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Coyote Ugly Saloon
Biggest American bar and restaurant in town
American, Local, Pizza, Burgers
Mon-Sun: 5pm-3am
Casual Dining, Drinks, Private Functions, Large Parties (16+)
An iconic establishment with 25 franchises around the globe, Coyote Ugly Saloon brings to Singapore nights of great booze and entertainment. Inspired by a cult movie with the same name that was aired in 2000, the bar's decor is reminiscent of an American diner filled with witty graffiti. Grab a ...More
An iconic establishment with 25 franchises around the globe, Coyote Ugly Saloon brings to Singapore nights of great booze and entertainment. Inspired by a cult movie with the same name that was aired in 2000, the bar's decor is reminiscent of an American diner filled with witty graffiti.
Grab a beer and sit back in comfort as you relish in the well-rehearsed dance routines performed by female bartenders. Known as Coyotes, the bartenders are dressed in eye-catching plaid shirts, denim shorts, rhinestone belts, bandanas and cowgirl boots. They take to the stage every 20 minutes to wow the crowd with their show-stopping moves.
Opt for a platter of bar bites and cocktail refills during breaks between the performances to keep your energy levels up. Platters start from $35 and consist of generous servings of chicken and fries, with a side of authentic smokey barbeque sauce. The bar also offers separate appetisers such as burgers and pizza for those who want more.
As the most famous bar on the planet, Coyote Ugly Saloon is a one-of-a-kind bar and restaurant that provides one stop entertainment all seven days of the week. (Feb 2020)
Coyote Shooter, Road Kill, Burger
JUMBO Seafood (ION Orchard) Renowned local seafood in Orchard
JUMBO Seafood (East Coast Seafood Centre) Renowned local seafood along East Coast
Spring Court A stalwart of Chinese Singaporean cooking at Chinatown
JUMBO Seafood (Dempsey Hill) Renowned local seafood in the lush greenery of Dempsey Hill
Bedrock Bar & Grill Modern steakhouse in Orchard
National Kitchen by Violet Oon (National Gallery) Peranakan and local delicacies at the National Gallery


Our apologies if things seem to be slowing down a bit here at the blog — we're gearing up behind the scenes for a busy January 2011 when all of our committees will be delivering and finalizing their nominee selections for the 7th Annual Joe Shuster Awards. If all proceeds as it should, we will be delivering the nominee list press release on Tuesday, February 1st, 2011.
We've now got a fairly complete list of French language nominees for work published in 2011. It just needs to be formatted for the website.


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Q: SQL Database Type Problem I am trying to put together an SQL database but don't really know how to make it work.  The intention is to have multiple columns, some with integers, some with strings in their cells.  For this app, I want repetitions to be an integer and exercise to be a string.  Here is the relevant parts of the code:
public static final String KEY_ROWID = "_id";
public static final String KEY_DATE = "date";
public static final String KEY_EXERCISE = "exercise";
public static final String KEY_REPS = "repetitions";

private static final String DATABASE_CREATE = "create table " + DATABASE_TABLE + " ("
    + KEY_ROWID + " integer primary key autoincrement, "
    + KEY_DATE + " text not null, "
    + KEY_EXERCISE + " text not null, "
    + KEY_REPS + " int not null, "

public long createExercise(String exercise, int reps) {
    ContentValues initialValues = new ContentValues();
    initialValues.put(KEY_DATE, date);
    initialValues.put(KEY_EXERCISE, exercise);
    initialValues.put(KEY_REPS, reps);

return mDb.insert(DATABASE_TABLE, null, initialValues);
}

I put data in this table using test strings.  Then I try to pull the data with the following query:
public Cursor graphQuery(String exercise, String workout) {
    return mDb.query(DATABASE_TABLE, new String[] {KEY_DATE, KEY_REPS}, null, null,
        null, null, null);

From there I try to put the data into a number array but it gives me an error.  It tells me to put KEY_REPS as a number when I declared it.  But if I declare KEY_REPS as a number it doesn't let me build my databes.
Cursor cursor = mDbHelper.graphQuery(currentexercise, currentworkout);
startManagingCursor(cursor);
Number[] reps = new Number[]{workoutDbAdapter.KEY_REPS};  //error here

I feel like I am missing a key part in how to create my database.  Can anyone help?
Code from book I am trying to follow (except using integers) (from comment on first answer)
private void fillData() {
    Cursor remindersCursor = mDbHelper.fetchAllReminders();
    startManagingCursor(remindersCursor);
// Create an array to specify the fields we want (only the TITLE)
    String[] from = new String[]{RemindersDbAdapter.KEY_TITLE};

That being said, if someone knows of a good website that teaches SQLite as it applies to Android that would be awesome. The only ones I have been able to find are generic SQL sites and they aren't very helpful.

A: Cursor cursor = mDbHelper.graphQuery(currentexercise, currentworkout);
startManagingCursor(cursor);
Number[] reps = new Number[]{WorkoutDbAdapter.KEY_REPS};  //error here

This code here doesn't do what (I think) you want it to.  You need to iterate over the cursor and get the data from there.  I'm pretty sure, if you followed the Android sample code for using databases that WorkoutDbAdapter.KEY_REPS is a string constant that holds reps column name.
Try doing something like this:
List<Number> allReps = new ArrayList<Number>();
Cursor cursor = mDbHelper.graphQuery(currentexercise, currentworkout);
while (cursor.moveToNext()) {
    int reps = cursor.getInt(cursor.getColumnIndexOrThrow(mDbHelper.KEY_REPS));
    allReps.add(reps);
}
Number[] repsArray = allReps.toArray(new Number[]{});
// do stuff with repsArray and don't forget to close cursor

redpajama_set_name: RedPajamaStackExchange


Renee Wilson is a Chicago area harpist who specializes in weddings. Renee has her Master of Music in performance, and is a classically trained musician. Renee is the Principal Harp in the South Bend (Indiana) Symphony, and lives in the Morgan Park neighborhood on Chicago's South Side.


Who Can I Call For Fire & Smoke Damage Restoration Near Me?
Immediately call ServiceMaster Restoration By Simons. We provide professional Fire & Smoke Damage Restoration for Residential and Commercial Properties in Chicago & Suburbs. As an IICRC Certified Master Fire Restoration Firm and a member of the Restoration Industry Association (RIA), ServiceMaster Restoration By Simons is a leader in Fire Damage Cleaning & Restoration services in Northeast Illinois. We use state-of-the-art equipment and cleaning solutions to get your property to pre-loss conditions — FAST! With two convenient locations in Chicago and Chicago's North Shore, ServiceMaster By Simons is the trusted name in Cleaning & Restoration. For more information on the processes we take in Fire & Smoke Damage Restoration of your property, click here.
Do I Need Fire & Smoke Damage Restoration?
The quick answer is YES. If you're researching Fire & Smoke Damage Restoration or you are looking for answers, then it must be a significant enough event in your mind to require professional attention. Call ServiceMaster Restoration By Simons for a consultation with one of our IICRC Certified Fire & Smoke Damage Restoration project managers. We'll perform an assessment of your property by visually inspecting for soot damage and signs of char, determining smoke odor and determining the Class/Type of Fire or Smoke Damage that has occurred.
WHAT ARE THE COMMON TYPES OF FIRES THAT CAN OCCUR?
Are there different Classes of Smoke & Fire Damage to properties in Chicago & Suburbs?
Yes, in fact, there are six definitive classes of Fire & Smoke Damage. When our IICRC Certified ServiceMaster Restoration By Simons project managers conduct a Fire & Smoke Damage assessment of your property, we take several things into account, including the Class of Fire that has affected your property. Click on this link to learn about the six classes of Fire & Smoke Damage to properties.
What is Primary vs. Secondary Fire Damage?
Insurance companies divide Fire & Smoke Damage into two categories, namely, primary and secondary. ServiceMaster Restoration By Simons can help you determine how your property has been affected, but here is a brief explanation of the two categories of fire.
Primary Fire Damage refers to damage that occurs as a direct result of flames, including damage to Commercial & Residential buildings and its contents.
Secondary Fire Damage refers to damage to a Commercial or Residential property by smoke, soot or other corrosive substances that are a direct by-product of the fire itself. Secondary Fire Damage accounts for most of the damage done in homes and businesses.
Can ServiceMaster By Simons Help Me With The Insurance Process?
Absolutely. As a QRV or Quality Restoration Vendor, ServiceMaster By Simons is part of the elite group of national ServiceMaster franchises chosen to take part in the national contract agreements with most major insurance companies. That means that we follow the strict guidelines administered by these insurance companies and provide a direct pipeline to your insurance company. It also means that you don't have to be the middle-person in the process. When applicable, we work directly with your insurance to make sure that your property is properly restored after a Fire & Smoke Damage.
What kind of Fire & Smoke Damage Cleaning does ServiceMaster By Simons provide?
ServiceMaster Restoration By Simons provides Structural Cleaning and Content Cleaning for Chicago & Suburban properties that have been affected by a Smoke or Fire Damage. The following is a brief description of those services.
Structural Cleaning involves the cleaning of the property itself. This includes soot sponging of walls & ceilings, including crown molding and baseboards.
In some cases, using a soft detergent to clean walls & ceilings.
Cleaning of floors, doors and windows.
Cleaning of all flat surfaces including countertops and windowsills.
Cleaning of all ventilation and duct systems for HVAC.
Cleaning of all soft goods including garments, drapes, bedding, carpet & upholstery.
Cleaning of bookshelves, shelving, furnishings and light fixtures.
For fast, professional Fire & Smoke Damage Restoration services in Chicago and the suburbs, call ServiceMaster Restoration By Simons. As Chicagoland's trusted name in the cleaning & restoration industry for over 60 years, ServiceMaster By Simons offers guidance and expertise in disaster restoration and specialty cleaning. Call us now at 773-376-1110 or toll free at 855-9-SIMONS (855 974 6667).
During a fire, smoke is driven by heat created by flames. No matter where the fire originates, smoke may penetrate throughout a building structure. Smoke also combines with humidity and can form corrosive residues that may cause secondary damage. Long after the fire is put out, the damage can continue, as remaining free-floating smoke settles on horizontal surfaces and contents.
Fire does burn, but the residual smoke may burn as well. This sometimes call etching, pitting or chemical burning. Quick response and action are critical. The more time that elapses before treatment, the greater the damage.
ServiceMaster Restoration By Simons is a highly reputable, licensed, insured and endorsed provider of fire and smoke restoration services. In addition to our years of experience, our uniformed Fire & Smoke Damage Restoration technicians have completed advanced training in fire mitigation, restoration systems and corrosion control. We also require continuing education to learn about new techniques and equipment to better serve you in your time of need.
It is our goal to restore your property as quickly and efficiently as possible. Depending on the source, nature and size of fire, the cleaning and restoration may require several phases before completion.
While each fire or smoke loss is unique, the information on this web page is general. However, we hope it will help answer your questions and aid you in understanding the processes and procedures for restoring your property. We understand that as the property owner, you deserve clear and thorough communication, and we will give our full cooperation to both you and your insurance claims representative.
We work to restore all property to a pre-loss condition when possible. Some items cannot be restored. Others could cost more to restore than they are actually worth. We well advise you and your insurance claim representative and explain the limits of what we as professional restorers can do.
The following information is a checklist of services and items that may need to be addressed in order to restore and protect your property, along with a brief explanation.
Our ServiceMaster Restoration By Simons Fire & Smoke Damage restoration technicians will walk you through this checklist. While not all of the items will apply, this information will help you understand the procedures involved in restoring your property.
We have identified the type of fire and smoke problem and the scope of the damage. The assessment includes a thorough visual inspection with photo documentation to determine the extent of the damage, enabling us to form the most effective plan for retuning your property to pre-loss condition as quickly as possible. To ensure proper claims investigation, the area where the fire started must be secured and undisturbed until released for cleaning by your insurance representative.
Food from the oven or stove has burned; strong burnt food odor exists; smoke residue is on contents and surfaces.
Trees, shrubs and bushes have burned (example: forest fire); smoke has penetrated the structure from outside; smoke residue and odor are present.
Board up or cover with tarp to secure the property or protect it from the elements. Inspect furnace or air conditioner unit; replace furnace filter, cover supply and return air vents to prevent cross contamination of smoke and odor into other areas; clean and deodorize duct work.
Remove debris to clear a way for complete fire & smoke damage restoration and provide for worker and occupant safety.
Extract excess water remaining from firefighting; check flooring and structural components for remaining moisture; set up drying and dehumidification equipment.
Corrosive by-products from smoke residues can cause irreversible damage in a short period of time; removing smoke residues and treating at-risk surfaces with a corrosion inhibitor will protect these items. Examples of at-risk surfaces: marble, stone, grout, aluminum, glass, fixtures, appliances, etc.
Empty refrigerators or freezers to prevent spoiling and associated odors; empty food cabinets; dispose of spoiled food items. Note: We recommend you keep a list of all disposed items.
Begin initial odor control measures such as ventilation to air out the property, application of deodorizers, placement of air filtration units, etc.
Arrange for emergency laundry/dry cleaning for several changes of clothing for immediate use while the remainder of your clothing is restored.
Smoke and odor particles continue to be airborne many days after the fire has stopped. Removal of severe odors from fire and smoke damage requires a variety of professional products, systems and specialty equipment. Often multiple treatments are necessary during the restoration process.
Air scrubbers use High-Efficiency Particulate Air (HEPA) filtration to remove these particles from the air, enhancing the efficiency for cleaning and clearing the air for safe breathing. Please do not move or turn off this equipment.
This process neutralizes odor, using a strong deodorizer that penetrates everywhere the smoke traveled and will require the removal of pets, plants and humans occupants for a short period of time.
Ozone is an oxidizing agent produced by a portable ozone generator. This process will require the removal of pets, plants and human occupants for a short period of time.
This environmentally friendly deodorizing process removes odors and particulates using OdorKlenz air cartridges in traditional air scrubbers. Safe for people, pets and plants.
Because fire & smoke damage requires a special form of dry cleaning, this service will be performed by a restoration dry cleaner. Includes inventory control and documentation of clothing and textiles, including bedding, window coverings, etc.
Includes inspection, pretesting, professional cleaning and deodorization, speed drying and covering to protect during structural restoration. May include reapplication of stain protection.
Structural restoration includes cleaning of ceiling and walls, as well as cleaning, polishing and deodorizing woodwork.
These areas are sources of trapped smoke odor and require thorough cleaning, deodorization and airing out.
Includes inspection and cleaning of marble, stone, tile, wood, laminate and other flooring. Floors will then be covered for protection during structural restoration.
We will work with you and your insurance claims representative in the decision-making process on items we cannot clean or restore.
We have advanced products and systems for restoring different smoke-damaged contents, whether furniture and upholstery, knick-knacks or other belongings.
Items are carefully cleaned by hand. Care is taken to use dry methods with water-sensitive items.
Ultrasonic tanks are used to clean certain items. Some items that might be cleaned ultrasonically are blinds, collectibles and other smaller contents.
On-site or at our Warehouse Facility.
ServiceMaster Restoration By Simons or a Qualified Moving Sub-Contractor.
Some items may require a specific, qualified restorer such as: appliances, electronics, HVAC systems, furniture, textiles, antiques, etc. If so, ServiceMaster Restoration By Simons will work with your insurance company to manage this process for you.
What is the average cost of fire & smoke damage cleanup?
Costs can range from $1,000 and $30,000. These numbers represent ranges of price, or a "ballpark" estimate. Fire & Smoke Damage can range in intensity and level of damage to your property. It's important to contact ServiceMaster Restoration By Simons to begin the consulting and estimating process as soon as possible.
Are there factors that affect cost?
Several factors affect cost. Size of fire or smoke damage, intensity of damage and type of materials burned in a fire. Another factor that is often overlooked is the type of extinguishing agent used to put out the fire. Was water used? An inert gas like nitrogen or argon? Or a chemical agent like potassium carbonate?
Can I clean smoke and soot damage myself?
Of course you can attempt to clean smoke and soot damage yourself. And you may be successful at it, but the chances at success are slim for you. Smoke & Soot Damage Cleanup requires special processes, training and skill. These processes are established by the IICRC. As a certified IICRC firm for Fire & Water Damage, we recommend that you make sound decisions that work for you. If, after you've attempted to clean the damage yourself, you feel that you still need a professional service, immediately call ServiceMaster Restoration By Simons 773-376-1110 for professional Fire & Smoke Damage Cleanup.
What does my insurance policy cover?
Most property insurance covers 100 percent of your fire damage cost, but you're responsible for paying a set deductible. Your agent is your best resource for coverage information, and our staff can help you navigate the process.
How can I make sure that my claim goes through quickly?
Don't remove furnishings or belongings from damaged areas until your carrier gives you the OK. Your insurance company has to establish the fire's origin and cause, and you don't want to slow the adjuster's process.
Can you estimate a Fire & Smoke Damage Restoration project over the phone?
Estimating a Fire & Smoke Damage Restoration project on the phone is virtually impossible. A ServiceMaster Restoration By Simons project manager needs to visually inspect the premises, take measurements and assess the level and intensity of the fire & smoke damage to your property before an estimate can be produced and presented.
Because there are many variables and many services involved in fire and smoke damage restoration, it is difficult to predict exactly how long the complete restoration will take. Consult with your ServiceMaster Restoration By Simons restoration technician on the estimated dates and phases of your restoration project.
We suggest that you do not attempt any do-it-yourself cleaning methods without consulting ServiceMaster Restoration By Simons first. Pretesting, using the right cleaning agent for the particular item, mixing deodorizing agents with cleaning solutions and using correct dilution rates are just some of the ways a fire restoration technician expertly controls the results. Professional cleaning systems and products used by experience, trained ServiceMaster Restoration By Simons Fire & Smoke Restoration Technicians give you the best chance for complete restoration of your belongings.
At ServiceMaster Restoration By Simons, occupant and worker safety is top priority. During the initial inspection, safety hazards are identified and addressed, including debris removal, air quality, electrical hazards, slip and trip hazards, etc. Burnt electrical cords and appliances are separated out for disposal, and questionable electrical appliances are unplugged and tagged for evaluation of safe operation. Electrical power may be turned off and kept off until evaluation by a licensed electrician.
We recommend that you not turn on your furnace or air condition unit without clearance from the HVAC contractor.
We recommend that you make a list of items (including food items) deemed non-restorable. Use an Excel type format or obtain a similar form from your insurance company. Make a copy for your insurance company and keep one for yourself.
Picture, pictures, pictures. There's no such thing as too many. Document as much as possible including damaged personal items, food items, structural damage and, if possible, pictures of the source of the damage to your property.
This is ultimately your decision. Some things you may want to consider are safety concerns, odors, electricity, noise from equipment, etc. If vacating your premises for any length of time consider the following: forward your malil to your temporary residence; stop newspaper and other deliveries; notify utility company, Cable Company, etc., of temporary suspension of services.
There are some items that may require general contractors such as drywall/painting; electrical; plumbing; roofing; framing/finish carpentry; flooring/carpet; installation of doors, windows, cabinets. ServiceMaster Restoration By Simons offers a full line of Post Construction Cleaning Services. Please inquire.
Depending on the source, nature and extremity of the fire, it may be best to remove all belongings to a secure facility for cleaning, storage and to make room for the restoration or construction. ServiceMaster Restoration By Simons will work with you and your insurance claims representative to manage this process.
Yes, with advance notice we can schedule time for a ServiceMaster Restoration By Simons representative to meet with you and provide access to your requested items. A service charge may apply.
Ultimately you, the property owner, are responsible for payment and will need to sign a form authorizing payment for the restoration services. In many cases, if this is an insurance claim, ServiceMaster Restoration By Simons generally collects only the deductible (co-payment) amount from you and bills the balance to your insurance provider as a service to you. If you have a large loss, your mortgage company may be included as a payee on the payment from you insurance company, and you may need to obtain a signature from them as well. If your claim is not covered by insurance or you decide not to file a claim, you will be expected to pay in full.


Located in the mountains is this private estate consisting of just over 5 acres of land with beautiful forest and fresh air. The cabin on the property is 5 bedrooms, 3 baths with a 2 car garage, large living room area with chimney and a game room below the home.
Roughly 2,000 square feet is the main cabin with an additional 800 square foot 2 bedroom, 1 bath caretakers courters.
The small town of Division is equipped with the basics from small supermarkets, schools, restaurants, church and a cantina. This small farm is located just 2 kilometers off the main Pan-American highway with easy access in San Isidro Del General city and can be used for weekend rentals for family getaways from the city.
This is some of the most beautiful country side that Costa Rica has to offer with temperatures in the low 70s during the day and 50s at night. The freshest air you have ever breathed and great location for bird watching including the famous Quetzal among others.


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Frank F. Stockwell
Frank F. Stockwell (as Lt. in 1971)
Frank Frederick Stockwell entered the Boys Training Ship Formidable in the UK in 1935, becoming a Boy Seaman the following year. He served in the Royal Naval Volunteer Reserve throughout WWII and was discharged with the rank of Lieutenant. He then immigrated to Canada in 1947, served in the mercahant navy until 1964. He then joined the Naval Reserve (Cadet Instructor List) as a Cadet Officer in 1964 or 1965, and was commissioned in 1968. In 1970 he was made HMCS Haida's commander (she was then owned by the Ontario government and was berthed at Ontario Place) in 1968 and it was largely through his efforts and perseverance that the ship was outfitted properly in order to become a Sea Cadet training facility. He was invested Order of Military Merit on 23 November 1977. He continued his command of HMCS Haida intil his retirement as (Lieutenant-)Commander in 1986.
Our Frank F. Stockwell fonds consists of his collection of documents, notes, photographs and other memorabilia, mostly relating to his command of HMCS Haida after she had been decommissioned from active service.
The Frank Stockwell collection is catalogued and details can be found here.

redpajama_set_name: RedPajamaCommonCrawl


text:
Former EC basketball player shot and killed, remembered by friends
By Sydnie Mills, John Fordiani, and Phil Sidavong|September 27, 2015
Photo from Wendell Lee's Twitter page.
A former El Camino basketball player was shot and killed earlier this week, according to the Los Angeles County Sheriff's Department.
According to the press release, Wendell Lee, was standing on the 12200 block of Elva Avenue with a female companion around 11:45 p.m. last Monday, when a four-door vehicle approached them and a man got out of the drivers rear side and shot Lee in the upper torso.
When officers arrived on scene they found Lee with multiple gun shot wounds. Paramedics took Lee to a local hospital where he was pronounced dead.
"He was gunned down like a dog," Pastor Gabriel Burgos, from Rock of Hope Church, said.
Burgos has known Lee since he was about 6-years-old and Lee would play piano for his church.
"He had a dream. He wasn't your average kid that grew up in South Central. He loved to play basketball, it's sad because he was right there. From my understanding he got picked up by an organization the Lakers own," Burgos added.
Mike Fenison, former El Camino basketball coach, said that Lee played for EC from 2009-2010.
"He was a pretty good athlete and his team mates loved him. He got along well with everyone, he was kind of a jokester," Mike Fenison said.
Fenison described Lee as jokester and he shared one of his favorite memories with him.
"There's this one day at practice, it was him, me and a couple of other guys and he goes, 'I'm a better shooter than Ray Allen," Fenison said. "I started laughing like, 'Ray Allen? He's in the league, and you're trying to get there. But to have such confidence, that was him. You knew he was on a mission to get to wherever he had to be."
Lee was known for his basketball talent, but to many he was something more.
"When we had first met, he embraced me like he had known me for years. Like I had been his friend forever." Sebastian Spencer, 25, journalism major said."He was a truly genuine person, he was so much more than basketball."
Wendell Lee
Electric vehicles are the future


text:
https://www.youtube.com/watch?v=mRY08ZJOqBc
Lee Pianist
Lee has been a pianist since the age of 5.
You might think that Lee seems a little young to call himself a pianist, but he has a gift and passion for music. He realised his gift and pursued it into his teenage years by playing pubs and clubs and continues to perform at the piano in his adult life. Playing the piano has taken him around the world, performing on cruise ships and many of the famous venues and hotels in London, including Harrods & The Globe. Lee has also played for A-list celebrities and big corporations.
He can play almost anything from ear which makes his repertoire huge – but just in case he's missing anything from it, you can request that he learns it for your event. Anything from Classical music to Boogie Woogie and even seasonal songs too.
Lee is a specialist in wedding entertainment and currently performs at over 100 weddings per year. He has his very own Baby Grand Piano Shell which has been specially designed to be fully portable to fit into any function room. It's also easily assembled within 30 minutes.
Lee plays all types of music from contemporary modern songs to jazz and rat pack music – check out his repertoire for the full list. Lee has finely tuned his art after years of playing at High/Afternoon Tea events, where sensitivity and beauty in playing is the essence.
Share Lee the Pianist
Download Lee's Solo Pianist Song Repertoire here >>
Book Lee Pianist
To enquire further about booking Lee Pianist for your event please use the form below.
Want to find out more about LiveBand Entertainment and our talent acts?


When is the best time to send a newsletter?
Anyone who has ever managed an email campaign has heatedly debated this question in their mind; has conducted geographic and demographic studies; has performed A/B testing; has sent out surveys; and has read countless articles on the subject; all to try and resolve this quandary.
No more! Introducing ActiveTrail's 'Just in Time'!
The feature that will send your mailings at the optimal time for each and every contact, automatically!
'Just in Time' is a groundbreaking development by ActiveTrail founded on our email system's Big Data capabilities. 'Just in Time' allows you to make a graceful appearance in the inboxes of your target population at exactly the time when they are most likely to open your email campaign.
With a single click of a button, the system's predictive capabilities allow it to discern the ideal time to send your email campaign, on an individual basis for each contact. The 'Just in Time' feature will help you maximize campaign open rates and to increase earnings, of course.
How does 'Just in Time' do it?
The moment you press the "Predictive Delivery" button, ActiveTrail begins analyzing the history of email opening times, and, for each recipient, the system selects a distinct time to deliver your campaign to them. For instance, let's assume that the system finds that Debbie opened most of the email campaigns you recently sent to her between the hours of 10 and 11 AM, whereas Ron opened his emails sometime between 12 and 1 PM. After clicking the "Predictive Delivery" button, Debbie would receive campaigns at 10:30 AM and Ron would see them in his inbox at 12:30 in the afternoon. Campaign emails are sent within 24 hours of initiating the campaign or of the time at which you scheduled the campaign to start.
Timing campaign delivery in such a fashion substantially improves the statistical chances that your emails will be opened and that the results of your campaign will skyrocket.
Of course, all of this is activated only when you decide to click on "Predictive Delivery" on the "Email Summary" screen.
To start the clock, move the cursor from left to right and let the system complete its work.
That's about it! Sit back, relax and let Big Data do the work for you.
Gone are the days of having to guesstimate the best time to send a newsletter.
Beginning today, each recipient and their own best time.


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Cinco Sentidos and El Destilado
Written by Jonny
Oaxaca, Travel
Cinco Sentidos (5Sentidos) is the house mezcal of a restaurant named El Destilado in downtown Oaxaca. The restaurant was founded in 2015, and it's quickly become one of the more popular stops for tourists from all over Mexico and abroad. El Destilado started as a mezcaleria that featured a curated mix of some of the more rare and obscure mezcals from throughout Oaxaca. Soon after opening, they developed a menu of contemporary cuisine that is both unique to the Oaxacan food scene and also highly acclaimed internationally. As of the writing of this post, El Destilado is one of the top ranked Trip Advisor Restaurants in Oaxaca.
In 2017, Cinco Sentidos became available in the US for the first time. As of the writing of this blog, the nano-batches they ship to the US come from four different producers and the batches generally range from just 50-150 bottles each. The name Cinco Sentidos was chosen for the brand because all of their producers use nothing but their five senses when producing mezcal. They're not using any modern instruments or tools to gauge ABV or anything else in production. Their small-batch producers work in some of the most remote areas of Mexico, and they do not certify their mezcal with the Consejo Regulador del Mezcal (CRM). As seen on the bottles pictured below, they label their mezcal Destilado de Agave not Mezcal.
5Sentidos Pichomel made with a rare agave Marmorata sub-varietal.
The back bar at El Destilado.
Alberto Martinez and Jason
On our most recent trip to Oaxaca, Jason, co-founder of both El Destilado and Cinco Sentidos, took us to visit one of the Cinco Sentidos producers. Jason was a Peace Corps volunteer in Panama and he originally moved to Oaxaca to continue learning Spanish so that he could become a certified court translator in Washington, DC. Little did he know he'd quickly become entranced by Oaxacan culture, food, and spirits. While some brand owners like to have influence over the mezcal their producers create, Jason prefers to "let art be art." He trusts the dedication and generations-old knowledge of the producers he works with and therefore doesn't interfere with their processes and production. That said, he visits all of them (including those whose mezcal is only available at El Destilado) two-to-three times a month. Given they all live several hours outside of downtown Oaxaca, that makes Jason a very busy guy.
Jason took us to visit Alberto Martinez in the remote town of Santa Catarina Albarradas. Alberto and Jason originally met at the El Destilado restaurant. Alberto had come to downtown Oaxaca to sell 30 liters of mezcal to famed mezcal tour guide, Alvin Starkman. Alberto had taken public transit from his remote village, which takes 4-5 hours, but he was unable to connect with Alvin in time. With no one to sell his mezcal to, Alberto went to El Destilado and met Jason for the first time. After tasting it, Jason bought the entire 30 liter batch. Though Jason always visits the palenque of a producer before purchasing, Alberto's mezcal was so good that he made an exception. He purchased it and went out to Alberto's palenque later that week to confirm all he'd been told.
Santa Catarina Albarradas in the distance (Can't see it? It's tiny) with Jason in red.
The family crushing Tepehuaje bark at the palenque to aid in fermentation.
Visiting Santa Catarina Albarradas
The town of Santa Catarina Albarradas is built into the side of a mountain deep in the Sierra Norte, about an hour from the nearest paved road. Alberto's palenque sits about two-thirds of the way up the mountain, at around 6000 ft above sea level. Alberto greeted us when we arrived and he walked us through the palenque where they had a batch of freshly cooked Jabali-Tobala ensamble smoldering in the underground pit oven. His son-in-law Reynaldo, who will take over production in the next 5-6 years, was working with a few others on mashing the cooked agave with an ax and wooden mallets. Another four or five family members were also in the palenque, breaking apart the Tepehuaje bark that Alberto adds to the crushed agave to help with fermentation, which is difficult at such a high altitude.
A fresh batch of Alberto's Jabali-Tobala Ensamble in the oven.
The agave are milled by hand with axes and wooden mallets.
Though the addition of this bark is not common practice, we've heard of other more industrial brands that add chemical lawn fertilizer to jump start fermentation in colder months. Obviously the bark is a much more palatable, organic way to help with potentially slow yeasts. After the bark is taken for fermentation, the wood is used to fire the still and the pit oven. Alberto says his family has been making mezcal with Tepehuaje bark for generations. He can't imagine it done any other way. He also ferments his agave in large underground cement tanks rather than wooden tubs.
Clay Pots and Rare Agave
Though many clay pot distillers formerly occupied the Santa Catarina Albarradas area, Alberto is one of the few continuing to use clay pot distillation in Sierra Norte. Most other mezcaleros in the region switched to copper stills years ago. The clay pots he uses are much smaller than those you'd see in Santa Catarina Minas, and a picture of Alberto's still can be seen on the front label of the Cinco Sentidos releases that come from him (Sierra Negra, Jabali-Tobala , etc…). All of the images on the front label of Cinco Sentidos are artistic renditions of photos that Jason takes while at the palenques of each producer.
Alberto's clay pot still. You'll see a drawing of it on the label of his bottles.
5Sentidos Jabali de Cantraro, rested (post-distillation) in small black clay pots for 56 days. Notice the drawing of his still.
Alberto works mostly with agave Tobala, Jabali, and Sierra Negra. He walked us up to one of his mountaintop Sierra Negra fields, which had amazing views on all sides. According to him, semi-wild agave Sierra Negra is easier for him to find than agave Espadin, which is what's used in 90% of mezcal coming from other regions. The agave that he calls Sierra Negra may in fact be agave Arroqueno, but that remains up for debate.
Maestro Mezcalero Alberto Martinez with his agave.
Alberto's agave growing at 6500-7000 ft above sea level.
The overall feeling was that Alberto is deeply committed to his craft. Mezcal production has engulfed his entire family and Alberto has done a great job of making his family's mezcal more of a full-time practice. Though his family has made mezcal for generations, he's the first mezcalero in his family to own a palenque for himself (rather than renting space), which is a big point of pride. Though there are limited batches from Alberto Martinez in the US, his mezcal is readily available at El Destilado. Make sure to make a reservation in advance.
Squashplayer
Amazing to see the labor, love, and time that goes into making such a wonderful product such as this mezcal. I sincerely hope that this will be able to be preserved for future generations.
rsidrys
Such beautiful landscape!
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In this article I will tell you a story where a change in leadership style created a much happier and more harmonius workplace, and therefore a moreproductive workplace.
Early in 2016 I attended a talk by Daryl Gibson, ex-All Black and current head coach of the NSW Waratahs.
In 2012 the NSW Waratahs were often booed by their own supporters, and their administrators publicly spoke about the "alarming drop" in attendance at their home games. I know, because, despite having missed only ten of their home games in the previous twenty years, my mate and I had discussed turning in our memberships. We didn't want to pay good money to watch a team that had no heart. In 2013 a new coach, Michael Cheika, was appointed, and he installed Dave Dennis as captain. The Waratahs made the semis that year. The following year, 2014, they won the competition and backed that up with a strong third place finish in 2015, going down to the eventual champions in the semis.
From where I was standing about 60% of those present voted for performance, 30% culture and 10% leadership.
Daryl then explained why he believed leadership to be most important. He credited Michael Cheika and Dave Dennis with changing the culture of the team. He believed the work ethic of the team was derived from the culture and that work ethic determined their performance on the field.
It's exactly the same in the work place. Leadership sets culture; culture drives performance.
If you are negative, cranky or unresponsive, then your people will see those traits and behave in a similar fashion. Make sure your place of work is an enjoyable place to be, and treat your people with respect.
The story I'm going to relate goes back over thirty years, but it shows how a change in leadership style and approach can have a resounding impact on culture.
In the early 1980s I was employed as a Machine Foreman at the Slab Caster at Port Kembla Steelworks, but I was probably spending more than half my time working as a Shift General Foreman, covering that position when others were on leave etc.
At that time the Slab Caster was a hot bed of industrial trouble. It seemed that rarely a fortnight went by without at least one strike. One particular crew were the worst - let's call them Shift X. They had a reputation of going on strike every fourth Thursday (first afternoon shift and payday). Regularly at about 18:00 , they'd invent some excuse to walk off the job. The reasons varied, but by far the most popular was "foreman's attitude".
I remember on one occasion when I was relieving the regular General Foreman, the Machine Foreman on the shift performed a two-minute task that was part of the operator's job. At the time the operators were all in the lunch room, and had been for quite some time, as there was a problem with the supply chain further up the line. The Machine Foreman could easily have asked one of them to perform the task, but he was walking past and thought it would probably be less irksome to do it himself than to interrupt their card game. He'd done the same sort of thing many times before. But this time was different. It was about 17:30 on a Thursday afternoon shift. Shift X went on strike. Staff performing wages work!
As individuals, I didn't think they were bad people, but when they grouped together they seemed to develop some sort of pack mentality that created poor behaviour. Because of the way this crew behaved, supervisors on all shifts, including their own, openly spoke of them in disparaging terms and spoke to them disrespectfully, especially in a group situation.
Their attitude and behaviour became the norm; it was what was expected of them. There was no reason for them to behave any differently.
There is no doubt in my mind that Shift X wasn't a happy crew. The operators knew the supervisors didn't like working on their shift and that they themselves were not liked in any way, shape or form. I know that when I was asked to perform relief work on Shift X, I looked forward to the day I finished the secondment and returned to my normal shift.
In hindsight, to a certain extent I don't think many of the operators liked what they'd become either.
One day when I was working on my normal shift I was called into the Assistant Superintendent's office. He told me they had decided to promote the incumbent General Foreman on Shift X to a day shift position, and I would be promoted to General Foreman to take his place. The Assistant Superintendent said he was sorry to do this to me because Shift X were "a pack of animals and no-one can control them" (his exact words if I recall correctly). He further said they had considered moving one of the more experienced General Foremen onto that shift and giving me a less troublesome shift but thought that wouldn't be fair to anyone they moved. So I was stuck with it and would have to do the best I could. I got the impression he expected me to fail.
Getting this promotion was something I had worked hard for over a number of years. I should have walked out of the Assistant Superintendent's office feeling proud and happy. Instead I walked out feeling deflated.
One thing I knew for certain was that I couldn't allow the supervisors and operators on the shift to keep speaking to each other in the confrontational manner that currently existed.
I was of the opinion that the behaviour of the staff (supervisors) on the shift was borne out of frustration and that they copied the incumbent General Foreman to a certain extent. I thought they would be amenable to change and I could lead by example and mentor them in treating people respectfully. The operators were a different kettle of fish. I wasn't sure what to do with them.
It was around the time that Indoor Cricket was all the rage. Some of the Slab Caster shift crews had formed teams and played against other shifts or their compatriots in other departments of the steelworks in social games. I'd played in some of those games. I don't know why I chose that avenue, but I decided that my new crew should get involved and form an Indoor Cricket team.
Obviously everyone on Shift X knew me as I had worked on the shift many times as both a Machine Foreman and in the General Foreman's role. The first day on the job I told the staff (supervisors) I wanted to try and improve the relationship between staff and wages on the shift and of my idea of forming a shift Indoor Cricket team. They thought it was worth a go and were willing to support the concept.
So early on in the shift I went to the main crib room and suggested to the operators that we form this team and challenge some of the other shifts. My suggestion was we split the crew in half (floor vs rest) and have a game amongst ourselves, then pick a shift team to challenge the other crews. The floor operators were interested and said if I could sell it to the rest of the crew, they'd come up with a team. I told them to pick a captain of the floor team. I also told them all the staff were willing to play if selected.
Later on in the shift, I went around the other sections of the plant to sell it to the operators working there, only to find the floor operators had already spoken to them before I arrived and they were in. The operators selected two teams, and I booked a court for the game to be played after our last day shift (three weeks away). In the ensuing weeks there was a lot of talk amongst the crew about who would win and their cricketing abilties, all in good jest. The supervisors on the shift were scattered between the two teams.
When I turned up at the Indoor Cricket Centre to play I was surprised to see that a few of the players had brought their wives and young kids along to watch. The wives all wanted to meet me and talk with me and the other supervisors present. I suspect they were a bit surprised about how we conducted ourselves after so many strikes over the "foreman's attitude".
There were also a few of the non-playing crew members present to watch.
Thegame, whilst not a great exhibition of cricket skill, was a great success, with lots of friendly banter, joking and laughter. After the game most of us adjourned to a local hotel for a couple of drinks before heading home.
As the game was on our last day shift, it was five days later and our first night shift before I saw everyone again. When I went into the crib room to check on everyone at the start of the shift, it was very apparent the game was the only topic of conversation. Those who had been present were telling everyone else about it and joking about each other's cricketing ability.
Everyone wanted to do it again, so we organised a rematch for our last day shift and played again four weeks after the first game. This time more of the operators and some of the staff brought their wives along to watch and socialise after the game. It was fairly obvious the wives enjoyed the social atmosphere as well as meeting some of their husbands' workmates and their wives.
We played a couple more times before they picked a shift team and challenged another crew. This became a regular event with at least one game a month.
A few weeks after our first game against another crew, we had tee-shirts printed. One of the cartoonists on shift had designed them for us. It was a representation of a caster with a big gear stick that had a cricket ball as a knob sticking out of the casting floor and the logo "X Shifton the Floor" written under it. Nearly everyone on the shift bought at least one - not just the players. They proudly wore them to and from work - not just at the games.
I knew we'd well and truly turned the corner about six months before that.
The General Foreman always tried to be present on the floor at the start of a cast, just in case of trouble. I had a habit where about once a week at a start of cast I would say to one of the operators, "You be General Foreman and stand back. I'll take the lever". I would then perform the operator's job at start up while he watched.
I did this one day when there was an operator from another shift present on overtime. He watched me do the operator's job at start up. He then went to speak to the "leader" of the operators, not the union delegate, but the bloke who told the union delegate what to do. I heard him say something like, "That's staff doing wages work. We have to go on strike." The leader looked him straight back in the eye and said something a little like, "Get lost. That's Jim". I knew right then and there that we had a team.
I wanted to punch the air and scream "YES", but I pretended I didn't hear it.
The cricket didn't stop there. A few of the better players joined a team in a regular competition. Some of them and their wives formed a team and played in a mixed competition.
I often ponder what was the key to the change? Like most things I think there were a number of relevant factors.
· The change in General Foreman gave them a chance for a fresh start.
· The cricket gave them something that they enjoyed and could all talk about during down time. It was the start of making work a fun place to be.
· I did not try to be their friend. In fact, I demanded higher standards and got more from them than the previous General Foreman. However, I did try to get to know them – their wives' names, the number and ages of their kids, their interests outside of work etc.
· I took the opportunity to interact with their wives and families and showed them the staff were normal human beings.
I think all of the above were part of the change. However, if the other staff on shift and I had continued to speak about them and treat them in the disrespectful manner they had grown accustomed to, all that would have been for nought.
I can't ever recall talking to the crew about all the strikes and their previous behaviour. This wasn't deliberate - it just never came up and it wasn't relevant to what I was trying to do.
I probably didn't fully understand what I was doing because we didn't use words like "root cause" and "culture" back then. But when I look back at what we did, we worked on the root cause and solved the culture issue of the crew. As a result, most of the other issues became redundant.
Remember: Leadership sets culture, and culture drives performance.
Treat your people with respect, and make your work place an enjoyable place to be.


text:
Q: How to make a custom view respond to a search view? after taking a look at the app by google called google keep, I was immediately curious on how exactly does the search of the app works.
Here is the image of the app:

Whenever you search something, the card that doesn't match would disappear. How exactly do they achieve this because I think that the card are basically custom views and the layout is a custom layout. My problem is that I don't know how to implements a search for custom view.
Note: I have taken a look at some internet example online for search view and I can only find the implementation of searches for listview which is not precisely what I want.

A: I had a similar problem, so I made my Custom views properties (e.g. name, tag, id, etc...) into a single String spaced by a single space " ".
Something like this inside my CustomView class:
public String toString() {
    return (this.name + " " + this.tag + " " + this.coords + " " + this.id );
}

And then I filtered my Custom views through all current Custom views that were shown:
ArrayList<CustomView> filteredList = new ArrayList<>();
...

private void filter(String constraint) {
    for(CustomView view : AllViews) {
        if (!filteredList.contains(view))
            if (view.toString().toLowerCase().contains(constraint.toLowerCase())) {
                filteredList.add(view);
                break;
            }
        }
    }
    // Do something to add the filteredList to your adapter
    // and show the new list of CustomViews.
}

You can call filter(newText) method inside onQueryTextChange(String newText) from SearchView OnQueryTextListener().
This way, if whatever word you type in the SearchView is found anywhere in any CustomView, the correspondent CustomView will be visible, otherwise the view will "disappear".
Hope this helps.


Guest: Open Lines with Dr. David Livingston; Topics: We discussed multiple space topics as outlined in the tags below. Please direct all comments and questions regarding specific Space Show programs & guest(s) to the Space Show blog which is part of archived program on our website, www.thespaceshow.com. Comments and questions should be relevant to the specific Space Show program. Written Transcripts of Space Show programs are a violation of our copyright and are not permitted without prior written consent, even if for your own use. We do not permit the commercial use of Space Show programs or any part thereof, nor do we permit editing, YouTube clips, or clips placed on other private channels & websites. Space Show programs can be quoted, but the quote must be cited or referenced using the proper citation format. Contact The Space Show for further information. In addition, please remember that your Amazon purchases can help support The Space Show/OGLF. See www.onegiantleapfoundation.org/amazon.htm. For those listening to archives using live365.com and rating the programs, please email me as to why you assign a specific rating to the show. This will help me bring better programming to the audience.
Welcome to our Open Lines discussion covering many different space and related discussion topics. During the first segment of our two hour program, I listed about six possible topics for discussion including another explanation of why VoIP phone lines, Skype, Google lines, and others do not work for The Space Show. I also mentioned the recent space bucket list show with Loretta Hall and went over a few sort of bucket list items that I'm interested in though they were more about what I would like to see happen than something I want to do.
Michael Listner was our first caller to talk about Senator McCain, the RD180 engine issue which is not dead, ULA, competition, Putin, the Ukraine, and more. Next, Michael talked about the Georgia Spaceflight Act, liability limitation proposed in the Act and a Georgia spaceport with direct access to flights over the Atlantic Ocean.
John from Ft. Worth was our next caller. He wanted to talk about the AR1 rocket engine as a replacement for the RD180. He talked about Sen. McCain, the proposed ULA Vulcan rocket, methane engines and more.
Marshal called next suggesting the U.S. Congress needed to do more to compel rocket reusability to lower the cost of spaceflight. I was not clear on what Marshall was suggesting because as of yet there is no commercial reusable operation plus only certain types of missions will likely lend themselves to reusability. I asked Marshall if he was suggesting congress take over the mission planning for satellite and rocket companies as I was not fully understanding his view of congress & rocket reusability. Doug sent in an email supporting what Marshall was talking about. Doug suggested the government should facilitate reusability directly. He said "it seems as though reusability ought to be in the long-term interest of the government and yet they aren't investing in it."
In the second segment, Doug was our first caller wanting to talk about retirement on Mars. He had much to say about subject but eventually zeroed in on a few things such as medical care on Mars, staying connected with family members, loved ones, and friends, the realization that you could not return to be with a family member or loved one in need of help, and more. His next topic addressed his position in working on Mars tracks for ISDC which will be held later this year in Puerto Rico. He said it was hard getting Mars people to participate. See what you think of his Mars and ISDC comments plus retiring on Mars. Would you want to retire on Mars? Both Doug and I wondered how many takers SpaceX would get for retiring on Mars. I suspect there will be no problem getting lots of people to do it depending on the cost and how one must pay for it. Remember, Mars One did not plan on charging people as they intended to raise money via different ways to finance their Martian settlement program. We don't yet know the settlement and mission plans for SpaceX but they will be announced later this year at the IAC in Mexico. I for one am very excited about hearing their plans and looking forward to learning more about their program.
John from Fremont called to ask if I had started my lunar simulation experience per the recent show with Loretta Hall on The Space Bucket List. So here is the space lunar simulation mission. According to Loretta in her book, Apollo 13 took 5 days, 22 hours, 54 minutes and 41 seconds for the roundtrip voyage. My simulated lunar flight launched from Cape San Rafael, CA adjacent to the SF Bay at 12 PM PST Sunday, Jan. 31. I should splash down in the SF Bay, after returning the Moon, across the street from my Cape San Rafael launch pad on Saturday, Feb. 6, 10:54:41 AM PST. I will briefly share my experience, if there is anything to report, on my Sunday, Feb. 7th show before I start the discussion with our guest Jim Funaro. I will discuss it in detail, again assuming there is some detail to discuss, on my next OL show which is set for Monday, Feb. 15 at the special time of 7PM PST, 10 PM EST.
Our last caller for the day was John in Redding, CA. He wanted to suggest as a guest Chris H. cooper regarding his work on a space drive. I will follow up on his suggestion. Notice how many listeners with the name of John call the show.
One other topic that came up and that was the upcoming 2016 presidential election. Several times I expressed my complete frustration with the candidates for president of all parties and my initial thoughts that for the first time ever in my voting life, I may not vote for president given there is nobody I would like to see in that office, at least not as of the time of our Open Line discussion. I also expressed frustration with a one party rule state as I am a strong believer in the two party system, not a one party system. I further expressed displeasure with the Electoral College system giving all of the state's electoral college votes to the majority winner. This means that if one votes for a minority candidate, for all practical purposes the vote does not count for president. Given California being a one party state and the winner take all for the Electoral College, it seems to me that there is not much of an incentive to vote for president because in states like CA, Blue or Red, the outcome is a given (sure, exceptions can happen, I know that). At one point during this discussion, I suggested I would write in the name of a Space Show listener and would start a contest to determine the listener I would write in for the presidential office. Believe it or not, a few listeners emailed me to say they wanted to make sure their name was not on the list. As I said on the show, lots of big egos out there to think they would be the listener winning such a make believe contest. So listeners, here is the bottom line on this. Voting is a privilege and not everyone in the world has the ability to vote for their "leaders." I urge everyone to vote, to select a candidate that you believe would be the best for the nation now and for our future. While many of us realize the system is rigged or fixed or the outcome all but certain (short of a miracle or some unknown last minute event), still go vote and exercise this important part of our democracy, even if you are frustrated, angry, and cynical like me. Despite my rhetoric, I am quite sure I will cast a vote for President of the United States. Even if I seriously bite my tongue in doing it. And for the record, there is NO SPACE SHOW CONTEST TO SELECT A LISTENER FOR ME TO WRITE IN FOR THE OFFICE OF PRESIDENT. I WAS KIDDING AROUND. DO NOT FOR A MINUTE BELIEVE SUCH A CONTEST EXISTS. IT DOES NOT!!!


Los Angeles, CA - April 2014... Vintage King Los Angeles will host the latest in their series of Meet the Maker events.
On April 30, 2014, Vintage King LA will welcome Manley Labs President and co-founder EveAnna Manley, who will host the official launch of the CORE, a new and innovative channel strip that combines the best of Manley's acclaimed technologies in a powerful, easy-to-use design.
Starting with the same highly acclaimed Class A Preamp circuitry found in the Manley VOXBOX®, Dual Mono, and Mono Microphone Preamplifiers, the CORE integrates Manley's unique ELOP®-based compression, limiting, and equalization circuitries into a powerful integrated package that delivers Manley's inimitable sonic signature, at a surprisingly affordable price. The CORE is designed for today's musicians, with an intuitive yet feature-rich front panel that allows you to concentrate on your performance without being submerged in a sea of knobs and switches.
EveAnna Manley remarked, "Manley Labs and Vintage King both have roots deep in the pro audio community, and I can't think of a better place to hold the official launch of the CORE than here at Vintage King LA."
"Vintage King has always been proud to work with the industry's finest, most innovative companies, and Manley Labs is no exception," added Vintage King's Tom Menrath. "The CORE is the latest chapter in the legacy of one of pro audio's finest, and we're happy to welcome EveAnna and company on this auspicious occasion."
The official launch will take place on Wednesday, April 30, 2014, at 7:00 PM at Vintage King's Los Angeles offices, 1176 West Sunset Boulevard, Los Angeles, CA 90012. In attendance will be many of professional audio's elite engineers, producers, and studio owners. We invite you to join us.
Are you ready for Digital VHS?


text:
N.E.R.D
By Dimitri Ehrlich and Dr. V.S. Ramachandran
Photography Craig Mcdean
Some people just have that innate thing that allows them to express themselves in a way the majority can follow. That's when you're affecting culturePharrell Williams
As part of the production duo The Neptunes, Pharrell Williams has won Grammys, helped to sell millions of albums, and become the face of nerdy cool in hip-hop. More recently, Williams has branched out into fashion and art, designing sunglasses and modeling for Louis Vuitton, working with Paris boutique Colette, as well as launching his own clothing line, Billionaire Boys Club, a footwear line, Ice Cream, and partnering with textile firm Bionic Yarn. Last year he collaborated with artist Takashi Murakami and jewelry house Jacob & Co. to create The Simple Things: a cupcake, a bag of Doritos, a bottle of Heinz ketchup, a Pepsi can, a sneaker, a condom, and a bottle of Johnson's Baby Lotion—encrusted with 26,000 rubies, sapphires, emeralds, and diamonds inside the mouth of a Murakami sculpture—shown at Art Basel in Switzerland. Oh, and he still finds time to make music: Last month,Interscope released the soundtrack to the animated comedy Despicable Me, which Williams co-wrote, and this fall, he will unveil his fourth album with his group N.E.R.D, which includes Shae Haley and Williams's Neptunes cohort Chad Hugo. As the name of the alt-rock trio suggests, the 37-year-old Williams is a connoisseur of cool, but not a slave to it.
What is less known about Williams is his interest in science—specifically, the brain. He recently became fascinated with the work of Dr. V.S. Ramachandran, a professor of neuroscience and psychology at the University of California, San Diego. Ramachandran, director of the university's Center of Brain and Cognition, has been called one of the "hundred most prominent people to watch" in the 21st century by Newsweek magazine. Still, it would be difficult to imagine two less likely collaborators: one is a pop-music icon, the son of a handyman and a schoolteacher from suburban Virginia who now rolls around Miami in an Enzo Ferrari. The other is a neuroscientist, born in India and educated at Cambridge. What could they possibly have in common? A lot, as it turns out. But in the following conversation, it's easy to see how both men feed off of each other with the thrill of discovery, and take mutual pleasure in zigging while the rest of the world zags.
My explanation is that curiosity illuminates the correct path to anything in life. If you are not curious, that's when your brain is starting to die. And discovering, I think, that's what separates us from the rest of the other species. It's that we disover and pioneer…Pharrell Williams
DIMITRI EHRLICH: Dr. Ramachandran, let's begin with you. I'm assuming Pharrell's music is not on the playlists of the majority of your colleagues in neuroscience. How did you first become aware of him?
DR. V.s. RAMACHANDRAN: Through my son, Jaya. He showed me some videos on YouTube.
EHRLICH: And Pharrell, how did you first become aware of Dr. Ramachandran and what drew you to him?
PHARRELL WILLIAMS: I think my first time seeing him was probably also on YouTube. But I'd seen him on the Discovery Channel a couple times before, and I was just so intrigued by the way he approached neuroscience. Sometimes when you're listening to a neuroscientist, they have a tendency to use a particular type of jargon that works in their world perfectly but that would lose the average layman. And while I can keep up with most of them, he just had an eloquent way with his words and I understood it. I mean, it was like listening to [the late astronomer] Carl Sagan or [astrophysicist] Neil deGrasse Tyson. Both of those guys just have this thing, and that's why they're rock stars in my opinion, because they have the ability to translate genius to the masses. What we all do is art, you know? We are noticers, we're sensitives, we notice the rhythms in certain things and we identify them, and then we coin terms for them, and most of the world is not able to keep up. But some people just have that innate thing that allows them to express themselves in a way the majority can follow. That's when you're affecting culture.
EHRLICH: A couple of years ago, Pharrell released an album with N.E.R.D called Seeing Sounds [2008] which was loosely organized around the concept of synesthesia—the mixing of sense consciousnesses, like "hearing" colors and so forth. Dr. Ramachandran, you've also done some experiments in the field of synesthesia, right?
RAMACHANDRAN: Yes, I've long been interested in the creative process, whether in art or in science. People think of art and science as being fundamentally opposed to each other, because art is about celebrating individual human creativity, and science is about discovering general principles, not about individual people. But in fact, the two have a lot in common, and the creative spirit is similar in both. It's about seeing hidden links, which nobody else has discovered before. And in synesthesia, what's going on is the brain sees all these amazing links, which you and I can barely glimpse. With grapheme-color synesthesia, every time a person sees a number, a letter, or hears a note, he sees a particular color. For most of us, that doesn't happen. But some people, maybe one in a hundred, have this ability. And it's been believed to mean that you're crazy. But now we've shown in our lab, using brain imaging, and also by doing psychological testing, that, in fact, it's a perfectly real, legitimate phenomenon, and it's also eight or nine times more common among artists, poets, and novelists than in the general population. The question is why does that happen? Well, it turns out that synesthesia is caused by excessive cross-wiring in the brain. In the fetus, or a really young child, all the different brain areas are connected to each other, diffusely. And as the brain develops, the excess connections are turned off, so you get very specialized areas. So most people have really specialized talents. What happens in creative people is this pooling doesn't take place. This creates a propensity to link seemingly unrelated things, like tones and colors. But also, because of the excess links, it makes them see hidden connections, made just between things that are seemingly unrelated to most of us. Like when Shakespeare says, "It is the East, and Juliet is the sun." That's a beautiful metaphor. You think, She's radiant like the sun, she's warm like the sun, she's nurturing like the sun. Shakespeare's brain probably had more of these connections that enabled him to make these amazingly, hauntingly beautiful connections, which most of us can't. So my interest in synesthesia is trying to find the link between art and science, and trying to get a scientific understanding of things like creativity and artistic talent. I was invited to watch Pharrell work in the studio, and I was absolutely mesmerized—Pharrell, fill him in on it.
WILLIAMS: Well, he just kind of watched me make a song and how, as a musician, we react to something being right, how we react to something being wrong, and we go searching for it out of what's seemingly thin air. But for us, we're noticing rhythms, we're catching something. My explanation is that curiosity illuminates the correct path to anything in life. If you're not curious, that's when your brain is starting to die. And discovering, I think, that's what separates us from the rest of the other species. It's that we discover and pioneer, we don't forget from whence we came. My parents played a lot of Earth, Wind, & Fire, and the lead singer, Maurice White, was part of the Ramsey Lewis Trio, so he had an extensive jazz background, and so all of the songs had very interesting changes that I was privy to as a child. But at the same time, I used to see those colors as a kid. I thought everyone saw music in that way: That's kind of burgundy, or, This is baby blue! But you start to notice when your friends are like, "Okay . . ." I just kind of blew it off, but what Dr. Ramachandran witnessed with me in the studio was, I'm just the average musician but I was just allowing my GPS to do what it does.
RAMACHANDRAN: When I first listened I was saying, "My god, Pharrell is being very insistent on repeating the same thing." But it became more and more rich. It's not just one rhythm. Many layers of rhythm are superimposed on each other and become resonant with each other, and Pharrell's brain is probably seeing colored landscapes when he hears these things. It enriches the experience for him enormously.
WILLIAMS: That's exactly right. A genius is somebody who seemingly just reaches out of nowhere, but he's totally right. In our minds, it's just mapped out. And if it's not mapped out, we kind of have arrows in our brain to tell us where to go. So as much as I want to sound smart, I mean—it's not. It's just something that you see, sense, and feel. It's like everybody else sees a bunch of mixed-up pieces, and for whatever reason, you figure it out. I don't know if it's a Rubik's Cube, or a jigsaw puzzle, but whatever it is, you got it! And when your friends don't get it, they look and they go, "Well, what is that?" Musically, it's the same thing, it's like you hear these pieces, or you feel this direction, or you sense a feeling, and you just kind of cut it up, or you add to it, or you go left, or you go right, or you go up, or you go down, or you make it spin—it's all the same thing for us. They're all moving parts. I think it's the same reason why I was able to do some design or the reason why the professor's intrigued in the many things that he is, because he understands that it's all the same thing; we're all linked, it's just there's different modes of expression. But a song is no different than a painting, and a painting is no different than geometry, and geometry is no different than science, which actually gives you alchemy, I believe.
EHRLICH: I'm curious, Dr. Ramachandran, if you have any insights about how the brain is affected physically by music? Some people have said music is close to heroin in the way it affects the brain. Like, you don't go see a movie a thousand times, but you'll listen to the same song a thousand times. It creates some neural pathway—some chemical thing happens in the brain where you want to hear that song literally a thousand times. From a neurological point of view, why is that?
RAMACHANDRAN: There's a lot of pop psychology on this, so you have to be careful. But on the whole, I think it's correct to say that the left hemisphere is more logical and the right hemisphere is almost like an antenna to another realm. In India, we have raga scales, which are basically different [musical] scales. So, I might say I'm in the Hindol mood today, and anybody who knows the raga will instantly understand what I'm talking about. There's no way to articulate that, but it conveys a specific nuance, a blend of often ecstatic, divine emotions which are hard to describe in any language other than music and great art. Great art allows you to transcend your mortal frame and to reach for the stars. I think great science does the same thing. In terms of what's going on in your brain, I can easily tell you that a brain's regions, like the septum and the nucleus accumbens, involve pleasure-seeking and generate pleasure. But that kind of pleasure is going to be created by anything—by sex or gourmet food. So it's not which kind of pleasure you get with music, it's a multidimensional experience.
I'm not sure what happens before you get here or when you leave, but I know that while we are here, we are these animate, mobile beings, and there's certainly electricity flowing through our bodies….Pharrell Williams
EHRLICH: Have there ever been successful specific studies on the way the brain is affected by music in particular?
RAMACHANDRAN: Not in detail. I'm writing a book [The Tell-Tale Brain: A Neuroscientist's Quest for What Makes Us Human, to be published by W.W. Norton & Company, Inc. in January 2011] on the uniqueness of the human brain, seeing what makes us different from the brains of the great apes, for example. Any ape can reach for a peanut, but we humans can reach for the stars. But what parts of the brain are involved in visual art versus different musical styles, we don't know.
WILLIAMS: If you think about all the different genres of music, they're all descriptions of something else that has nothing to do with music—like the blues. Whoever coined that term, they completely got it right, they knew that those chord progressions, and the nature of those chords, the way that they were built, would give off a hue that was more blue, and not necessarily happy and sunny.
EHRLICH: Pharrell, you once said that you were inspired by one of your business partners, the Japanese fashion designer Nigo, because he taught you that you can turn your imagination into reality if you really want to. The Buddha also said that we create our reality with the way we think and the way we see, and even the way we speak, with the power of words. I was curious, do you think there's a scientific basis for believing that we can create physical reality out of our imagination?
WILLIAMS: Yeah, absolutely. I mean, everything—the device that you're speaking on right now was an idea. Every piece of technology, every piece of art, basically everything manmade comes from an idea. I would venture to say that a very large percentage of inventors were probably synesthetes, because they used their senses to blueprint things that are essential to us these days. Like forks. The fork has a long, extensive history that I know nothing about, but I'm sure it was an idea first. And when you have an idea, it has to be expressed from your sixth sense, which is, in my opinion, your mind. You have the gustatory, olfactory, visual, auditory, and kinesthetic. When you combine them all, that is a unit that is aware. But then there's a "super consciousness," which is like instinct and intuition, which I feel gives us a seventh sense—that's the thing that you can't really describe. It's where hunches come from, or gut feelings. And I just feel like that is what separates us as a species, and that's where all great ideas come from.
RAMACHANDRAN: Looking at it from the point of view of the neuroscientist, Pharrell is saying a lot of things which make a lot of sense to me. Even though he speaks in a language that is metaphorical, I can substantiate it in terms of neuroscience. Remember, one of the tangential points he made is the importance of curiosity in humans. You know, other animals have curiosity, especially the great apes, but in us, we celebrate our curiosity, we nurture it, and if you lose curiosity, you're barely human. And in terms of creativity and synesthesia, there's one type of synesthesia which we call number form, and it is common among scientists. They say that great mathematicians sometimes see numbers in specific locations of space. Number one may be the left upper corner; number 362 might be at the bottom, on the floor. So there's an elaborate, convoluted system of numbers, spatially organized. And they can see hidden links between the numbers, which most of us wouldn't be able to see, allowing them to make discoveries about number theory, about mathematics. So this is an example of synesthesia being used in science to promote and enhance creativity. Going back to us creating our own reality, to some extent that must be true, because of course there's one reality out there in the world, but if you show a complicated picture to a pig, the pig has no inkling of what's going on. If you show it some Shakespeare, the pig just sees a bunch of splotches. You show it to a human being, the human being will read it and understand it literally, but not get the punch. There are a few human beings who can instantly see the beauty of it, and the power in the language of Shakespeare. This is what Pharrell was saying about different degrees of awareness of the world, and different extents to which you create your own reality. He spoke of the five senses, that human begins alone can transcend these five senses and create a sense of what's common between the senses. There's a specific brain area called the left inferior parietal lobule, which is especially pronounced in humans and not seen at all in lower animals. It's where all the senses come together—touch, vision, hearing, the other senses—and when that's damaged, people lose the ability to engage in metaphorical thinking.
EHRLICH: Dr. Ramachandran, I believe Richard Dawkins called you "the Marco Polo of neuroscience." Since we're discussing the use of metaphors, what are the potholes on the Silk Road of your career? What are the biggest obstacles that you face in your work?
RAMACHANDRAN: There are certain problems about human nature, things like falling in love, metaphor, creativity, humor—and all these things people stay away from because they say it's too complicated, that you can't study them scientifically. But if you have the right tools, the right imagination, ask the right questions, and are driven by intense curiosity, like Pharrell was saying, you can discover very simple explanations for amazing phenomena. So really the only opposition that I've faced is people saying, "Well, this is too complicated. How can you study it using such simple techniques?" And, "How do you even approach something like creativity?"
EHRLICH: Interesting. A lot of hip-hop and also punk rock got the same criticism: that it was too simple. But the difference is that in pop culture, the masses vote with their wallets.
RAMACHANDRAN: I think simplicity and elegance go hand in hand. It doesn't have to be complicated.
EHRLICH: Pharrell, in addition to Dr. Ramachandran, I know you're also a fan of Carl Sagan. For those of us who are stupid, how would you summarize the main message of [Sagan's] work and why did you connect with it?
WILLIAMS: Carl was a pioneer and he created this amazing book and television series called Cosmos. Much like the professor, he just has that thing where, when these guys talk, man, it's just so much information and such an interesting point of view, but at the same time their articulation is unmatched. From that point, I was a fan of his. I felt the same way when I watched the professor speak. I was like, "Okay, I'm a fan, and at some point I'm gonna reach out to him." And he and I actually have, like, a little undercover project that we're working on—there are no words, basically, to describe how fortunate and blessed I feel to have been introduced to his material and to him as a human being. To do any work with this guy is life-changing, man. Because it's great thinkers who change the world. It's great thinkers who allow us the liberties that we take so for granted, you know? It's just an amazing feeling to be personally engaged with someone like him, and Carl Sagan was like that. I wish I could have met him. They are the real rock stars to me. Seriously. The music that they make are the numbers and the equations that we survive on to this day. We're nothing without science. Nothing.
EHRLICH: Speaking of science, you are part owner of an eco-friendly fabric company, Bionic Yarn. How involved were you in the scientific aspect of that? If I understand it correctly, you're using recycled plastics to create fabric for clothing, is that the idea?
I wanted to celebrate being smart, because I noticed that being a nerd when I was in high school was the corniest thing you could ever do. But for me, I'm like, 'Those are the guys that grow up and drive BMWs!'….Pharrell Williams
WILLIAMS: Yeah, basically we just replaced polyester with our product and it takes a double helix and it weaves around the yarn. You can lower or raise the percentages. Like, when you look in the back of your shirt, it may be 35 percent cotton, 25 percent polyester, or whatever. But we were able to replicate any material, at any point, at any juncture. So when they explained the technology to me, I was like, Okay. I've got to jump in tune to this. We aspire to be as big as a 3M, but we aspire also to make sure that this product is for the common man as well as luxury. I aspire to take this to the next level not because I can run around saying interesting facts, like, "Seven plastic bottles can make one pair of jeans." Yeah, that's interesting, but more importantly it could change the standards for the way that we live. A lot of people are scared of "going green," and I don't think it's necessary to keep preaching "green." Let's just teach by example, and let's change our standards.
EHRLICH: Pharrell, your group, N.E.R.D, is an acronym for "No one ever really dies." The Buddha, who was, in a way, also a neuroscientist, said that matter can never come from non-matter, and consciousness can never come from non-consciousness—meaning he felt there was a scientific basis for the principle of rebirth, because in the material world, everything we can observe transforms. Trees die and they turn into soil, the soil might run into the sea, the sea could evaporate into clouds, et cetera. So nothing really disappears. Is that what you meant when you said "No one ever really dies?"
WILLIAMS: That is what I meant, for sure, one hundred percent. I'm not sure what happens before you get here or when you leave, but I know that while we are here, we are these animate, mobile beings, and there's certainly electricity flowing through our bodies. Interestingly, I'll add, our bodies are about 75 percent water—much like the planet. There's electricity that comes from us, hence dragging your feet across carpet and touching the doorknob, you know what happens?
EHRLICH: You get shocked.
WILLIAMS: Yeah, that's right. And that's energy! So there is proof. If you had to run a simple test, that's the easiest one to do. There is electricity going through us. That is an example of one facet of the energy that we harness as beings. When I was coming up with that name, I wanted to celebritize being smart, because I noticed that being a nerd when I was in high school was the corniest thing you could ever do. But for me, I was like, "Those are the guys that grow up and drive BMWs! I don't get it!" So I was like, "You know what I'm gonna do? I'm gonna take my music and I'm going to slowly but surely punch away at that notion that being a nerd is not cool." Being smart? I want to work that up, and that's what our aim was, and I couldn't find a better acronym.
Einstein said energy can't be destroyed, it can only be conjured and spread—I'm not even sure if you can create it—and so therefore, if we know that our bodies are filled with energy, when the flesh dies, what happens to the soul? It's gotta go somewhere. I don't know where it goes, I don't have the proof to speak blindly on the phone in this interview, but that's it. That part I'm sure of: No one ever really dies.
Dimitri Ehrlich is a contributing music editor at Interview.


text:
Uehlfeld er en købstad (markt) i den mittelfrankiske Landkreis Neustadt an der Aisch-Bad Windsheim i den tyske delstat Bayern. Den er hjemsted for Verwaltungsgemeinschaft Uehlfeld.

Geografi
Nabokommuner er (med uret, fra nord): Lonnerstadt, Höchstadt an der Aisch, Weisendorf, Dachsbach, Gutenstetten, Münchsteinach og Vestenbergsgreuth.

Inddeling
Ud over Uehlfeld, ligger i kommunen landsbyerne:

Eksterne henvisninger

redpajama_set_name: RedPajamaWikipedia


William Gerard DePalma, 66, was born in Staten Island on Dec. 26, 1951, to the late Ralph and Alice DePalma. He passed away peacefully on Tuesday, July 24, 2018, at Staten Island University Hospital.
He is survived by his wife of almost 45 years, Judy DePalma.
William was a loving father and father-in-law to Carrie DePalma Monem and her husband, Mohamed Monem, Nicholas William DePalma Sr. and his wife, Yousra Madfai DePalma, Cheyenne Montero DePalma, Gabriel DePalma, Pedro Montero and Giovanni Montero.
He also leaves to cherish his memory, his six grandchildren, Nicholas William DePalma Jr., Mohamed Ali Monem Jr., Yousef William Monem, Maya Jude Monem, Ava Lynn Laurore and Ryann Elise DePalma. He was the beloved brother of John DePalma, Alfonse DePalma and Columbia Gorman.
William was deeply loved and will be greatly missed and his many nieces and nephews, his brothers-in-law, sisters-in-law, close friends and old friends.
Funeral services will be held at Cherubini McInerney Funeral Home, 1289 Forest Ave., on Saturday, July 28, 2018, at 9 a.m., with a Mass at St. Adalbert's R.C. Church at 10:30 a.m., followed by private cremation. Viewing will be held on Thursday from 7 to 9 p.m. and Friday from 2 to 4 p.m. and 7 to 9 p.m.


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