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Myth Busters: Stevie Ray Vaughan's Massive Tone
habanero04 adicionou um tópico em Instrução e TécnicaOkay, Stevie Ray Vaughan's tone was massive. There's no myth there. But an entire industry has practically grown up around assisting players in replicating that monster of a sound, and I'd like to invest an installment of Myth Busters to look at what you can achieve in this realm, and what you can't. As with most legendary players, the ingredients of SRV's sound can be broken down into three categories: guitars, amps, and pedals. In his case, this represents a descending order of the intensity with which his gear is analyzed. Let's take one chunk at a time, analyze some of the little myths that surround them, and see where it gets us. SRV played several guitars throughout his career, but far and away his favorite and the most played was the one he called "Number One," which was purchased in the mid 1970s at Ray Hennig's Heart of Texas Music Store in Austin, Texas. This guitar is often described as being a 1959 Fender Stratocaster with a slab rosewood fingerboard, a reference that has helped to give Strats of this vintage an extra cache on the collector's market. Even though Vaughan himself referred to it as such on occasions, both the neck and body of this famous battered Stratocaster were from 1962, and were dated as such in the neck pocket and on the end of the neck respectively, as testified to by long-time SRV guitar tech Rene Martinez in occasional interviews. The pickups themselves, however, were indeed dated 1959, although whether they were replacements or just a stock set that Fender was late in taking off the shelf to join up with the '62 neck and body is not entirely clear. Does the guitar's precise vintage matter? Not a whole lot. Regardless of SRV's connection a 1959 Stratocaster retains a certain collector's appeal because it demarks the first year of the rosewood fingerboard, but so-called "slab" rosewood fingerboards (thicker boards, with a flat bottom, rather than the thinner "veneer" boards that followed) were still being used into 1962 — and Fender neck profiles varied quite a bit anyway — so Strats from 1959 and 1962 might not be radically different, from the average player's perspective. In any case, "Number One" was far from original, and if not for its SRV associations would have become the type of vintage guitar that collector's turn their noses up at. Vaughan preferred Dunlop jumbo frets on his guitars, and this Strat had been refretted with them so many times (due to the extreme use it experienced) that the upper reaches of the fingerboard were migrating from the original 7 1/4" to a flatter 9" radius (as measured and reported by luthier and writer Dan Erlewine in The Guitar Player Repair Guide). This is another alteration that would send a collector running, but the flatter radius actually would have made it easier to bend strings without choking out on the curve of the vintage-spec board. Much is made, too, of the left-handed vibrato tailpiece that was fitted to "Number One" in Vaughan's early ownership of the guitar, and the fact that this replicated the action of the right handed vibrato tailpiece on the Stratocaster's played by Jimi Hendrix, who was much admired by Vaughan. The modification certainly makes for a slightly different feeling vibrato unit, but we have it on good authority that this change was actually more random than calculated. It's Rene Martinez again who tells us that, in fact, that the left-handed vibrato was the only one in stock when the original needed to be replaced. Also, the black three-ply pickguard — with reflective stickers — was definitely a replacement, although prior to the recording of the Texas Flood album SRV was pictured with his "Number One" Strat still with its original white pickguard. It's also worth noting that yet another black replacement 'guard, a full new set of gold-plated hardware, and a replacement neck were all installed on "Number One" around 1990, the neck in particular being just too worn out to be refretted yet again. A lot is also made of the fact that SRV used very large strings, usually gauged .013 to .058, and certainly bigger strings do transmit a bigger signal through the pickups. Note, however, that Jimi Hendrix used a relatively thin .009 set, but he didn't sound small by any standards. Also, Vaughan tuned down a half-step to Eb, and lessening the strings' tension to that extent equates to a playing feel of a string gauge lighter, roughly speaking. Was there magic in Stevie Ray Vaughan's Number One Stratocaster? He clearly loved it himself, but he sounded just as much like SRV when it still had the white pickguard and right-handed vibrato in the late '70s, or the entirely new neck in 1990. So maybe it was his amp(s) that made all the difference? In the early days, Vaughan played mostly '60s or early '70s Fender tube amps, usually two at a time, and rotated between Vibroverbs, Twin Reverbs, and Super Reverbs. At some point he also acquired a 100-watt Marshall Town & Country 2x12 combo and often subbed that into the pair. You can already hear a big sound brewing, but however you mix and match the amplifier contingent he always sounded like Stevie Ray Vaughan. His legendary amp excesses set in during the recording of In Step, when — according to amp tech Cesar Diaz — as many as 32 amps were up and running around the studio, used in varying combinations on different tracks. Among these, in addition to those already listed, were a 150-watt Dumble Steel String Singer, a vintage 1959 Fender tweed Bassman, and a pair of massive 200-watt Marshal Major stacks. Fans have gone to great lengths to obtain that huge and driven — yet perplexingly clear — SRV amp tone, and I know plenty who have constructed some complex and expensive multi-amp rigs to do so, but before you set out to nail that In Step tone for yourself, consider the possible permutations of those 32 amps … and the fact that no one really knows anymore which ones, or how many, were used on which tracks. There are plenty of reports of Vaughan being invited up on stage with other players and using their guitar and single amp, and ripping it up — and sounding just like SRV in the process. Vaughan also dabbled with a range of pedals, but his mainstay for overdrive was an Ibanez Tube Screamer. The original TS-808 Tube Screamer has become a major collector's item, and a good one can fetch upwards of $500 on the vintage market. Thanks to SRV? Not necessarily … having started with the desirable but less precious TS-9, he was using an entirely mundane TS-10 by the end of his career, and you can pick up an original example of that one for under $100 if you keep your eyes peeled. They are decent sounding overdrive pedals, but no great mystery or rarity, and many players feel the template has been far surpassed by plenty of newer makes and models anyway. Add it all up, and however massive SRV's tone — and it undeniably was — this cornucopia of elements and ingredients shows you there's no clear gear-based magic to the formula. The man played hard and he played well, and a big, big sound came out. http://www2.gibson.com/News-Lifestyle/Features/en-us/myth-busters-stevie-ray.aspx


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What is your Favorite sound you have created? How did you create it and where did you use it?
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For me, it was the sound for a blob that gives birth to a kind of planet, to hard to explain lol http://www.youtube.com/watch?v=Ig01-wSIxUY
starts at 0:22s
Used lemons, eggs, a jar of marmalade, and a couple of synths Used pitch shifting and a bit of maxxBass
Nice work, cool short. – AzimuthAudio May 20 '10 at 22:04
Beautiful work! – Jay Jennings♦ May 20 '10 at 22:25
Wow, very nice. I want to see (and hear) more. – E-Sound May 20 '10 at 23:07
Fantastic short, must have been a great project to work on! And you did a great job on the sound design! – Colin Hunter May 21 '10 at 6:10
Beautyful ! and sound work is clear and nothin is standing out.. How long do u working to make such thing? – Pretaeperon May 23 '10 at 9:59
I robbed the end piece of a metal shelving unit from a skip at University. Got some great stuff out of it that still has a place of pride in my library. It was shaken and hit and dropped. Large bendy piece of metal + endless reverb rocks!
Used many times over the years in a couple of short films. Used it last year in a show called Hero:108 and my wife sometimes nicks it for her composition work.
Three years ago I worked on post of a doc series about climbing through Anctartica. The camera operator waited for hours to record some images of a fracture of the Perito Moreno glacier. Just when he was leaving empty-handed a great fracture happend and he could record a great shot. The members of the team were so excited at the moment that they couldn´t control themshelves from clapping their hands and shouting to congratulate the cameraman for the great work.
After editing this shot was part of a very quiet sequence and director proposed to remove the reaction of the team from the original soundrack. So we started from scratch to recreate a believable fracture using creakings of branches, snow avalanches sounds, down-pitched splashes and a large amount of ambiance layers. The sound we got was very similar to the original.


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Vatican releases pope's Mass details, motto
Photo: DYN
FILE - In this Dec. 12, 2008 file photo, Argentina's President Cristina Fernandez, left, shakes hands with Buenos Aires' archbishop Jorge Mario Bergoglio in Lujan, Argentina. Bergoglio, who chose the name of Francis, was chosen as the 266th pontiff of the Roman Catholic Church on March 13, 2013. Pope Francis has honed his leadership skills in one of the most difficult classrooms on the planet: Argentina, where politics has long been a blood sport practiced only by the brave. (AP Photo/DyN, File)


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IMF Survey Vol.29, No.9 May 2000
- Eighth Managing Director: Köhler assumes office with promise to tackle issues of priority for world economy
- Unanimity on need for market reform: Moscow conference participants discuss investment climate and growth prospects
- Press briefing: Exchange rate regime depends on circumstances, underlying policy support, IMF study finds
- ABCDE conference: New strategy emphasizes country ownership, comprehensive framework for development
- Impact of new legislation: Jakarta seminar on decentralization draws lessons from experiences of other countries
- IMF Executive Board reviews Pakistan's: misreporting, remedial steps
- Fiscal Affairs Department study: VATs are appropriate for wide range of economies, but certain preconditions are vital for success
- Available on the web
- Improved growth performance: After escaping effects of Asian crisis, Philippines must avoid return to past boom-bust cycles
- Selected IMF rates
- Recent publications
- Available on the web
Unanimity on need for market reform: Moscow conference participants discuss investment climate and growth prospects
- International Monetary Fund. External Relations Dept.
- Published Date:
- January 2000
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kotaconduct necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 47 diseños de 24 diseñadores freelance.
CloudOne, CloudOne Apps, CloudOne MyBiz, CloudOne Health, CloudOne Billing
CloudOne Apps develops apps for small business/startups
CloudOne MyBiz is a set of online business applications that help small businesses/startups manage various aspects of their business (i.e. assets, orders, etc. )
CloudOne Health is a set of online business applications that help small independent medical practices.
CloudOne Billing is an online billing tool.
We are targetting small businesses and startups. Most of our clients are technically savvy and expect good quality designs, very Web 2.0/professional.
* The logo itself should be simple yet professional.
* Readable scaled up or down
* Final design should be vector based (SVG and/or Adobe Illustrator)
* Version of logo for each brand name with the following requirements:
We would need the text CloudOne to be one color ( the text Apps should be same color ) while the text for each of the other brands should be of a different color, for example:
If the text for CloudOne is red
CloudOne Apps - is all red
CloudOne MyBiz - CloudOne is red, MyBiz is blue
CloudOne Health - CloudOne is red, Health is green
CloudOne Billing - CloudOne is red, Billing is yellow
The colors used above are just an example.
* For each of the brands please have one pic that evokes the notion of that brand (not restricted to the below)
For example:
CloudOne MyBiz could have a garage pic right before the CloudOne text
CloudOne Health could have a hospital or syringe pic right before the CloudOne text
CloudOne Billing could have a receipt pic right bfore the CloudOne text
* Version of logo with just the CloudOne
* Version of CloudOne Apps Banner that covers the top of a webpage
* .gif or .jpeg version of the pics
* Full Color Version
* Should be able to print logo on business cards and such
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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MeritBadgeDotOrg:Scout-related Templates
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A lot of members have mentioned that you'd like to know how to use the Adjustment Brush tool in Lightroom, so I thought I'd put together a tutorial using skin smoothing and an eye pop as examples. I've used Lightroom 3 for this tutorial, but the same process can be used with the Adjustment Brush in Lightroom 2. And keep in mind that there are many applications for this tool; I'm only using skin smoothing and an eye pop as examples of how to actually use the Adjustment Brush.
Okay, so let's get started!
I'm going to be working with the following photo during this tutorial; this is the SOOC version:
The Adjustment Brush is an awesome tool that you can use to make local edits to photo qualities including exposure, brightness, saturation, contrast, and others. Prior to using the Adjustment Brush to make such local changes, I generally make the global changes I'm going to make to my photo. So, in this photo, I've already made the following adjustments:
- fixed exposure
- corrected white balance
- used Spot Removal tool to get rid of stray hair and to get rid of large black area in bokeh
- increased brightness, contrast, clarity, vibrance, and saturation
- cropped
Now I'm ready to do some editing with the Adjustment Brush!
The two things I want to do with the Adjustment Brush here are: 1) even out my daughter's skin a little bit, and 2) brighten her eyes just a touch.
To open the Adjustment Brush tool, you can either press the letter k or select it from the tool panel below your histogram. You can actually press k from anywhere in Lightroom, and it will pull up the Adjustment Brush in the Develop module, even if you're in a different module at the time. You can also press k again to close the Adjustment Brush.
One of the first things I do whenever I open the Adjustment Brush is make sure that the Auto Mask option is checked. Auto masking attempts to sense the edges of whatever it is in your photo that you're painting in order to help you paint only inside your intended area.
When you first open the Adjustment Brush, you'll see a drop-down menu to the right of the word 'Effect' with a variety of qualities you can alter on your image. You can select one of those options or you can start adjusting the various sliders on your own; if you adjust more than one slider, the Effect option will change to 'Custom.'
Let's start with smoothing out the skin in this photo. To even out skin, I can simply adjust the Clarity slider or I can select either Clarity or Soften Skin from the drop-down Effects menu. With a little bit of tweaking, they all get me the result I'm after. Note, though, that if I select the Soften Skin option, the Clarity slider defaults to -100. I generally smooth skin in Lightroom by selecting the Soften Skin option; so, I select that option, and I'm ready to start painting.
When you're using the Adjustment Brush, you can move the sliders any way you want prior to painting, and then you can adjust them to your liking once you've finished painting your intended area, as long as your brush for that particular area is active.
When I move my cursor onto my image, my brush appears. I can adjust the size of my brush with the
I don't want to use a huge brush when I'm painting over skin because I feel like it increases my chances of painting outside my intended area. And even though I have Auto Mask checked, it's not foolproof; Lightroom doesn't intuitively know what you're attempting to paint if you're using a brush so big that it's making you paint all over your subject's hair, clothes, and such. So, I opt for a relatively small brush. The + sign inside my brush indicates that I'm painting on an effect; a – sign is used when you're erasing one.
I start painting by holding my left-click down and moving my brush around in a small, circular motion until the area I want to paint is covered. Depending on the quality you're changing in your photo, you'll start to see your image change as you paint. Once I feel like I'm done painting, I press the letter o to make sure I've covered everything I need to cover. This brings up a color overlay that shows where I've painted.
The overlay is a huge help in seeing where you need to paint more and where you may need to erase. My painting looks pretty good to me for the most part. The Auto Mask option has helped keep most of my brush strokes on her skin and not on her eyes, hair, and clothes. The one area that did get painted over that shouldn't have is her lips, so I'm going to erase that.
I'm going to keep my overlay on while I'm erasing so that I can see exactly where I've erased. To erase brush strokes, go down to the Brush panel, and click Erase. You adjust the size of your eraser the same ways you adjust the size of your brush. I see the – sign in my brush, so I know I'm ready to start erasing around her lips. I choose a much smaller brush since it's a very small area I need to erase, and I start moving my eraser around the same way I moved my brush around. With the overlay still on, I can see that my painting and erasing are just the way I want them now.
Now I press the o key again to remove the overlay so that I can see the effect as I adjust the slider. I prefer skin to look fairly natural and not too smooth in my photos, so I never leave my clarity at -100 when I smooth skin. I play around with the slider each time I smooth skin, but I generally end up around -55. For this particular photo, however, I played around with the slider and decided I was happy with the clarity around -80.
One thing that really helps me decide whether I'm happy with the brush adjustments I've made is this small, rectangular button I've circled below:
That little button allows you to turn your adjustments on and off so that you can see the effect(s) they have on your photo. I rely on it a lot to help me see whether I've taken an adjustment too far or whether I can push it a little further.
Now, let's say you want to continue to use the Adjustment Brush but you're done with one type of adjustment. No problem! With the Adjustment Brush still open, you simply click on New right underneath the brush icon, and go through the same process with your new effect. In my example, I want to brighten her eyes just a little bit, so I select New and then choose Brightness for my effect. I almost always zoom into 100% whenever I'm making an adjustment on eyes in a photo so that I can paint easier since they're a smaller area.
Before I start painting, I press the o key again to get my overlay so that I can see exactly where I've painted. Once I'm happy with my painting, I remove the overlay so that I can see how the effect changes the eyes in my image. At this point, I zoom back out to normal size so that I can see how the changes to the eyes affect the look of my image as a whole.
Even though I chose Brightness as my initial effect, I tend to move several sliders when I'm working with eyes. For this example, I've bumped exposure and brightness a bit, and I've increased the saturation, clarity, and sharpness as well. Once again, I rely quite a bit on the button that turns my adjustments on and off to see how they affect my photo and to make sure I maintain the type of editing I want to achieve. After making those changes, here's where I'm at:
The changes I made with the Adjustment Brush were not major, which is good because my intention was to effect minor changes and enhance my image in subtle ways.
Some additional Adjustment Brush tips:
- Anytime you want to return to the default setting for something, you can double-click on the slider label, and it will reset. For example, if I increase the size of my brush too much and want to return to the default, I simply double-click on the word 'Size' in the Brush panel, and it resets to its default value.
- If you press Shift while holding the o key, you can go through various overlay colors.
- You can see where your brushes are by pressing the h key. Small circles – 'pins' – will appear where you have initiated brushes. Your active pin is denoted by a black center. If you want to make adjustments to a particular brush, you first need to make it the active one by selecting it. Your pins will automatically go away as you're painting so that you have a clearer picture of where you're making brush strokes. You can hide your pins by pressing the h key again.
- Pressing the Reset button at the bottom of the Adjustment Brush panel will clear out all of your brushes.
- If you only want to clear a certain brush, make all of your brushes visible by pressing the h key, and select the brush you want to clear. Once the brush is selected/active, simply press delete, and only that selected/active brush is cleared.
Here's a final comparison of my SOOC and my edited version:
Thanks so much for reading! I hope this was helpful! Have fun playing around with the Lightroom Adjustment Brush…it's an amazing tool!


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LONDON, Feb 4 (Reuters) - Twice major champion Sandy Lyle is hoping world number one Rory McIlroy's decision to switch golf clubs does not result in the same sort of "kamikaze dive" in form that David Duval suffered when he made a similar move.
Duval appeared to have the world at his feet when he was flying high at the top of the rankings in 1999 and won the British Open two years later.
The American, like 23-year-old Northern Irishman McIlroy, also agreed a switch to Nike clubs and Lyle said that was the moment which sparked a sudden decline he was never able to reverse.
"That move hurt the momentum of David's career," the 1985 British Open champion and 1988 U.S. Masters winner told Reuters in an interview. "He wasn't driving the ball well which put the pressure on his putting and that in turn put pressure on him making cuts.
"David then started on a horrible spiral of missing cuts. It could be that all stemmed from his problems with his new driver and it could be the same thing for Rory now.
"Rory's momentum was very good last year but it can be very dangerous to change clubs," added Lyle, referring to the world number one's five worldwide wins in 2012 and his money-list victories on both sides of the Atlantic.
"David never got out of his spiral. He definitely took a huge kamikaze dive and never really got it back."
Last month McIlroy put pen to paper on a 10-year contract, that according to media reports is worth around $250 million, to swap from Titleist to Nike clubs and suffered an instant setback by missing the cut at the Abu Dhabi Championship.
Co-incidentally, the 54-year-old Lyle has just signed an agreement to use Bridgestone Golf clubs and balls on the senior circuit and his game is also a work in progress as he tries to get used to his new equipment.
"It's the driver and the fairway woods that are the biggest issues," said the Scot. "Rory will adapt to the irons pretty quickly although he will have teething problems.
"It only takes a little chink in the armour in this game for it to start becoming a worry."
Lyle, who won the European order of merit three times and featured in five Ryder Cup teams, said he could remember looking on with interest when Duval's problems started.
"David used to have two Nike representatives who were basically carrying 30 or 40 different drivers out on to the practice range under their arms," he explained.
"In those days you didn't have the click-in shafts and the ability to tighten something here or alter some weight there.
"If you had a driver with a certain shaft and it didn't feel right, the rep would just be handing out different clubs all the time. I don't think Rory will go down the same road as David, he's too young and too fit and swinging the club too well.
"It might just be that he goes through a bit of a hiccup for a few months before he gets back into full flow but the Duval story is not something you should just wipe away and not pay attention to."
Lyle was one of Europe's 'big-five' in the 1980s along with fellow Britons Nick Faldo and Ian Woosnam, Spain's Seve Ballesteros and Bernhard Langer of Germany.
While arch-rival Faldo had to work like a trojan to perfect the swing that won him six majors, Lyle had a sublime natural gift for golf.
McIlroy once hit a 40-yard drive at the age of two and, like Lyle, was viewed as a special talent from his earliest years.
"Rory plays with a freedom that is nice to see," the Scot added. "He doesn't get too tight or too frustrated like someone like Sergio Garcia.
"I'm watching his progress with interest. To have already won two majors, and he should have won the Masters in 2011 as well, by his age is great to see." (Editing by Tom Pilcher)


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Quran Audio - Sheikh Mahir Al Muayqali
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Complete Quran recitation audio of Sheikh Mahir Al Muaiqely. No further download needed after purchasing the full upgrade. Also supports background audio and remote events.
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Unfortunately our borrowed time with PayPal has finally run out. We had a good run, but after 4 years, we're the latest victims on their war against internet fun.
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What a beautiful way to show off a pre-Malaise Cadillac's broad expanses of sheet metal. Stripped down to bare metal, it gleams in a way that the most brilliant GM colors never could.
To be honest, though, the loose wire brushing could have been done better. Cadillacs of this era are icons of the zenith of American capitalistic glory. They demand order. As such, a neat pattern of Spirit of St. Louis-esque swirls would have been more appropriate for this car.
Photo credit: Curtis Joe Walker


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text: Honestly, I'm not counting on anyone ever buying a print out of my Instacanv.as gallery, but hey, you never know who might desire pictures of Hawaii, delicious food, average gardening, and fat cats adorning their walls. I must say though that I love the idea of being able to turn Instagram photos into pieces of art with the click of a button. And there are some incredible galleries out there with killer images by Zak Noyle, Tino Valdez, and many others. BTW, if you happen to come across a great Metallica gallery, please do let me know. \m/


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Aaaaannnnnd here we are with Part 3 of my interview with Pixar Story Artist Matthew Luhn.
You can find Part 1 of Matthew's interview here. And Part 2 here.
Do you have your own kind of process of how you think through a sequence?
But I've gotten better at it. When I get my script, I pretty much just let it sink in a little bit. Just kind of think about it. It's really an 80% thinking and 20% drawing kind of thing. I don't want to just sit there and hope that my doodles might turn into a sequence.
Lately what I like to do is, from the sequence I just start thinking of those 'key moments'. I kind of think of them like 'beat boards' and I develop thumbnails from those shots or those moments in that sequence that I know that I want to be there.
I sometimes find that when I just start at the very beginning and go straight ahead, I start wasting time doing A's and B's and getting into the details. Because I know when I get to the end I'll go, "Oh great. Everything else I did at the beginning, I've changed my mind on." Then I have to go and change it.
So if I just get those key moments down, I kind of use those at the 'tent poles' to putting up the circus tent sort of thing. Then I can start putting in those little in-between moments to string it all together.
What's your favorite kind of sequence to work on?
Probably comedy and character based stuff. That's what I usually get too. I'll get the 'idea-guy-comedy-problem-solving' stuff.
I've gotten better at where I've told myself that I want to keep versatile, so I'll take on action based sequences once in a while. But my heart really is with the funny stuff. And they know that.
What's your best piece of advice for people who dream of being story artists in feature animation?
I would say if you're in high school and you're young, I know that you're passionate about getting right into story but to just remember that those basic life drawing, draftsmanship kind of classes are really good for you.
And they will pay off even if they may seem boring at first. Being able to do that and being able to transfer those images inside your head onto paper as best you can.
I would also say doing improv helps out a lot with idea development. Being able to come up with ideas with limitations.
And then the other thing I would say is the more you actually storyboard, the better you're going to get at it. The easiest thing to do to get better is to just go on the internet and go to one of those free scripts websites and print out just a couple of pages of a movie script and board it out.
Don't just copy what was already done in the movie. Do your own version. You'll learn a lot from that.
Watch movies and freeze frame through shots and sketch them up on paper. Listen to the commentary of why the DP made the decisions they did with the shots. That'll help out.
And also the biggest thing is just being in an environment with other story artists, especially ones that have more experience than you do. You will learn from them.
There's only so much you can do sitting in a room by yourself storyboarding. You need to be around other people who know what they're doing and who do it well. That's where you really learn.
That's why it's great when you're able to take a class at university or college and have someone who's experienced at storyboarding as your teacher. Cause you're going to learn.
What should you have in place before applying to a big studio? Do you think you should start with television and work up to feature? Or do you think people can get right in?
Well, I've seen people get pulled in, even in the last couple of years, right out of college.
But I think that every different studio has a different type of 'sensibility' of how they make movies. During the time those great Disney movies were being made, there was also the Warner Bros. Studio. And they were making these irreverent, offensive cartoons for their time compared to the happy fairy tale Disney stuff. It was just a different kind of sensibility.
And we're back!
Here's Part 2 of the interview I did with Pixar Story Artist Matthew Luhn.
You can find Part 1 of Matthew's interview here.
So I animated a couple of the army men shots on Toy Story and it was very difficult. But the great thing about the experience was that in the room right next door was the story department. It was made up of only 5 storyboard artists and their Head of Story, the late Joe Ranft.
That was the very first time I saw people actually drawing and creating story at a studio. At The Simpsons as a character layout animator, you just get a storyboard handed to you at your desk. Then you'd get a cassette tape with the audio of the actors so you get their inflections into your acting. But I never saw people sitting down and figuring out the story.
Even at The Simpsons, they have a script first and then the storyboard artists (like most TV shows) just go directly from the script to drawing the storyboards.
But what I was seeing at PIXAR was that there was no script. It was like an improv show with cartoons. Basically people were coming up with ideas, drawing them up as gags and that was inspiring sequence ideas. Then the sequence ideas would end up inspiring and making the decisions of what the story structure was going to be.
I totally remember the very first pitch I saw which was the opening for Toy Story in storyboards with Joe Ranft pitching it. And I was just like, "I really want to do this."
At the same time when I'm doing animation and learning how to animate on the computer, the Head of Animation was Pete Doctor. We became good friends.
Then John Lasseter was the other guy teaching us how to animate Luxo, because you had to do a Luxo the Lamp jumping animation test. John would totally step you through it, showing you how to animate it.
This was a different time. This was when John drove a beat up Honda and he would sleep at the studio a lot.
So I became friends with all these guys and not just at work, but after work. Then one day I confronted Joe and said, "I really want to do story. Can you give me any things to do, any advice?"
Joe was always a very nice, big uncle or older brother type who always wanted to help you out, kind of personality. So he started giving me little gag assignments and little sequence scenarios to work on when I had free time. I'd show him and he'd tell me what he thought and help me out. As I started to fall more and more in love with story, I was not so interested in the animation part anymore.
Then what happened was, Disney decided this 'crazy CG animated film'…who was gonna watch this? The story's not a fairy tale, there's no musical, there's no "I want" song, it's CG, so we're going to have to rethink this.
So I remember getting called into John's office, and John saying "Matthew I'm really sorry, but we're having to let the animators go because we don't really know if we're going to be making this movie."
I could sense from John that he was really sad, that this was possibly not going to get made. He said he would call us all back in four months to let us know. I knew that this was pretty normal at animation companies and things like this happen.
So I meandered over to ILM for a little bit and worked as an animator to pay off some bills. Then after that I was like, "You know, I really want to do story." My options for working in animation companies were ILM and PIXAR, and that's it.
But I started figuring out there were a few little commercial animation studios like Wild Brain and Colossal Pictures. And I started working as a freelance artist for these places.
I went in and said I want to do storyboards and gag development. They thought I'd been doing this for a long time, but I hadn't. So the first couple of freelance jobs I did for them, they didn't even pay me for because they said I "did them wrong".
But the great thing is there was this great guy who was a director and he said, "Let me show you what we're looking for in gags. Let me show you a good way to come up with this stuff."
And I found that it was very similar to when you do improv. The way you come up with ideas is just a matter of giving yourself a little structure, some limitations and to allow yourself to be spontaneous. At that time and still today, I do a lot of improv.
For about two years, I did freelance story stuff for these companies.
Then PIXAR called me back in that four month time to hire me back as animator. I said, "I really want to be a story guy." So they said, "Okay, if a storyboard job opening becomes available we'll let you know."
Hey, look! I'm here!
Trust me, it was worth the wait.
Because I have one awesome interview for you. Remember the (sold out) Masterclass coming up in Vancouver with Pixar artists Matthew Luhn and Andrew Gordon?
Well, I got to talk to Matthew Luhn (yes, I feel your envy) and here's the first part of that interview.
Before we get started, what would you like to tell us about the VanArts Masterclass in Vancouver?
Well it's really fun for me to be able to do these classes. I love inspiring people about story and how to come up with ideas.
Some people wonder, "How in the world can you talk for that long and keep people entertained and stuff?" I do a lot of hands on stuff when I teach these classes. I do a lot of exercises like story development and idea development exercises where I give people assignments in class to do.
Basically I go over why we tell stories, how we tell stories, how to create characters for stories, character art and all that stuff. And how to start from the very beginning if you have an idea for a movie.
Then we move into how you develop that idea into a script. Then how you take that script and turn it into visual storytelling and storyboarding.
It's a very full day of "if you want to make a movie, this is how you do it."
It's also for people who do storyboarding for a living. Or for people who are in college and doing storyboarding. Or even if you're not a storyboard artist, because everyone uses story in some form or another.
So whether you want to create better video games with story and character, whether you want to create better toys that have a story behind them and have good character development, this is who my class pertains to. People who want to create good stories and characters.
I basically share my experiences of working as an animator/storyboard/story artist on 9 PIXAR films, an animator on the The Simpsons, and my other experiences working in the animation industry.
Awesome. So let's start with some background information. How did you get started in the animation business and how did you end up at PIXAR?
I was really lucky to have a dad who was totally into animation and drawing cartoons and loved everything Disney. A total artist. But he did not get to do animation for a living. He ended up working and later taking over the family toy stores 'Jeffrey's Toys', in San Francisco. That's our family business. Which is still pretty awesome.
My dad owned toy stores, my granddad owned toy stores, my great-granddad owned toy stores so it's been going on for a while. And my plan was that I was just going to work in the toy store because everyone in our family worked in the them. It was like being part of 'the mob'.
Like many artists, I started getting hooked on cartoons and drawing in kindergarten. It was in high school when I was like, "I really want to do animation". I didn't know what job or how l would do it, but I really wanted to do it.
Then I found out about Cal Arts through my art teacher who had a nephew working in the animation industry. He suggested to me, this naïve 16 year old kid, that I should call up Cal Arts, ask for a brochure and get a tour to check the place out.
I did that and fortunately I was smart enough to realize that okay, I'm only 6 hours away from this school so this is my best option. In 1989, it was really the only option to attend an animation program in California. Every university has an animation program now, but back then it wasn't that way.
But I did know that it was super hard to get accepted into this school. So I pretty much spent my junior and senior year of high school just focused on putting together a good portfolio. Also my art teacher had an 8mm camera which you could shoot animation on. He let me borrow it for two years and I was able to shoot flip books, do claymation and stop motion stuff.
So by the time I applied at Cal Arts, I had about five minutes of different animation samples to show. That's what really got me accepted into the school. I think they saw that I was very ambitious. I mean, I showed up in a shirt and tie in a school where everyone had purple dyed hair. I had never been to an art school before and didn't know what to expect.
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I have an actual post in the works, but here's a little note of interest for you Vancouver artists.
It's pretty neat and you better hurry because at the time of this writing, it's 75% sold out!
So get cracking.
VanArts is proud to present a Masterclass in Animation & Story Development with instructors Story Artist Matthew Luhn, and Animator Andrew Gordon, both from Pixar Animation Studios!
This exceptional 2-day event offers participants a rare and exciting opportunity to learn from the industry's top talent. This class has toured the world, with this being one of only two North American stops in 2010.
Pixar Animation Artists Masterclass website link and phone number:
http://www.vanarts.com/pixar-vancouver [Update: Link is now disabled]
1-800-396-2787 toll-free
Price: $499 CDN
Online ticket purchase link:
https://register.beanstream.com/scripts/registration.asp?form=852 [Update: Link is now disabled]
Event location:
Fletcher Challenge Theater – Simon Fraser University
515 West Hastings St., in downtown Vancouver
Event schedule/dates/times (this is a 2-day event):
Day 1: September 24th, 9am-5pm
Day 2: September 25th, 9am-5pm
Told you it was cool.
You know what's even cooler?
I'm doing an interview with Pixar story artist Matthew Luhn for the blog!
It won't be up for a little while and the event could very well be sold out by then, but it will still be awesome. We'll talk about his career, his work at Pixar and get some details about the Masterclass he'll be doing at VanArts on September 25th.
Very stoked!
UPDATE Aug. 10th: Well, I haven't got that new post finished. And now I'm off to Montreal. It may have to wait till I get back. Au revoir mes amis!
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Remember me?
I used to write a blog about storyboarding. Well okay, I still do… just not lately.
*slaps wrist*
And I've been stressing about starting up again because it's been so long. As in…the first post back better be a GOOD ONE.
So I'm going to write a crappy one just to take the edge off, if that's okay.
Rest assured I am very much alive and well.
I've just been suffering from a case of post-storyboard-contract "Lazy-ass-itis".
I ended my Kid vs Kat contract at the end of May. *whew*
And survived.
I went to Hawaii at the beginning of June.
Sweet, sweet Hawaii. *sigh*
Then home and relaxed some more. (That's about when the "Lazy-ass-itis" kicked in.)
I turned down some work. (See above.)
I saw 'Toy Story 3'. Twice.
Loved it. *sniff*
Posted by Comments Off on Just Make It Look Good
Thank goodness May is here. Because April was emotionally draining.
I was looking forward to April ending because of all the 'death stuff', then on the morning of the 30th (the last day of the month) I received an email with more sad news.
My ex-boss and friend of many years had succumbed to cancer and passed away at the age of 59.
I burst into tears. And cried all day.
But I don't want to write another post about death (one was enough don't ya think?). So I'd rather tell you the good stuff about my friend and one great art lesson he taught me 'way back when'.
As I've mentioned before on the blog, I used to be a graphic designer in my twenties (remember…I'm old). I worked at a small studio out of college for a year or two, then tried to go the freelancing route at 22. A bit risky. But I was still living at home so the timing was good.
Through a mutual connection, I met Steve Buist who was looking for a little extra help around his small graphic design studio. He took a chance on me and I did some work for him off and on for another two years or so.
Then he offered me a full time position. I took it and worked at D-Zign S.A.B. for the next six years until I left to pursue animation with Steve's blessing.
Back then, the studio was just me, Steve, another guy named LP and Steve's wonderful wife Cheryl. Steve was a boss who wasn't a 'boss'. His clients loved him. His suppliers loved him.
He loved his job, he loved his family and he loved cars.
Anyone would be lucky to work for a guy like Steve. We were a little family in that studio.
I saw his three girls grow up. We knew what was going on in each others lives. We drank a lot at our little Christmas parties.
Now, this was a time when a graphic designer didn't mean 'someone with 3 months of training and a MacBook'.
When I started, it was markers, paste-ups, wax machines, rubber cement thinner, x-acto knives, T-squares, Letraset and stat cameras (Google it). Half of the supplies could cause some serious health issues or cut the end of your finger off! Those were the days, baby.
Everything was done by hand. It rocked.
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I hope this post isn't too much of a downer. But it might be.
Because it's a little off-subject and might not have the comic snark you're used to if you come here often. If you are new (hi!), just know this isn't the norm and I will get back to the business of boards eventually. I'm still in Kid vs Kat vs Karen mode.
But here it goes anyway.
His funeral was yesterday but I didn't go because I had to work and I didn't really know him.
But I was thinking about him. Because I witnessed the last moments of his life.


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After implementing a special alphabet section for our new Russian course we received many requests frhttp://blog.busuu.com/learn-to-speak-russian-for-free-with-busuu-com/om our users to offer the same for all the 7 languages we offer.
Here we go – we have now implemented the alphabet in our Spanish, French, German, Italian, Portuguese and English courses as well!
Click on any letter, and you will hear its pronunciation and see an example of its usage within a word.
You can enter the alphabet section by clicking on the new tab "Alphabet" within in each language area:
We hope you will like this new feature and we are sure that it will further support you in your language learning!


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Sean "Diddy" Combs made headlines Wednesday after he tweeted he was joining the cast of "Downton Abbey" as a "series regular" and "debuting a sneak peak" at midnight.
It turns out that the much-buzzed-about preview the rapper was hyping is actually --surprise!-- a Funny or Die spoof of the hit series that went live last night.
Dubbed "Downton Diddy," the skit features Diddy as Lord Wolcott, who introduces himself as the new owner of Downton Abbey (though his preferred pronunciation is actually "Down-town").
NEWS: Diddy tweets that he's joining "Downton Abbey," PBS disagrees
The video claims that before producers cast Gary Carr as the show's first recurring black character recently, they somehow forgot Diddy has been there all along, and the scenes to follow supposedly prove it.
As Lord Wolcott, Diddy declares his love for all the women of Downton Abbey and even footman Thomas Barrow ("I'm Lord Wolcott, and I love everybody!"); stands beside Mr. Bates as he's convicted of murder; gives Lord Grantham investment advice ("I found this little company called IBM"); and passes round his Diddy-approved Ciroc vodka, among other highlights.
"This is some real Masterpiece Theatre right here," says the MC at the end of the parody.
The fourth season of the real "Downton Abbey" is set to premiere on Jan. 5, 2014.
(Note: Video is R-rated for language.)


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Tuesday October 15, 2019; 06:00 pm EDT
Chef Michael Archibald of Herrington on the Bay and Honey's Harvest
What inspires you?
The greatest menu inspirations for me come from local produce and meats. I love traveling to farms, buying fresh items and then going back to the kitchen to create something new (see recipe).
What's your culinary background?
I have a culinary arts degree from Johnson and Wales University in Providence, Rhode Island.
Where do you eat on a night off?
Dine in. I enjoy teaching my wife the tricks of the trade.
Where do you eat on a night out?
Woodberry Kitchen in Baltimore. They have great local food and drinks.
Outside of work, what do you do for fun?
I love to run, I am a big basketball and football fan, and I enjoy dinner out with friends.
What's new?
Honey's Harvest is now serving Homebaked Italian Bread Pizza not only on Fridays but also Saturdays from 11am to 8pm.
Combine zest, 3 tablespoons juice, and next 3 ingredients in a large bowl, stirring well with a whisk. Season with salt and pepper to taste.
Add remaining ingredients and refrigerate for 30 minutes to blend the flavors.
Place in a decorative bowl. Serve chilled.
Got a tasty tip for next week's Dish? Email Lisa Knoll at [email protected]


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This rechargeable beauty from the makers of the popular Nea and Iris combines functionality,
Goes Great With This
This rechargeable beauty from LELO, combines functionality, versatility and sensational vibrations. Gigi is all about the G…the G-spot that is! Gigi was specifically designed for G-spot stimulation, with a sweeping curve and perfectly angled bulging head.
Gigi2 is the second generation of the staff and customer favorite vibrator, and is sporting some impressive upgrades. Gigi2 has a stronger motor than the original Gigi, that means more intense vibrations for you1 Gigi2 now features eight different vibration modes for greater variety and pleasure options. If that wasn't enough... Gigi2 is made with even softer silicone, for an extra silky and sensual feel, AND Gigi2 is now completely waterproof! The variable interface dial allows for control of the eight pre-programmed pleasure modes that direct the virtually silent vibrator engine to deliver deep and vibrant sensations with spot-on precision. A 1-hour charge will provide up to 1.5 hours of use time. With its smooth texture, deep vibes and travel-friendly disposition, Gigi is the perfect choice for the G-spot aficionado. Comes in an elegant gift box.
Please refer to our Returns Policy for this item.
The electric vibrators we carry are manufactured for North American electricity standards (120 V, 60 Hz) and may not be compatible with electricity standards for other regions. Even with voltage adapters, some electric toys may still not function and become damaged. We recommend choosing a battery vibrator instead; many models come in similar sizes, shapes and strengths. Using an electric toy in a region with different electricity standards is at your own risk. Unfortunately, Good Vibrations cannot take returns on products used in this way.
Brand: LELO
Product Details
Texture: Smooth
Color: Pink or Blue or Grey
Power Source: Rechargeable
Length: 7 inches
Insertable Length: 3.5 inches
Diameter: 1.25 inches
Intensity: 4/5
Volume: 2/5
Warranty: 1 Year
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Customer Reviews
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All in All:
Gigi is attractive, quiet and gives good internal g-spot stimulation.
Gigi is probably best if you're looking for that right on g-spot stimulation and if you have a "larger"and/or less pronounced public bone vagina so Gigi won't hurt coming out.
Gigi is probably not ideal if you want a fuller feeling of internal vibration, if you life to change your settings frequently, or if you have a smaller vagina and/or larger public bone.
I purchased this vibe with the intent of teaching myself to squirt, and this did it! The broad pad at the head is perfect for pressure on my g-spot, and the vibration is just strong enough to give me a pretty rocking clitoral orgasm as well. Love it.
this is a very high quality, gorgeous and classy vibrator. the angle works fairly well for me as far as G-spot stimulation is concerned. I need some power in order to stimulate it and this vibe delivers. its size allows for a lot of manoeverability which is great for those of us that need just that perfect angle. a great plus is Gigi's dual role as a g spot AND clit vibe so you get whatever kind of pleasure your mood calls for. the vibrator itself is really pretty. the plum color of the shaft is luxurious, the controls are easy to use and glow a lovely color. the manual gives instructions on how to "freeze" the buttons so it doesn't start vibrating in your luggage as you travel. very considerate.
Visiting the store was a relaxing and educational experience. It makes all the difference being able to feel how this one feels vs the next one. Gigi felt simple - not too penis-like - and it was quiet. But she has moves I never knew a simple wand could make. Gigi dances and shimmies. Really fun playing with my husband.
Bought this vibe for self pleasure and use with my partner. The size and the angled tip are great but if you find it difficult to climax with moderate power move to a model that has a bit more umph. Great quality and good vibe for someone more sensitive. Good news is my BF and I will head back to GV for a new toy.
I'll start by saying that in so many ways this vibrator is AMAZING. I love that it is rechargeable, and that it is unbelievably quiet while still being powerful. There is a silkiness to even the highest level of vibration that doesn't overwhelm, while still delivering. I have used many vibrators and none have given me orgasms like this bad boy. That being said, it is TOTALLY WORTHLESS as a G-Spot vibrator. This is because the controls for speed and mode lay right where your thumb naturally rests when you insert for G-Spot action. Either you have to contort yourself, get carpal tunnel trying to grasp it in an awkward manner, or just stick it in and leave it, otherwise you are constantly changing the speed or putting it into one of the pulse modes inadvertently. I, like most I suspect, enjoy a little pressure on my G-Spot. You cannot do that with this vibrator. In addition this vibrator has a seam right in the middle where the top and bottom sections merge. All the vibrators I've used in the past with this design have broken at this seam. The design of this vibrator is the work of an amateur, clearly not created by someone who has any extensive experience with vibrators and a knowledge of what does or doesn't work. An additional note is that it just feels cheap, and for over $100 I expect much more. Lightweight is great, but I can already tell this vibrator will be out of commission in less than six months. This company tauts itself as being all about high quality and superb design, but this vibrator proves them wrong. Sad really because the velvety smoothness of the vibrations it creates really do provide great orgasms when used on the clitoris. But don't buy this expecting to rock your G world because it simply can't. On whether or not to recommend I am torn. I definitely wouldn't go with this model, but maybe one of the models designed specifically for the clitoris would deliver the intense orgasms without the design flaw issues.
Tried to introduce my wife to vibrators years ago and they did not do a thing to her until I introduced her to the pocket rocket. Then i heard people rave about Lelo and their product line. This was my wife's Christmas gift. She is reserved and was not intimidated by this vibe. SHE ABSOLUTELY LOVES IT and it has brought much fun and intimacy to our relationship. We have been married for over 20 years and has made it fresher!!! She loves the fact that it is designed for clitoral stimulation as well as the G-spot. She was happy of her Christmas gift and I am reminded each time we are together!
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text:
Every other month, since May 2005, the INNER CIRCLE members have been receiving a CD or DVD, and as a current INNER CIRCLE member, you have the priviledge to purchase additional copies of these past releases.
These past releases include such musicals like "Hit Man" and "Homeland", special releases with Spock's Beard, and behind the scenes footage and recordings from Neal Morse's creative endeavors that span his entire life.
Available ONLY to INNER CIRCLE members, these past releases contain a massive amount of audio and video footage that has never been seen by the public.
Selection is updated with every new release!
**Because most of these projects are not in full production, many will be on CD-R and DVD-R, and because of lost data, some may no longer have artwork with them. Every disc will be the same high quality as when it was originally released and if we have the artwork, we will automatically include it.**
***Some INNER CIRCLE releases are full art, some are disc art and others may be downloadable art only.***
Spock's Beard - Snow Live
The Neal Morse Band


text:
Bob Lemon 2000 Deaths
Bob LemonAge: 79
brilliant all-around baseball player who rose to stardom as a right-handed pitcher with the Cleveland Indians and later managed the N.Y. Yankees to a World Series title; 20-game winner seven times over a nine-year span (1948-56); went 23-7 in 1954 when he combined with Bob Feller, Early Wynn and Mike Garcia to form one of baseball's best rotations ever; pitched no-hitter at Detroit (6/30/48); won two games in 1948 World Series; career: 207-128, 3.23 ERA; remarkable .284 average as a pinch-hitter; hit 37 career HRs; seven-time All-Star; retired in 1958; managed Kansas City and Chicago-AL in the 1970s before taking over the Yankees after Billy Martin resigned on July 25, 1978; beat Boston in one-game playoff in 1978 en route to the A.L. pennant and the World Series title; returned to coach Yankees in 1981 and won A.L. pennant; inducted into National Baseball Hall of Fame in 1976; remained on Yankees payroll as a scout and advisor up until his death. The cause of his death was not given.Died: Long Beach, Calif., Jan. 11
|Capt. Chester "Chet" Lee
|Edward Levi


text:
So previously i would compile my map and play it, and all textures in the .pk3 would be in game, although now for some odd reason, only the .tga images show, and the jpeg do not. This is a issue as .tga are quite large images, and my map which still has much texturing to go, is already a 20mb+ .pk3 file.
Any ways to reduce the size while keeping the same texture qualities?


text:
Lewis Hamilton has been hit with a five-place grid penalty ahead of the German Grand Prix.
Hamilton crashed into a tyre barrier with a 30g impact during the initial qualifying session at Hockenheim following a right-front brake disc failure, severely damaging his Mercedes.
Following an overnight assessment, the team have been forced to change the gearbox on Hamilton's car, resulting in the grid drop from 15th to 20th.
Via Twitter, the team said: "We can confirm @LewisHamilton's gearbox will be changed for the race owing to accident damage incurred yesterday. 5 place penalty.
"The guys are working on the car now to repair everything for the race. It's going to be a busy morning!"
It is certain Mercedes will also switch to a different brand of brakes, as was suggested by motorsport boss Toto Wolff following a session in which Hamilton's team-mate and title rival Nico Rosberg qualified on pole.
It was the second severe failure from brake manufacturer Brembo this season, leading Wolff to claim Hamilton would likely move to the team's other supplier, Carbon Industrie.
It was initially understood that would lead to a pit lane start, but according to the sporting regulations a team is allowed to change a part that is "similar in mass, inertia and function to the original" without penalty.
Sorry we are not currently accepting comments on this article.


text:
Best Surprise: The UVA men's basketball team suddenly rises from the dead to capture an improbable 64-62 road victory over the N.C. State Wolfpack (13-9, 3-6) Saturday, February 5. Following another embarrassing road loss– a 98-79 blowout to the Providence Friars (10-11, 1-7 in the Big East)– Wednesday night, it appeared as though the Cavs were headed for a sixth consecutive loss in Raleigh. Instead, the Wahoos suddenly came to life to build an 11-point halftime advantage, which evaporated in seemingly typical Cavalier fashion down the stretch.
Freshman sensation Sean Singletary came to the rescue in the game's waning moments when he followed his own missed shot to grab a rebound and score the game-winning put-back basket with just over two seconds remaining. After the Wolfpack's desperation buzzer-beating attempt fell short, the Cavalier bench erupted to rush the floor and celebrate arguably the biggest victory of the season.
"I'm very proud of our team," UVA coach Pete Gillen told the AP. "We played with courage against a very good team in their own building. "We played with tenacity and toughness."
Messiest District: Only a statistics major could make any sense of the cluttered race for the Jefferson district boys basketball title. With only one week of Central Virginia action remaining and four teams in contention for one title, the table is set for a thrilling finish. (If you're wondering about the girls' side, the CHS Black Knights ran away with that title ages ago.)
CHS (11-7, 8-2), Fluvanna (15-3, 7-2), Orange (13-7, 7-3), and Western Albemarle (12-9, 7-3) will all be knocking heads to determine who gains the top spot's automatic bid to the regional playoffs.
To further complicate matters, the Monticello Mustangs (6-12, 4-5) have suddenly emerged to win two straight games: after upsetting WAHS Tuesday, February 1, MHS appears to be a very dangerous team heading into the district tournament.
Best Dynamic Duo: The AHS boys' and girls' squads both continue to pile up victories in Commonwealth District play, leaving the Patriot boys (16-4, 8-3) one victory away from claiming their third district title in four years, pending a senior night victory against Brooke Point Tuesday, February 8. AHS reclaimed the district lead with a dramatic 68-67 road victory over the Culpeper Blue Devils (12-5, 7-3) February 1, then followed suit at home with a 70-67 triumph over the Eagles of Colonial Forge (6-11, 5-4) on February 4.
The Lady Patriots (14-6, 9-2), meanwhile, have posted a stellar regular season campaign, cruising through the week with wins over Culpeper and Colonial Forge. The AHS girls will likely head into next week's district tournament as the No. 2 seed looking to knock off powerhouse Brooke Point.
Worst Roadblock: Just when it seemed the UVA women's basketball team could do no wrong, the Lady Cavs squandered a 16-point second half lead to suffer a heartbreaking 62-56 loss at N.C. State, Thursday, February 3. But the Wahoos (16-7, 5-4) appeared rejuvenated at U-Hall Monday night, jumping to a 12-point lead over a high-powered North Carolina squad (19-3, 7-2). Unfortunately, UVA collapsed in a second straight game as UNC exploded on 17-0, and 11-0 runs to crush the Cavs 76-56.
The Week Ahead:
vs. MIAMI (11-11, 3-5)
Thursday, February 10 @ 7pm
Sunday, February 13 @ 2pm
Ladies hope to get back on track in ACC play. Adults $6, Youth $4.
vs. LA CLIPPERS (23-24)
Friday, February 11 @ 7pm
The last of a three-game Wizards home stand. Various tickets available at the MCI Center.
vs. VIRGINIA TECH (12-8, 5-4)
Saturday, February 12 @ Noon
Cavs seek much-needed revenge at home. Sold out.


text: Have you thought about offering hosting services like dedicated or shared? It will get people comfortable with using your product and you'll be able to point to more sites running on it. Perhaps offering paid installation or support services will help people make the leap from Apache to Lite Speed also. Do you have screenshots of the admin interface?


text:
Facilitating the spread of knowledge and innovation in professional software development
Back to login
In this series of short talks the authors address a wide range of topics from test automation with Cucumber, to technical debt, quantum computing, how to keep coding after 50, and others.
Robert Roeser and Arsalan Farooq talk about how techniques used in Fintech and Adtech – such as zero copy, flyweights, composite buffers, pooled memory, shared memory transport, direct memory in languages like Java – can be used to improve performance in distributed applications.
Katharine Jarmul provides examples of data (mis)use and asking how we can work with data without violating the trust and privacy of users, producing an ethical product?
Working remotely is becoming routine. Our goal in this eMag is to help you do things better. We'll show how people all over the world worldwide are successfully facilitating complex conversations, remotely. We'll also share practical steps you can take right now, to upgrade the remote conversations that fill your working days.
Robin van Zijll and Janna Brummel talk about the history, present and future of ING's SRE team and practices. They touch upon people (hiring, coaching, organizational aspects, culture), process (way of working, education), technology (observability, infrastructure), and share lessons learned that can be applied to any organization starting or growing SRE, financial or not.
Software Dev Conference
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text:
Event Logistics
News remains one of the fundamental sources for history and social science research. From traditional print publications to real-time aggregation of electronic texts, scholars rely on a variety of news resources, applying new research methodologies and innovative processes to these "evergreen" resources.
However, the way news content is produced and distributed (by publishers), and acquired and maintained (by libraries) is changing. The Internet has essentially "re-routed the supply chain" for news: websites, online broadcast, blogs, and social media like YouTube and Twitter provide channels for news reporting that did not exist two decades ago. Libraries, faced with stringent budgets and changing user behavior, rely increasingly on commercial subscriptions and the open web to serve content that once was acquired and retained locally in "collections of record." These developments render the existing library models for news preservation, rooted in the microform age, obsolete.
This members-only webinar will feature Dan Jones, President of NewsBank, Inc., who will discuss how producers of commercial news databases study market and user behavior to shape their products. In addition, CRL staff will:
- Provide an overview of news coverage in major commercial databases, and a comparative assessment of available print resources from developing world regions;
- Discuss what new uses of news content are driving collection and database development; and
- Propose a cooperative library strategy to meet the changing needs of researchers in the area of current and historical news resources.
The presentations in this webinar will help set the stage for a larger discussion at a Global Resources roundtable on news, to be held June 27–28, 2013 in Chicago, immediately prior to the ALA Annual Conference. The June discussions will guide CRL's work over the next few years in the area of news.


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Dean College - One Family Scholarship Program
The program assists heads of households in achieving their academic goals. Recipients of this scholarship receive an integrated network of services through the non-profit organization, One Family, Inc., whose mission is to serve residents of the Commonwealth who are low-income and homeless, or have experienced homelessness within the prior year. Applicants must be a permanent legal resident of Massachusetts for at least one year; be a U.S. Citizen or non-citizen eligible under Title IV; have applied for financial aid; be enrolled full- or part-time; qualify as a head-of-household with children under age 18; and be at risk of homelessness, based on federal poverty standards, or have experienced homelessness within the previous 12 months.
- Deadline:
- March 2
- Award type:
- Grant
- Renewable
- Yes
- Max. award:
- $12,000
- Awarded anualy:
- Yes
- Unlimited awards:
- No
- Repay required:
- No
Other criteria
- Min. Age:
- 18
- Enrollment level:
- College Senior, College Junior, College Freshman, College Sophomore
- State:
- Massachusetts
- Misc:
- Parent Of Minor Child
Contact Information
Dean College
99 Main Street Franklin, MA 02038 United States
Sponsor Information
Dean College
99 Main Street Franklin, MA 02038 United States


text:
Hugely successful country-pop duo, Florida Georgia Line, prefer to think of their respective states' similarities rather than differences.
And who can blame Ormond Beach, Fla., native Brian Kelley and Tyler Hubbard, who hails from Monroe, Ga., given it was their combined chemistry that led to Cruise, which is now the biggest selling country digital song of all time.
"I don't know if we've ever focused on the differences," said Hubbard, who is a huge fan of both hip hop and rock including Toronto rapper Drake and Alberta's hard rockers Nickelback.
"We just kind of came together and focused on everything positive, which seemed to be just about everything. We really do compliment each other well in all aspects of this business – business, music, song writing, studio, dealing with interviews – everything. I think (Florida and Georgia) they have a lot in common to be honest."
Kelley and Hubbard met as students at Nashville's Belmont University and were eventually signed to Big Machine Records which also represents Taylor Swift, Tim McGraw and Rascal Flatts.
Cruise came from their 2012 debut disc, Here's to the Good Times, which spawned three additional No. 1 country singles in the U.S. (Get Your Shine on, Round Here, and Stay) and was re-released in a 2013 deluxe version, Here's to the Good Times… This Is How We Roll.
"It took one song to take us all around the world in a year," said Kelley of Cruise's success. "That's crazy."
We caught up with the married Kelley, 28, and in-a-relationship Hubbard, 27 at a downtown Toronto hotel rooftop bar while a winter storm raged outside before their February tour dates in Canada opening for Jason Aldean. The pair, who will be back in April for a string of headlining dates, talked about the single that put them on the map and their unlikely collab with '00s rapper Nelly.
"The fans in Canada are amazing," said Hubbard. "They're on fire. All our fans are super-passionate and awesome but it's funny 'cause I think there was a little, slight surprise coming to Canada and not know what to expect and to see the passion for country music in Canada and just the passion that the fans have, they're hardcore and I love it. They're some of our favourites for sure."
Q: Did you know when you recorded Cruise it would become as popular as it has?
Hubbard: We knew we had something special. We knew we liked it but you cannot predict stuff like this.
Q: Was there a benchmark moment when you knew Cruise had exploded?
Kelley: It was the combination of a couple of different things. The awards (including the 2013 American Music Award for single of the year for the remix version featuring Nelly) and seeing the fans and hearing it on the radio and seeing the reaction. That's what we dreamed of. We moved to Nashville to write songs and like Tyler said, 'You can't expect that. You can't call anything that big to happen,' that's why it was so special. At the time that song was written we didn't have a publishing deal.
Q: The song and the album were overlooked by the 2014 Grammys that just took place. Did that hurt?
Hubbard: Grammys don't meant a ton to us because they're not fan-voted so if we're not there, we're not there. And if we are, we are, whatever. We care more about the fans and what they have to say, what they think, more than necessarily what a small group of select industry people care to think.
Q: Do you think lightning can strike twice and there will be another Cruise in your just-started careers?
Hubbard: It pushes us on working harder and hopefully have multiple Cruises in our career. Every song that we put out seem to be doing pretty well. And every single has gone to No. 1. So, you know, it's exciting. Hopefully, fingers crossed, not to jinx it, we can continue to write good songs and be living a blessed life, and playing sold-out shows.
Q: What prompted the remix version with rapper Nelly?
Kelley: We had some pop stations asking for a pop mix or whatever and we just wanted to do a remix. We thought it would be fun. He's a label mate. Loved his music since we were in high school, maybe middle school. For us, we jumped at it and got the mix back a couple of days later, and we were on the bus and we probably listened to it a 100 times … and then finally we were just skipping the whole song to just get to Nelly's rap, it was that good to us. We couldn't wait for the world to hear it.
Twitter: @JaneCStevenson
(Feb. 6 – GM Centre – Oshawa) *
Feb. 7 – Copps Coliseum – Hamilton *
Feb. 8 – Budweiser Gardens – London *
Feb. 9 – Canadian Tire Centre – Ottawa *
April 9 – Abbottsford Entertainment & Sports Centre – Abbottsford, BC
April 10 – South Okanagan Events Centre – Penticton, BC
April 11 – Interior Savings Centre – Kamloops, BC
April 12 – CN Centre – Prince George, BC
April 15 – Rexall Place – Edmonton, AB
April 16 – Scotiabank Saddledome – Calgary, AB
April 17 – ENMAX – Lethbridge, AB
April 19 – Brandt Centre – Regina, SK
*dates opening for Jason Aldean


text:
ONALASKA, Wis. (Blugolds.com) – After nearly two weeks off, the UW-Eau Claire softball team picked up two wins over UW-La Crosse to push its conference winning streak to 17 games, tying a school record, at the Omni Center today.
The Blugolds' conference winning streak began on April 4 last season, and the 17 straight wins matches the longest in school history, which occurred between April 30, 2005 and April 14, 2007.
In today's first game, Eau Claire needed nine innings to take down the Eagles 3-2.
With the Blugolds playing as the home team and the score tied 2-2, Taylor Pierce (So.-Ashwaubenon, Wis.) singled up the middle with two outs in the ninth to drive in Amanda Fischer (So.-Wausau, Wis./West) for the winning run.
Casey Arnold (So.-Kaukauna, Wis.) and Emily Ruegemer (Jr.-St. Cloud, Minn./Cathedral) scored runs earlier in the game to give the Blugolds a 2-0 lead after the third inning. La Crosse scored one run in the top of the fifth and one in the top of the sixth.
Nikki Brooks (So.-New Richmond, Wis./St. Croix Central) and Pierce each recorded two hits to lead Eau Claire while the team finished with a total of nine.
Emma Wishau (Jr.-Burlington, Wis./Waterford Union) started the game in the circle and pitched five innings, giving up four hits and two runs. Zana Lorbetske (Fr.-Rhinelander, Wis./Three Lakes) pitched the final four innings and earned the win after giving up only two hits while striking out four batters.
In game two, Eau Claire defeated La Crosse 5-2.
The Eagles got on the board first, scoring in the top of the second, but the Blugolds answered with three runs in the bottom of the inning and never trailed again. Fischer started the inning with a home run, her third of the season, while Brooks scored on an Amanda Houle (Jr.-Chisago City, Minn./Chisago Lakes) groundout followed by Pierce scoring on a wild pitch.
La Crosse again scored once in the third but the Blugolds answered in bottom of the inning with Gracia Larson (Fr.-Eau Claire, Wis./Hillcrest Academy) scoring an unearned run following an Arnold single. Fischer scored the game's final run in the bottom of the sixth.
Sarah Fern (Sr.-Brooklyn Center, Minn./Park Center) led the game with three hits as she went 3-for-3 at the plate.
Lorbetske again picked up the win after striking out seven batters, pitching the final four innings. She gave up just one hit to improve to 6-1 on the season. Laura Raflik (So.-Plover, Wis./Pacelli) started the game and struck out three batters while giving up five hits and two runs in three innings.
The Blugolds are now 18-3 on the season and 6-0 in conference play. The Eagles drop to 17-10 and 4-5 in the WIAC.
Sunday, the Blugolds will take on UW-Platteville in a doubleheader beginning at noon at the Pammel Creek Fields in the Town of Shelby in La Crosse. Platteville was also at the Omni Center today and dropped two games against UW-Superior. The Blugolds were originally scheduled to play UW-La Crosse and UW-Platteville at home this weekend but poor field conditions forced the move to the La Crosse area.


text:
I implemented the experimental OAuth support for Google App Engine using Python, and have it working locally, but the endpoints are throwing a 400 when I deploy to appspot.
For example, the url http(s)://my-app.appspot.com/_ah/OAuthGetRequestToken returns a 400, but locally that url pattern behaves as expected.
I have tried both http and https, and assumed that appspot handles the ssl cert.
I've been using the OAuth Playground to test my code. Despite documentation, it seems Registering your app is required. Go here for instructions on how to register. According to documentation during the registration process, certificate is not required when running on App Engine. Playground is showing more detail on the error - "signature invalid". If I understand correctly, the signature is produced from a signature base string. In this case I am using the base string 7DYB6MJ2s-IQcd7VJYJUmcct .
GET /accounts/OAuthGetRequestToken?scope=https%3A%2F%2Fmail.google.com%2Fmail%2Ffeed%2Fatom HTTP/1.1
Host: www.google.com
Accept: */*
Authorization: OAuth oauth_version="1.0", oauth_nonce="168cfd60a93a46caa38dddfdcedd9de9", oauth_timestamp="1305315895", oauth_consumer_key="xxxxxxx.appspot.com", oauth_callback="http%3A%2F%2Fgooglecodesamples.com%2Foauth_playground%2Findex.php", oauth_signature_method="HMAC-SHA1", oauth_signature="4J5faUujE0VNaybyvFCiEPY7DQ8%3D"
HTTP/1.1 400 Bad Request
Content-Type: text/plain; charset=UTF-8
Date: Fri, 13 May 2011 19:44:55 GMT
Expires: Fri, 13 May 2011 19:44:55 GMT
Cache-Control: private, max-age=0
X-Content-Type-Options: nosniff
X-XSS-Protection: 1; mode=block
Content-Length: 451
Server: GSE
There were two things causing the 400. First, the app was not registered. Google's documentation says it's optional, but that is not the case apparently. Secondly, the Request was not properly signed. Here is an excellent debugging tool to test your OAuth Requests: Oauth Playground


text:
LEESBURG, Fla. – With a combined 13 hits and at least one run scored in every inning but one, baseball (3-0) cruised to their third straight win of the 2012 season as they defeated Becker College (1-3) by the final score of 11-0 in seven innings of play Monday afternoon at Lake Sumter Community College.
The Beacons third straight victory truly one of their most dominating performances yet as they took control of the game early and never once looked back. After the first two innings UMass Boston jumped out to a solid six run lead, which was the result of a two RBI single in the first by Matt Consiglio (Southbury, Conn.) and a grand slam by freshman Charles LaPaglia (Marshfield, Mass.) in the second.
Also fueling the Beacons victory was another standout performance on the hill, with Tom Cole (Mattapoisett, Mass.) leading the UMass Boston bullpen in his first start of the year. In his five innings of work, Cole allowed just one hit and two walks, while also retiring six batters to notch his first win of the season. Michael Boughton (New Britain, Conn.) closed out the final two frames as he allowed just two hits, while also tallying a pair of strikeouts.
At the plate a total of three Beacons finished with two hits as Consiglio went 2-for-4, followed by Jack DeBiase (Prospect, Conn.) who went 2-for-3 and Dominic Morbidelli (Oakland, Calif.) who went 2-for-2 with a run scored.
Defensively the Beacons also turned a combined three double plays with two of those coming in the final two innings of the game.
After jumping out to a 6-0 lead after two, the Beacons tacked on one run over the middle three innings before scoring two more in the top of the seventh to secure the 11-0 victory.
Baseball returns to action on Wednesday when they face McDaniel College at 4 p.m.


text:
Attached is the current version of the QC checklist I have been developing and using to identify problems with releases of The Uniform Server. I am currently running the test series on Coral_8.4.0.
I thought it would be beneficial to see what we have been checking. I'd be willing to entertain additional tests, but remember that I need to be able to do the tests easily and quickly.