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Desktop RoboTurret - I2C Control - Wii Nunchuk
This demonstration shows how to control the Desktop RoboTurret using direct control via I2C with a Wii Nunchuck Controller.
Download the Sketch
RoboTurret Sketches
A .zip file with all of the RoboTurret Sketches can be found here.
Unzip the file and you will have a folder called
We recommend that you create a folder
RobotGeek Sketches in your Arduino user folder and put the
desktopRoboTurretV3-master in there. The rest of this guide will assume you've placed your sketches in the following folder.
Arduino -> RobotGeek Sketches -> desktopRoboTurretV3-master
This will be the same 'Arduino' folder you put your libraries and robotgeek tools in, and NOT the folder where the Arduino application is.
2C Control - Wii Nunchuk
I22 (Also called IIC) is a communication protocol that can connect multiple devices together using just 2 data pins. This can be very helpful for adding input/output functionality for very few I/O pins. For example, by attaching a Wii Nunchuk to the Geekduino with 2 I/O pins, you get the following following sensors:
- 2 Potentiometers (Joystick)
- 2 Pushbuttons
- 1 Accelerometer
The Wii Nunchuk code can be found at:
File -> Sketchbook -> RobotGeek Sketches -> desktopRoboTurretV3-master -> roboTurret3_nunchuk
Wiring for joystick control is as follows:
|Pin Type
|Pin #
|Pan Servo
|Tilt Servo
|Wii Nunchuk Adaptor
|I2C Port
By changing the
JOY_SEN(for joystick) or
ACC_SEN(for accelerometer #define statement, you can adjust the sensitivity of the joystick. Lower value = more sensitive, higher value = less sensitive.
If your turret is 'drifting', or moving while you don't want it to, you may need to increase the
JOY_DEADZONE(for joystick control) or the
ACC_DEADZONE(for accelerometer control) #define statements.
Alternatively, if your is not responding to small movements on the joystick, you may need to decrease the
JOY_DEADZONE(for joystick control) or the
ACC_DEADZONE(for accelerometer control) #define statements.
PC Control These demos and projects allow the robot to be controlled via a computer.
ArbotiX Commander Control - These demos and projects control the Robot using the ArbotiX Commander, the handheld Arduino based remote control.
Direct Control - These demos and projects control the Robot directly from sensors connected directly to the Robot's control board.
Pose Control - These demos and projects allow you to create and playback a sequence of poses.
Serial Control - These demos and projects control the robot using a serial packet protocol.
Standalone - These demos and projects are deisgned to let your robot function without a computer or additional microcontroller.
Wireless Control - These demos and projects allow you to control the robot wirelessly - usually by replacing the Serial Connection with XBee modules.
Reference - These articles have technical details regarding the control and operation of the robot.
More info here


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Nous sommes désolés, mais nous ne disposons pas de biographie de Manhattan Transfer en français, seule la version anglaise est disponible..
Les traducteurs bénévoles sont les bienvenus…
Vous pouvez écoutez l'album « Extensions » sur 121 WebRadio !
It's been nearly 35 years since Tim Hauser paid his bills by working both as a marketing executive and a New York cabbie with dreams of creating a vocal group.
One night in 1972, Hauser's taxi fare was an aspiring singer named Laurel Massé, who was familiar with JUKIN', an album Hauser had made with an earlier Manhattan Transfer combo. A few weeks later Hauser met Janis Siegel at a party. Although Siegel was then performing with another folk group, Hauser convinced her and Massé to be part of his nascent group.
At the same time, Alan Paul was stirring hearts on Broadway, appearing in the original production of « Grease ». When he met with Hauser, Siegel and Massé, the groundwork was laid for The Manhattan Transfer, which was official « born » on October 1, 1972.
In its formative years, the group developed a strong cult following while playing such New York clubs as Trude Heller's, Reno Sweeney, and Max's Kansas City. In 1975 they cut their Atlantic debut album, THE MANHATTAN TRANSFER and landed their own highly experimental television show on CBS. They were particularly successful in Europe, where their next two albums, COMING OUT and PASTICHE, brought them a string of top 10 hits. A live album, THE MANHATTAN TRANSFER LIVE, soon followed.
Massé left the group in 1978 after a serious auto accident in December of that year. (She eventually went on to a successful solo career.) Auditions were held to replace her, and a young singer/actress from Mt. Vernon, Washington responded to the call. The group was completely knocked out by her dazzling performance, and Cheryl Bentyne was immediately invited to join the group.
Their next album, EXTENSIONS, earned them their first domestic pop hit: « Twilight Zone/Twilight Tone, » penned by Alan Paul and Jay Graydon. The album also featured « Birdland, » the piece that has since become The Manhattan Transfer's signature tune. Jon Hendricks wrote the lyrics to Joe Zawinul's stirring jazz fusion instrumental, and Siegel arranged the vocals. The most played jazz record of 1980, « Birdland » brought The Transfer their first Grammy award (Best Jazz Fusion Performance, Vocal or Instrumental), and the award for Best Arrangement For Voices, which Janis took home.
In 1981, The Manhattan Transfer made music history by becoming the first group to win Grammy Awards in both pop and jazz categories in the same year. « Boy From New York City, » which broke into the top 10 on the pop charts, garnered them the award for Best Pop Performance by a Duo or Group with Vocal, and « Until I Met You (Corner Pocket) » earned them a Grammy for Best Jazz Performance, Duo or Group. Both of these appeared on the combo's fifth outing, MECCA FOR MODERNS.
THE BEST OF THE MANHATTAN TRANSFER was released for the holiday season in 1981 and contained the best of their hits from their early Atlantic Records years, 1975-1981. Naturally, the album went Gold.
In 1982, they accepted another Grammy, for Best Jazz Vocal Performance, Duo or Group, for their rendition of the classic ode-to-the-road, « Route 66. » The song appeared on the soundtrack to the Burt Reynolds film Sharky's Machine, and surfaced three years later on their BOP DOO-WOPP album. In 1983, prior to « BOP's » release, they repeated their 1982 Grammy win in the same category for the « Why Not! » cut from BODIES AND SOULS.
However, it was the 1985 release of VOCALESE, produced by Tim Hauser, that became known as the group's tour de force effort. Vocalese is the style of music that sets lyrics to previously recorded jazz instrumental pieces. Jon Hendricks, the recognized master of this art, composed all the lyrics for the album. « VOCALESE » included some highly complex material that ably tested the quartet's capabilities — a challange which they met magnificently. The album became a critically acclaimed artistic triumph.
« VOCALESE » received 12 Grammy nominations — at the time making it second only to Michael Jackson's « THRILLER » as the most nominated single album ever. The Transfer's opus won in two categories: Best Jazz Vocal Performance, Duo or Group, and Best Arrangement for Voices for Cheryl Bentyne and Bobby McFerrin for « Another Night In Tunisia ».
« VOCALESE » also saw the group venturing out into the world of music video. The group made five videos to the album, which were available commercially and also shown on Cinemax. Also, when The Manhattan Transfer toured Japan for the Vocalese tour, a recording was made of the shows and the group's second live album, LIVE, was released in 1987. An accompanying video of the live show was available commercially as well.
Then came BRASIL, their 1987 recording, a ground-breaking re-contextualization of Brazilian music that pre-dated efforts by American artists such as David Byrne and Paul Simon. The group worked with some of today's most gifted songwriters, including Ivan Lins, Milton Nascimento, Djavan and Atlantic recording artist Gilberto Gil. The pieces were re-arranged, and then re-fitted with English lyrics which made them strikingly relevant, distinctly American, and « Transfer-esque » — while still preserving their Brazilian flavor.
« BRASIL » became one of the group's greatest achievements to date, and one which they remain particularly proud of. It also became their first entire album to win the Grammy for Best Pop Performance by a Duo or Group with Vocal.
In 1991, The Manhattan Transfer moved to Columbia Records for a two-album stint. The first, THE OFFBEAT OF AVENUES, was produced by Tim Hauser and marked the first time the majority of songs where either written or co-written by Transfer members. They walked away with a Best Contemporary Jazz Performance Grammy for « Sassy, » a piece boasting lyrics by Janis Siegel and Cheryl Bentyne and music by Siegel and Bill Bodine.
In 1992, Rhino Records released a 2-CD set of the group's work over their 20 year career. THE MANHATTAN TRANSFER ANTHOLOGY: DOWN IN BIRDLAND is an excellent compilation of the group's work up to that time.
In the winter of 1992, the gift that millions of Manhattan Transfer fans had eagerly awaited for finally arrived — THE CHRISTMAS ALBUM. Destined to be a holiday classic, this album was co-produced by Tim Hauser and Johnny Mandel, who also did all the orchestrations. The group's soulful harmonies on such traditional favorites as « The Christmas Song » (with Tony Bennett) and « Silent Night, » as well as the sweetly touching Lennon & McCartney classic « Goodnight, » resound with sonic purity.
In 1994, Rhino Records released THE VERY BEST OF THE MANHATTAN TRANSFER. Why another « Best Of »? Well, the « ANTHOLOGY » package was a bit expensive for some, and the first « BEST OF » album came out 13 years earlier and thus missed many hits such as « Ray's Rockhouse, » « Soul Food To Go, » « Spice Of Life, » and « Route 66. » Plus, the newer CD format allowed for a much longer album than Atlantic Records' 1981 collection.
Also in 1994 the group released an album that was an enticing departure from anything they had done previously. THE MANHATTAN TRANSFER MEETS TUBBY THE TUBA, the group's first children's recording, was hailed by USA Today as a « charming rendition » of the 1945 Paul Tripp/George Kleinsinger classic. Accompanied by the Naples Philharmonic, the group humanized instruments (such as Peepo the Piccolo and Captain Bugle) to deliver the story's important message: « Be yourself, you can't be anybody else. » Commented the Los Angeles Times of the project, « One of the world's great jazz quartets turns a children's classic into a rediscovered treasure. »
Their 1995 studio album, TONIN', marked the triumphant return of The Manhattan Transfer — contemporary music's premiere vocal ensemble — to the Atlantic Records' fold. « TONIN' » finds Cheryl Bentyne, Tim Hauser, Alan Paul and Janis Siegel embarking on a project as ambitious as any of their past work, while retaining a distinct sense of fun. « Tonin' is a term associated with the vocal groups of the '50s and early '60s, » notes Paul. « It conjures up images of a few guys standing in a tiled bathroom or on a street corner, just belting it out in harmony — they're tonin'. This album consists of songs we grew up on, music that really sparked us as teenagers. »
The list of guest performance sitting in on the « TONIN' » sessions would spark any music fan, as it includes: Phil Collins, Bette Midler, Ben E. King, Ruth Brown, Felix Cavaliere of the Rascals, Frankie Valli, Smokey Robinson, Laura Nyro, Chaka Khan, B.B. King and James Taylor.
The Manhattan Transfer's third live album is called MAN-TORA! LIVE IN TOKYO. « On the 1983 Bodies And Souls tour, the singers peformed 22 dates in 11 major Japanese cities, including Tokyo, Osaka, Yokohama, Sapporo, and Hiroshima… The set contained here (released on Rhino Records in April 1996) was recorded by FM Tokyo radio on November 22 and 23 at Tokyo's Nakano Sun Plaza theater and later broadcast stateside on the Westwood One Startrack radio program. The MT's enthusiasm in their performance is inescapable, and the set list as diverse as their repertoire. » –from the liner notes by Curt Gathje.
The Manhattan Transfer's next studio album was released in 1997. SWING has its emphasis in 1930s era swing music. The thirteen tracks contain some of the most classic songs of the Twentieth Century. « Sing Moten's Swing, » « A-Tisket, A-Tasket, » and « Java Jive » were recorded with Asleep At The Wheel. « Sing A Study In Brown, » « Topsy, » and « Clouds » were recorded with The Rosenberg Trio. « Clouds » (adapted from « Nuages ») also features Stephane Grappelli. Ricky Scaggs is featured on « Skyliner » and « It's Good Enough To Keep (Air Mail Special) ». Mark O'Connor is featured on « I Know Why (And So Do You), » « It's Good Enough To Keep, » and « Choo Choo Ch' Boogie. » About half of the tracks feature lyrics by Jon Hendricks. SWING was produced by Tim Hauser. It debuted at #1 on the Billboard Jazz Chart and stayed in the top spot for nine weeks, and on the chart for over a year.
In October 2000, The Manhattan Transfer's released, THE SPIRIT OF ST. LOUIS. This album is a spirited interpretation of the music of one of the greatest musical figures of the 20th century, Louis Armstrong. Produced by Craig Street, THE SPIRIT OF ST. LOUIS captures the vocal group at its best, with strong individual and group performances wrapped around evocative arrangements that are both a nostalgic pastiche from the 1920s to the 1950s, and a completely modern take on Louis. This is a loving homage to a unique voice in musical history.
In 2003, COULDN'T BE HOTTER became The Manhattan Transfer's first album on the Telarc label, and their fourth live album. 1930s and '40s swing music with a jazz twist is what The Manhattan Transfer do best, and COULDN'T BE HOTTER features some of their best hits. The sixteen songs chosen for this special live recording convey the depth of the group's talent and variety of their music. Classic favorites such as « Sing Moten's Swing, » « Clouds » and « A-Tisket, A-Tasket, » recorded while on tour in Japan, capture the essence of The Manhattan Transfer, and their enthusiasm is evident in these performances. From boogie-woogie to bop to vocalese, COULDN'T BE HOTTER spotlights The Manhattan Transfer's dynamic, big band harmonies in a live setting.
VIBRATE is The Manhattan Transfer's second album on the Telarc label. Since the early 1970s, The Manhattan Transfer have been pushing and redefining the boundaries of vocal music in the context of jazz, pop and numerous other styles. Along the way, the collective efforts of vocalists Cheryl Bentyne, Tim Hauser, Alan Paul and Janis Siegel have earned The Transfer a healthy collection of Grammy Awards and a loyal fan base that spans the entire globe. The latest chapter in the quartet's exploratory trajectory is VIBRATE, released on September 28, 2004. Throughout the album's eleven tracks, The Transfer explore both the traditional and progressive sides of jazz, plus various shades of Latin, world and pop music… and showcase their unparalleled vocal tradition. Three decades into their illustrious career, The Manhattan Transfer sound better than ever!
What's next for The Manhattan Transfer? Even though they have been together for more than 30 years, they aren't slowing down! They are often asked to appear at many special functions such as The Essence Awards, the Goodwill Games, the Society of Singers Ella Awards honoring Tony Bennett, and a special Christmas performance for the Pope. They continue to tour, delighting audiences worldwide with their music. The singers also have many other solo and collaborative interests, but their focus invariably comes back to making beautiful music together.
You can listen « Extensions » on the Jazz 121 WebRadio !

subset: commoncrawl


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Inspirations Magazine
I've doubled up on some magazines and the benefits go to you. These magazines are the beautiful Inspirations magazine from Country Bumpkin, an Australian Publication. They are called the worlds most beautiful embroidery magazines and it is true. The projects are so beautiful and the magazines are divine to browse with a nice cup of tea.
There are 8 magazines in the shop for between $2-$5 each depending on their condition. Remember these go for around $12.95 new and some are limited editions now which are worth up to $60 RRP. Finish off your collection, or grab a bargain from Australia.


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6-month-old girl shot 5 times dies
NBC Chicago – A 6-month-old baby has died after she was shot Monday while her father was changing her diaper.
After several surgeries, Jonylah Watkins passed away Tuesday morning, Chicago Pastor Corey Brooks confirmed.
Jonylah's father, identified by family members as 28-year-old Jonathan Watkins, is in stable condition. He was changing the little girl's diaper on the front passenger seat of the family van when the shooting occurred, police said.
"The city of Chicago should be outraged that a 6-month-old baby could be shot and killed in our city," Brooks said. "It's horrific."
Jonylah and Watkins were both taken to hospitals in critical condition after shots rang out at about 12:45 p.m. Monday on the 6500 block of South Maryland Avenue. Watkins was taken to Northwestern Memorial Hospital. Jonylah was taken to Comer Children's Hospital.
Police Supt. Garry McCarthy said incident has "very strong gang overtones" and the father, who has an extensive criminal history, was the intended target. Police are pursuing several angles, McCarthy said, and urge anyone with information to call Area Central Detectives at 312-747-8380.
"This is another tragedy, because no child, certainly not an infant, should be a victim of gun violence," McCarthy told reporters Tuesday.
Brooks said the baby's mother, Judy Young, is distraught and in a lot of pain. "We're going to find who did this and make sure they are brought to justice," he said. "We're not going to be afraid. We're going to take back our neighborhood."
Police are still looking for the shooter, who ran up from behind Watkins, fired, and then took off to a nearby blue conversion van, department spokesman John Mirabelli said. Bullets struck Jonathan Watkins in the buttocks and on the right side of his face. His young daughter was hit five times: in the thigh, shoulder, lung, liver and bowels, the family later said.
Witnesses reported hearing at least 10 gunshots.
"I just heard like a lot of shots and skid marks, so that's when I ran to the corner," said Patricia McGowan, who lives near the scene but was at a salon at the time gunfire rang out. "There is always gunshots and crime in the neighborhood, always drug activity in the neighborhood. … It's heartbreaking. We're looking for a place to move out immediately because that could have easily been me coming from the bus."
Police said Jonathan Watkins has known gang affiliations.
Click here to read more.


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Wooden Farm House Escape is another kidnap game by Games2rule. You are trapped inside in a Wooden Farm House Room. The door of the Wooden Farm House room is locked. There is no one near to help you out. Find some useful objects and hints to escape from the Wooden Farm House. Have fun.
Online escape games with walkthrough for you. There are unlimited free escape the room games. Play best point and click games, house escape and mystery escape game. New and popular room escape games to our site is loaded everyday. Enjoy. Total online games: 900+. If you want to play online escape games. Stay with us.


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I mentioned in an earlier blog post that I had purchased Cabezels, a bezel cabochon mold combo. I have gotten a chance to use them since they arrived and they are amazing! They create very smooth bezels and cabs, and with some sanding and buffing they really turn out beautiful.
This necklace was made using the Lemon Egg Cabezel, with Pearl, Turquoise in 2 tones and black Premo! clay in a Mokume Gane style clay technique. It's finished with some large disc shaped pearl colored beads and a pearl seed bead string.
I really like how this turned out, I will definitely be doing more of these types of necklaces in the future!


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Napa. Where do I even begin?
We'll do a full breakdown eventually, but I think I speak for Taylor and I both when I say – we are ready to move.
Imagine a world which is the perfect blend of Shawnee, Oklahoma and Dallas, Texas. Yes – impossible to put together in your mind, but a dream come true. This is exactly how I would describe Napa/Yountville/Oakville – the entire region.
The most perfect Main Streets, filled with unique shops (and a Trader Joe's a stone's throw away). Winding roads lined with lush trees fill the horizon, and people who are as nice as they could possibly be. Looking back, I'm shocked we returned home.
Taylor's itinerary would put a Disney Dad to shame, but somehow we made it to just about every vineyard we wanted to see, and then some. (The beauty of having a post-bar exam pre-start date future attorney around). These photos were taken at Turnbull Cellars – a favorite for multiple reasons. Our tasting guide was awesome, we got to wander the grounds freely, see all the bells and whistles, and then they went out of their way to add to my wine coaster collection! Oh, and the wine was fantastic.
T spent most of the days trying to talk me into a Napa wedding, but it seemed like it was just a good excuse to get out to the region a few (dozen) more times in the next year. Not such a bad idea though…
Dress: Anthropologie
Bag: C. Wonder
Shoes: Shoe Mint
Necklace: Max & Chloe


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Decorative Concrete Market Outlook: Growth Factors Details, Trends, Comprehensive Research Including Top Companies
Market Scenario
Decorative concrete is the use of concrete as not simply a useful medium for construction but also as an visual enhancement to a structure, while still helping its function as an integral part of the building such as walls, floors, driveways and patios.The conversion of concrete into decorative concrete is achieved through the use of a various resources that might be used during the pouring process or after the concrete is cured. These materials or systems may include but are not limited to acid staining, stamped concrete, polished concrete, decorative overlays, vertical overlays, concrete countertops, and more.
The major factors driving the decorative concrete market are the growing awareness about the advantages of the green building, rapid urbanization and rising demand for green building in the developing countries. The high initial cost is the major restraint that may hamper the market growth in the near future. The increase in the construction activities is the one of the growth oportunity factor in this market. Lack of awareness about the green building in many opf the regions in of the the major challenges for for the growth of this market.
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Top Industry Player's
The growing demand for green building in the developing countries is anticipated to drive the APAC market for Decorative Concrete in the future years.
The major companies in this market are PPG Industries, Inc., BASF SE, 3M Company, RPM International Inc., E.I. Du Pont Nemours and Company, Huntsman International LLC., RPM International, Inc., Cemex, S.A.B De C.V., The Sherwin-Williams Company, Boral Limited, Arkema SA and Ultratech Cement limited.
Market Segments
The ****** decorative concrete market has be categorized into type, application, end-use sector and regions. On the basis of type the market has been bifurcated into stamped concrete, concrete overlays, stained concrete, epoxy coating, colored concrete, and polished concrete among others. Based on application the market has been bifurcated into walls, floors, patios, driveways and sidewalls and others. End-use sector segment is categorized into residential and non-residential.
For More Information @ https://www.xpodenceresearch.com/Reports/Decorative-Concrete-Market
Geographically, the Decorative Concrete market has been bifurcated into five regions North America, Europe, Asia Pacific, Middle East & Africa and Latin America. The Decorative Concrete market size and forecast period for each region has been estimated from 2017 to 2023.Additionally the CAGR (%) for the forecasted period 2017 to 2023. The study also includes market estimates for major countries/regions such as the U.S, the U.K., Germany, France, Japan, China, India, GCC, North Africa, South Africa and Brazil. The detailed analysis by type, application, end-use sector and regions supports in evaluating the present scenario, growth prospects and the future scenario for the Decorative Concrete market over the forecast period. Thus, the report delivers in-depth segment analysis of the market and classifies it into various industries, thereby providing valuable perceptions.
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Xpodence Research has the most extensive collection of market research reports of many categories. Xpodence Research provides the best market research solution for every industry by publishing the best possible results of great market research firms worldwide. For every particular problem, there's a particular solution, so according to the customer needs, we provide the best possible results to them from different market research organization, whether it's a Custom Research or Syndicated Research reports because the product that wins is the one that bridges customers to the future, not the one that requires a giant leap.
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text: New Mexico - A Guide to Fishing Trout, Bass, and Catfish Your browser does not support iframes. Since the first Territorial Game Warden was appointed in 1903, New Mexico's wildlife managers have fought to restore the heritage of this diverse state. Bringing back the majestic elk and being the first state to successfully trap antelope are among the agency's top achievements. Seven hatcheries now provide kokanee salmon, rainbow and cutthroat trout, and warm-water fish species for stocking. River otter and Mexican wolf restoration programs demonstrate the state's dedication to continued restoration of the state's complete suite of species. Director Tod Stevenson came out of retirement to lead the New Mexico Department of Game and Fish. During his 30 years with the agency, Tod gained experience in every aspect of the agency's law enforcement operations and resource management efforts. At one time or another he held every position from conservation officer to district wildlife supervisor, law enforcement operations and resource division chief, assistant director, and, ultimately, to deputy director. After less than two years off, Tod came back to active duty to continue guiding the Department's many conservation efforts. For more information about New Mexico: http://www.newmexico.gov/ Official State Travel/Tourism Web Site: http://www.newmexico.org/ New Mexico Game and Fish: http://www.wildlife.state.nm.us/ State bird: Roadrunner (Greater Roadrunner) State flower: Yucca flower State vegetable: Chiles and Frijoles (refried beans) Comments GET A LICENSE State agencies often require licenses, permits or certifications for a wide range of activities impacting fish, wildlife and boater safety. States work to prevent overcrowding and control the harvest of game on wildlife management areas. The links below will help you find license and permit information, and how to apply. HuntingFishingBoating


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Applying for Federal Student Loans
Yes, you can fill out your FAFSA for the 2018-2019 school year starting October 1st. Yep! In less than a month you could be looking up asset values and tax information from 2016 and possibly pulling your hair out in frustration. Woohoo!
Fill it out HERE on the FAFSA website.
First thing….and you can do this TODAY….yep………even before the 1st….you AND your child need your own FSA ID. It's your Federal Student Aid ID. Get in HERE. Each person must get their own. Do not apply for the one for your child.
Some things to remember…
- October 1st became the application date a year ago.
- States and individual colleges sometimes have early deadlines so it is best to get it done soon.
- There is an IRS data retrieval tool used to fill in the 2016 tax return questions (those filing Married Filing Separately can't use it or those that amended their 2016 return). It appears that it is linked to the income-driven repayment plan application as well if you use this method. Just have a copy of the return available in case you want to manually enter the info.
- Here is a list of where to get the info for each question asked.
- You will need to know social security numbers, your tax info (if you don't just retrieve it automatically), your untaxed income info and the value of your assets such as bank and investment accounts. Careful though, not all assets you own are includible.
- When they figure out the Expected Family Contribution….they consider a higher amount of the CHILD'S INCOME/ASSETS than they do of the parent;s which means there will be LESS money offered as loans. They include of lower amount of the PARENT'S INCOME AND ASSETS. So you may be offered LESS money if your child has money in their name than if they don't.
- The expected family contribution they say you and your child should be able to pay is the SAME regardless of the school. It's the same for a $20,000 per year school as for a $60,000 per year school. It's also the same for any major….they don't judge.
- FAFSA must be filled out EVERY year that your child attends school.
- Don't assume you aren't eligible for anything. These are used by colleges for both free money AND loans.
- For unmarried parents that don't live together only ONE parent (and the child always fills it out) fills out the FAFSA. The school guidance office can give you advice on which parent.
- If you had a big change from what was on your 2016 return you can contact the guidance office of the college for special consideration after you get the results back. It's up to them at that point.
- It's better to fill it out online than on paper.
- If you have a senior in high school then the school may be offering help to parents or may be having a meeting about filling this out.
- Be careful about hiring someone to fill it out for you. The numbers are the numbers. If you need help, first consider calling the guidance office at the college your child will be attending or is already attending. They may be able to help you fill it out on your own.
You will need to know what schools you want the info sent to. You can look up the codes while you are filling it out.
APPLICATION TIP: even if your child really loves just one school……maybe apply to three….why not have a safety net? Plus those other two may offer more free money and become more desirable.


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Sponsored Links
A new thrilling plotline in a cartoon begets a new kids game! Greet Gnomeo and Juliet movie personages in the newest online game Gnomeo and Juliet Coloring! Pencil amusing dwarfs and their vivid days full of adventures! Online pages of your coloring book reproduce the episodes of Gnomeo and Juliet movie, so you can delight in the most memorable movie images! Gnomeo and Juliet Coloring is an easy and plain but bright and amusing online game!


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Lyrics Depot is your source of lyrics to The Kids Are Insane by Urge Overkill. Please check back for more Urge Overkill lyrics.
The Kids Are Insane Lyrics
Artist: Urge Overkill
Album: The Supersonic Storybook
Get off of my back you're a drag and I'm ridin' alone.
I said get down tread on your own wheel.
People. They surround you like a tube of used glue.
Always telling you what you can't do.
They will never know the way that you feel.
So whatcha gonna do about it now?
You wanna get your hands on a piece of the pie.
You'll never get answered when your asking why.
Watchin' television when I heard somebody say
your friend is insane.
Oh! Can you hear me UO?
Yeah? We're jammin' on.
Kansas City (let's get insane)
Chicago (let's get insane)
And all the kids in L.A.
New York City
Pittsburgh P.A.
Nobody's going to war the kids are goin insane
In this world (the kids are insane)
Every boy and girl (the kids are insane)
They can't hold us back
You've gotta live your life by Saturday
Or remain just another American tragedy
Where will you go? What will you do?
Don't you know sometime you've gotta win the game?
Urge Overkill Lyrics
Urge Overkill The Supersonic Storybook Lyrics
More Urge Overkill Music Lyrics:
Urge Overkill - And You'll Say Lyrics
Urge Overkill - Crackbabies Lyrics
Urge Overkill - God Flinstone Lyrics
Urge Overkill - Henhough: The Greatest Story Ever Told Lyrics
Urge Overkill - Tequila Sundae Lyrics
Urge Overkill - The Polaroid Doll Lyrics
Urge Overkill - Ticket to LA Lyrics
Urge Overkill - Today Is Blackie's Birthday Lyrics


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Purchase Hawaiian Snow Cone Machine – Ice Shaver #S700
Overall Rating (based on real customer reviews): 4.2 out of 5 stars
Hawaiian Snow Cone Machine – Ice Shaver #S700
Features and Specifications:
- Manufacturer: Hawaiian Shaved Ice
- Product Dimensions: 14.3×6.8×6.5 inches
- Shipping Weight: 3.1 pounds
- Shaves household ice that is great for snow cones, slushies, shaved ice, margaritas and fun drinks.
- Easy-to-use kid-safe design prevents the machine from operating without lid in place.
- Great looking countertop design however the machine dissembles in seconds for easy storage.
- Powerful 55W, 120v electrical motor. Stainless steel blades are easily replaced. 1 year warranty.
- S700 Electric Hawaiian Snow Cone Machine made by Hawaiian Shaved Ice.
- More features
Here are some REAL customer reviews:
"Don't bother with the rest, buy this one and get the BEST!"
Wow! As a family we are Slurpee / Slushy fiends. Especially during the scorching summer months. When we first got the idea of slushies at home, we tired our blender first. No luck there- it could hardly function, let alone crush ice the way we needed it…Read more
"Noisy, slow, but makes very enjoyable shaved ice"
Customer Video Review Length:: 7:59 MinsWith many varying reviews on this and the other shaved ice makers on Amazon, it was hard to decide. In the end I chose this Hawaiian Ice Shaver. However, it is very noisy and slow. Also, the instructions say not to allow the unit…Read more
"best shave ice machine ever!"
I bought an earlier version of this same machine a few years ago and loved it. When I found out it was discontinued, I was so sad, as were other customers. This year, they brought it back, and I immediately bought one for my sister.There is simply…Read more
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Tied by: Loretta Parent
Originated by: Warren Duncan
Undertaker Streamer Variant streamer fly pattern recipe
Hook: Partridge CS15 #2
Thread: Black 8/0
Tip: Gold oval tinsel
Tag: Green floss
Body: Red floss at rear and green floss in front
Rib: Gold ovalt tinsel
Belly: Red bucktail
Underwing: Peacock herl
Wing: 4 black hackles
Shoulder: Blue peacock
Eye: Jungle cock nail
Head: Black
Loretta Parent – Growing up in Hamilton, Ontario, my sole fishing experience was the occasional trip to Port Dover, Ontario with my dad, a spin rod and package of worms.
It was not until 2007 that I was introduced to fly fishing by a friend Mike MacIlroy and I was instantly hooked. I just had to learn everything I could about it. When Mike told me he tied his own flies I was intrigued, and so during the winter of 07/08 Mike lent me a vice of his and I acquired a few materials and proceeded to soak up and knowledge from whoever would listen to me and learned the basics of fly tying.
[visit Loretta's streamer page on Streamers 365]


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Asperger's, Allergies, and Adventures Abroad
with 2 comments
Written by Spectrummy Mummy
January 23, 2013 at 5:02 pm
Posted in wordless wednesday
Tagged with AIDS, Community Service, Day of Service, HIV, MLK Day, Orphanage, South Africa
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Tag Archives: The Strokes
The Strokes "Under Cover Of Darkness" Download Now
For the next 48 hours The Strokes are giving away "Under Cover Of Darkness" on their website here. The song rocks hard and brings the band back, guns a blazing. The song doesn't feel cluttered but feels free to showcase what … Continue reading
Posted in marketing, New Music, Rock Tagged The Strokes Leave a comment
The Strokes To Release "Under Cover of Darkness" For Free
According to NME, The Strokes will give away "Under Cover of Darkness" for free for 48 hours starting tomorrow (February 9th). The song, the introduction to what can be expected from their comeback album, will be available on their website, new.thestrokes.com. … Continue reading
Posted in marketing, Rock Tagged The Strokes Leave a comment
The Strokes "Under Cover of Darkness" Rolling Stone Review
Rolling Stone recently got a listen to the new single from the Strokes and praised the song as a return to form and gave it 4/5 stars. The song is to be released February 9th on the band's website, but … Continue reading
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The Strokes- Angles Tracklisting Revealed
As March comes closer and closer, with new albums by Kanye & Jay-Z, Britney Spears, Snoop Dogg, and The Strokes, among others, more details are being revealed about the projects. The Strokes have now revealed the track listing to their … Continue reading
Posted in marketing, Rock Tagged Britney Spears, Jay-Z, Kanye West, Snoop Dogg, The Strokes Leave a comment
The Strokes Angles Album Coming Soon
Rolling Stone has reported that The Strokes new album is titles Angles and the first single, "Undercover of Darkness" will be released shortly since the album is due for release March 22nd. It's been a long time since there's been … Continue reading
Posted in marketing, Rock Tagged Music, The Strokes Leave a comment


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Disney is playing the long game with ESPN Plus streaming service
UPDATE: In September 2018, Disney announced ESPN+ has topped 1 million paying subscribers.
ESPN launched its ESPN+ streaming service in April.
The platform costs $4.99 per month and is not quite what sports fans initially hoped: It does not have the content that airs on ESPN on cable. Rather, it has all the things that do not go on cable: additive sports like boxing, rugby, MMA, and golf, and a wide range of college sports, but not from Power Five conferences. ESPN+ also has the entire "30 For 30″ movie library. This week, ESPN also cut a new deal with Serie A soccer that will bring more than 340 Serie A games to ESPN+ including Cristiano Ronaldo's debut with Juventus.
So, how is ESPN+ doing? On parent company Disney's (DIS) Q3 2018 earnings call on Tuesday, Disney CEO Bob Iger gave his feedback. He said more than he had ever said publicly about ESPN+ before.
"We feel good about it," Iger said. "It's a marathon, it's not a sprint. The product is working well technologically, it's quite stable from a streaming perspective. It's still early days, but conversion rates from free trials to paid subscriptions are strong, and subscription growth is exceeding our expectations."
"Modest expectations"
"Exceeding expectations" sounds exciting, but then Iger cautioned, "We had relatively modest expectations… in part because of the nature of the product offering. But actually we've added nicely to that product offering."
That was a somewhat surprising admission.
Iger is saying that Disney didn't expect much from ESPN+ at the beginning, because of its lack of must-have content. He is acknowledging that ESPN+ does not yet have mass appeal, and that it's experimental.
On the other hand, Iger sounds pleasantly surprised with the new content ESPN+ has already added since launch. "Boxing is probably the primary example, but there has been other good programming as well… We've got a huge lineup of college football—200 games this coming season, 70 in the first three weeks—UFC kicks in, and today we announced the inclusion of the very attractive Italian soccer league Serie A, Cristiano Ronaldo's first match with his new team will be on ESPN+, which is exciting… So we feel really good about how we're positioned, and we'll continue to look opportunistically in terms of what rights will be available."
Converting free trials to paid subscriptions
As for conversion rates from free trials to paid accounts, Iger said the company is "heartened by the fact that conversion rates from free to pay have been quite strong. And the trends that we're seeing in terms of churn are modest in nature, in the sense that they're manageable."
Disney won't share the actual ESPN+ subscriber numbers, and Iger playfully acknowledged how frustrating that is to the analysts and reporters who care. "I realized when I said that the subscriber numbers are exceeding our expectations, it was probably going to beg the question: 'Well, what are they?' And we haven't been specific," he said. "I can only tell you that we're telling the truth, but that doesn't do you much good… I'm not going to be specific on numbers. We're just not ready to get into that."
Regardless of how many paying subscribers ESPN+ has, the service is of major significance to Disney's future. It is Disney's first ever direct-to-consumer (DTC) offering, a toe-in-the-water before it launches its own Disney streaming service in late 2019, which will be much more publicly scrutinized as it will have Star Wars, Marvel, and Pixar content, and will mark the end of Disney movies going to Netflix.
Both ESPN+ and Disney's forthcoming streaming service are, as Pivotal Research puts it in a note, "efforts to future-proof the business that separate Disney from its peers."
Disney doesn't need ESPN+ to be an instant money-maker. It will use its learnings from ESPN+ to inform the Disney OTT product.
Daniel Roberts is the sports business writer at Yahoo Finance. Follow him on Twitter at @readDanwrite.
Read more:
ESPN Plus is aimed at a very specific kind of sports fan
ESPN is rethinking SportsCenter for the smartphone age
Amazon Prime, YouTube TV are in a sports streaming race
The lone loser in Disney's big quarter: 'A Wrinkle in Time'


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This will be a periodic feature that highlights what 45's artists have on their jukebox. Stay tuned for more in the future. This entry highlights some of the 45's on Elvis' jukebox from Graceland. The above picture is actually a jukebox located at Sun Studios in Memphis. Elvis' personal jukebox at Graceland was a great collection of Rock, Soul, Blues and R&B. Vee-Tone Records put out 3 volumes of CD's highlighting the music found there:
Here's a small sampling of those 45's:
-Arthur Crudup- Mean Old Frisco Blues/ Rock Me Mama
-Bill Haley- Razzle Dazzle/ Two Hound Dogs
-Bill Justus- Raunchy/ The Midnight Man
-Bo Diddley- I'm Bad/ Who Do You Love?
-Booker T & The MG's- Green Onions/ Behave Yourself
-Carl Perkins- Dixie Fried/ I'm Sorry, I'm Not Sorry
-Chuck Berry- Too Much Monkey Business/ Brown Eyed Handsome Man
-Chuck Willis- CC Rider/ Ease The Pain
-Dale Hawkins- Susie Q/ Don't Treat Me This Way
-Dean Martin- Bumming Around/ Houston
-Fats Domino- Valley Of Tears/ It's You That I Love
-Gene Vincent- Be-Bop-A-Lula/ Woman Love
-Isley Brothers- Twist & Shout/ The Spanish Twist
-James Brown- Papa's Got A Brand New Bag part 1/ part 2
-Jerry Lee Lewis- Breathless/ Down The Line
-Jimmy Reed- Too Much/ I'll Change My Style
-Joe Turner- Lipstick, Powder & Paint/ Rock A While
-John Lee Hooker- Tupelo/ Dusty Road
-Johnny Taylor- Disco Lady/ You're The Best In The World
-Jr. Walker & The All-Stars- Shotgun/ Hot Cha
-Larry Williams- Bony Maronie/ You Bug Me, Baby
-Little Richard- Good Golly Miss Molly/ Hey Hey Hey Hey
-Little Walter- My Babe/ Thunderbird
-Lonnie Mack- Memphis/ Down In The Dumps
-Mickey & Silvia- Love Is Strange/ I'm Going Home
-Nancy Sinatra- These Boots Are Made For Walking/ The City Never Sleeps At Night
-Piano Red- Rock, Baby/ Wild Fire
-Ray Charles- I've Got A Woman/ Come Back
-Ricky Nelson- Believe What You Say/ My Bucket's Got A Hole In It
-Roy Orbison- Mean Woman Blues/ Blue Bayou
-Sam Cooke- A Change Is Gonna Come/ Shake
-Slim Harpo- Scratch My Back/ I'm Gonna Miss You
-The Coasters- Yakety Yak/ Zing Went The Strings Of My Heart
-The Drifters- Fools Fall In Love/ It Was A Tear
-The Platters- The Great Pretender/ I'm Just A Dancing Partner
-The Spiders- Witchcraft/ Is It True
-Warren Smith- Ubangi Stomp/ Black Jack David
This gives a bit of an insight to the artists and styles that inspired his sound. He covered many of these as well. Check out the Vee-Tone link for the complete list and order your CD's today!
John Lee Hooker- "Tupelo"
Gene Vincent- "Woman Love"
Warren Smith- "Ubangi Stomp"


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There are various reasons why IT and AV integrators are keeping computer systems away from user environments more and more: Equipment security, centralization of assets, ease of maintenance, or simply to improve work conditions. As a result, KVM extenders have become key components within several industries, including AV, broadcast & post-production, military & defense, process control, transportation, and 3D visualization to name a few. With graphics cards pumping out more pixels at faster rates, it's important to select an extension solution that is able to keep up and deliver uncompromised performance.
Fiber-optic cabling compares favorably to CatX cabling in many ways, boasting first and foremost greater bandwidth, which can be thought of as the amount of lanes on a given road. The more lanes, the more cars get through. Substituting data for cars, a smoother workflow ensues. Matrox Avio KVM fiber-optic extenders stand out by maximizing available bandwidth and transmitting with zero compression two HD video signals, along with keyboard, mouse, analog audio, and USB over a single duplex-LC-LC fiber-optic cable. A single-cable solution, it reduces the total amount of fiber-optic cable required and results in considerable cost savings for long-distance deployments.
Other means of extending data exist, including over IP networks, but these generally require compression/decompression which can introduce latency or artifacts. When performance matters, Avio is the ideal solution—its uncompressed transmission ensures that what you send is what you get with zero latency, providing users with real-time access to data for timely decision-making. For example, high-performance KVM extenders are must-haves for military training purposes and for recruits using graphics-intensive flight-combat-simulation programs.
Alternatively, you can present and even manipulate 3D seismic models of oil reservoirs at full frame rates in a conference room, with the powerful HPC (High Performance Computing) system stored securely hundreds of meters away. Meanwhile, in regard to broadcast and post-production, smooth video playback without any dropped fames or mouse latency will have just as positive of an impact on the creative workflow.
In many environments, system security is ensured through the centralization of multiple workstations, but fiber-optic cabling represents a security precaution in itself. This is due to a high resistance to electromagnetic interference and tapping. Furthermore, Avio F120 is ideal for setups on which critical information is viewed or processed. The receivers' USB-HID ports keep users from uploading dangerous files or extracting sensitive information via USB flash drives.
|Featuring an incredible degree of versatility, a system-agnostic design, and compatibility with any OS, Avio's impeccable performance under pressure makes a difference when and where it matters most.
Find out more about Avio
Read more about the military and oil and gas industry applications of Avio


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This Picnic ht is being updated, please ask for more information.
Fermob have re-designed and re-inspired the classic childrens picnic table in a retro style.
Available in 2 gorgeous Fermob colours, so it will coordinate and blend with your outdoor furniture from Fermob.
Try it with the Kid Luxembourg collection of children's furniture by Fermob.
Made in aluminium with UV resistant powder-coated paint.
Suitable for children over 10 months.
If you need more advice please call us on 0345 6052505.
See Fermob Guarantee for details
PLEASE NOTE Additional T&C's for Fermob items.
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A Week with The World's Best Miler: Asbel Kiprop
Three-time Bowerman Mile champion preps for 2016 Pre Classic at altitude: what I witnessed on Lornah's track that day was the workout to end all workouts.
By Andy Arnold, LetsRun.com
The 2016 IAAF Diamond League season is underway, with Sunday's meeting in Rabat the third stop on the circuit. These 14 DL meets that span the globe attract the absolute best within the sport, and the importance of the Diamond League is not lost on Kenya's top talent. A single victory can net an athlete vital income (it's $10,000 for a win) and life-changing sponsorships, and the spectacular venues and disciplined rabbits allow many of the Rift Valley's elites to run fast times early in the season, guaranteeing coveted spots in Kenya's Olympic Trials. With Olympic dreams and financial success at stake, the world's greatest runners use May as the time to ratchet up their training intensity with workouts that would make even Jim Ryun blush.
I have spent the past few weeks hanging around Iten's various athletic facilities to catch a glimpse of track & field's royalty putting in the hard work and posting some ridiculous training efforts. Two weeks ago, I witnessed Geoffrey Kamworor, and about 20 other members of coach Patrick Sang's group, cruise 6 x 600 meters in 1:30 each, only to follow it with 10 x 300 in 39 seconds or better. Recovery was merely a 100-meter jog. This past Saturday, I joined Brother Colm O'Connell at Lornah Kiplagat's newly-constructed Tartan track to watch David Rudisha give new meaning to the word "speed." A film crew from South Africa tried their best to have their drone keep pace with the Great One as he effortlessly clipped off 37-second 300s. But they gave up entirely when he started splitting 150 meters in 16 seconds flat. Brother Colm's comments following the training made Rudisha's speed work even more impressive.
Continue reading at: www.letsrun.com


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Do people not wear underwear with their tights?
I was watching one of those day time talk shows where the implication was that the average woman did not wear underwear with their tights. This is completely weird to me. So in true GT fashion, I must as you fine folks about your undergarments. Please tell me!


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Summer Clothes
Channel the summer vibe proper now in these ethereal sportswear picks. Moreover, the academy affords students a true preview of the college experience, making ready teens for the expectations, rigors and alternatives of faculty life. You don't have to vary up your entire style for the hotter months. The type works perfectly for individuals who usually draw back from colour. That does not mean your sneakers must be boring – black and white are easy colors that work, but a smooth pair of low profile sneakers in any colorway can work and when achieved right add an incredible pop to any summer time outfit.
ELLE, A PART OF THE HEARST UK VOGUE & BEAUTY COMMUNITY. In a slightly creamier hue, the relaxed fit leg are good for teaming with a summer pump or basic wedge for laid again type. Be the primary to hear about new arrivals and in-retailer specials, … Read the rest


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It is obvious there is a misconception circulating within the community of people seeking spiritual advancement that sitting with an empty mind is the goal of meditation. Okay, sometimes it is a reasonable goal to reach for and achieve daily for a few minutes, because the ability to quiet the mind is a valuable skill. To be able to achieve a quiet mind when in a quiet room requires some practice, but that is a short-term goal, and the main goal of that meditation is to learn how to attain a quiet mind when all about you is in turmoil, and even when you are in pain. If a person can't learn to quiet their mind when in a safe and quiet place, how can they be expected to maintain a quiet mind in their ordinary public world, where there are innumerable dangers, challenges and threats?
When difficult times come along, especially threatening ones, it is natural for people to retreat into a fight, flight or freeze frame of mind, but what is often needed even more is a calm mind in a state that is capable of analyzing the situation and responding appropriately. To be able to choose to go to a quiet state of mind can be learned, and one of the ways of doing that is with sitting meditation, but to confront these more difficult situations also needs some practice at responding to external situations with sober equanimity so you can learn to think clearly when the situation is terribly stressful.
Clearly the goal of all species of living things is to live exuberantly, long and with successful fecundity. For humans to choose to sit idly with none of these fundamental life purposes in play would appear foolish to the hundred million species, if they could observe and think. The purpose of meditation is to enhance your life experience, not just sit and be. A rock can just sit and be, and it can do it much better than you. As a human being you have free will and you can choose goals for yourself, and for your world, and you can work to achieve these goals.
Meditation isn't for sitting, it's preparation for doing.


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If you are renovating your old property or want to give your home a new, and an updated outlook then you must have this stud for decorative purpose. You will be amazed to see how these studs could give an amazing looks to door. It will give you perfect finishing detail. It has good material, antique iron coated with black powder.
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Photographer's Note
I took this picture from Diskit Monetary at Nubra Valley in Ladakh. Nubra is called cold desert in Ladakh and it is the old silk route. This route used in Mughal Empire.
Nobody has marked this note useful
Critiques | Translate
rsabhijith (143) 2014-07-02 10:36
Hello Swapan,
This is an amazing view of the mountains. Also the light-shadow play has made it very special. TFS.
shreya2000 (2815) 2014-07-05 23:25
Dear Roy,
An interesting picture taken by you. The sky colous is really attracting. We can see the nearby area very well and judge our imagination. Well taken.
Miguel82 (43630) 2014-08-14 7:59
Welcome to Te and nice to meet you Swapan, you posted a series of high quality pictures. I note we went in many common places. Wonderful Nubra valley, the most northern point in India, a brillant panoramic shot with good dof including the gompa, regards
pajaran (98329) 2014-08-16 3:48
Dobar dan, popodne.
Lep pogled ...
Dobar trenutak snimka, kontrast i perspektiva, lepo pokazane kupole, dolina i planine sa belim oblacima.
Dobar rad i kompozicija, lepe boje.
Lepa dolina i planine.
Lepo popodne i sve najbolje.
Good afternoon, this afternoon.
Nice view ...
Good time recording, contrast and perspective, well demonstrated domes, valleys and mountains with white clouds.
Good work and composition, beautiful colors.
Beautiful valleys and mountains.
Nice afternoon and all the best.
ikeharel (103239) 2014-08-21 8:13
Good evening Swapan.
The three turrets placed oon a fantastic view-point over the desert valley, which you masterfully applied a stunning picture.
The silkey-way is a world known route, but we do not see many pictures from.
My cong.'s for an immaculate compo.
berek (50518) 2014-10-17 22:36
Dear Swapan
snowy mountains, clouds and vast plains looks great. successful management of light and color.Have a nice weekend.
All the best
jmdias (98246) 2014-10-24 0:50
a marvelous view with these plains surrounded by mountains. I liked the way you used the domes in the foreground. precious details. TFS.
Cricri (176) 2014-11-23 7:58
Hi Swapan
Gand panorama de la vallée, le jeu ombre et de lumière sur les montagnes, un ciel qui s'ajoute a la beauté du paysage, bien présenter avec les trois tours
Belle soirée
BennyV (31046) 2017-06-16 6:23
Hello Swapan
Another older post that I missed. Great landscape picture with strong colours and good use of the stupa's to put everything in perspective. Congratulations.
Photo Information
- Copyright: SWAPAN ROY (swapankumarroy) (3769)
- Genre: Places
- Medium: Color
- Date Taken: 2012-07-04
- Categories: Nature
- Exposure: f/11, 1/640 seconds
- More Photo Info: view
- Photo Version: Original Version
- Date Submitted: 2014-07-02 10:09
- To rsabhijith: Panoramic view from Diskit Monastry (1)
by swapankumarroy, last updated 2014-07-03 10:28
- To shreya2000: Panoramic view from Diskit Monastry (1)
by swapankumarroy, last updated 2014-07-06 07:44
- To rsabhijith: Panoramic view from Diskit Monastery (1)
by swapankumarroy, last updated 2014-07-08 11:06


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The validation of skills and knowledge acquired should not be a preoccupation reserved to candidates. On the contrary, it's a challenge for both candidates/employees and companies (see Insights No 5 for the first part of article).
Skill Assessment Tests for Employers
To manage current skills and those that will be necessary for a business and its future is a crucial element for a management that is synonym of results. Such an approach requires, for example to be able to identify the gaps in competences according to the company's objectives and the occupied positions and, to put in place a skills development plan. It's in that context that skills assessments are essential. They allow us:
- to identify potential talents within the company,
- to evaluate staff performance in a neutral and impartial way according to specific competences,
- to measure in a proactive manner the gaps in skills according to teams in place or according to the goals set by the management.
Once the information gathered, the employer can prepare in the best conditions a strategy according to the company's specific needs. For example, to the question do we need to acquire a new competence, an advised recruiter or employer will have the choice between several thoughtful options:
- to recruit an external consultant or expert to guide employees and then proceed to an internal transfer of competence,
- if an employee possesses the specific competence, to provide him or her with a coach or mentor to obtain his or her commitment and understanding of the goals and needs of the company,
- to recruit a new collaborator internally that possesses the adequate potential of development, which would have been identified by the results of a skills assessment,
- to recruit a new collaborator externally that will fit the needs and the level of skills of the team, which would have been identified by skills assessment results and gap analysis.
In either case, a continuous training strategy and a staff development policy will definitely lead to a relationship based on results and a profitable win-win solution. To consider employees and their skills like "something never acquired", of high-value and that demand constant development, guarantees the performance of the company and the employees, and this in a long term vision, adapted to the evolution of jobs and positions, as well as the market requirements.
In addition, evaluations and validations allow employees to understand and appreciate the level of performance requested for their position and the responsibility required. They also give the occasion to develop, to motivate oneself and to increase employee satisfaction as well as his or her employability either internally or externally. Such a strategy increases the level of staff commitment towards the company and its retention and offers internal talents the possibility to climb the hierarchical levels.
What kind of professional skills can you assess?
As an active player in the job market and through our close monitoring, JobProfile developed an expertise on the transition of the jobs of tomorrow and the new requirements of the professional world. JobProfile proposes this knowledge and vision through its career development programs, as well as within the context of its recruitments. To this end, we've adopted two key tools, business and technical skills assessments (IKM) and Vadequa, a tool designed to identify corporate culture and organizational values of a candidate and/or a business.
What's the need of those two solutions? We all possess both « soft skills » and « hard skills », assets that makes us unique and professional in our field of activity. Very often, talents mix those two categories. Yet, in the process of self-marketing and positioning, and in the step of choosing which skill to validate, it is essential to have a clear knowledge of what are our real business and technical competences on one side. But it is also essential to know what culture and professional values are in adequacy with our way of being and operating.
Know-how : business and technical competences, linked in a specific manner to a function, a task or an activity. These skills are generally defined by the specific field of activity of a company, a department or a team, or job specifications.
Life skills, self-management skills or soft skills: culture, motivations, organizational values, professional and personal values. These skills are basic elements or starting points like your personality, but also values forged during your existence that guide your manner to operate and to manage situations. For example, the way you think you should be managed or treated in a company, by your boss or your colleagues, what your salary should be based on: success or seniority, your level of responsibility, etc.
Note: Leadership and management are competences linked to your soft skills and not business skills, like a lot of people often imagine. Like shyness, leadership is a personal attribute that some of us have more or less developed. But like shyness, we can, all the same, work on it and learn to control it. We will then learn to communicate better, to work on our decision-making ability, to motivate and inspire others, to handle management techniques, etc.
Returning to our topic, when it's time to identify and choose what type of competence to develop, one should still ask him/herself how the need for that specific competence on the market will evolve. This requires using some imagination, creativity and to regularly monitor and watch your field of activity. I'll add that it is essential to consider cross functional and cross discipline approaches starting from your field. This is a trend that will be more and more sought and valued.
To conclude, it's up to you and only you to undertake this process of identification and validation. Don't wait for your company to offer it to you. And if it's the case, make sure that it corresponds to the company needs, but also to a productive and useful step for your own employability, for this employer or the next one.
Unfortunately, companies are often more likely to look externally then internally when it's about new competences. With professional networks, your employers often know better about external potential talents than they know about their own employees. That's one of the many reasons to develop your own marketing, your positioning and a thoughtful development of your competences.


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Kimmich confident Germany can overcome Italy hoodoo
Joshua Kimmich is confident Germany can overcome their Italy hoodoo at major tournaments to seal their place in the Euro 2016 semi-finals.
The reigning world champions have never beaten Italy at a major tournament, although they did rout the Azzurri 4-1 as recently as March in a friendly.
Kimmich has bad memories of their most recent encounters at major tournaments, but stressed the head-to-head record will not affect Germany as they seek a place in the last four.
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"I'm obviously aware that Germany's head-to-head record with Italy is not particularly positive," Kimmich told the official DFB website ahead of Saturday's quarter-final showdown in Bordeaux.
"I myself have memories from a few previous encounters. I was 11 years old for the 2006 disappointment and the 2012 match is obviously much fresher in my memory. But that game has nothing to do with Saturday. There are different players on the pitch, the past has no impact or influence on the present.
"Italy have shown that they're not only strong in defence. In the game against Spain, they very successfully played their way out of defence and also regularly pushed forward and pressed their opponents. We must counter this.
"But I'm certain that on Saturday we'll have solutions ready to deal with what the Italians throw at us.
"I'm unbelievably excited for the game. For me, it will be the highest point of my career to date."


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Buttermilk pie is a custard-type of pie made extra special and more flavorful with buttermilk. Use a frozen or refrigerated pie crust in this recipe, or use your own favorite recipe for pie pastry.
- 4 large eggs
- 3/4 cup sugar
- 3 tablespoons all-purpose flour
- 1 1/2 cups buttermilk
- 1/4 cup butter (melted)
- 2 teaspoons vanilla extract
- 1 pie shell (unbaked 9-inch)
- 1 teaspoon nutmeg (or to taste)
Steps to Make It
Heat the oven to 375 F.
In a large mixing bowl, beat the eggs and sugar for about 5 minutes, until lemon colored. Beat in the flour. With the mixer on low speed, beat in the buttermilk, melted butter, and vanilla.
Pour the mixture into the pie crust and put in the oven. Sprinkle the top with nutmeg. Place a pan or foil on the rack under the pie to catch any spills. Bake the buttermilk pie for 20 minutes. Reduce heat to 325 F and bake for 20 to 25 minutes longer, until pie is set.
Recipe Tags:


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Hauntology is everywhere these days, or should I say, everyone's talking about it, or maybe it's more that everyone's complaining that everyone's talking about it? It all becomes a bit tiring when you've spent some time sequestered online, once you've been through the umpteenth iteration in some kind of endlessly repeated discussion that would like to think it's a weighty debate at the acropolis but is closer in resemblance to "my dad could beat your dad in a fight"; who has the best take, the spiciest or the hottest? Tune in after the break to find out…
Regardless, read what you want into the time of year I'm writing this, but I found myself lately in something of a Hauntology hole, probably after watching Ken McMullen's Ghost Dance and returning to Derrida, the thinker that strangely enough for me I can't seem to escape, who seems to wait for me somewhere however far I travel, whichever paths I go down. For all that he can be frustrating, and I very much understand the criticisms of Deconstruction as often being a kind of desiccated critique, there's something more, and something vital within his critique of metaphysics that I can't escape; indeed there's something of the denaturalising impulse that we must search for in an emancipatory sense that seems to permeate much of Derrida's work. When it comes to Hauntology, I think it is immensely valuable at this stage to strip away some of the dissatisfaction, repeated points, misrepresentations and identify a certain strand, something that very much still resides in Specters of Marx.
By this point a lot of what is pointed towards or identifies as such seems to be distinctly un-hauntological, a kind of flattening of the term to mean simply "haunting", and a disconnection almost entirely from its implications of disjuncture, the intention of Derrida to invoke the "conjuring" of ontology, centred around the unspoken, the said and the yet-to-be-said, the "presence" of the text itself becoming a spectre. What is lost often is what is contained within the Hamlet quote "time is out of joint", which Derrida evokes repeatedly throughout SoM. Hauntology is never about a simple haunting, the past coming into the present, a straight lineage of time, it revolves around the very unsettling of temporal lines, the paradox of presence and non-presence, the disjointedness of time and memory, it has everything to do with our state of being in time. Hence the wordplay, a portmanteau of haunt and ontology, it is, if we are to simplify it at all Ontology as Haunting, Being as Spectre. It is by its very nature an unsettling, just as when Hamlet speaks the above line, it is to evoke the idea precisely that something seems wrong, that the world is not as it should be…
Do You Believe in Ghosts?
You know that point of coincidence, when at some undefined point you encounter something familiar somewhere it shouldn't be? It might be a flicker of a television advert, or something re-occurring years or decades later in some unexpected corner, a piece of writing, a snippet of lyric, a phrase that lay dormant and forgotten, but suddenly flickers into view for a second or more. It's in this way that our lives are populated by ghosts, that time does not operate as we think it should. It's not just that we remember something long buried, but the sense that the past remembers us.
But this seems like it should be impossible, it makes no sense. How could something that no longer exists still exert a pull on us? It is precisely this that Hauntology draws on, the strange slippages and dispersed fragments of time that exist at the intersection of being, the words before they are spoken. Indeed Derrida draws heavily on the sense when we speak that our words come from someone else, that we speak and write as ghosts. In Ghost Dance, we find him ruminating on being asked whether he believes in ghosts, "here, the ghost is me..". The Hauntological displaces any sense of metaphysical grounding and places the present as a space of spectral projection, always out of view, always peripheral. In short, it undermines the Metaphysics of Presence. Hauntology teases out the threads of this unspoken periphery from the fabric, the implicit connections lying behind a form. There is no "haunting" something; if we intend to do something "Hauntologically" we have failed before we've begun, for the spectres we find, the hidden glimpses, must be prior to the expression itself, immanent to the text. The point of SoM was always to pick out what lay behind the text, the terms and associations that haunted the text, ones that inevitably Marx himself was not aware of.
This is all to counter the easy assumptions that Hauntology is merely a kind of calling-back, a kind of appeal to the past, which I've hinted at before but wanted to go into in more depth. If we are looking at a simple vision of the past we've gone badly wrong somewhere. Hauntology is by necessity a complication of the past, a tangling of it with its own future in which, and I can't emphasise this enough, the unspoken becomes key. We enter a world of the not-quite, the never-here, the out-of-sight.. the echo precedes the shout.. a distinct uncertainty, where did that sound come from? Hauntology precisely dismantles our comfortable temporalities and disrupts chronology to the point where we can no longer say A then B then C with confidence in our memory of this progression, it becomes jumbled, disordered, out of joint.
Partial Recall
"Hamlet already began with the expected return of the dead King. After the end of history, the spirit comes by coming back [revenant], it figures both a dead man who comes back and a ghost whose expected return repeats itself, again and again. "
The motif of recall, of memory dominates the Hauntological, becoming a central theme of SoM. A memory is something which lingers from that which no longer exists. It returns as spectre, which is precisely not to be, it is not a presence. In this sense, if we are to return to Derrida, "it is necessary to introduce haunting into the very construction of a concept". To Derrida, Ontology is the exorcism of this haunting… "Everything begins before it begins"… the spectral precedes the real and the real is haunted by the spectral. This is to say that each concept, each form, is by necessity an exorcism of its own haunting, wherein it is conjured into being. This exorcism or ritual is a grounding in presence, where the hauntological concerns what precedes it, the impossibility of presence.
The Hauntological then, concerns everything that is not present, the gaps, frissons and openings; it is moreover an Ontological disturbance, foregrounding our distance from something, its disintegration and transience. This goes on to suggest, however, that a haunting, as Mark Fisher makes explicit, is as much a disturbance of space as it is time. Where the immediate association of haunting may seem a temporal one, the revenant, the return of the past, repetition and rhythms of ritual mourning and melancholy, it is worth pointing towards the prevalence of the haunted house, the connection to location in so many ghost stories. Fisher provides us with a key example in the overlook hotel of the Shining, the way in which family history, trauma, the crimes of the past, become residues in a place, the family drama of psychoanalysis crossing over with something larger and further reaching. So to move on from its one association as a temporal condition to this Ontological uprooting is to find that Hauntology is inevitably spatial. If, as Derrida said, Psychoanalysis is the study of ghosts, those phenomena of the psyche with no real presence that continue to exert influence upon us, then so must our connection to space, and our existence within it, be a spectral one. Here, the primacy of the virtual becomes apparent.
Mourning, The Return of the Dead
There is a specific engagement in Specters of Marx with the time in which it was written, namely the "end of history", that final triumph of liberal Capitalism evoked most famously by Fukuyama, something that Derrida connected to Freud's account of the triumphalist phase of the mourning process in relation to the demise of the soviet union and with it the very idea of Communism, of Marx. This approach, famously identified by Fisher as Capitalist Realism, consists of the recall, repetition, incantation, evoked through the spectres of Hamlet. "To the rhythm of a cadenced march, it proclaims: Marx is dead, communism is dead, very dead, and along with it its hopes, its discourse, its theories, and its practices. It says: long live capitalism, long live the market, here's to the survival of economic and political liberalism!", Mourning here takes upon itself the task of the aforementioned exorcism of alternatives, the codification of a universal reality and the final expunging of any memory that might still act upon the present.
So what from this is the significance of Hauntology in the cultural sense, the identification of a tendency, indeed a confluence in music and culture? It seems to emerge from what I've just described in the condition of melancholia, this refusal to let go. Where Derrida identifies in the end of history a process of mourning, of detachment and triumphalism, the death of Marx and the exorcism of his ghost, he simultaneously speaks of our inability to banish the dead. The Haunting present in culture speaks to something that is no longer with us, but that has been unsuccessfully banished, the work of mourning arrested. It is, more to the point, a refusal to "give up the ghost" that is, to yield with regard to the insidious pull of our own desire, as Lacan put it. The accusations of nostalgia here are misplaced I think quite simply when we realise that what's being held onto here is not an idealised version of the past, but a potentiality, an alternative that never made good on its aims. While a traditional nostalgia harkens back to a supposedly ideal time, Hauntology points towards what is unfinished, and again, unspoken. It is for this reason that Fisher refers to "lost futures", it is not what was, but what might have been. Here there is no object to mourn, and so it lingers on in expressions and cultural resonances. The death here does not pertain to some completed construction or project, but an approach, a world-view. For Capital, the dead always return to haunt it.
Lost Futures
Many discussions and expositions on Hauntology over the past few years have started with Mark Fisher, but I purposefully did not, firstly because I'm aware that this Blog might quickly become a K-Punk fansite, and also because I think the origins of the term in Derrida is something worth dredging back into view, if only to emphasise the de-ontological qualities of the word. Nevertheless, if I'm going to talk about Hauntology, it has to be said that Fisher is largely responsible, with a few others [Simon Reynolds also had a part to play] for bringing the term into wider usage within cultural theory and criticism, and so addressing what he did with it, and where he applied it, becomes something of a necessity.
It's often implied that there is an immense difference between Derrida's Hauntology and Fisher's, but right away I think that this is overstated. It's true that Fisher harboured a frustration with Derrida as a thinker, criticising Deconstruction, as it manifested in the academy, as "a kind of pathology of scepticism, which induced hedging, infirmity of purpose, and compulsory doubt in its followers". This frustration is something I alluded to above, and is not unfounded, and yet is something I can easily look past in his work, partly due I think to the fact that it was Derrida who lay somewhat centrally to my re-introduction to philosophy and theory after a long wasteland of disenchantment some time ago. In some sense it was precisely this pathology of scepticism which provided an opening for me into the paths I ended up exploring, and has pushed me always not into an infirmity of purpose or inability to hold a position, but instead into a constant wariness of simplicity and reduction behind a position. It is of course largely a matter of what you do with a thinker, and Fisher indeed refers to the ways in which Derrida among others drove a creativity and excitement in the music writers so influential to him.
Sonic Hauntology
I mentioned above the identification from Fisher and others of a certain cultural confluence with Hauntology, and to go further down that lane will require us to pull together some of the threads I've been exploring so far into what Fisher termed Sonic Hauntology, specifically at points linking it to the Hauntological tendencies of Afrofuturism with its displacement and jumbling of time and space. In his essay The Metaphysics of Crackle – Afrofuturism and Hauntology, an astonishing text that I must admit I only chanced upon recently, Fisher outlines this tendency, focusing on the presence of crackle or sonic disintegration in so much of the music to be identified with Hauntology. The railing against the metaphysics of presence is here beautifully opposed to the attachment to the presence or authenticity of the singer-songwriter in the work of Greil Marcus and found within the fiery opening salvo of Kodwo Eshun's More Brilliant than the Sun, where Eshun opposes in the strongest terms the "troglodytic homilies" of the "intertia engine", the tendency of music writers to appeal at all times to a "terminally stupid sublime" –
"The fuel this inertia engine runs on is fossil fuel : the live show, the proper album, the Real Song, the Real Voice, the mature, the musical , the pure, the true, the proper, the intelligent, breaking America: all notions that stink of the past, that maintain a hierarchy of the senses, that petrify music into a solid state in which everyone knows where they stand, and what real music really is."
What Eshun is doing here is not too far removed from Derrida's project in Specters of Marx, that is he is opposing the centrality of presence, of immediacy, of the present. In Metaphysics of Crackle, Fisher draws our attention to Dub, the "Afrofuturist sonic science" , and what's notable is how it is treated by two different music writers, Marcus and Ian Penman. What's notable about Marcus is not that he doesn't address or talk about Dub, but that he talks about in the sense that a literary critic might talk about a text. What's important is its presence, its importance, its meaning, never the materiality of the sound, what it does. What Marcus is ultimately beholden to is a kind of Rock Metaphysics, seen in the proclamation of raw, pure expression, common attitudes towards the blues. And yet, as Fisher points out, something that a writer like Marcus barely ever touches upon is the role of production, of music technology, of everything that mediates between us and the musician. For in truth, while we tend to look towards bluesmen like Robert Johnson as the ultimate purity of expression in music, we listen to them practically through the material haze of time, through the broken up, crackling deterioration of sound. Fisher quotes Owen Hatherley, "there's surely no music more utterly dominated by its recording technology than 1930s blues. Listening to Robert Johnson you have, rather than the expected in yr [sic] face earthiness and presence, layers upon layers of fizz, crackle, hiss, white noise.."
So sonic Hauntology is precisely the foregrounding of that technology, the cracks, deterioration and surface noise, rather than the rockist privileging of the man & guitar, the voice. It is in this sense that Penman identifies it and Afrofuturism as "two sides of the same double-faced phenomenon". The same material foregrounding of the lack of presence found in Hauntology is central to the diasporic, fractured, cut-and-paste jumbling of space-time of Afrofuturism, where the alienation within black culture, the transience and lack of place, are exactly what becomes emphasised and re-configured. "Afrofuturism unravels any linear model of the future, disrupting the idea that the future will be a simple supersession of the past. Time in Afrofuturism is plastic, stretchable and prophetic—it is, in other words, a technologised time, in which past and future are subject to ceaseless de- and recompostion" So, through the dominance of technologies to how we experience sounds, music or otherwise, sonic Hauntology intensifies this pattern, emphasises it.
Virtual Disjunctures
But to what end? What purpose does Hauntology really serve, we might ask, where does this distancing of presence lead us? The answer lies I think somewhere in the postmodern world of simulacrum, virtuality and abstraction that has become so familiar to us today, the communicative wonderland and digital landscape. Sonic Hauntology's heightening of crackle and distortion, the surface noise of old media technologies is something that immediately distinguishes it from the formal nostalgia pointed to by Fredric Jameson in Postmodernism, something which also is immanently connected to the prominence of technology. This formal nostalgia not only separates itself from emotional or psychological nostalgia, it is in some sense predicated on its absence. It is only when detached from its past, when the direct memory is severed, that an attachment to the forms of the past comes into focus. The "Slow Cancellation of the Future" Fisher refers to [from Franco Berardi], is a nostalgia, but one very different from the paradoxical one found in sonic Hauntology for example.
Ghosts of My Life is the project of Fisher's I've found is most sidelined. This is not to say that it is unknown or anything of the sort, but that the main focus tends to be on either of his other books. It has, however, resolved into my favourite of the three he published, and something of this lies in its diaristic, fragmented quality. The book, while it centres on themes, is not a simple treatise on them, but an exercise in the very excavations of lost futures implied through Hauntology as some kind of practice. This is why, far from its distended nature reducing its effectiveness as Hauntological text, it is precisely this that, in the lineage of Walter Benjamin's Arcades Project, and indeed Laura Grace Ford's Savage Messiah zine to which Fisher contributed a preface, places it within the Hauntological beyond simply containing a definition of it as a tendency. While we might search for a clear, elegant, singular text, it is the cut-and-paste quality of a project like this, the immediate appearance of cracks and lines in its construction, that presents it as a kind of spectral archaeology par excellence.
So what to take from the yearning for Lost Futures. Is it, as some have tried to insinuate, some kind of re-constituted nostalgia? Are we, through this, doing precisely what donkey-jacketed old socialists are most often accused of and wishing for a return to the 70s? I mention Ghosts of My Life as here we can find an engagement with this –
"What is being longed for in hauntology is not a particular period, but the resumption of the processes of democratisation and pluralism for which [Paul] Gilroy calls. Perhaps it's useful to remind ourselves here that social democracy has only become a resolved totality in retrospect; at the time, it was a compromise formation, which those on the left saw as a temporary bridgehead from which further gains could be won. What should haunt us is not the no longer of actually existing social democracy, but the not yet of the futures that popular modernism trained us to expect, but which never materialised. These spectres – the spectres of lost futures – reproach the formal nostalgia of the capitalist realist world. "
The point here is precisely not a yearning for times past but of tendencies curtailed. The "Lost Futures" are not a kind of Schlaraffenland we might readily associate with a kind of reactionary nostalgia for the past, nor are they the melancholia of Gilroy or Wendy Brown, "Post-colonial" and "Left" respectively, in which we become attached to either an idealised moment or the repetition of failure. As usual within the purview of Hauntology, the Lost Future concerns the unspoken, the yet-to-exist or the no-longer-existing. This might seem like an obvious point, one I re-iterate here, but it contains within it something immensely important to realise culturally and politically, and that is that tendencies we might look towards in the past, be they Socialism or Popular Modernism, are not restricted to the time within which they existed, and are not finished, packaged wholes. The common line directed at the left that "you just want to return us to the 70s" commits two major errors; it firstly presents us with a retroactively constructed narrative of the 70s, an image of neoliberalism arriving to modernise the clear failure of social democracy [Thatcher's "Labour isn't Working" posters come to mind], putting to the side a lot of the inconvenient attempts to forcibly impose neoliberalism and ruthlessly crush opposition, secondly, it assumes that the left, socialism, whatever we want to label the tendencies dominant at the time, are locked within that decade, that any attempt to continue them today is by its very nature some kind of nostalgic pathology.
So, in trying to perceive the flickering, disintegrated echoes of a past era, there is a melancholia, but which takes the form, rather than a time-locked nostalgia, of a refusal, a refusal to mourn, to banish the dead. There is a defiance in yearning for something violently strangled before its time, to hold on to the reverberations it leaves behind. This distinct refusal to mourn, to give up on potential, is central to the political and cultural prevalence of Hauntology and the Spectral. It is the vector towards renewal perceived through a technological haze, just as the lone bluesman is heard through the indefinite layers of crackle and noise. It is the distance afforded us by the technological here that preserves and propagates the ghosts of our lives. The distended, fragmentary cut-and-paste alienation of time from itself that we experience in a landscape where all emerges at once, regardless of time and space, that distinct flattening of spatio-temporal distinctions of our era, is something that Hauntology, both in cultural, political, sonic, psychological, geological terms, intensifies.
It is this process, the intensification of disjuncture, that may become a vector towards a new modernist impulse. For how long now can we continue to hold to the limitations of presence, and for how long can we prioritise the kind of grounding Rockist authenticity demands? The disturbance of causality itself, and the undermining of metaphysical presence itself, becomes today the task of any future, for it is surely the "realistic" appeals to purity, to identity, that form the ritual exorcism of spectres. It is in assuming that what we see it what we get, that it is a solid, unmoving excrescence, that in a real sense we do away with any potential, any echo. There is only the music, and great music speaks for itself, right? Hauntology is to percieve in this gigantic echo chamber a world, a fragmented map of associations far larger than any building or song, to draw out the fabric into an immense spool outwards… unravelling, and through this sensing the tremors, the barely perceptible patterns still present through the gaps, reveal themselves…. like apparitions through the fog…
Reading List [Not all of these are explicitly mentioned here but all are relevant and informed/inspired it, however tangentially]-
- Jacques Derrida – Specters of Marx
- Ken McMullen – Ghost Dance [Linked above]
- Mark Fisher – Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures
- Fredric Jameson – Postmodernism: The Cultural Logic of Late Capitalism
- Mark Fisher – The Metaphysics of Crackle: Afrofuturism and Hauntology
- Kodwo Eshun – More Brilliant than the Sun: Adventures in Sonic Fiction
- Walter Benjamin – The Arcades Project
- Laura Grace Ford – Savage Messiah
- Simon Reynolds – Retromania [see also Rip it Up and Start Again]
- Greil Marcus – Lipstick Traces: A Secret History of the Twentieth Century
- Ian Penman – It Gets Me Home This Winding Track
- Wendy Brown – Resisting Left Melancholy
- Paul Gilroy – Postcolonial Melancholia
- Sigmund Freud – The Uncanny
- Mark Fisher – The Weird and the Eerie


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Fabio Viviani likes to say he didn't choose Chicago to open his latest restaurant concept -- Chicago chose him.
Either way, his decision to invest in River North Italian restaurant Siena Tavern, wasn't a quick one.
The veteran of multiple seasons of "Top Chef" decided to join forces with Lucas Stoioff and David Rekhson of the DineAmic hospitality group, responsible for late night hot spots Public House and Bull & Bear.
But before any deal was made, Viviani took his potential partners to his hometown of Florence, Italy, for the ultimate test.
"You've got to live, sweat, go to bed, get up, dress, eat, walk like Italian. Then when you know inside you what Italy is all about, then we go back to River North and make a business out of it," Viviani said.
The reality show made Viviani a househould name, and while he's appreciative of the platform the show has given him, he points out that he was already an experienced restaurateur before appearing on the show.
"This place is substance, it's not swag. Swag can take you so far, it's like 5 minutes of fame," Viviana says. "There's a lot of people who go on Top Chef and they're like, 'Oh my God, from tomorrow I can sign some autographs and be the man,' and I'm like, 'Dude, it's Top Chef, you didn't win an Oscar."
Viviani is aware that many outsiders with a big name have tried and failed to make it in Chicago's competitive culinary scene, but he believes his choice of partners -- and his personal makeup -- will lead to success.
"I'm a humble guy. I come from poverty, not money," Viviani says. "The part I like about Chicago is that people are willing to give you a chance. Even if you're not a big shot, people will still give you a chance."
(Video shot by Stephanie Jimenez and Onasis Odelmo)


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Elon Musk's Top 10 Rules for Success
Elon Musk has become a legend in Silicon Valley for his work in creating game changing businesses in sectors from finance to aerospace. He is estimated to be worth over $11 billion and successfully manages to juggle being CEO of two multi-billion dollar companies, Tesla Motors and SpaceX. In this video Evan Carmichael uses excerpts from video interviews and talks made by Musk in order to suggest what his top ten rules for success would be.
For more information about Elon Musk we'd recommend reading his recently released biography written by Ashlee Vance entitled Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future.
Tags: elon musk, picks, spacex, success, tesla motors


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The answer to the question where the hell did Loot Shoot Lane go? Well, here we are with Episode numerical answer of 42. We apologize for the lengthy absence but now on to your regularly scheduled dose of salt. To start us this episode is release of the Necromancer and Season 10 is now over. Diablo discussions lead on into the HoTS discussions where new champion, Malthael, is finally getting tuned down a bit and the summer sweepstakes look pretty good. Finally some Overwatch talk where we, yet again, bring up the horrible loot system and talk about the PTR changes that hopefully help address the issue. Thanks for joining us after our hiatus and keep tuning in as we are back at it now!
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