it's like one sound or one second. KEEP IT ALLmarke this'd this
I've been ok recently
I got a new keyboard and an LPD8 and have been doing and saving more recently, it's kicked me into gear a bit having some new toys to play with.
Sometimes what I earlier rejected has come to rescue me in what
I am working with currently. You can always utilise some portions of a song somewhere else. Plus, I think this is all a part of the process where you are trying to, maybe, come up with a sound and are being unable to. Keep searching and best of luck!
Haven't been very ambitious at all for years
and now everything has gone nucking futs and I am excited, terrified and happy all at once. And my ambitions musically have soared.
Congrats on the nucking futs!
Who's your band and what lies on the horizon for you?
the band is called The Travis Waltons
record at mixing/tidy-up stage with a host of unexpectedly awesome cameos from people in other bands, and some of those people also joining us for the live band too.
Just sort of happened as of September and it's going to be nuts! Single we'll put out ourselves, then mini tour, then second single and then hopefully album through a label -one in particular is interested but we'll see.
I don't really care much about whether it makes it, purely because i'll be proud to have my name to the record, but it'd be fucking wonderful if it did alright :)
that's the one :)
although THAT record is the one Dan did on his own before I joined. It's very very good.
It is, Dan's a talented man.
How did you come to join his cause?
been friends since we were 21, met in an open mic night
and have always moved in the same circles, even though i started out doing electronic music (which he doesn't like so much) we always said 'we'll be in a band'. And then when this album came around I saw some genuine space for me and my keyboards to fit with the tracks, like there were bits i could bring something good to. I only like the idea of being in a band if i'm actually necessary if you see what i mean?
I wouldn't mind the recognition / the opportunity to make a bit of money from music
but I'm increasingly not so bothered about a 'career' as such (can't see myself being able to play live any time soon or ever, for example), I just end up making what I end up making, really.
That said, I think I'd quite like to release something on a label.
- Blackjack_Bauer this'd this
I want to make real all the ideas I have/make the best possible realisations of the many songs I've half-written and endlessly mulled over and annotated.
then I want people to hear these songs and feels strong feelings/sensations.
it's like the music is there, and I want people to delve into it and be transported.
like... all the best music I've heard makes life transcendent, in the immediacy and afterwards.
but mostly it's for me. it's a necessity. it's all tied into the fabric of my life, as in I have poured myself into it entirely to the detriment of my mind, my mental health, my life itself. I'd say it's a way of reaching out in a world I feel distant from.
we imported a giant inflatable swan from America
blew it up by hand / mouth then strapped it up with string to the ceiling of the venue. got changed in a run down kitchen, passing guitars forward through the bodies, people stuck on the steps leading to the toilets.
pure noise and sweat. people losing their shit, an old man with a big beard pulling his bobble hat over his eyes then blindly flailing,. his wife helping him back up as/when he hits the floor/... accidentally turning on/off all your pedals// pulling your leads out.. shoes worn on hands, high fiving. no need to even use the mic
sweat dripping from the walls, screaming in the faces of your friends/anyone. latvian work colleagues fist pumping with joy, crowd surfing.
eventually they ripped the swan down and it was hossed around the shoebox for the remainder of the last song... culminating in a blind bundle, people grabbing for the mics, holding each other up like a rugby maul
thats all i want really, but all the time. everynight. proper gigs
bo selectaSCROTUM and batwingcharlie this'd this
Where did that happen? Sounds pretty memorable.
Also pics or gtfo. Safety wink.
Pretty serious
Doing a music degree, when I leave I'd like to do music therapy if I can afford the 2 year full time MA (unlikely), but I'll most probably do some sort of music based community work, perhaps working with a music therapist- I'd specifically like to work with elderly people or adolescents with disabilities. Ideally I'd be self employed. In my spare time I'd like to get involved with sound design for stage, as I'm really getting into theatre, already done sound design for one play which was fun. I'll probably always write songs, but I hate playing gigs/being involved in local music scenes, so it's unlikely that I'll ever do much on that side of things.
Alternatively, Glasgow School of Art do a Masters of Design in Sound for Moving Image which could lead to somewhere interesting, although that's not strictly music.
But yeah, music and caring roles are the only things I'm good at, so a cross between the two is probably most likely. It's hardly headlining Brixton Academy-sized venues, but it's still a music based career.
I would, however, love to have one of my songs pressed onto vinyl at some point in my life
which is something that all my friends, and even my little brother, have managed, and despite the fact I worked for nine years making (admittedly average) music, I still have not managed it. My dream would be for some Numero Group-esque reissues label to release one of my songs on a compilation of early 2000s indie pop in forty years time or something.
I guess I feel like music is one of the most important things in my life
but I feel like I've never given it everything... even when I thought I was I guess deep down I knew I wasn't. Since my last band split I've said to myself that it's all on my shoulders now, and that's actually helped motivate me a lot (my first album - with or without a band - is being mastered as we speak). I just find it harder to motivate myself to play gigs when it's just me.
I'm fairly realistic about my music career; I know i'll probably always need to support myself (and in the future, my family) with a 'proper' job and I don't think I'd be able to make a decent living from it. But I'm only really interested in making music I'm interested in at a given moment. I also think there's something to be said for music create by people who try to juggle all that.
Being able to sell enough records to justify pressing records, book tours, reach a few people etc is the goal. So I guess I'm ambitious enough to try to achieve and maybe sustain that. As ever, I'm pretty clueless as to how to achieve that!
Spend years developing your art and yourself as an artist
I started a band when I was 13/14. We didn't play any gigs for 5 years. Did nothing but develop the music all that time. When we felt the music was good enough, we moved it around a bit online, and our music eventually was found by a guy (with connections) who is now our manager. Recording and publishing contracts have swiftly followed. It may seem like luck, but I believe if the music is good enough then it will eventually happen somehow....
You have to be willing to sacrifice a lot. I personally spent those years (and still do now) thinking about my music far more than anything else.
Unless you are very ambitious, either give up, or rethink your philosophy and work hard.
I must note that I don't come from London or somewhere where there are tons of bands. I come from a farming background in the rural West of Ireland. Of course this atypical background story for an alternative band helped make it more interesting for industry heads too.
My band are readying a debut EP (with another to follow) for release on an independent label which has been our dream label for years (you all know this label, but lets just keep this confidential, because that's not what this post is about). Then we will be making an album for release on a major label.
Apart from all this, you may be picking up the fact that music really takes up my life, and I am possibly a psycopath.
I wish all of you the best in your endeavours.
Good luck to you and all but I don't really get this line:
"Unless you are very ambitious, either give up, or rethink your philosophy and work hard."
Why? Congratulations to you if that's what you want and you're succeeding in your ambitions but people don't have to be ambitious or have any goals for huge success. There's nothing at all wrong with making music for fun instead.
I see what you mean, but I'm talking in terms of music for career, rather than music for fun (remember the title of the thread).
Obviously if you are just doing it for fun and you just happen to be an absolute genius, your cousin posts a video of you online someone you can get noticed and signed up etc. But this is not the formula which a band trying to make a living should follow as it's rare.....
I mean I mainly make music for fun, but it also is my job, and if you want to make it your job, it entails a lot of work (and I enjoy the hard work in question).
I'm just showing my story so musician who are trying to make a career can see the ways which it can happen.
Interesting thread.
With my last band I was fairly ambitious. I think we probably could have been much more popular (though still not enough to go very far) but we were held back by two things:
- my bad guitar playing, which meant we were never tight enough to really be *that* good.
- us all being too old and set in our ways to really go out to lots of gigs and see and get to know other bands like us.
The second one is probably the most important to a band like we were - essentially pedalling the same ATP-inspired guitar sound as so many others - since it's the way you get to do gigs outside London and play in interesting shows. Everyone helps everyone else out and a lot of making some headway is about making a lot of effort to get involved.
I'm sorry, but NYLON IMPOSSIBLE!!
I wish the Adam and Joe 6music show was still around, because that is classic EGGCORN material.
Would be nice one day to graduate from cassette & cd-r releases
and get a few more people interested in my Bandcamp site. Wouldn't mind a collaboration with someone sympathetic either. But that's about as ambitious as I can get at the moment.
I want to release a 12"
to places I want to see it sold. 100 run will be ample I expect. White vinyl, like, 1kg weight or something. Play a few gigs, get out the house. That would all be nice. I'm hampered by a lack of confidence and ability, but I think ability will come on better once I gain the confidence to persevere with an idea instead of dropping it because it sounds too much like something else. I should start not caring and putting some blinkers on and keep playing something over until it has conviction. I'm too old to have blind conviction in myself for no reason - that's the advantage young bands have and why it doesn't matter that they are so unoriginal and uninspired. It's because they believe that they are worth it.
I'm not going to go that far, just far enough to make something I'm proud of.


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Range Networks
Official experiment plan: "Lightweight and Resilient Cellular Networks"
We will operate a light-weight, portable 2.5G cellular network based on OpenBTS software. Our primary interest in this deployment is to gain experience in connections to Ushahidi servers and other open source packages used by the response community. We will also run experiments with RRLP (the query protocol for embedded E911 GPS receivers), handover and GPRS medium-rate data support if conditions allow.
Nuts and Bolts of Range's Stuff
Range OpenBTS cell sites present 2G GSM handsets as SIP clients in an IP network, supporting SMS and telephony. The available interfaces are:
- Telephone Calls
- SIP/RTP VoIP, including use of VoIP providers for PSTN gateway service (ie, calling to and from the "real world")
- SIP-SIMPLE SMS to other GSM/SIP clients and local applications (like sending SMS from one local phone to another)
- mapping of MO-SMS to HTTP POST transactions
- for outbound SMS through bulk gateways (like Clickatel)
- for direct connection of SMS to local applications (like Ushahidi)
- SIP-SIMPLE SMS to PLMN messaging gateways (ie, texting to and from the real world) like Tropo
- RRLP, the protocol used for talking to handset-embedded GPS receivers
- current interface is just an sqlite3 database. If someone want to map that, that would be spiffy.
- short message cell broadcasting (SMSCB)
- current interface is just an sqlite3 database
- GPRS medium-rate data (2.5G)
- handset appears as a NAT client behind the BTS IP address
These units were operated in the DCS1800 band under experimental license WF9XKG.
Official experiment plan: "Crisis Mapping & Communications"
We will operate a crisis mapping and communications solution that provides Wi-Fi access to client computers, tablets and smart phones. This unit can also provide internet backhaul to these clients either via 3G/4G radio or satellite. We will provide a local crisis mapping solution (Ushahidi) accessible to all client devices.
Lastly, we will interface with the Range Networks "Lightweight and Resilieng Cellular Networks" experiment. We will receive SMS messages from cell phones on the cellular network into the Ushahidi crisis map, allowing any cell phone user to create a crisis report via SMS.
Tethr Details
Tethr will be providing 802.11n Wi-Fi in the 2.4GHz range. We plan to have at least one SSID available and possibly two. If we end up with a single SSID it will be "tethr". Current plan is to provide this to a large area either with an omni or sector antenna. Backhaul for this Wi-Fi will be either via 3G HSPA/HDSPA networks (AT&T or T-Mobile), or through BGAN IP satellite network. DHCP addressing for Wi-Fi clients will be a private network on the 172.20.12.0/255.255.255.0 network.
Ushahidi Crisis Mapping
Once connected to the Wi-Fi, devices can then access the Ushahidi crisis map running locally on the Tethr box. Events can be added to the crisis map from a web browser. iOS and Android users can access this map via apps on their devices as well as web browsers. SMS can be used (see below) to send a message directly to Ushahidi which will result in a new event being added to the crisis map.
The Tethr box will utilize a direct SMSC connection using Tropo to send and receive SMS messages from the Range Networks GSM network.
Using Tropo, the Tethr box can also receive incoming calls from the Range Networks GSM network and provide an IVR menu through which new events can be added to the Ushahidi crisis map.
Other Services
Range Networks Central Server
Range Networks will be running a central server on a public IP address with the following services:
- Asterisk - SIP PBX.
- smqueue - SMS store-and-forward server
- subscriber registry - provisioning and authentication database
- Tropo/Prism - speech and messaging application server
This central service will provide PSTN/PLMN interconnection through:
By running this server at a known, stable IP address we greatly simplify the problem of connecting calls and routing message between OpenBTS units in different IP subnets and connecting to the public internet through different backhaul paths.
Tropo Call and SMS Routing
Tropo will be providing routing services for calls and SMS to connect OpenBTS systems to the PSTN and PLMN (ie, the "real world"). A key feature of their service is "NAT-for-phone-numbers". We used this routing system for Burning Man 2011 and RELIEF 12-1 and it has great utility for temporary networks operated without incumbent cooperation. It works like this for outbound calls:
- OpenBTS customer calls a phone number in the real world.
- Tropo pulls a DID from a pool to be used as the caller ID for this call and records the {caller, called, DID} triplet. As long as the triplet is unique, the same DID can be used for many calls by many people.
- Tropo routes the call to the real world using the selected DID as the caller ID.
The triplet recorded in the database allows the remote party to return a call to the caller ID DID. Tropo can then route the call back to the original outbound caller using the recorded triplet.
The same procedure can be applied to SMS.
Connecting Stuff
Connecting OpenBTS SMS
Via Public SMSCs
Public SMSC are a convenient interface for applications that normally process SMS inputs, however the use of outside SMSCs is a security risk in situations where the network cannot be trusted.
Tropo servers in the RELIEF network can provide bi-direcitonal SMS to and from public SMSCs using the techniques described in "Tropo Call and SMS Routing". These text messages will appear to the receive like text messages from any other cellular network and replies will be delivered to the sending handset.
OpenBTS units in the RELIEF network can send text messages via the Clickatel service. These messages appear like normal text messages at the receiving end, but all of them will show the same originating number and there is no reply path.
Direct (non-SMSC) Connections
Avoiding public SMSCs can improve both the reliability and security of SMS applications.
With a little hacking in smqueue, text messages sent to specific numbers can be delivered to applications via HTTP GET methods.
Connection OpenBTS Speech Calls
PSTN Connections
Tropo servers in the RELIEF network can provide PSTN origination and termination using the techniques described in "Tropo Call and SMS Routing".
Link2VoIP & Gafachi
These are commercial VoIP/PSTN gateway providers. These providers can be used for outbound routing of any call but inbound routing will only work for a small set of pre-provisioned handsets.
Local SIP Connections
Normal Speech Calls
Any local SIP endpoint can be assigned an extension for local call routing. If the handset is provisioned with a telephone number, calls can be bi-directional.
Emergency Calls
Emergency calls get special-case routing. These calls can be routed to any SIP endpoint, including an on-site simulated PSAP or TOC.
OpenBTS nodes support RRLP, the protocol used to communicate with GPS receivers in E911-compliant handsets. The information is current just dumped into an sqlite3 database on each BTS unit. Remote access to this information would be simple though a CGI program running in the web server on each unit, but someone would need actually write that in time for the exercise.
Sites of primary interest (stuff we need to connect):
- MedWeb truck: MedWeb server(s), VSAT terminal, one 10W rack-mount OpenBTS unit on push-up mast. This site has public IP addresses.
- Tethr ops center: Tethr server, BGAN terminal, one 1W pole-mount OpenBTS unit on push-up mast.
- Range ops center: BGAN terminal, one 1W pole-mount OpenBTS unit on push-up mast, one 100 mW OpenBTS desktop unit.
- Range central: server at public IP address running Asterisk, sipauthserve, smqueue, Prism and Tethr. This site has public IP addresses.
A BGAN site gets a single public IP address via DHCP and the local subnet is NAT'd behind that address.
Please do not publish the public IP addresses associated with any of these sites.
Sites of lessor interest (stuff we might connect if there's time and interest):
- Lockheed-Martin's COW: various 2G/3G/4G systems plus a SIP switch of some kind. IP addressing unknown.
Traffic Types
- Ushahidi SMS. These are SMS messages to and from Ushahidi servers, entering smqueue as SIP SIMPLE and relayed to Ushahidi via an HTTP short code.
- Medical SMS. These are application-specific SMS messages for MedWeb, entering smqueue as SIP SIMPLE and relayed to MedWeb servers via an HTTP short code.
- Normal SMS. These are handled locally by smqueue and gatewayed to/from the PLMN !by Prism/Tropo/Voxeo?.
- Normal Speech. Speech calls are switched by local Asterisk servers, relayed as needed to Range central and gatewayed to/from the PSTN by Prism/Tropo/Voxeo? or Link2Voip via Range central.
- SOS Speech. Emergency calls are routed to local PAP2 adapters or designated cellphones via a local Asterisk server.
Topology #1: All Together Now
At McMillan Field:
- Tethr ops center
- Range ops center
At God-knows-where:
- MedWeb truck
In San Francisco:
- Range central
In this topology, all of the Tethr and Range equipment is tied into a common subnet (we'll call "McMillan") with AirMax bridges. McMillan, MedWeb and Range central connect through the public internet via satellite.
Ushahidi SMS Routing
Ushahidi SMS at McMillan goes to the local Tethr server via HTTP. MedWeb Ushahidi SMS goes to the Tethr server at Range central via HTTP. These servers sync up whenever they are in contact.
Medical SMS Routing
All medical SMS goes to MedWeb via HTTP to their public IP address.
Normal SMS Routing
All non-short-code SMS gets relayed by local smqueue instances to the smqueue server at Range central.
Normal Speech Routing
All normal speech calls are routed in the local subnet when possible, otherwise relayed to Range central.
SOS Speech Routing
Emergency speech calls are routed to SIP endpoints within the local subnet.
Topology #2: Range Takes a Field Trip to the FOB
At McMillan Field:
- Tethr ops center
At the FOB:
- Range ops center
At God-knows-where:
- MedWeb truck
In San Francisco:
- Range central
In this topology, each site is a different NAT subnet and they all connect through the pubic internet via satellite.
Ushahidi SMS Routing
Ushahidi SMS at Tether ops center goes to the local Tethr server via HTTP. All other Ushahidi SMS goes to the Tethr server at Range central via HTTP. These servers sync up whenever they are in contact.
Medical SMS Routing
All medical SMS goes to MedWeb via HTTP to their public IP address.
Normal SMS Routing
All non-short-code SMS gets relayed by local smqueue instances to the smqueue server at Range central.
Normal Speech Routing
All normal speech calls are routed in the local subnet when possible, otherwise relayed to Range central.
SOS Speech Routing
Emergency speech calls are routed to SIP endpoints within the local subnet.
Actual Event
"The best-laid plans of mice and men..."
What follows is a post-event report on the experiment set described above. Things went pretty well over all.
OpenBTS operators:
- Range Networks supplied the OpenBTS-based GSM basestation equipment.
- Tethr brought their integrated Ushahidi-WiFi? node and a BGAN terminal.
- MedWeb brought an integrated system with embedded GSM basestation functionality, implemented with a Range OpenBTS "OEM kit". They also brought a VSAT van and more BGAN terminals.
With technical assistance from:
- Tropo, who provided routing services for speech calls and text messages to and from the outside world.
The weather reports are important because we spent the entire time outside.
Every day began with a briefing at 0900 where we all reviewed safety notices and each team announced their intended experiments. Every day ended with a "hot wash" where each team summarized the day's activities and had the option to present a brief slide set. On the first two days the hot wash was at 1700. The third day was a half-day with the hot wash at 1200 and most teams leaving Paso Robles immediately afterward. Every day, we needed to clear the area no later than 1800 since that's when the most of the access gates to the base closed. Most of the teams meet for dinner and socializing on the first two nights. (Since Paso Robles is in a very good wine region, and since RELIEF always draws an interesting cross-section of participants, these dinners are not to be missed.)
Day 1
Day 1 was cool and windy with a few periods of heavy rain. The vehicles were filthy by the end of the day from being driven on dusty roads while they were still wet from the rain.
The original plan was to run over as many as three separate satellite backhauls, but our three groups were placed together on the airfield, so we decided to use Medweb's VSAT van for everything. Then we discovered that a nearby (~20 meters) radar was overwhelming and de-sensing the VSAT receiver. We attempted to set up Tethr's BGAN terminal but were unsuccessful in pointing it, so we set up with Medweb's BGAN terminal instead.
On McMillan Airfield
Our main area of activity was at McMillan airfield: the McMillanBTS installation (on the mast), Medweb's satellite truck, and the Range/Tethr solar-powered "operations center", which is a couple of tables a pair of tents.
Rain clouds cleared by sundown on Day 1.
On the Hill Above McMillan
Range deployed another BTS on a nearby hilltop ("HilltopBTS", 1 km away). This was a self-supporting site powered by a 180 W PV panel. HilltopBTS was connected back to the main site at McMillan via a pair of Ubiquity NS5 IP radios. The entire kit for this site, including a solar panel and tools, fit in the back of a station wagon (what actual English speakers call an "estate car").
IP Routing Configuration
Range and Tethr set up a self-contained NAT subnet and backhauled that through Medweb's BGAN terminal (US$5/MB!).
VoIP Routing Configuration
The orange "(*)" logos are Asterisk servers.
The Asterisk inside McMillanBTS was designated as the central switch for the OpenBTS network. We ran a GSM-over-IAX trunk from the McMillanBTS Asterisk to another Range Asterisk server in San Francisco. This saved a lot of bandwidth relative to simple G.711-over-RTP. The key characteristic of this network design is that all of the elements on the local side of the BGAN terminal form a fully functional GSM/WiFi/VoIP/SMS network whether the BGAN link is available or not. Local calls routed locally and SMS was either delivered locally or stored until the backhaul was available. All PSTN calls were run through Tropo via the Range SF Asterisk server. Tropo-SMS integration had a few lingering bugs but was fixed by the end of the day.
Medweb also brought a an integrated package incorporating
- a GSM network-in-a-box based on OpenBTS and the Range RAD1 radio
- a battery and solar charge controller
- an integrated IVR system based on Asterisk and
- other Medweb medical informatics applications.
A key feature of this device is that it translates IVR inputs into formatted text messages that can be stored for later delivery if the satellite backhaul fails. This store-and-forward feature was possible because of the self-contained design of OpenBTS.
(We need a photo of the Medweb box.)
We connected the Medweb box into the Range-Tethr subnet and attempted to forward calls from the McMillanBTS Asterisk to the Medweb IVR Asterisk, but could never get the two Asterisk servers to correctly exchange DTMF/keypress information. (It's hard to do IVR with no keypress events.) We tried a second configuration where the Medweb Asterisk was used as the central switch, forwarding most calls to the McMillanBTS Asterisk, but there was a signaling failure there as well.
By the end of the day, Medweb had also made some changes to the VSAT configuration to allow it to operate in the face of the radar interference.
Lessons Learned
- Always have a backup satellite link, even if it's BGAN.
- BGAN terminals seem to have a significant failure rate. It's good to bring two.
- We need to understand more about how to place and manage VSAT dishes.
- DTMF is not reliable between Asterisk servers, or at least darned tricky to configure. We'll try FreeSwitch next time.
- Shade structures are not "rain structures". They leak a lot.
- Juan, from Synergy Strike Force is an excellent cook.
Day 2
Day 2 was colder, drier and very windy. This slowed us down a little when our hands got too cold to type.
On McMillian Airfield
Less rain, but colder.
Aaron hard at work on receiving SMS messages from OpenBTS using Tropo. We were able to get SMS messages received on the Tethr box into Tropo but in the end were still unable to get those SMS messages posted as crisis reports in Ushahidi.
IP Routing Configuration
Since the Medweb VSAT was now available (and much less expensive than BGAN), we rearranged our IP network to use it for backhaul. To make McMillanBTS visible to the Medweb box, we DMZ'd it through the NAT, exposing it on an IP address in the Medweb subnet.
VoIP Routing Configuration
To support the Medweb experiment, we configured:
- all calls on the Medweb cell to initially go to the Medweb Asterisk,
- the Medweb Asterisk to forward non-IVR calls to the McMillanBTS Asterisk and
- calls on all other cells to go to the McMillanBTS Asterisk.
This was a compromise configuration that allowed Medweb to run its IVR application in their own cell while still routing other outbound calls through the McMillanBTS Asterisk. Inbound calls still went directly from the McMillanBTS Asterisk to the Medweb instance of OpenBTS. To prevent phones on the Medweb cell from constantly re-camping to the other cells, we put a different MNC and MCC on the Medweb cell, used a different IMSI-matching expression for open registration and burned Medweb their own set of SIMs.
Lessons Learned
- Money spent on a heavy-duty shelter is not wasted.
- A NAT firewall router with DMZ support is a really handy thing in a field test kit. You never know when you'll have to hang off someone else's subnet.
- John from STAR-TIDES shared his private stash of Chronic, a local Paso Robles wine. We owe him an equally good bottle of wine to help replenish it.
Day 3
The weather was perfect, but this was just a half-day with the event ending after the final hot wash at noon.
On McMillian Airfield
The Lockheed Martin Stalker UAV. We were supposed to integrate with their GSM payload but they could not fly it on Day 2. They did fly the payload on day 3 (pictured here) but we were unable to get connected to their network to exchange SIP traffic. (We tried bridging via Wifi, but it never really worked.) We could have easily connected these two systems at hermes, on a public IP address, but the whole point of the exercise was to minimize dependence on the satellite backhaul.
On the Hill Above McMillan
We lost IP contact with HilltopBTS for a little while and had to replace its NS5 to restore it. That was the first time we have had an outright failure of an NS5 and we need to investigate. That said, these particular units have been to Burning Man three times so far. Once the IP link was restored, we measured the RSSI from HilltopBTS at -77 dBm at the McMillan site: very strong coverage.
Lessons Learned
- We need more practice at running wifi bridges and should probably just pack an appliance to do it. If Lockheed's COW were closer, we would have just run a cable.
- Spares, spares, spares. Space spent packing spares is not wasted.
- McMillan airfield closes at 1700 on Fridays.
- Always double-check cargo tie-down straps yourself. We lost $1500 worth of PV panels and caused a minor traffic incident on the way home, probably because of an improperly set strap.
- In future deployments at RELIEF, we need to move the two Range OpenBTS sites further apart, or repoint the hilltop sector antenna to cover a more remote part of the camp. One kilometer is not enough distance to make for a meaningful 2-cell test because there is so much coverage overlap, even with short masts in the 1800 band.
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IP network topology
- RELIEF_VoIP.pdf (467.6 KB) - added by dburgess 7 years ago.
- DSCN0315.jpg (38.5 KB) - added by dburgess 7 years ago.
- DSCN0318.jpg (60.1 KB) - added by dburgess 7 years ago.
- DSCN0332.jpg (47.3 KB) - added by dburgess 7 years ago.
- config1.jpg (67.5 KB) - added by dburgess 7 years ago.
- config1V.jpg (42.0 KB) - added by dburgess 7 years ago.
- RELIEFMap.jpg (93.8 KB) - added by dburgess 7 years ago.
- config2.jpg (81.2 KB) - added by dburgess 7 years ago.
- config2V.jpg (55.2 KB) - added by dburgess 7 years ago.
- IMG_1870.JPG (69.1 KB) - added by guest 7 years ago.
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- DSCN0312.jpg (67.8 KB) - added by dburgess 7 years ago.

subset: commoncrawl


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If you're bummed that SETI@home hasn't quite succeeded in pinpointing our friendly extraterrestrial neighbors, National Geographic is offering up another ambitious project you can get involved in at home: surveying the Mongolian region that holds Genghis Khan's tomb.
NatGeo's Valley of the Khans project allows armchair archaeologists to sift through satellite imagery of the region—multispectral shots provided by the GeoEye-1 and Ikonos sattelites—and mark what they think could be ancient roads, rivers, or other anomalies. And that's only one aspect of this high-tech effort.
At the University of California in San Diego, researchers are employing a HIPerSpace (Highly Interactive Parallelized Display Space) wall—seen above—to visualize huge expanses of the Mongolian region, scaling into the billions of pixels.
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You can find out more and join the Field Expedition team for the Valley of the Khans project over on National Geographic's site. And if hunching over your laptop wasn't exactly how you envisioned your swashbuckling archeological adventure, you can always compliment your pajamas with an Indiana Jones fedora. [National Geographic's Valley of the Khans Project]


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Monday, 15 March 2010
Sawako Furuno's new spring range
The perfect spring time helmet! Sawako's new range has something for everyone. Go all out girly and pretty with the Hanabi or Ribbon or the more urban femininity of the Ran or Chandelier.
See the full range on our helmets page, scroll down to the bottom. Let geeky helmets be a thing of the past....
6 comments:
- Michelle Shopped said...
i just totally love your helmets! they're going on my wish list when i upgrade from the one i have now -- how can someone NOT wear a helmet when they're so pretty and kind of motocross cool?
- 15 March 2010 at 17:46
- Caz said...
Glad you like them Michelle, get in touch when your upgrade is due - finally helmet buying can be fun!
- 16 March 2010 at 21:08
- Lady Vélo said...
This has seriously got me thinking about getting a new helmet already - what fabulous designs!
- 18 March 2010 at 13:56
- Fiona said...
I wish the Canadian Dollar was on par with the UK Pound as that would make ordering so much easier for me. I think I may have to sneak an order in though anyways next week before they are all sold out.
- 18 March 2010 at 16:51
- Liz said...
is was published on my birthday - for which I got a new Pashley sonnet Bliss - I had looked at her previous range but they were all sold out so bought a relatively cheap helmet so I could ride straight away - I wish these had arrived slightly earlier then I could have got one - I cant really justify buying one now since I have a perfectly functional helmet... I will get saving!
- 22 March 2010 at 10:30
- Anne said...
What beautiful pictures. I took some nice ones of decorated bikes at York Cycle Rally the other year. Where can I post them?
- 23 March 2010 at 10:25


text: Printed in entirety - paid subscription site Hearing The Message of 'Can I Live?' By Kathryn Jean Lopez, National Review Online June 18, 2005 Rapper and actor Nick Cannon has just completed an interesting hat trick. He landed a show on MTV this fall, ''Nick Cannon Presents Wild 'N Out.'' In the April GQ Magazine he told guys ''Five ways to sex up your style.'' In cyberspace, he's been celebrated on ''pro-life'' e-mail lists. That combination doesn't exactly happen everyday. Cannon's new music video ''Can I Live?'' tells a tale that's very different from the gangsta's paradise of dirty dancing and booty calls. In the song, the hip-hop pop star tells his life story - or at least the beginning of it and his mom's close call with abortion. Cannon, 24, appears in the video as a ghost and sings, ''Mommy, I don't like this clinic. Hopefully you'll make the right decision, and don't go through with the knife decision.'' A scared teen, his mother was on a gurney - that's how close the call was - but got up, and, at least in the video version, ran. He points out to his mother something she got on some level, or she wouldn't have gotten up: ''That's a life inside you, look at your tummy. What is becoming Ma, I am Oprah bound. You can tell he's a star from the Ultrasound.'' The video images tell a stirring, gripping story regardless of where you fall in the abortion debate. Abortion is an intimately, intensely emotional decision, full of fear, doubt and pain. According to typical hype, the mother views what she's aborting as little more than a clump of cells. But consider one young mother who, recently discussing her late-term abortion told a reporter, ''For the love of God, the last thing I wanted to do was to murder my child.'' Don't try to tell me she thought she was making a casual lifestyle choice to eliminate a parasite. But the Cannon song also speaks to something beyond the abortion debate. There's always conversation now and again - at least in my dorky circles - about how conservatives can have a voice in Hollywood. ''Can they?'' is the question. Groups start up. Books are written. Just this month The Hollywood Reporter published a piece titled ''Right fights back'' about Republicans in Hollywood who are producing political documentaries - to counter the likes of ''Fahrenheit 9/11,'' and make clear there are many more non-Alec Baldwin-type voices in Tinseltown than you might think (there are, by the way). But, you know what? As much as a political junkie like me might enjoy a conservative alternative to a Michael Moore screed beating him at the box office, I'm not holding my breath. But that's all right because Nick Cannon has found the answer. And it's much better than a well-meaning ideologue's low-budget documentary. ''Can I Live?'' speaks to something very fundamental (whether intentionally or not). Nick Cannon wanted to send a supportive word out to scared teen mothers, a grateful word to those ''strong women'' who choose life. He didn't have to start a ''Rappers for Life.'' He didn't have to be heavy handed or compose a political rant. He's just offering an honest story, as he does what he does. That's how you send a message people will listen to. I love to retell the story of Senator Rick Santorum, R-Pa., who spent a late evening in 1998 in an empty Senate chambers talking about partial-birth abortion, even though he knew President Clinton was going to veto the prohibition bill he was arguing for. It was a wasted night so far as he knew - until he heard from a couple who were, in fact, flipping with the remote, hit C-SPAN, and, to make a long story short: She didn't have the abortion she had scheduled, unbeknownst to her boyfriend, the next day. They have a child today and are grateful to the Pennsylvania senator for their child. On an online message board off Cannon's Web site (www.ncannon.com - where you can watch the video, by the way), one woman wrote, ''I have spent years trying to make the same point you made in minutes.'' Nick Cannon will never know how many late-night debates or changes of heart he'll prompt when someone is surfing and runs into ''Can I Live?'' but at least one mother is already grateful to Nick Cannon. With a scheduled abortion a few days away, she called the Rachel's Vineyard crisis-pregnancy hotline. After many conversations, a counselor sent her a link to the video. According to Theresa Burke, founder of the group, the mother's reaction was, ''Well, now I know I can't do it.'' It's a tough road, but this mother, relays Burke, saw ''the gift and value of human life'' this ''survivor'' sings about in ''Can I Live?'' Instead of the abortion, she went for an ultrasound, and saw her twins. Maybe Cannon will have a cameo in their video 24 years from now. Kathryn Lopez is the editor of National Review Online (www.nationalreview.com). Newspaper Enterprise Assn.


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Angelina Jolie & Brad Pitt: 'Blood & Honey' Paris Premiere!
Angelina Jolie and Brad Pitt arrive at the premiere of In the Land of Blood and Honey on Thursday (February 16) in Paris, France.
The 36-year-old actress stepped out in a Ralph & Russo dress with Lorraine Schwartz earrings and Jimmy Choo shoes, while Brad, 48, suited up in Gucci.
"I wanted people across the world to watch this movie and say, 'That is a family like mine, that is a mother like me.' So when they see a headline that says a bomb went off in Aleppo [in Syria] they think of the characters in this film and they think they are related to them and they maybe feel that much more invested," Angelina recently told the Associated Press about the drama.
"This film has taught me to love film again because I see what film can do … and I am re-inspired because I was not feeling very inspired as an actress. I was feeling very disheartened," she added.
10+ pictures inside of Angelina Jolie and Brad Pitt at the Blood and Honey Paris premiere…


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Week 43 - Worst School Subject. What was your worst or least favorite subject in school and why?
If I had to pick one, I'd say Art was my worst subject. I'm not terribly artistic in the classic sense. I do all right with Photography, but in school, Art was drawing and painting and such. Oh, and in 8th Grade, Mr. Trisko's Art class was largely jewelry making. Trisko and his family have a jewelry business in the area, and make very unique rings and such, so naturally he wanted to teach some of that. It wasn't my strong suit.
As far as my least favorite, that might have to be Math, at least it became my least favorite subject in high school. That was due to hitting some roadblocks, and to having other things on my mind that were more interesting than Math. About that time I was noticing curves rather than plotting them.
This and all other articles on this blog are © copyright 2011 by Daniel G. Dillman


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Seven Deaths Confirmed in Arkansas
Authorities have now confirmed seven deaths in Arkansas after a severe storm
< Syria
Aug 27, 2013 09:39
Category: General News
Category: General News
Medal of Honor
An Army sergeant from Spokane has been given the Medal of Honor by the president. Staff Sgt. Ty Carter risked his life to save an injured soldier and gave first aid during an intense fight in Afghanistan where eight soldiers died.


text: Bovine Warming April 3, 2013 03:36 AM Tweet If you must choose between placing fans over feed lanes or freestalls, place them over the freestall beds to encourage cows to lay down. TAGS: Marketing, Overseas December 18, 2014 By Jim Dickrell Dairy Herd Management Dairy Editor Email Prioritize cow cooling efforts It's the beginning of summer and the living is easy. Unless, of course, you're a cow. High milk production plus even moderate temperatures (in the 70°s) equal the beginning of heat stress, says Jim Spain, a dairy specialist at the University of Missouri. If you are limited in the amount of cow cooling you can offer, Spain offers the following priorities: Bonus Content En Espanol, More on cooling En Espanol Hotter Than You Think Calves Get Heat Stressed Too If you can do cooling in no other place, at least do so in the holding pen—and every time cows come through when the temperature-humidity index exceeds 73. That will ensure cows will be cooled at least twice daily (three times if you milk that often). The holding pen is also where cows can experience the most heat stress each day as they crowd together and share their body heat. Leave freestall fans running overnight. Cows reach peak core body temperatures between 8 p.m. and 2 a.m. "It takes four hours of fan cooling time to bring those temperatures down. So why do we turn fans off atnight?" Spain asks. There's a belief that if you place fans at the feedbunk, cows will stand at the bunk and eat more. Spain says cows will stand at the bunk longer under fans, especially if the freestalls don't have fans. But research shows that they won't eat any more. All they're doing is standing more, which only leads to more lameness. If you have to prioritize where you place fans, such as a choice between the feed line and freestall beds, place the fans over the beds. The reason: Cows spend—or should spend—more time resting in the freestalls than standing at the feedbunk. Position fans so that they blow air over the entire cow. If you simply place fans down the center of the freestalls in head-to-head rows, you'll only cool the cows' heads and lose the cooling effect on the cows' bodies. The cow's large body mass is where you need to direct cooling. Cool your close-up cows because they are especially susceptible to heat stress. "The fetus produces substantial heat due to the very high metabolism rate associated with fetal tissue growth and development," Spain says. One of the best ways to cool the close-up cows is to run them into the holding pen during down times. It often has the best fans on the farm, and if the pen isn't crowded, can provide substantial relief. At Missouri, researchers sprinkled close-up cows twice a day—7 a.m. and 7 p.m.—until their skins were wet. Then they ran fans for at least an hour. Milk production was 5 lb. per day higher for the first six weeks after calving for these cooled cows. Other research has shown cooled close-up cows breed back sooner with fewer services per conception. If you can't soak cows or provide fans, try to at least provide shade for dry cows, Spain adds. Finally, calves that are in hutches need shade cloth over the hutches. Research at Missouri shows temperatures in a hutch can be 10° higher on the inner surface of the hutch if it is not protected by shade. "Rectal temperatures and respiration rates of the calves in the shaded hutches was significantly lower," he says. Back to news


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Funds That Support the Women's Center
Above: UIS students join the global "One Billion Rising" to stop violence against women and girls.
Make a Difference for Students Through Your Support for the Women's Center
Your gifts to the Women's Center will achieve so much for women (and men) at UIS, as we work with women to celebrate their artistic, academic, and personal achievements. The Women's Center helps to promote a campus climate that is supportive, healthy, and respectful of all people through events such as Take Back the Night, presentations by nationally known speakers, and the Clotheline Project. These events help to inspire confidence and empower students, and especially women, who might confront these issues disproportionately, to stand firm and together against anything that threatens their success at school. Please join us in this important endeavor by making a gift to one of the funds below.
Women's Center Fund
This fund provides unrestricted support for Women's Center activities.
Women's Friendship Garden Fund
We offer this garden for everyone to visit as a place of beauty and peace. Each fall, in the garden, we also honor the awardees of the Naomi B. Lynn Award for Outstanding Contributions to Women at UIS.
Women's Center Student Focus Fund
Your gifts to this fund will "open the universe" to students who attend national women's conferences. Conferences for women can change our student's lives for years to come. You can support this and other special initiatives for women at UIS by giving to this fund.
We welcome your inquiries. Please feel free to contact us.


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CHESAPEAKE, VA — To concentrate its resources on clinical and medical services, the Chesapeake Hospital Authority in Chesapeake, VA, sold its Lifestyle Center to the YMCA of South Hampton Roads. The center's staff will remain with the fitness center. Members can switch to a YMCA membership or continue the hospital membership rates through June 2007.
The Lifestyle Center had been open to those 13 and older, but the new YMCA will be open to adults and children of all ages. At a meeting with hospital and YMCA officials, adult members raised concerns about having an increased number of children in the facility, but Terri Reedy of the Y said the Y's ownership of the facility will offer many future benefits to the members such as $300,000 in new equipment and an outdoor pool.


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Courtesy of DC Comics, here's an exclusive sneak peek at next week's issue of Deathstroke, which features the interstellar mercenary Lobo and ex-X-Force illustrator Rob Liefeld on artwork and scripts. This issue hits stores on Wednesday, July 11 — here's the rundown:
Deathstroke #11
Written by: Rob Liefeld
Art by: Rob Liefeld
Cover by: Rob Liefeld
DEATHSTROKE, ZEALOT and the OMEGAS vs. LOBO! DEATHSTROKE races to find the crashed STARPOINT cruiser and the ship's WORLD BREAKER protocol!


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This is the second module in the Solar Dynamic Observatory (SDO) Project Suite curriculum. Each activity is self-directed by students or student teams and uses online videos, data from the SDO satellite and hands-on activities to explore, research... (View More) and build knowledge about how and why studying the Sun's electromagnetic energy and magnetic fields help scientists better understand the Sun's activity and space weather. Students build knowledge and vocabulary, apply or demonstrate learning through real world connections and create resources to use in investigations. Both a teacher and student guide is included with sequential instructions and embedded links to the needed videos, tutorials and internet resources. In Activity 2A: The Sun and the EM Spectrum students learn how SDO uses key parts of the Sun's electromagnetic spectrum (EMS) to research regions of the Sun, create an interactive foldable to describe the different wavebands of the EMS, then use real-time SDO image data and the Helioviewer online tool to explore the Sun's regional activity. Tutorials for using Helioviewer and making the EMS foldable are included. Activity 2B: Solar activity and Magnetism has students use information in online videos and slide presentations to demonstrate concepts of magnetism and the relationship between the Sun's variable magnetic fields and sunspots. Activity 3B: Solar Research in Action! Build a Spectroscope has students create a spectroscope to observe the different wavebands of visible light, demonstrate how the Sun emits varying EMS energies, and explain how this information helps scientists understand the composition and activity of both our nearest star, and other stars in the universe. A computer for student-teams and a connection to the Internet are needed to complete this module. See related and supplementary resources for link to full curriculum. The appendix includes an alignment to the Next Generation Science Standards (NGSS). (View Less)
Materials Cost: $5 - $10 per group of students
This is a lesson about magnetism and solar flares. Learners will evaluate real solar data and images in order to calculate the energy and magnetic strength of a solar flare moving away from the Sun as a coronal mass ejection. This is Activity 3 in... (View More) the Exploring Magnetism in Solar Flares teachers guide. (View Less)
Materials Cost: Free
This is an activity about the properties and characteristics of Earth's magnetic field as shown through magnetometer data and its 3D vector nature. This resource builds understanding of conceptual tools such as the addition of vectors and... (View More) interpreting contour maps displaying magnetic signature data. Learners will make several paper 3D vector addition models, watch podcasts on how to analyze magnetometer data, and employ 3D vector plots to create a model of the 3D magnetic field in the location of the magnetometer closest to their town. This is a multi-step activity with corresponding worksheets for each step. The activity uses data from the THEMIS (Time History of Events and Macroscale Interactions during Substorms) GEONS magnetometer, and requires the use of a computer with internet access and speakers, 2-inch polystyrene balls and bamboo skewers. This is activity 16 from Exploring Magnetism: Earth's Magnetic Personality. (View Less)
Materials Cost: $1 - $5 per group of students
This is an activity about Earth's magnetic field. Learners will construct a soda bottle magnetometer, collect data, and analyze the results to detect magnetic storm events. Ideally, learners should collect data for at least a month. If several... (View More) months are available for data collection, this is ideal. This is the first activity as part of the iMAGiNETICspace: Where Imagination, Magnetism, and Space Collide educator's guide. Instructions for downloading the iBook educator's guide and the associated Transmedia book student guide are available at the resource link. (View Less)


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Create/Manage a PPC Campaign
Budget ₹600-1500 INR
Need enquiry and sales
15 frilansare har i genomsnitt lagt bud på ₹5694 för detta jobb
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March 16, 2009
CAMBRIDGE, Mass. – Following a strong performance at the MIT Men's Volleyball Invitational, outside hitter David Thomas was voted the North East Collegiate Volleyball Association (NECVA) New England Division Rookie of the Week. The honor is the first for the Engineers since the 2007 season.
Thomas opened the weekend with four kills against Bard College and then tacked on seven kills, a .462 hitting percentage, and two blocks versus the College of Mount Saint Vincent. The Carlsbad, Calif. native compiled 10 kills and a. 444 hitting performance in two games against Hilbert College before closing the tournament with four kills, two digs, and two blocks in a sweep of Lasell College.


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Welcome to Apple Tree Bath
Ling welcomes you to her Victorian period home in the centre of Bath - a World Heritage City with Roman roots, a medieval abbey and stunning Georgian architecture. Located in the Cotswolds, an Area of Outstanding Natural Beauty.
Apple Tree is a 5 minute stroll to the city centre and a 10 minute level walk from the train station. We offer complimentary off-site permit parking in front of the house in a quiet residential location.
All rooms are individually themed with an elegant blend of English and Asian artwork where East meets West, fresh cotton bedlinen and modern facilities.
We offer you a friendly, personal service in a tranquil and homely atmosphere. Children above 11 years of age are welcome.
Apple Tree Bath offers
- Five-Star B&B accommodation
- En-suite facilities in all rooms
- Complimentary high speed fibre optic broadband
- Choice of full English breakfast or continental breakfast buffet with vegetarian options
- Hospitality trays
- White Company toiletries
- Flat screen WiFi LED TV
- Hair dryer and ironing facilities in all rooms
- Two friendly cats
Nearby locations within a 5-10 minute stroll
- Bath Rugby and Cricket Grounds
- Kennet and Avon Canal
- Parks & River trips
- Holburne Museum
- Skyline Walk


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Apr 11 2007
Otep Setlist at Palladium Ballroom, Dallas, TX, USA
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Palladium Ballroom, Dallas, TX, United States
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- Otep Jake's Sports Cafe, Lubbock, TX - Apr 7, 2007 Apr 07 2007
- Otep Cain's Ballroom, Tulsa, OK - Apr 9, 2007 Apr 09 2007
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Saying the official release is planned for tomorrow, Mojang now offers a preview version 1.2 of Minecraft, the indie game everyone digs so much. Word is: "Full change log will be posted tomorrow, but it's basically all the snapshots since Minecraft 1.1 packed into one :)." They also announce they have hired the four main developers of the bukkit community-based Minecraft server implementation to develop the official Minecraft API. Word is:
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Ryan Earl Lashley, 32, of Somerton died November 23, 2013. He was born in Wheeling, WV on October 24, 1981 to Cynthia (Foster) McCormick and the late Randall E. Lashley.
Ryan was employed by the American Energy Corporation at the Century Mine and was a member of the VFW.
In addition to his father, he was preceded in death by his maternal grandmother, Geraldine Foster; paternal grandmother, Dee Lashley; and paternal grandfather, Robert Lashley.
He is survived by his mother and step-father, Cynthia and Clarence McCormick of Salesville; sister, Jennifer Eddy of Barnesville; two step-sisters: Karla (Jerry) Kerns of Salesville and Jessica (Kenny) Leek of Barnesville; grandfather, Tom Foster of Barnesville; six aunts: Becky (Gerry) Shaffer of Quaker City, Robin (Allen) Roe of Old Washington, Rhonda (Gary) Moore of Zanesville, Rita Clark of Barnesville, Renee (Scott) Moore of Barnesville and RaeAnn (Jeff) Shepherd of Barnesville; four uncles: James Foster of Barnesville, Mike (Pam) Reeves of Barnesville, Rusty Lashley of Barnesville and Rollin "Charlie" Lashley of Barnesville; niece, Alyssa Eddy of Barnesville; nephew, Luke Eddy of Barnesville; step-niece, Abbi Kerns; step-nephew, Jake Leek; and several cousins.
Visitation will be held on Friday, November 29, 2013 from 4-8 PM at Campbell-Plumly-Milburn Funeral Home, 319 N. Chestnut St., Barnesville, Ohio. The service will be held on Saturday, November 30, 2013 at 1 PM. Burial will follow in Crestview Cemetery in Barnesville, Ohio. Condolences online at http://www.campbellplumlymilburnfuneralhome.com/.
Ryan Earl Lashley
Ryan Earl Lashley, 32, of Somerton died November 23, 2013. He was born in Wheeling, WV on October 24, 1981 to Cynthia (Foster) McCormick and the late Randall E. Lashley.


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Exhibition Catalogs
Manifest Destiny Catalog
Members: $9.00 / Non-Members: $10.00
Product Description:
Andra Samelson: Cosmologies is on view July 20 – November 3, 2013. Using both celestial and Buddhist imagery in her work, Andra Samelson explores the inseparability of the physical and spiritual aspects of the universe. Working with paint, pins, and paper dots, she creates ephemeral constellations in her large-scale wall drawings and paintings. Her floor installations are interactive. Their continuously changing reflections offer metaphorical experience of connection with the cosmos. The exhibition also includes Samelson's recent prints and works on paper.
This 24-page catalogue includes an introduction by LUMA Director Pamela Ambrose, an essay by Lilly Wei, 15 illustrations, the artist's selected biography, and an exhibition checklist.
Andra Samelson is originally from Denver, Colorado, and currently lives and works in both New York City and Delhi, NY. She holds a Bachelor of Arts degree from Sarah Lawrence College and is a recipient of fellowships from the New York Foundation for the Arts, the Corporation of Yaddo, and the Virginia Center for the Creative Arts. Her work has been exhibited in galleries and museums throughout the United States and Europe.
Lilly Wei is a New York-based independent curator and critic who has contributed to many publications in the United States and abroad. She has written regularly for Art in America since 1982 and is a contributing editor at ARTnews and Art Asia Pacific. Wei received her M.A. in art history from Columbia University, New York, NY.


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A blog by one of the volunteer reviewers for Geocaching.com. It's about geocaching and the review process -- what it takes to get your new caches listed on the world's most popular geocaching web site. ©Copyright 2012 by K.Braband. All rights reserved
Monday, September 04, 2006
"Vacation" caches
One of the recurring reasons for someone's new submitted geocache to not receive approval is that the owner does not live in the area of the cache. This circumstance falls under the so-called vacation cache guideline, which Geocaching.com frowns on because these caches are often difficult for the owner to maintain. However, exceptions can be made if the owner states -- either in a note to the reviewer or in the description on on their cache page -- how they will be able to maintain this cache. The most common exceptions are when the owner has a relative who lives near the cache who will provide maintenance, or if the owner regularly gets back to the area, say at least once a month or so.
2 comments:
- WindChill said...
Any idea how many of these folks place the cache then wait till they are home to submit it? When this happens, do you try to contact someone locally to retrieve the container?
- 8:18 AM, September 05, 2006
- IowaAdmin said...
I don't keep stats on that, so I'm just estimating -- probably around 2/3 post the cache when they get home. In the past I have not tried to contact a local geocacher to retrieve the cache because the person who placed it ususually has some connection to that area, such as a relative or friends who live nearby. However, they don't always arrange cache maintenance with those people ahead of time, or at least they don't post a note to the reviewer to explain that they did. Most (and I emphasize "most") of the owners of vacation caches seem to understand the reasoning behind the guideline and agree to make arrangements with a local to either take ownership or to provide maintenance of their cache.
- 7:27 PM, September 05, 2006


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Janefran11 on Family Tree Circles
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Rzeczycki, Teraykowski-Vilnius, Poland 1898
I am looking for family of Jozef Rzeczycki of Vilnius (Wilno),Wilenska. Which was Polish territory in late eighteen hundreds, now it is Lithuania.Have read that there are many people of this name in modern day Vilnius.
His mother was of the Teraykowski family. They were all killed by the Russians around 1910, my grandfather escaped in the back of a hay wagon across the German border and came on to New England.
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When it comes to harnessing the potential of the Internet of Things to drive government efficiency and improve service delivery, it's still early days for federal agencies. This is both a challenge, but also an incredible opportunity. Because many federal agencies have expansive, complex and often 'legacy' assets to manage, monitoring and maintenance can be costly and ineffective. Connected devices and sensors—combined with Predictive Asset Maintenance and Smart Asset Monitoring—can quickly change the dynamics, yielding measurable and lasting results. Sensors, the data they generate, and analytics offer a more complete, informed and effective real-time assessment for agency IT leaders. Proven, long-term ROI includes reducing asset downtime, lowering operating costs, increasing efficiency and accuracy, and improving security and safety. Agency leaders who act now to strategically implement digital initiatives that include IoT-enabled sensors and devices will not only improve bottom-line results, but enhance the overall quality and effectiveness of citizen service delivery.
Federal agencies are still in the nascent stages of realizing the benefits and ROI yielded by the Internet of Things—not yet fully acknowledging the high-yield potential of digital transformation and the low-hanging fruit of IoT deliverables and devices. This is especially true when it comes to the emergence of sensor monitoring. By failing to fully grasp the enormous potential of IoT-enabled sensors, agencies risk missing the boat on the stream of tangible, measurable operational and strategic benefits that data-rich sensors yield.
The need for agencies to pursue a sensor-driven IoT strategy is clear: a recent survey revealed only 26 percent of public service organizations are currently using sensor data to monitor and react to situations and anticipate issues. This suggests significant potential for innovation and growth. Moreover, end-results are compelling: increased asset availability and productivity, reduced key asset downtime, and decreased mission costs. Specifically, asset maintenance using IoT can save up to 12 percent over scheduled repairs, reduce overall maintenance costs up to 30 percent and eliminate breakdowns up to 70 percent. Furthermore, operational efficiency programs, such as predictive maintenance projects, can reduce the cost of maintaining equipment by up to 25 percent. The ROI opportunities for budget-conscious agencies are enhanced by the act that sensors are becoming smaller, more sophisticated, and cheaper—as evidenced by the cost of internet-connected sensors falling more than 50 percent in the past decade.
Strategic implementation of systematic data collection and analytics derived from sensors in the area of asset monitoring and management at federal agencies can result in long-term ROI. Taking this critical step can fundamentally transform government efficiency and effectiveness by improving mission operations, amplifying the quality of citizen services, and delivering public service for the future.
The area of Smart Asset Monitoring through IoT-enabled sensors should become a digital priority to rapidly accelerate to the next level of government efficiency. Proactive leaders are moving now to strategically implement operational models around sensor integration to prolong asset life, reduce asset costs, prevent breakdowns, accelerate responses, and above all enhance the quality and speed of service delivery to citizens.