text:
For the box set compilation released in 1989 by Rykodisc, see Sound + Vision (box set). For the documentary film broadcast in 2002 and released in 2003, see David Bowie: Sound and Vision (documentary).
For other uses, see Sound and Vision (disambiguation).
Tour by David Bowie
A Sound+Vision Tour Promotional Image
David Bowie in silhouette
Associated album
No. of shows
7 in North America
23 in Europe
2 in Asia
40 in North America
6 in South America
David Bowie concert chronology
Tin Machine tour chronology
(1989) It's My Life Tour
The Sound+Vision Tour was a 1990 concert tour by English musician David Bowie that was billed as a greatest hits tour in which Bowie would retire his back catalogue of hit songs from live performance. The tour opened at the Colisée de Québec in Quebec City, Canada on 4 March 1990 before reaching its conclusion at the River Plate Stadium in Buenos Aires, Argentina on 29 September 1990, spanning five continents in seven months. The concert tour surpassed Bowie's previous Serious Moonlight (1983) and Glass Spider (1987) tours' statistics by visiting 27 countries with 108 performances.
Édouard Lock of La La La Human Steps co-conceived and was artistic director for this tour.
1 Tour history
2 Song selection
3 Set design
4 Live recordings
5 Contemporary reception and reviews
6 Tour incidents
7 Tour statistics
8 Tour legacy
9 Tour band
10 Setlist
11 Tour dates
Bowie's previous Glass Spider Tour and two most recent albums (Tonight (1984) and Never Let Me Down (1987)) had all been critically dismissed, and Bowie was looking for a way to rejuvenate himself artistically.[1] To this end, Bowie wanted to avoid having to play his old hits live forever, and used the release of the Sound + Vision box set as the impetus for a tour, despite having no new material recorded.[2][3][4] Bowie took a break from his band Tin Machine for "Sound+Vision", telling the band he was contractually obligated to do the tour. He invited fellow Tin Machine guitarist Reeves Gabrels to tour with him, but Gabrels declined, and instead suggested Adrian Belew, with whom both Gabrels and Bowie had worked previously. Gabrels called Belew and said "'I have this friend who is going on tour, and he needs a guitar player. He asked me and I can't do it, but I thought you might want to do it,' and I put David on the phone."[5]
It was stated that Bowie would never perform these greatest hits on tour again.[6][7][8][9] Bowie said "knowing I won't ever have those songs to rely on again spurs me to keep doing new things, which is good for an artist,"[10] and later, "I have no intentions of parroting my own songs, which is what it ends up being after you've been doing it for 20 years. You can't do it with any more enthusiasm. I don't care who you are, you get to the point where you don't like singing the song anymore."[11]
Bowie looked forward to retiring his old hits, saying "It's time to put about 30 or 40 songs to bed and it's my intention that this will be the last time I'll ever do those songs completely, because if I want to make a break from what I've done up until now, I've got to make it concise and not have it as a habit to drop back into. It's so easy to kind of keep going on and saying, well, you can rely on those songs, you can rely on that to have a career or something, and I'm not sure I want that."[3]
He would state in another contemporary interview that "I want to finish off that old phase and start again. By the time I'm in my later forties, I will have built up a whole new repertoire."[4]
It has been noted that Bowie is "famous" for claiming retirement in the past, so many critics and observers did not fully believe Bowie when he said he would not play these songs again.[3][6][10][12][13]
Bowie spent the early few months of 1990 preparing for the tour in a rehearsal hall on Manhattan's west side.[3]
Song selection
David Bowie performing in Chile, 27 September 1990
It was announced that the set-list for any given performance of the tour would be partially determined by the most popular titles logged in a telephone poll[6] by calling the number 1-900-2-BOWIE-90.[2] Money earned from phone calls to the 1-900 number were donated to two charities, Save the Children and a Brixton charity.[14] Mail-in ballots were made available to vote by in territories where telephone technology was not available.[9]
Bowie did in fact build the tour's setlist from calls to the phone number from all over the world, saying "What I ended up doing was taking about seven or eight [songs] from [the calls in] England, another seven or eight from the rest of Europe and the rest I made up from America so it's a good sampling of what everybody wanted in all the continents."[2] The first shows of the tour held in March 1990 in Canada were performed before any telephone polls were completed, leading Bowie to guess at the list of songs the audience wanted to hear.[15]
In the US, the songs "Fame", "Let's Dance" and "Changes" topped the list of songs requested by fans, while in Europe the songs "Heroes" and "Blue Jean" were the leaders.[6]
The NME, in response to the telephone poll, ran a spoof campaign, Just Say Gnome, in an effort to have "The Laughing Gnome" included in the set-lists.[2][16] Bowie had considered playing "The Laughing Gnome" "in the style of The Velvets or something" until he found out the voting had been perpetrated by the music magazine.[2]
Édouard Lock (of La La La Human Steps) co-conceived and was artistic director for this tour.[10] Bowie had originally wanted La La La Human Steps to be involved in his previous Glass Spider Tour, but was unable to secure them due to scheduling conflicts.[2][3] Given the unfavorable attention that his previous solo tour drew, Bowie was keen to make sure the Sound+Vision Tour did things differently. He said, "It will be staged; there is no way I could ever consider really putting something on the stage that doesn't owe something to theatah (pronouncing 'theatre' in a thick British accent), but it won't be overtly theatre in as much as it won't be propped the same way. Going back to the way we worked towards the Station to Station show, which was basically a question of using a kind of Brechtian lighting pad and working areas and atmospheres of light, is very much the kind of feel it will have."[3] Bowie recruited Willie Williams to design the lighting for the tour, having worked with him on the preceding year's Tin Machine "It's My Life Tour".[17]
He added that this tour is "nowhere near as ambitious as Glass Spider in size, but qualitatively, in essence, I think it's as theatrical."[9]
In addition to the stark lighting and the backing 4-piece rock band, Bowie employed a new tool for this tour: a giant sixty-by-forty foot transparent gauze scrim.[15] The scrim would occasionally be lowered in front of or behind Bowie,[2] onto which images of Bowie and videos were projected.[6][7][10] Bowie described it as being "like a giant Javanese shadow puppet show at times."[2] Two large, round screens at each side of the stage also displayed the videos projected on the scrim.[15]
The set was constructed by 80 workers who traveled with the tour, with the help of local workers who were hired in each city. A single set took 8 trucks to move (with an additional 4 buses for the workers), and required 9 hours to set up and 4 hours to load out each night.[18]
Video recordings of La La La Human Steps' Louise Lecavalier performing dances in time to the music and images of Bowie singing, playing instruments, miming or otherwise performing to certain songs were projected on the scrim & screens during the show.[2][3] For some dates, such as the performance in Montreal on 6 March 1990, some of the dancers from La La La Human Steps danced live on stage to some of the songs.[15] Bowie was enthusiastic about the inclusion of the dancers on the tour: "You've never seen anything like them before. They're probably the leading avant-garde dance troupe in North America. Louise Lecavalier, their star, is like nothing else you've ever seen on stage. She's absolutely phenomenal. ... The dance troupe is unbelievable. It's where punk and ballet clash with each other."[19]
Bowie wanted to record the concert, something he hadn't always done before, saying "We're intending to film it for posterity; I should hope so. I've always regretted not having filmed things like the 'Diamond Dogs' show. We never filmed the 'Station to Station' show. Or the 'soul' show with Dave Sanborn and those guys. I have absolutely no footage of those things. It's terrible. ... It's infuriating."[10]
Despite this, no official recording of the show has been made available to the public in either audio or video form. A number of performances were filmed and recorded for television and radio broadcasts:
Recording date Location Broadcast by
16 May 1990 Tokyo Dome
5 August 1990 Milton Keynes Bowl BBC Radio 1
14 September 1990 Estádio José Alvalade RTP1
20 September 1990 Sambodromo de Rio – Rio de Janeiro Rede Globo
23 September 1990 Estadio de Palmeiras – São Paulo Radio Transamérica
27 September 1990 Rock in Chile Festival – Estadio Nacional de Chile
Contemporary reception and reviews
Rolling Stone described the 1990 summer concert season "a concert season to remember", and included the Sound+Vision Tour as one of its highlights. They said "Louise Lecavalier of Montreal's La La La Human Steps dance troupe provides avant-garde acrobatics, and several [musical] numbers are graced by stunning short films, including a clip for "Ashes to Ashes" that has to be seen to be believed. Otherwise, there are no pyrotechnics, no laser beams and, best of all, no glass spiders,"[7] the last a reference to Bowie's previous world tour. A review of an early show by Rolling Stone was positive, saying "Bowie proved able to reclaim virtually his entire diverse oeuvre – even those songs that now seem furthest from him – through sheer vocal power and charisma" and complaining only that "the band wasn't always equal to the challenge, demonstrating too much respect for the songs' recorded arrangements."[15] A review of the show's stop in Vancouver, BC said "Bowie hasn't sounded this good in years", praising the tour's focus on not only the songs, but on Bowie himself,[20] and a review of the show in Seattle called the visuals "a knockout" and praised Bowie as an innovator, only complaining that the music itself seemed "mechanical."[21]
While some shows on the North American tour did not sell out, such as in Seattle and some dates in Florida, overall the tour was well-attended. It sold out, often over multiple nights, in cities such as San Francisco, Sacramento, Philadelphia and Detroit.[22]
The UK show at Milton Keynes Bowl was reviewed negatively by Melody Maker magazine, who called parts of the performance "flat" and dismissed the song "Pretty Pink Rose" as "a tall heap of shite."[23]
Tour incidents
Mid-tour, Bowie, Erdal Kızılçay and guitarist Adrian Belew joined blues artist Buddy Guy in Chicago for a performance at the NAMM Expo '90, which celebrated Guy.[24]
A month later in Philadelphia, Bowie stopped his performance in the middle of the song "Young Americans" to speak out against music censorship, specifically due to the controversy over 2 Live Crew's album As Nasty As They Wanna Be, saying "I've been listening to the album by 2 Live Crew. It's not the best album that's ever been made, but when I heard they banned it, I went out and bought it. Freedom of thought, freedom of speech – it's one of the most important things we have."[25]
During the show in Modena, Bowie stopped his performance while in the middle of "Station to Station" and said onstage "Ok, I'm gonna have to pick some easier songs, or I'm never gonna get through half of these... Let's try Fame." then Bowie proceeded to take his guitar and throw it at the other side of the stage.[26] It is said that Bowie had a cold and he became frustrated that it was affecting his vocals.
The tour opened at the Colisée de Québec – Quebec City[3] on 4 March 1990 before reaching its conclusion in Buenos Aires, Argentina on 29 September 1990, spanning five continents in seven months.[2][4] The concert tour surpassed the previous Serious Moonlight and Glass Spider Tour's statistics by visiting 27 countries with 108 performances. For the ten performances in the United Kingdom alone it was estimated the audience figure was 250,000[27] in total. The tour was estimated to have grossed $20M[28] (or roughly $39M today, adjusted for inflation).[29]
Bowie felt that a burden had been lifted by retiring the old hits he felt he was forced to perform, and said "[Retiring my old hits on tour] was a very selfish thing to do, but it gave me an immense sense of freedom, to feel that I couldn't rely on any of those things. It's like I'm approaching it all from the ground up now, starting with 'Okay, we know what songs we needn't do anymore. What, of my past, did I really like?' You pick things that were really good songs, and you try to recontextualize them, by giving them current, contemporary rhythms. And we've been knocking around ideas like 'Shopping for Girls' from Tin Machine, 'Repetition' and 'Quicksand' from Hunky Dory. Certain songs that I probably haven't ever performed onstage. They're working shoulder to shoulder with the new material, and I'm starting to see continuity in the way that I work."[30]
Generally, most songs that Bowie performed on the tour were played live in years to come, with only a small number of songs from the Sound+Vision Tour set list truly being retired forever; the most notable songs never to be played live again were "Young Americans" and "Rock 'n' Roll Suicide".[31] Bowie only played "Space Oddity" on tour a single time afterwards,[32] although Bowie did perform the song three times on other occasions.[33][34][35] In future tours Bowie would in fact begin to play lesser-known songs, only occasionally punctuated by his well known older "hits", and bias towards playing material written after 1990.[36][37][38][39] After finishing the Sound+Vision tour, Bowie returned to his band Tin Machine for their second album.
Tour band
Bowie specifically chose a smaller band for the tour, saying in a contemporary interview that "It's a much smaller sound. It's not quite as orchestrated as any of the other tours. The plus of that is that there is a certain kind of drive and tightness that you get with that embryonic line-up, where everybody is totally reliant on the other two or three guys, so everybody gives a lot more."[9] There was some tension in the band during the tour, remembered musician Kızılçay, who recalled that Bowie "wasn't very happy,"[40] and that "[Bowie] was very stressed, especially in South America. He didn't even come to the sound checks.[41] Keyboardist Rick Fox wasn't invested in the tour; he would occasionally eat dinner on stage, and on at least one occasion turned off his own keyboards and played his own songs while sampled parts of Bowie's songs were playing.[40]
David Bowie – vocals, guitar, saxophone[10]
Adrian Belew – guitar, backing vocals, music director [42]
Erdal Kızılçay – bass guitar, backing vocals
Rick Fox – keyboards, backing vocals
Michael Hodges – drums
This performance is from the Milton Keynes Bowl, Milton Keynes, England show at 5 August 1990.
"Life on Mars?"
"Pretty Pink Rose"
"Station to Station"
""Heroes""
Tickets sold / available
4 March 1990 Quebec City Canada Colisée de Québec 15,000 / 15,756 $397,500
6 March 1990 Montreal Montreal Forum 16,235 / 19,000 $535,755
7 March 1990 Toronto Skydome 55,000 / 55,000 $1,229,008
10 March 1990 Winnipeg Winnipeg Arena 18,460 / 18,460 $486,328
12 March 1990 Edmonton Northlands Coliseum 13,000 / 13,000 $264,000
13 March 1990 Calgary Olympic Saddledome 18,000 / 22,000 $360,000
15 March 1990 Vancouver Pacific Coliseum 17,500 / 17,500 $420,000
19 March 1990 Birmingham England National Exhibition Centre 34,560 / 38,000 $978,589
23 March 1990 Edinburgh Scotland Royal Highland Exhibition Centre 42,000 / 42,000 $924,000
26 March 1990 London England Docklands Arena 43,560 / 45,000 $1,089,000
30 March 1990 Rotterdam Netherlands Rotterdam Ahoy 13,000 / 13,000
1 April 1990 Dortmund West Germany (Rescheduled) Westfalenhalle N/A N/A
2 April 1990 Paris France Palais Omnisports de Paris-Bercy 40,000 / 40,000
5 April 1990 Frankfurt West Germany Festhalle Frankfurt N/A N/A
7 April 1990 Hamburg Alsterdorfer Sporthalle 7,000 / 7,000
8 April 1990 Berlin Deutschlandhalle 10,000 / 10,000
10 April 1990 Munich Olympiahalle 12,000 / 12,000
11 April 1990 Stuttgart Hanns-Martin-Schleyer-Halle Unknown Unknown
13 April 1990 Milan Italy Palatrussardi
17 April 1990 Rome Palaeur
18 April 1990 (Cancelled) Palaeur N/A N/A
20 April 1990 Brussels Belgium Forest National 16,000 / 16,000
22 April 1990 Dortmund West Germany Westfalenhalle Unknown Unknown
North America[43]
27 April 1990 Miami United States Miami Arena 13,121 / 13,121 $338,388
29 April 1990 Pensacola Pensacola Civic Center 10,000 / 10,000 $210,000
1 May 1990 Orlando Orlando Arena 18,000 / 18,000 $378,000
4 May 1990 St. Petersburg Florida Suncoast Dome 40,000 / 50,000 $840,000
5 May 1990 Jacksonville Jacksonville Memorial Coliseum 8,760 / 10,125 $183,960
7 May 1990 Atlanta Omni Coliseum 10,912 / 12,781 $257,500
9 May 1990 Chapel Hill Dean Smith Center 17,500 / 21,750 $367,500
15 May 1990 Tokyo Japan Tokyo Dome 110,000 / 110,000 $2,310,000
20 May 1990 Vancouver Canada BC Place Stadium 46,560 / 55,000 $976,500
21 May 1990 Tacoma United States Tacoma Dome 23,000 / 23,000 $483,000
23 May 1990 Los Angeles Los Angeles Memorial Sports Arena 12,756 / 12,756 $356,991
24 May 1990 Sacramento Cal Expo 13,961 / 13,961 $384,165
26 May 1990 Los Angeles Dodger Stadium 40,877 / 47,000 $1,117,086
28 May 1990 Mountain View Shoreline Amphitheatre 35,207 / 40,000 $862,515
1 June 1990 Denver McNichols Sports Arena 35,800 / 35,800 $823,400
4 June 1990 Dallas Starplex Amphitheater 11,538 / 20,000 $276,167
6 June 1990 Austin, Texas Frank Erwin Center 17,678 / 17,900 $618,730
7 June 1990 Houston Woodlands Pavilion 9,481 / 10,000 $215,877
9 June 1990 Kansas City Sandstone Amphitheater 18,000 / 18,000 $378,000
10 June 1990 St. Louis St. Louis Arena 8,975 / 18,000 $235,175
12 June 1990 Noblesville Deer Creek Music Center 10,100 / 18,000[44] $237,350
13 June 1990 Milwaukee Marcus Amphitheater 25,000 / 25,000 $600,000
15 June 1990 Chicago World Music Theatre 55,130 / 56,000 $1,543,640
19 June 1990 Cleveland Richfield Coliseum 26,319 / 26,319 $657,975
22 June 1990 Auburn Hills The Palace of Auburn Hills 39,225 / 39,900 $980,625
27 June 1990 Burgettstown Coca-Cola Star Lake Amphitheater 12,521 / 22,917[45] $375,630
30 June 1990 St. John's Canada Memorial Stadium 6,000 / 6,000 $126,000
2 July 1990 Moncton Moncton Coliseum 7,200 / 7,200 $187,200
4 July 1990 Toronto Canadian National Exhibition Stadium 73,000 / 74,500 $1,825,000
6 July 1990 Ottawa Ottawa Civic Centre 9,500 / 9,750 $199,500
7 July 1990 Saratoga Springs United States Saratoga Performing Arts Center 25,000 / 25,000 $700,000
9 July 1990 Philadelphia The Spectrum 74,000 / 74,000 $1,554,000
16 July 1990 Uniondale Nassau Veterans Memorial Coliseum 14,500 / 14,500 $435,000
18 July 1990 Columbia Merriweather Post Pavilion 36,460 / 38,000 $984,420
21 July 1990 Foxborough Sullivan Stadium 57,000 / 60,000 $1,197,000
23 July 1990 Hartford Hartford Civic Center 12,760 / 12,760 $273,063
25 July 1990 Niagara Falls Niagara Falls Convention and Civic Center 10,000 / 10,000 $230,000
29 July 1990 East Rutherford Giants Stadium 80,000 / 80,000 $1,711,993
4 August 1990 Milton Keynes England National Bowl 120,000 / 120,000 $2,520,000
7 August 1990 Manchester Maine Road 80,000 / 83,000 $2,640,000
9 August 1990 Dublin Ireland Point Depot 24,150 / 26,000 $507,150
13 August 1990 Fréjus France Arènes de Fréjus 13,500 / 13,500 $364,500
16 August 1990 Ghent Belgium Flanders Expo 5,000 / 5,000 $130,000
18 August 1990 Nijmegen Netherlands Stadion de Goffert 14,500 / 14,500 $304,500
19 August 1990 Maastricht Maastricht Exhibition & Congress Centre 3,700 / 3,700 $111,000
22 August 1990 Oslo Norway Jordal Stadion 18,000 / 20,000 130,000
24 August 1990 Stockholm Sweden Olympiastadion 30,000 / 33,000 $602,540
25 August 1990 Copenhagen Denmark Idraetsparken 95,000 / 97,000 $3,230,000
29 August 1990 Linz Austria Linzer Stadion 28,400 / 28,400 $596,400
31 August 1990 Berlin West Germany Weißensee Sportplatz 6,750 / 6,750 $162,000
1 September 1990 Schüttorf Festival Site 8,500 / 9,000 $178,500
2 September 1990 Ulm Open Air Festival Unknown Unknown
4 September 1990 Budapest Hungary MTK Stadium 5,675 / 5,675 $124,850
5 September 1990 Zagreb Yugoslavia Stadion Maksimir 54,740 / 60,000 $1,204,280
8 September 1990 Modena Italy Festa de l'Unità 45,000 / 45,000 -
11 September 1990 Gijón Spain Hipódromo de las Mestas 10,000 / 10,000 $250,000
12 September 1990 Madrid Rockodromo Arena 9,850 / 12,000 $285,650
14 September 1990 Lisbon Portugal Alvalade Stadium 57,850 / 60,000 $1,909,050
16 September 1990 Barcelona Spain Estadio Olímpico de Montjuic 55,000 / 55,000 $1,650,000
20 September 1990 Rio de Janeiro Brazil Apoteose Square Hall 40,000 / 40,000 $1,052,325
22 September 1990 São Paulo Estádio Palestra Itália 70,000 / 70,000 1,750,000
25 September 1990 Olímpia Theatre - -
27 September 1990 Santiago Chile Rock in Chile Festival -
Estadio Nacional de Chile 60,456 / 60,456 -
29 September 1990 Buenos Aires Argentina River Plate Stadium 60,356 / 61,000 $1,267,476
From David Bowie
From Hunky Dory
From The Rise and Fall of Ziggy Stardust and the Spiders from Mars
From Aladdin Sane
From Live Santa Monica '72
"I'm Waiting for the Man" (from The Velvet Underground & Nico (1967) by The Velvet Underground and Nico; written by Lou Reed; outtake from 1966–72 sessions)
From Ziggy Stardust: The Motion Picture
"White Light/White Heat" (originally from White Light/White Heat (1968) by The Velvet Underground; written by Lou Reed)
From Diamond Dogs
From Young Americans
"Fame" (Bowie, John Lennon, Carlos Alomar)
From Station to Station
From Low
From "Heroes"
""Heroes"" (Bowie, Brian Eno)
From Scary Monsters (and Super Creeps)
From Let's Dance
"China Girl" (originally from The Idiot (1977) by Iggy Pop; written by Pop and Bowie)
From Tonight
Other songs:
"A Hard Rain's A-Gonna Fall" (from The Freewheelin' Bob Dylan (1963) by Bob Dylan; written by Dylan)
"Alabama Song" (originally from Bertolt Brecht's opera Rise and Fall of the City of Mahagonny; written by Brecht and Kurt Weill; released a non-album single (1980))
"Amsterdam" (originally from Enregistrement Public à l'Olympia 1964 by Jacques Brel, written by Brel & Mort Shuman; B-side of the Sorrow" single (1973))
"Baby, Please Don't Go" (originally a single (1935) by Big Joe Williams)
"Baby What You Want Me to Do" (originally a single (1959) by Jimmy Reed; famously covered by Elvis Presley (1968))
"Fame '90 (House mix)" (new version of said song from Young Americans (originally from 1975); released as a single in 1990)
"Heartbreak Hotel" (originally a single (1956) by Elvis Presley, written by Presley, Mae Boren Axton and Thomas Durden)
""Helden"" (German language version of the song from "Heroes"; appears on some versions of the ""Heroes"" single)
"John, I'm Only Dancing" (released as a non-album single in 1972 with a sax version released the following year; written by Bowie)
"Pretty Pink Rose" (from Young Lions (1990) by Adrian Belew; written by Bowie)
"You and I and George" (traditional)
"Gloria" (originally by Them, it was first released as a B-side to the "Baby, Please Don't Go" single (1964) and later found on The Angry Young Them (1965); written by Van Morrison)
^ Barton, David (8 June 1989), "David Bowie puts career on the line", Journal-American, p. D5
^ a b c d e f g h i j "Bowie: Boys Keep Swinging", Melody Maker, 66 (12): 24–26, 24 March 1990
^ a b c d e f g h Clarke, Tina (March 1990), "Watch That Man", Music Express Magazine: 12
^ a b c Bromberg, Craig (June 1990), "David Bowie (Interview)", Smart: 50–57
^ Ives, Brian (20 February 2017). "David Bowie: A Look Back at His '90s Era – When He Got Weird Again". Retrieved 27 March 2018.
^ a b c d e Gundersen, Edna (27 April 1990), "Bowie, Rebel in Repose", USA Today: D1–D2
^ a b c "Rolling Stone Summer Music Guide 1990", Rolling Stone Magazine Insert: 3, 1990
^ Nicholas Pegg, The Complete David Bowie, Reynolds & Hearn Ltd, 2004, ISBN 1-903111-73-0
^ a b c d Du Noyer, Paul (April 1990), "David Bowie (Interview)", Q Magazine: 60–70
^ a b c d e f O'Brien, Glenn (May 1990), "Bowie (Interview)", Interview Magazine, 20 (5): 84–91
^ "Bowie on the road with Tin Machine". 14 November 1991. Retrieved 1 July 2020.
^ White, Dennis R. (May 1990), "The Man Who Showed the World", The Rocket, Seattle (127), pp. 19–20
^ Hilburn, Robert (20 May 1990), "Can We Trust Bowie This Time? : Rock's Man of 1,000 Faces reminisces about his key songs--which he vows never to sing again in concert", Los Angeles Times, retrieved 29 October 2013
^ The Simon Bates interviews, BBC Radio 1, Jan-Feb 1990
^ a b c d e Robbins, Ira (19 April 1990), "Canadian Opening for Sound+Vision Tour", Rolling Stone magazine: 21 & 23
^ David Buckley, Strange Fascination: The Definitive Biography of David Bowie, Virgin Books, 1999, ISBN 1-85227-784-X
^ LiveDesign. "Memory Lane". Retrieved 25 March 2016.
^ KISW's Lowdown: David Bowie's Sound+Vision Tour by Mike Jones (radio interview). 21 May 1990.
^ Clarke, Tina (1990), "David Bowie: Ornament – Oddity – Artist – Survivor", Elle, archived from the original on 16 July 2001
^ Flannigan, Erik (April 1990), "David Bowie, PNE Coliseum, 3/15", The Rocket, Seattle (126), p. 10
^ MacDonald, Patrick (22 May 1990), "Bowie's Past Lives", The Seattle Times, Seattle, pp. F1 & F3
^ Neely, Kim (12–26 July 1990), "Heavy Summer Traffic", Rolling Stone, no. 582/583, pp. 26–27
^ Price, Simon (11 August 1990), Station to Station (David Bowie at Milton Keynes Bowl review), retrieved 25 June 2013
^ "Buddy & Bowie at NAMM Shure Show", Pro Sound News, 12 (7): SR16, 13 July 1990
^ "People in the news", Times News Service, 14 July 1990
^ Matt Day (4 February 2009), David Bowie Station To Station – Modena 08.09.90 Bowie Tantrum!!!, retrieved 8 June 2017
^ Christopher Sandford, Bowie: Loving the Alien, Warner Books, 1997, ISBN 0-7515-1924-3
^ The Man Who Fell to Earth, retrieved 8 January 2013
^ Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved 1 January 2020.
^ Pond, Steve (March 1997), "Beyond Bowie", Live Magazine: 38–41, 93
^ O'Leary, Chris (2012). "Did Bowie really retire his oldies?". Retrieved 31 August 2017.
^ "UNDER PRESSURE: Gail Ann Dorsey on playing bass for David Bowie". PleaseKillMe.com. 20 December 2017. Retrieved 3 January 2018.
^ "DAVID BOWIE - Space Oddity (live)". Retrieved 5 November 2018.
^ . Retrieved 5 November 2018.
^ "David Bowie- Space Oddity (live in Dennmark, 2002)". Retrieved 5 November 2018.
^ Gundersen, Edna (14 September 1995), "Cover Story: Bowie, Beyond fame and fashion", USA Today: D1–2
^ Strauss, Neil (16 September 1996), "David Bowie, Without All the Gadgetry", New York Times, retrieved 29 October 2013
^ Jacobson, Colin (3 November 2004), David Bowie: A Reality Tour (2003), retrieved 20 September 2013
^ Pareles, Jon (29 September 1995). "POP REVIEW; Bowie and Nails Mesh (Sometimes)". Retrieved 24 December 2020.
^ a b O'Leary, Chris (2019). Ashes to Ashes The Songs of David Bowie 1976-2016. Repeater Books. ISBN 9781912248308.
^ Sinclair, Paul (11 December 2013), Bowie collaborator Erdal Kizilcay on "Glass Spider" and "Never Let Me Down", retrieved 3 September 2019
^ Gordon, Arielle (25 September 2017). "David Bowie Collaborators Announce 2018 Celebrating David Bowie Tour". Spin. Retrieved 27 February 2018.
^ Sound+Vision Tour
^ "The Cincinnati Enquirer from Cincinnati, Ohio on June 14, 1990 · Page 29".
^ "Pittsburgh Post-Gazette from Pittsburgh, Pennsylvania on September 4, 1990 · Page 19".
The Five Years Trilogy
1990 concert tours
David Bowie concert tours


Background: Diabetic foot ulcer is one of the important complications of diabetes. After effective debridement and antibiotic therapy, lasers are used to hasten the healing process. Red laser of wavelength 635nm promotes wound healing. This study will aid us to find out the efficacy of red laser wavelength 635nm in healing of diabetic foot ulcers.
Methods: After obtaining informed consent, diabetic foot ulcer patients admitted to Rajiv Gandhi government hospital were selected based on non-probability convenience sampling. Necessary history obtained, clinical examination of the ulcer done, investigations done. Cases are given 30minutes of laser therapy by non-contact method before regular ulcer dressing. Controls are given saline dressing. Ulcer area measured before initiation of therapy and measured at 1st week, 2nd week and 3rd week after initiation of therapy.
Results: Wound contraction rate was 39.65% with laser and 11.26% with saline dressing alone (p<0.001). The data were statistically significant; thus, laser have wound healing property.
Conclusions: Cases have more mean contraction percentage than controls (37.99% versus 11.68%, p<0.001). So LLLT is an effective therapy to heal diabetic ulcers. Need for additional surgeries can be avoided by using LLLT.
International Diabetes Federation, Diabetes Atlas, International Diabetes Federation, Brussels, Belgium, 4th ed, 2009.
Ogbera OA, Osa E, Edo A, Chukwum E. Common clinical features of diabetic foot ulcers: perspectives from a developing nation. Inter J Lower Extremity Wounds. 2008;7(2):93-8.
Yosuf MK, Mahadi SI, Mahmoud SM, Widatalla AH, Ahmed ME. Diabetic neuropathic forefoot and heel ulcers: management, clinical presentation and outcomes. J Wound Care. 2015;24(9):420-5.
Lipsky BA, Berendt AR, Cornia PB, Pile JC, Peters EJ, Armstrong DG, et al. 2012 Infectious diseases society of America clinical practice guideline for the diagnosis and treatment of diabetic foot infections. Clin Infectious Dis. 2012;54(12):e132-73.
Hokkam EN. Assessment of risk factors in diabetic foot ulceration and their impact on the outcome of the disease. Primary Care Diabetes. 2009;3:219-24.
Kajagar BM, Godhi AS, Pandit A, Khatri S. Efficacy of low-level laser therapy on wound healing in patients with chronic diabetic foot ulcers-a randomised control trial. Ind J Surg. 2012;74(5):359-63.
Saltmarche AE. Low level laser therapy for healing acute and chronic wounds–the extendicare experience. Inter Wound J. 2008;5(2):351-60.
Lucas C, Stanborough RW, Freeman CL, De Haan RJ. Efficacy of low-level laser therapy on wound healing in human subjects: a systematic review. Lasers Med Sci. 2000;15(2):84-93.
Mester E, Mester AF, Mester A. The biomedical effects of laser application. Lasers Surg Med. 1985;5(1):31-9.
Game FL, Hinchliffe RJ, Apelqvist J, Armstrong DG, Bakker K, Hartemann A, et al. A systematic review of interventions to enhance the healing of chronic ulcers of the foot in diabetes. Diabetes/Metab Res Rev. 2012;28:119-41.
Hopkins JT, McLoda TA, Seegmiller JG, Baxter GD. Low-level laser therapy facilitates superficial wound healing in humans: a triple-blind, sham-controlled study. J Athletic Training. 2004;39(3):223.
Gupta AK, Filonenko N, Salansky N, Sauder DN. The use of low energy photon therapy (LEPT) in venous leg ulcers: a double‐blind, placebo‐controlled study. Dermatol Surg. 1998;24:1383-6.
Landau Z, Migdal M, Lipovsky A, Lubart R. Visible light-induced healing of diabetic or venous foot ulcers: a placebo-controlled double-blind study. Photomedicine Laser Surg. 2011;29(6):399-404.
Vinck EM, Cagnie BJ, Cornelissen MJ, Declercq HA, Cambier DC. Increased fibroblast proliferation induced by light emitting diode and low power laser irradiation. Lasers Med Sci. 2003;18(2):95-9.
Gottrup F, Apelqvist J. Present and new techniques and devices in the treatment of DFU: a critical review of evidence. Diabetes/Metab Res Rev. 2012;28:64-71.


text:
Controversial Black Americana proves highly sought after
We reported Wednesday that a prominent black community leader was calling on the items to be removed from a downtown store. In fact, all of them are gone. But what happened to them might surprise you.
Friday, March 25th 2016, 5:57 PM EDT
Controversial Black Americana collectibles continue to stir controversy.
We reported Wednesday that a prominent black community leader was calling on the items to be removed from a downtown store.
It turns out they were removed. In fact, all of them are gone. But what happened to them might surprise you.
Even the man who called for their removal wasn't expecting them to disappear the way they did.
Black community leader Larry Aguilar said he was offended by the Black Americana collectibles he discovered sitting in the Franklin Shops in downtown Fort Myers.
He called on the store management to take them down immediately on Wednesday. The very next day, the store was packed with curiosity seekers.
Jeremy Cummins manages the Franklin Shops and the figurines depicting African Americans was bringing in a lot of people to the store.
"People were interested in seeing it and what it was about," Cummins said. "We've actually sold all of our pieces."
Customers were so interested that they wiped the store shelves clean, but the bigger question though was who bought them?
"We've had a mixture of blacks and whites come in and buy it," said Cummins.
"What's the point in collecting that? I just don't get it," exclaimed Larry Aguilar, who said he was disappointed with the news. "It's sad, totally sad."
Some of the ceramic collectibles depicted African American children devouring watermelon and others overweight with largely exaggerated lips, representative of items produced in the early 1900s until as late as the 1950s.
"I regret the fact that I did not act fast enough. I should have bought all those items that day when I saw them," Aguilar reflected.
When asked what should be done with the memorabilia, Aguilar suggested taking a hammer to the items.
The owner of the Curiosity Shop along US-41 in Fort Myers said that was not practical. While he didn't want to be identified, he said the items are a part of history.
"It shows where we were and where we now have arrived," he said.
While he doesn't own the pieces, we discovered in an antique shop we found on Friday, he points to prices which prove the items are highly sought after. Some total more than $1,000 for things like rare cookie jars and piggy banks.
He said that the majority of the people collecting the items are African American.
Published reports say that high-profile collectors, such as Oprah Winfrey and Whoopie Goldberg, are known to collect the controversial pieces.
Despite that fact, Aguilar said his fight is not over.
"If they're planning on bringing more of those items then our community is going to have say about that," Aguilar said.
While these items no doubt are collectible, some store owners said they no longer sell them because of the controversy. Others said they have them and don't display them and only sell to customers who ask for them.

redpajama_set_name: RedPajamaCommonCrawl


text:
Darrell Snyder
Woody Taylor
Coach/Official	1994
George C. Towner, Jr.
Soccer	2004
Floyd Tuthill
Anne Viviani
An Arlingtonian for over 45 years until her tragic death in a car accident last year, Anne Viviani was pre-Title IX and never competed in school, becoming a competitive athlete only in mid-life
when her four children were almost grown. "I was just lucky" was her usual response to winning local races, national championships, and even world championships. She participated in 40
World Championship races in the triathlon, duathlon, and aquathlon, racing with her husband Donn in 20 of them. She was World Champion three times in the long distance triathlon (2004,
2005, 2017) and medaled at six other World Championships. She competed in three Kona Ironmans. At 52 years old, she was part of a four-woman team that won the Race Across America bike race, riding 3000 miles in seven and a half days. At 63, she won her age group in
the Beach to Battleship Ironman (140.3 miles), coming in under 14 hours. She won 12 National Championships in duathlon and triathlon, all the while smiling, encouraging others, cheering on
her competitors, and, humbly never mentioning her victories. Along the way, she served Arlington as a longtime administrator at Bishop O'Connell and as a volunteer at Taylor Elementary, Key Middle School, H-B Woodlawn, the Thomas Jefferson Center and the
Arlington Food Bank.
This year, USA Triathlon named its Grand Master Award for Duathlete of the Year the "Anne
Viviani Award." Anne's legacy can be found in the hundreds of athletes she mentored, inspired,
taught in her clinics, and in the hearts of her family and friends
Michael Wardian
Marathon Runner	2012
Peter Weilenmann
Running	2018
Peter Weilenmann is a lifelong Arlington resident. He attended Glebe, Drew and
then Landon schools. As a teenager, he worked for the Arlington Recreation
Department, and has spent the last 25 years working for Arlington Public Schools.
Peter loved soccer, but a high school coach encouraged him to run track and his
running career began. He was named to the All Interstate Athletic Conference (IAC)
cross-country team even while playing soccer. As a senior, he was third in the tri-state
area in the 1,500 meter and was the Maryland private school, the IAC, and the
IAC/Metro all-star 1,500 meter champion.
As a redshirt freshman at James Madison University, he placed 2nd in the
Colonial Athletic Conference (CAA) cross country championship. He won the next three
CAA cross country championships and qualified for 3 nationals, earning Academic All
American honors, and was named to the CAA Silver Anniversary Team. In track, he
qualified for indoor and outdoor nationals his senior year and set JMU records in the
outdoor 1,500 and the indoor 3,000. Peter earned a Rhodes Scholar nomination, was a
Walter Byers Scholarship finalist (NCAA award) and was a Virginia Governors fellow. In
2017, Peter was elected into the JMU Sports Hall of Fame.
After college, Peter competed on five U.S. national teams from 1991-1996,
including two World Half Marathon Championships. In 1995, he finished 28th (top US
finisher) at the World Half Marathon Championships. He also reached the finals of the
1992 Olympic Trials (5000M). Peter had road race wins in the Asbury Park 10k in 1991
and the Army 10 Miler in 1994. He also competed in three US Olympic Festivals
finishing 3rd in the 1500M in Los Angeles in 1990, 5th in 5000M in San Antonio in 1993,
and 5th in 5000M in Colorado Springs in 1995.
Mary White
Sportswoman 2020
Mary Denise White was a founder of the Arlington Women's Soccer League in 1977. She coached youth girls teams to great success at state, national and international competitions. At age 51, she began to compete in running events at the local and national levels. She has set records at the Northern Virginia Senior Games in sprints for her age group, and has been ranked Top Ten nationally for the 50, 100 and 200-meter distances. The Masters soccer team she plays for has earned national recognition as well
Jay Jacob Wind
John Youngblood
Coach/Administrator 1977


text:
(-) Remove Resource Center filter Resource Center
North County Serenity House (5) Apply North County Serenity House filter
Primary Care Provider NP/PA - SM MAT/Cordilleras
City: San Mateo, CA / Redwood City, CA
Are you passionate about providing dignified, compassionate and respectful medical care to people with mental illness and substance use disorders? Are you an excellent communicator? Do you enjoy working independently and using the full scope of your license?
HealthRIGHT 360 is currently looking to fill a full-time Primary Care Provider position opening who would work at two of our San Mateo County program sites: the HealthRIGHT 360 San Mateo MAT Clinic in San Mateo and the Cordilleras Mental Health Rehabilitation Center primary care clinic in Redwood City!
SoCal Associate Medical Director - Prototypes
City: Pomona, CA
The Associate Medical Director (Psychiatrist), under the direction of the Medical Director, will provide leadership and direction to the Southern California Prototypes' programs. The Associate Medical Director will oversee medical services for behavioral health programs throughout Los Angeles County, serving vulnerable men, women, and children, across the lifespan dealing with mental health and substance use disorders.
The Associate Medical Director (Psychiatrist), under the direction of the Medical Director, is primarily responsible for the oversight and delivery of care. This...
Associate Medical Director
City: Escondido, CA
Agency: North County Serenity House, HealthRIGHT 360
North County Serenity House, A Program of HealthRIGHT 360 was founded in 1966 to provide substance use disorder services in the community. North County Serenity House provides a gender-responsive and trauma-informed environment, using evidence-based and best practices that recognize and account for the role that trauma frequently plays in substance use and criminal histories of women. For clients with co-occurring mental illness, we provide integrated substance use and mental health services which treat both conditions as primary. Our Escondido residential facility serves up to 120 women...
Lead Clinician - NCSH Outpatient
City: Oceanside, CA
North County Serenity House, A Program of HealthRIGHT 360 was founded in 1966 to provide substance use disorder services in the community. North County Serenity House provides a gender-responsive and trauma-informed environment, using evidence-based and best practices that recognize and account for the role that trauma frequently plays in substance use and criminal histories of women. For clients with co-occurring mental illness, we provide integrated substance use and mental health services which treat both conditions as primary. Our North County Serenity House Outpatient Program in...
Clinical Supervisor - NCSH Residential
North County Serenity House, A Program of HealthRIGHT 360 was founded in 1966 to provide substance use disorder services in the community. North County Serenity House provides a gender-responsive and trauma-informed environment, using evidence-based and best practices that recognize and account for the role that trauma frequently plays in substance use and criminal histories of women. For participants with co-occurring mental illness, we provide integrated substance use and mental health services which treat both conditions as primary. Our Escondido residential facility serves up to 120...
Licensed Vocational Nurse (LVN) - NCSH Residential
North County Serenity House, A Program of HealthRIGHT 360 was founded in 1966 to provide substance use disorder services in the community. North County Serenity House provides a gender-responsive and trauma-informed environment, using evidence-based and best practices that recognize and account for the role that trauma frequently plays in substance use and criminal histories of women. For clients with co-occurring mental illness, we provide integrated substance use and mental health services which treat both conditions as primary. Our residential facility serves up to 120 women (with...


text:
Wekaforé Jibril - Defying fashion's status quo
Wekaforé Jibril
Defying fashion's status quo
After living in Nigeria and Dubai, he's found peace in Barcelona, a city that inspires him because of its people and creativity. Wekaforé Jibril is the founder, creative director and, as he himself puts it, "head propagandist" of the fashion brand Wekafore, whose aim is to change the vision of negritude and how the Western world perceives the African continent.
Being aware that his skin colour will most probably add several obstacles to his road to success, the fashion designer only seems to gain strength and self-confidence. Raised in Nigeria to a family of craftsmen, his passion for clothes and a personal style developed from an early age; but his true love, people and their stories, is what he's learned along the way. Now, presenting a collection titled Thank you Florence, which includes a letter/poem dedicated to her grandmother, he's retelling and reinventing the story of West-African countries when freedom, experimental music and a jaw-dropping outfits lived in harmony before the European governments decided the continent was of their property and started exploiting its people and resources.
You come from Nigeria, spent your teenage years in Dubai, and now you've settled down in Barcelona. How has this background of moving between different countries, continents, cultures, and languages shaped the person you are today?
Nigeria itself is a huge country with over a hundred different tribes, and Lagos – its capital – is the perfect melting pot with over twenty million people. But I think that living in all these different places outside Nigeria has given me a good sense of the world outside my family, my culture, and myself; and more importantly, it's given me a good sense of humour.
I remember living in Ghana for about four months; it was my first experience with a slightly different culture to mine. Moving to Dubai was a big deal: it's a very interesting city with many different people from different corners of the world living in this little bubble. I usually find myself being able to feel truly comfortable in any social group – Muslim, Buddhist, black, white, Asian, Arab, etc. – because I respect their individual struggles and understand their way of thinking and style of communication. They don't teach you that in school.
Why Barcelona? It's not precisely on the list of fashion capitals. What attracts you from the city, and what do you expect it to offer to you both as a person and as a fashion designer?
I feel at peace in Barcelona; there is an atmosphere of tranquillity here and I'm able to move at my own pace. Yes, people are not the most progressive when it comes to fashion, but I don't really care. I only care about people and people are down-to-earth here and they live honestly; I'd rather have honesty and tranquillity than fashion and noise.
I'm slowly setting up a base for my company here and I hope to influence the city as much as it and its people influence me. I believe that we, as young creatives, must shape the future – and I'm taking it very seriously. In 2018 we are starting the Voodoo Club with some help from a few creative people from Barcelona and Madrid. I think will be an interesting way to contribute and collaborate with the youth culture here.
You come from a family of craftsmen, and it was thanks to your father that you got introduced to fashion. What are the first memories you recall about it, and at what point did you decide to pursue a career in the fashion design field?
My first memory of fashion in its purest essence is while I watched my mother's workers actually make yards of fabric from just threads of wool and starch. The intricacy of the design and the time they spent were amazing – and also the embroidery guy making art with the machine. As a kid, I was in awe and it has always kept attracting me. My first day in high school I knew I had to be the coolest kid: I had my school uniform custom-made and ironed everyday, and I kept my shoes polished at all times. That's when I decided I wanted to do this. My father didn't raise me with money, but he raised me to be firm and confident.
"I think it's less about what I put into the clothes and more about what the clothes contribute to the story."
How do you translate your roots/origins into the clothing you create?
I hold my roots and my origins tight to my heart. In a world that encourages people to be insecure and timid, being proud of where I come from is my style of defiance, especially as an African. I think it's less about what I put into the clothes and more about what the clothes contribute to the story.
I have a lot of memories and references of dry grass and brownish-red soil, playing football in the streets, running away when we broke the window of a car. That was pure happiness despite being young and poor, and you can see it everywhere in my work. I look at the world as a theatre play or as a movie and the clothes are the props and costumes, and the models are the characters in the story. It will exist without the clothes but it won't be complete without them.
In your webpage you state: "Wekafore hopes to develop a unique aesthetic based on nostalgia and the reinvention of negritude […] Showcasing and educating the public to a different side to black African culture that has been forgotten". How do you do so, and what are the main highlights of this forgotten, even unknown side of black African culture?
The main highlights of this forgotten part of our culture are the music and the taste in the air. The music was experimental and expressive and I'm sure that the air smelled like freedom; freedom from prejudice, and colonisation. Somewhere along the line, we as Africans (West-Africa) lost the connection with that raw expression and carefree mindset. I'm retelling that story and reinventing this aura in our contemporary world.
The fashion industry is being criticized for its lack of diversity when it comes to models, but there aren't many worldwide known black designers either (or Arabian, or Latin, for that matter). What are the main challenges you face as a black person when it comes to the business of fashion? Have you ever felt discriminated in the fashion world because of your skin colour?
I have definitely felt discrimination in Dubai. When it comes to support or opportunities, just like everywhere else in the world, they want to be European. If my name was Antonio or Ahmed, I think it'd have been a different story. Let's face it: the fashion world is run by old white men who grew up in very ignorant times. I know I can't change or fight that; our only way of defiance is to create a new world for my people and me within the one live in. We are the new punk, you and I. With my bell-bottoms and Fela playing in the background, we are the new edgy.
"African representation in European media is all about refugees and immigrants, but it's our job to change that and educate our friends so they can educate theirs in turn."
You've decided to present your latest collection, Thank you Florence, through video. Why did you choose this format?
I chose this format because I believe that video is the best way to precisely express the feeling of the collection. Collaborating with the models and making them part of the story, giving them the space to be carefree and expressive were part of my objectives for the collection. When we were producing the music, we imagined the campaign video looking exactly as it is.
The film showcases young black individuals dancing to the rhythm of the music, but there is a poem dedicated to your grandmother, Florence, as well. What's the connection between the clothes, the campaign video, and the poem?
Before I started sketching the collection, I imagined the party. I envisioned my grandmother and her friends; the collection is based on what they would have been wearing when they were young and free. So it was important to turn those images into reality with Adriana Ramirez, the director and co-director of photogrpahy; Sendoa Cardoso, co-director of photography; and Paula and Aina, the set designers.
The poem is a love letter to her. It was important to talk about what I feel for her, to say the words I never got the chance to tell. It was important not to sell clothes but to tell Florence's story. So basically, in the campaign video, we are revisiting Florence's younger days and the party is a celebration of her life (Florence played by the girl in the silver pants dancing). The poem is me talking about her and to her, turning her into a sort of eternal figure that will live forever.
Photographers Malick Sidibé and Seydou Keita are among your main influences. The Fondation Cartier pour l'art contemporain in Paris has dedicated the biggest retrospective ever held of Sidibé, which is still on view until the 25th of February. Do you see this is as a sign of positive change? What does it mean for you to see that a major contemporary art institution holding an exhibition like this?
Yes, I think it's great. Fashion-forward people are opening their minds up to our culture, to our perspective. Maybe at some point in the future, globalisation in the fashion world might have a chance to be translated into real-life opportunities for African designers.
"Thanks to the Internet, the future of the world is in our hands: we can choose to watch television and ignore Africa like our parents and grandparents do, or we can choose to open our hearts and minds to love and collaboration."
Despite this exhibition, it is true that Africa is the 'forgotten' continent, especially for those who destroyed it during the last century and continue to do so by ignoring its current problems (mainly caused by Western governments and huge companies who abuse of their power and influence). Now that you're in Europe, how do you see African representation in the mass media/society?
African representation in European media is all about refugees and immigrants, but it's our job to change that and educate our friends so they can educate theirs in turn. There isn't a lot of integration of Africans within Spanish culture if you compare it with France or Britain. We all know Africa is a very rich continent with an endless goldmine of content and inspiration. We all know that Picasso's and Matisse's paintings or Modigliani's sculptures were mainly inspired by African art. We are used to taking from Africa, but not to giving.
We all have this prejudice when someone mentions 'Africa'. However, I think it's in our hands now to make a change. Thanks to the Internet, the future of the world is in our hands: we can choose to watch television and ignore the continent like our parents and grandparents do, or we can choose to open our hearts and minds to love and collaboration.
If you could make a wish to the genie in the magic lamp, what would it be and why?
If I had a genie lamp I would wish for peace and equality in the world. I think it'd be a totally different place; imagine if Africa was just like Europe and we didn't have to come here! My second wish would be to get the new season of Game Of Thrones before right now, before everyone else (laughs).
You're very young and the brand is still emerging. What are the next steps in your career? Where do you see yourself in, let's say, five years?
I'm going to build a studio here in Barcelona where I can work and continue developing my design language and learning with Wekafore. I want to collaborate with everybody and everything. Voodoo Club is very high on my agenda. I want to learn to play the piano.
In five years, I see Wekafore as a worldwide phenomenon, a bulldozer spreading peace and positivity while changing the way people think of the continent, making African contemporary fashion a staple in mainstream culture. A fucking superhero. And for myself, maybe with a cute little dog and with the ability to stay in a serious relationship.
Arnau Salvadó


text:
Gloucestershire Police
Man dies in Gloucester crash as car overturns and hits lamppost
Police were called to Westgate Island following a single-vehicle collision involving a Nissan X-Trail
Jessica MercerNews Reporter
Police were called to Westgate Island early this morning (Image: Google Maps)
A man has died following a car crash in Gloucester today.
Officers are appealing for witnesses to the fatal single vehicle collision at Westgate Island shortly after midnight (Monday, February 15).
Police were called out at 12.24am after it was reported a vehicle had rolled and collided with a lamppost.
It is believed the red Nissan X-Trail was travelling along St Oswalds Road towards Westgate Island when it hit the embankment and left the road before rolling and colliding with a lamppost.
All three emergency services attended however the driver of the car, a local man in his 30s, was pronounced dead at the scene. His next of kin has been informed.
The road was closed for a number of hours while officers conducted an investigation into the collision and it reopened shortly before 8am.
Investigating officers are appealing for any witnesses to the collision or those with dashcam footage to contact them quoting incident 006 of 15 February.
This can be done by completing the following online form or calling 101.
Get the latest news stories from across Gloucestershire straight to your inbox
It is the second fatal collision in the area in a week.
A man died on the Over Causesway at around 8.20pm on Tuesday, February 9, in another single-vehicle collision.
Emergency services were called to the collision at around 8.20pm but a Forest of Dean man in his 50s was pronounced dead at the scene.
Today's top Gloucestershire stories:
Teenager who stole from TK Maxx and John Lewis ordered to pay back £1,150
DIY SOS: How Nick Knowles and Laurence Llewelyn-Bowen will make viewers cry tonight


text:
Q: Filtering MySQL data by rails session parameter I've got a rails application, backed by MySQL. It's using a row-level permissions model. i.e. I have a few columns (permission1, permission2, permission3) on a table called projects and I need to check if the user who has details of the permissions they can access in their session can see the data queried from the projects table and filter it out if they don't.
I could probably do this on a case by case basis, but I'm looking for something generic so that (i) it works for other tables I might add the permissions model to later and (ii) so if I run a Projects.all somewhere and forget to add the appropriate where clause I don't accidentally show data to a user who doesn't have permission to view it.
Previously I've used a modified JDBC driver in a Java webapp, but I don't know what the equivalent solution should be with rails + MySQL.

A: Just discovered default_scope, which should be sufficient on a per-model basis. That's close enough.

redpajama_set_name: RedPajamaStackExchange


text:
What you need to know from Science and Innovation at COP26
World Business Council for Sustainable Development (WBCSD)
Science and Innovation is an essential part of finding solutions to limit the global temperature rise to 1.5°C. Day 9 of the COP26 demonstrated the various science and Innovation that can deliver urgent climate action. Throughout the day, several big announcements could positively impact the world's net zero goals.
Here are the key announcements made on day 9:
1. 23 nations join cleantech 'missions'
23 nations, including China, India, the UK and the US, have announced plans to accelerate their cleantech investments. This comes under the platform 'Mission Innovation', which was convened at COP21 in Paris and had financial backing from Bill Gates and the World Economic Forum. 'Mission Innovation' aims to make cleantech within the hard-to-abate sectors more affordable, easier to access, and more attractive than their higher-carbon equivalents.
"Mission Innovation mobilises governments to operate with a clear, collective voice, and helps the public sector to work together dynamically with the private sector to develop and scale-up clean energy solutions," said the European Commission's vice-president Frans Timmermans. "Together with sharp emissions reductions, Innovation gives us a path towards the Paris Agreement. We can make clean technologies more accessible for all and provide a platform for all countries to reach net zero" added Timmermans.
This agreement adds to the existing plans by; introducing new workstreams on low-carbon cities, decarbonising heavy industrial sectors, scaling up renewable fuels, decarbonising the chemicals sector, producing renewable materials, and scaling up man-made carbon capture technologies.
2. A new focus on low-carbon construction
In a report by the World Business Council for Sustainable Development (WBCSD), less than 1% of building projects currently account for lifecycle carbon impacts. The report goes on to say that the built environment is responsible for around 40% of global emissions and the industry will need to reduce emissions by 50% by 2030 in order to be able to meet net zero by 2050.
On day 9, the Industrial Deep Decarbonisation Initiative (IDDI) was launched, consisting of nations, including Germany, India, and the UK. These countries have committed to disclosing the represented carbon in the major public construction projects by 2025.
3. AI to assist in delivering net zero goals
On day 9 of COP26, The Global Partnership on Artificial Intelligence (AI) was published to guide governments on implementing AI to deliver their net zero changes. With the very short timeline on which the world needs to change to address climate change, it has become essential to accelerate the deployment of new technology across various sectors. In the Global Partnership on AI Report, the authors have proposed that governments can take leadership in supporting the use of AI to address climate change by:
Fostering the responsible development of and access to data and digital infrastructure — e.g., relevant data, simulation environments, testbeds, model libraries, and computational hardware — that can support the development and adoption of AIfor-climate applications.
Targeting research and innovation funding to enable interdisciplinary and cross-sectoral work at the intersection of AI and climate change that is guided by climate impact.
Supporting deployment and systems integration of AI-for climate applications via targeted policy design and evaluation, market design, and business models, including within highly regulated sectors such as energy, transportation, agriculture, and heavy industry.
4. Draft negotiations document is now available.
President of COP26 Alok Sharma announced that the first draft paper will become available overnight on 9 November. As the new day breaks, there is already comments flying around that it is not good enough.
Jennifer Morgan, Executive Director of International tweeted that "the new draft final decision text published today is not a plan to solve the climate crisis, it's an agreement that we'll all cross our fingers and hope for the best. It's a polite request that countries maybe, possibly, do more next year. That's not good enough." She added that "Negotiators shouldn't even think about leaving Glasgow until they've agreed on a deal that meets the moment. Because most assuredly, this one does not."
Key takeaways from day 3 of COP26
Jeff Bezos pledges US$2bn at the UN climate conference COP26
Pledging to turn the tide on climate change – How Connected Kerb is working to accelerate the mission of COP26
The pledges from COP 26 so far
Euro News provided a summary of what was announced in the first draft paper:
The draft released this morning highlights "alarm and concern" about global warming while continuing to call on the world to cut about half of its emissions of heat-trapping gases by 2030.
But it doesn't provide specific agreements on the three major goals that the UN set going into the negotiations.
The draft mentions the need to cut emissions by 45% by 2030 from 2010 levels and achieve "net zero" by mid-century.
It urges countries to "accelerate the phasing out of coal and subsidies for fossil fuels" but makes no explicit reference to ending the use of oil and gas.
The draft also acknowledges "with regret" that rich nations have failed to live up to their pledge of providing $100 billion (€86 billion) a year in financial help by 2020 to help developing nations cope with global warming.
The draft reaffirms the goals set in Paris in 2015 of limiting warming to 2 degrees Celsius since pre-industrial times, with a more stringent target of trying to keep warming to 1.5C preferred.
Highlighting the challenge of meeting those goals, the document "expresses alarm and concern that human activities have caused around 1.1 C of global warming to date and that impacts are already being felt in every region."
The draft calls on nations that don't have national goals that would fit with the 1.5 or 2C temperature rise limits to come back with stronger targets next year.
In a nod to one of the key issues for poorer countries, the draft vaguely "urges" developed nations to compensate developing countries for "loss and damage." The idea has faced resistance from wealthy nations.
Read the full draft decision here.
For more news from Top Business Tech, don't forget to subscribe to our daily bulletin!
Follow us on LinkedIn and Twitter
Amber Donovan-Stevens
Amber is a Content Editor at Top Business Tech


Our hotel Senia is a small family run operation located in Naousa, of Paros Island, Greece. It offers rooms and studios for 2 to 6 persons.
The accommodations are located near to the main town s squaire where you will find a cafés, bars and restaurant. Only a few meters from the beatiful beach of Naousa.


What if electric cars made pollution worse, not better? What if they increased greenhouse gas emissions instead of decreasing them? Preposterous you say? Well, consider what's happened in Sweden.
Through generous subsidies, Sweden aggressively pushed its citizens to trade in their cars for energy efficient replacements (hybrids, clean diesel vehicles, cars that run on ethanol). Sweden has been so successful in this initiative that it leads the world in per capita sales of 'green cars.' To everyone's surprise, however, greenhouse gas emissions from Sweden's transportation sector are up.
Or perhaps we should not be so surprised after all. What do you expect when you put people in cars they feel good about driving (or at least less guilty), which are also cheap to buy and run? Naturally, they drive them more. So much more, in fact, that they obliterate energy gains made by increased fuel efficiency.
We need to pay attention to this as GM and Nissan roll out their new green cars to great fanfare. The Chevy Volt, a hybrid with a lithium-ion battery, can go 35 miles on electric power alone (after charging over night, for example), and GM brags on its website that if you limit your daily driving to that distance, you can "commute gas-free for an average of $1.50 a day." The Volt's price is listed at a very reasonable $33K (if you qualify for the maximum $7500 in tax credits). The fully electric Nissan Leaf is advertized for an even more reasonable $26K (with qualifying tax credits, naturally). What a deal—and it's good for you, too, the carmakers want you to know. As GM helpfully points out on its website, "Electricity is a cleaner source of power."
Sweden is a model of sustainability innovation, while the US is the most voracious consumer on the planet. Based on Sweden's experience with green cars, it's daunting to imagine their possible impact here. Who can doubt that they'll likely inspire Americans to make longer commutes to work, live even further out in the exurbs, bringing development, blacktop and increased emissions with them?
In its current state, the green revolution is largely devoted to the effort to provide consumers with the products they have always loved, but now in affordable energy efficient versions. The thinking seems to be that through this gradual exchange, we can reduce our collective carbon footprint. Clearly, however, this approach is doomed if we don't reform our absurd consumption habits, which are so out-of-whack that they risk undoing any environmental gains we might make. Indeed, we are such ardent, addicted consumers that we take efficiency gains as license to consumer even more!
We need to address consumption fast because—news alert—the current consumer class on earth barely amounts to 1 billion people (if that), but 2 billion and counting eagerly wait in the wings.
American industry hungrily targets the rising Chinese consumer class. For the sake of the planet, we better hope it doesn't get its way. Consider: China currently has a car ownership rate approximately one-sixth that of the US. If China achieves car ownership rates comparable to the US, that would put an additional 800 million cars on the road. And that's just China. Even if we somehow succeeded in making China's fleet super efficient, it would still be more than the planet can handle.
Of course, cars are only the tip of the iceberg when it comes to Chinese consumer dreams. They will also want more electronics, clothes, meat, processed foods—bigger houses. In short, we can bet that the rising Chinese middle class will want something close to what we have. And why shouldn't they? We have been showcasing our middle class comfort worldwide for years through our vast media exports. Everyone is betting, hoping—assuming?—that technology will eventually help us deliver the American dream worldwide with no environmental impact. But clearly, we may run out of planet by the time that day comes. Even the American dream in an 'energy efficient format' is likely too much for the earth to handle.
If this is chilling—and it should be—you might wonder, what are our options? Justice demands that we cannot prevent, much less discourage the growing global consumer class from having the consumer goods we currently enjoy. Real change starts with us then, and I'm afraid to say, radical change is in order. We must figure out a way to consume less, which means driving less, shopping less, eating less meat (which the UN estimates is responsible for a fifth of all greenhouse gases), and conserving food and energy. This means essentially rethinking our suburban-sprawling, fast-food-gorging, shopaholic society. We must model for the world the changes we hope everyone will make to ensure a sustainable future.
It's time to be courageous and think big about altering our lifestyle, values and future. The powers that be are reluctant to rock the boat with consumers, and have decided that leaving consumption habits intact as much as possible is the preferable option. They'd rather get us into electric cars, rather than out of our cars altogether. Well, we need more than half measures at this point. As Sweden proves, unless other more fundamental changes are made to our engrained consumption habits, half measures only dig us deeper in the hole.
How many cows is wind energy equal to?


Posted on April 5, 2016 11:47:07 AM EDT in Blog by Elyse M.
Here is an image of actress Angelina Jolie is wearing a gorgeous single strand of Tahitian pearls around her neck with a matching pair of stud earrings to a red-carpet event. Tahitian pearls are pearls of higher value, and are typically the pearls of dark body color such as dark green, gray, or eggplant. These pearls are commonly worn and have a classy look to them. Tahitian pearls can be worn on any occasion.


The perfect choice for families wanting all the space of a two‐storey home, the Indigo 206 features open plan living downstairs with a spacious outdoor room, functional kitchen with walk‐in-pantry and large separate laundry. Upstairs you'll find the master bedroom – complete with its own private ensuite and walk in robe, a study nook for the kids, and a central upstairs retreat. The Indigo is the perfect design for a growing family, and one that allows everyone their own unique space.


text:
Q: How to find how many elements to the left of a certain array element are greater than it? Given an array, I want to figure out which element x has the most numbers to its left that are greater than x. For example, in the array [3, 3, 1, 8, 2, 9], the element 2 has 3 numbers to its left that are greater than itself.
The answer to this question should be the amount of bigger numbers to the left of the value. Here's my obvious brute force solution:
    int biggest = 0;
    for (int i = 0; i < n; i++) {
        int num = 0;
        for (int j = 0; j < i; j++)
            if (a[j] > a[i])
                num++;
        biggest = Math.max(biggest, num);
    }

However, this runs in O(n^2) time which is undesirable. How can I solve this task in a quicker way?

A: Something like this would work, if there was an efficient implementation of size for a tailSet of a TreeSet. But AFAIK it's O(n) rather than O(log(n)) as it could be.
int biggest = 0;
TreeSet<Integer> set = new TreeSet<>();
for (int x : a) {
    int num = set.tailSet(x).size();
    biggest = Math.max(biggest, num);
    set.add(x);
}

So this is just the idea. It would work if you implemented your own TreeSet, where each node would remember the size of its right child. An insertion would be still O(log(n)), the size computation would be also O(log(n)) and the whole loop then O(n * log(n)).
This is surely doable, just quite some work.


Our Couple's ID Name Bracelet features his and her name plates on a polished stainless steel curb chain. Features: Available in stainless steel or gold-tone stainless. Personalize with 2 names (up to 8 characters each). Bracelet is a 7.5" cable chain with clip clasp. Designer: Hartford Jewelry Shipping Time: This item is custom made especially for you upon order. Please allow 2 to 3 weeks to ship out.


text:
Management spotlight: Mondelēz's innovative approach to packaging waste
By Liam Dowd on Mar 5, 2018
In this Q&A, managing director Liam Dowd talks with Rob Hargrove, EVP research, development, quality and innovation at Mondelēz International on packaging, deforestation and the impact of agri-tech
In the build-up to the 6th Annual Responsible Business Summit New York, I talked with one of our speakers, Rob Hargrove, about Mondelēz International's reduction in packaging waste, some of the challenges along the way, the impact of agri-tech, plus opportunities for Mondelēz in the coming 12-18 months.
Q What is your role?
A I'm executive vice-president of research, development and quality for Mondelēz International; and am responsible for all product and packaging development, research, nutrition, quality, food safety, and scientific affairs activities worldwide.
By continually optimizing package design, we will continue to minimize our environmental impact
Q Packaging is receiving increasing attention in both Europe and US. I see that in 2016 Mondelēz eliminated over 46,300 metric tonnes of packaging, achieving two-thirds of its 2020 goal. Can you share how you achieve such great results?
A To help us achieve our global packaging reduction goal, we have hundreds of programs that contribute to packaging optimisation. Some highlights include:
- In chocolate packaging within our Asia, Middle East & Africa region, we have redesigned many shippers and placed secondary packs directly on the pallet, leading to a material saving of 1,297 MT of corrugated paper.
- Across Europe, we redesigned injection-moulded tubs for Cadbury's Heroes to use 17% less plastic material. The improved design also reduces the number of trucks used for transportation of the empty tubs by over 30%.
- In North America: 23% thinner packaging for Oreo biscuits reduced the need for 1,496 MT of cartons annually.
By continually optimizing package design, we will continue to minimize our environmental impact. Our efforts are supported by innovations like our propriety Eco-Calculator tool, which enables us to understand and compare the environmental impact between different packaging options. For 2018, we've just finalized our internal milestones to ensure we stay on track for our 2020 goal to eliminate 65,000MT of packaging, worldwide.
Q What was the biggest challenge for this initiative and how was it overcome?
A Our approach is to ensure best balance of product protection and minimal packaging material throughout our supply chain. For example, in Latin America our primary and secondary packaging redesign for Tang powdered beverages led to the following material reductions: 5% in flexible films, 12% in cartons, 19% in corrugate, and 46% in trucks required to transport the finished product.
As we've optimized packaging in this way across an increasing proportion of our portfolio, it becomes harder to find quick wins. So, we need to adjust our ways of working to identify opportunities to reduce packaging material. I'm consistently impressed by the strong teamwork shown to keep us on track for our goal.
Q Where next? You're well on the way to reaching the target, are you looking to set even more ambitious targets?
A It's too early to say what target we'll set beyond 2020, though packaging optimization will remain a key focus of our strategy. We'll continue to optimize our packaging formats to reduce packaging material weight while minimizing food waste. Most of our packaging is already recycled, recyclable or recycle ready, so our focus turns to simplifying our material choices and using innovative packaging materials to maximize recycling in existing infrastructure. As we reported in our Impact for Growth 2016 Progress Report, our largest region, Europe, has over 75% its packaging as paper-based, glass or metal — all of which are either currently recycled or recyclable.
We can't go at this issue alone – we're proud to act alongside, and collaborate with, numerous coalitions
Additionally, around 70% of our paper-based packaging overall is from recycled sources. The remaining 25% of packaging is predominately thin flexible films, which are optimized to limit food waste and spoilage. Over 80% of these films use single material types, rather than complex multi-material laminates, and are already designed to be recycle ready, where facilities exist.
We can't go at this issue alone – we're proud to act alongside, and collaborate with, numerous coalitions to support the greater harmonisation of packaging formats across the consumer goods sector and improved infrastructure to improve recycling systems. For example, we participate in the Consumer Goods Forum's work with the Ellen MacArthur Foundation's New Plastics Economy project and the Trash Free Seas Alliance.
Q In the past few years there's been an explosion of activity around agri-tech – blockchain, AI and automation, drones and satellite imaging all herald great opportunities – what do you see as an exciting area in this space for 2018?
A Within our partnership with the Global Forest Watch, we're mapping individual cocoa farms and palm oil mills in our supply chain. This uses satellite data that tracks changes in tree cover to help us identify where there are risk areas, flag potential issues, and track progress. Our goal is to scale this effort to be sector-wide and encourage collaboration among our peer companies to work with Global Forest Watch's GFW PRO platform.
As a global food company, the opportunity to innovate in ways that help mitigate our environmental footprint and contribute to more sustainable environment is key to the long-term impact of our sustainable agriculture programs. We estimate that deforestation within our supply chain represents the largest single part of our carbon footprint. We currently address deforestation in key raw materials through our programs, like Cocoa Life and our Palm Oil Action Plan.
We are proud of our efforts to tackle climate change and deforestation, among other key issues that are tied to our business and global supply chains. We're a founding member of the Cocoa and Forest Initiative, a public private collaboration to eliminate deforestation linked to cocoa farming in Ghana and Cote d'Ivoire.
Rob Hargrove of Mondalēz International: 'We will continue to minimize our environmental impact.'
Q At Responsible Business Summit New York you will share how Mondelēz engages its customers to help inform future innovations and advocate your vision. Many companies are struggling with this engagement. How are you achieving successful engagements with your customers and what are the key lessons learned?
A Our company's purpose is rooted in helping people snack in balance and enjoy life with products that are safely and sustainably sourced, produced, and delivered. Ultimately, our goal is to use our global scale and focus where we can make the biggest difference. This includes reducing our environmental footprint, empowering farmers, and supporting the communities where our snacks are sourced, produced, and sold.
Our signature programs, Cocoa Life and Harmony, embody this idea and strive to make a positive impact on the farms, communities, and environment where our main raw materials are grown. We're motivated by our progress in these two categories and have ambitions to ultimately source, grow, and harvest our cocoa and wheat sustainably. Rather than implementing short-term solutions, we're investing in sustainable cocoa and wheat sectors through partnerships with local governments, NGOs, and farmers themselves to drive change across the entire supply chain.
We're on a mission to change the way wheat is grown and harvested to ensure a sustainable system
Cocoa Life – our company's holistic, third-party verified program – focuses on five key areas fuelled by the cross-cutting themes of women's empowerment, elimination of child labour, and climate change resilience. We were the first company to go beyond third-party certification by taking direct accountability for building a sustainable cocoa supply.
As the largest biscuit producer in the world, we're on a mission to not only bake the best product, but to change the way wheat is grown and harvested to ensure a sustainable system. Three-quarters of our biscuits in western Europe are made with Harmony wheat and in France, where the program originated, this figure is as high as 95%. Our ambition is to ultimately source all of our cocoa sustainably through Cocoa Life, and to expand Harmony to reach 100 percent of our European biscuit brands, with the exception of East Europe.
By bringing these programs to our brands, such as Cadbury Dairy Milk, Cote d'Or and Marabou chocolate and LU biscuits, we connect customers and consumers with the farmers growing our key ingredients.
Mondalez is addressing the impact of raw materials, like cocoa. (Credit: Sebastian Duda/Shutterstock)
Q And finally, what do you see as being the big issues to watch for in the coming 12-18 months?
A We are very attuned to the current debate around plastic waste and the role of packaging. We're addressing this through our packaging strategy with the goal to ensure food safety and prevent food waste to mitigate overall waste globally.
One other trend we are following closely is the rapidly growing demand for well-being snacks. Consumers all over the world are aware of the connection between what they eat and their health. As such, they're seeking great-tasting snacks that offer good nutrition with fewer, more familiar ingredients.
For a large consumer facing company, well-being is an important part of our growth strategy. Everything we do starts with the consumer. We know people want to eat better but they also want their sweet treat. So, we're addressing areas that are important to consumers and where we can have the greatest impact. We're dedicating 70 percent of our new product innovations to well-being platforms. Our Innovation teams are leading extensive renovation of our portfolio, as well as a robust pipeline of new offerings.
Our latest innovation, Véa that we launched in the US last summer, is our latest offering in this space. The recipes are on-trend: no artificial ingredients, colours or flavours, no trans fats, Non GMO Project Verified. And we worked with chefs around the world to design these new snacks with authentic regional flavours. We're also investing in a global network of Technical Centres to help drive innovation. We just recently announced our new tech centre in Singapore, as part of our $65 million investment in nine advanced technical hubs located around the globe.
Main picture credit: Andrei Mayatni/Shutterstock
Mondalez International packaging agri-tech Palm Oil Cocoa Life
Sustainable aviation fuel seeks clearance for rapid lif...
Brand Watch: Corporates hope deforestation-free supply ...
ESG Watch: IPCC's 'code red for humanity' lays ou...
Can corporates' net-zero drive help put tropical coun...


Infrastructure transformation projects have undergone a dramatic change in the way they are approached, managed and implemented compared with 3 years ago. The now-traditional approach in which IT infrastructure solutions are architected, built, migrated and then transitioned into operational support using waterfall milestone-based tracking are becoming a thing of the past.
With the advent of Azure resource manager and JSON, IT infrastructure is now defined within a set of ARM templates which effectively becomes the "low-level design" of the infrastructure and can be used to replicate a copy of the required infrastructure design into new subscriptions, regions, networks, virtual machines etc.
These templates can be stored within a code repository and changes managed through agile processes, typically associated with application development. Development and operational teams can work as one, meaning true dev-ops is achieved for infrastructure build projects and new releases can be made quicker using a "minimal viable product" concept.
Allowing application teams to provision, monitor and manage their own IT estate using common approved processes and not be reliant on central teams.
To ensure that any proposed solution was scalable, allowing for a rapid datacenter exit and not to be constrained by people or processes, taking advantage of Azure's hyperscale capability.
Ensure any provisioning is done in a reliable and robust manner, and that any deviations or defects are automatically resolved and reported on.
Ensure that all of the required digital security controls for cloud are put into place and adhered to.
Using an agile dev-ops approach to infrastructure build out, New Signature has built a platform that meets these requirements. A high level of automation has also been used to allow application teams to on-board into Azure within an automated fashion while still following the required controls. Automated nightly testing of the infrastructure code is also in place to ensure integrity and reliability with issues being remediated quickly. An automated certification process is used so that only infrastructure provisioned in the correct manner and passing the required tests is released for use.
Contact New Signature to find out how an agile dev-ops and the "infrastructure-as-code" approach can benefit you in your approach to consume the Azure cloud in the most efficient manner.


Dr. Hafeez Rahman is a Gynecologist and IVF Doctor in Port Rashid Road, Dubai. He has been practicing for more than two decades in the field of Obstetrics and Gynecology. Currently, he is serving at International Modern Hospital, one of the largest multispecialty hospitals in United Arab Emirates. Dr. Hafeez has offered his expertise in countries like Malaysia, UAE, Pakistan, Sri Lanka, South Africa, and Bangladesh. Dr. Hafeez has completed his MBBS, MD, DIPNB and FCLS from recognized Universities. He specializes in Infertility assessment, In Vitro Fertilization (IVF), Intrauterine Insemination (IUI), High Risk Pregnancy care and Normal Vaginal Delivery procedures. He has several prestigious awards to his credit including Masters Award from IMAGES and the SHAN RATNAM Award from AOFOG, Singapore. Book an appointment with Dr. Hafeez Rahman at Elawoman.com.
Helpful Posted on: July 23, 2017, 9:22 a.m.


Hiring has never been this easy.
Employees wanted? Find matching candidates today!
With Jobfox I was able to apply for jobs in retail and shops with a few clicks. Before it took me hours to write a CV and Cover Letter. Now I am able to apply at any time from wherever I am with one single tap.
Hiring has never been this easy. Jobfox works perfectly to find short-term waiters or to cover flexible seasonal demands of workforce.


Michael Young came across several processes using aluminium for which no commercial application had been found, and he wanted to further explore their unknown potential as more creative and artistic openings for the material.
This body of work saw Michael develop a set of steel tools in which molten aluminium could be injected with high-temperature gas under immense pressure, resulting in rock-like, sedimentary formations. During a secondary process, color was embedded within the exposed surfaces of the metal—a process akin to the natural cooling of the mineral from which it derives its name. The method used to produce and color the aluminium can be likened to the spontaneity of ceramic glazing, so that while Metal Rock came about through industrial processes, it results in unique, individually hand- nished objects.
This collection looks like it has just emerged from the deepest heart of the earth and has a sense of a dramatic, raw-cut nish, while conveying an essential link to Nature.
The Oxygen Chair has recently been acquired by the SFMOMA for its permanent collection.


text:
Adrienn Nagy (ur. 24 marca 2001 w Budapeszcie) – węgierska tenisistka, mistrzyni juniorskiego Australian Open 2019 w grze podwójnej.

Kariera tenisowa
W 2019 roku została mistrzynią Australian Open w grze podwójnej dziewcząt (w parze z Natsumi Kawaguchi), zwyciężając w spotkaniu mistrzowskim z deblem Emma Navarro–Chloe Beck.

W karierze zwyciężyła w jednym singlowym oraz sześciu deblowych turniejach rangi ITF. Najwyżej w rankingu WTA była sklasyfikowana na 788. miejscu w singlu (15 marca 2021) oraz na 470. pozycji w deblu (26 kwietnia 2021).

Wygrane turnieje rangi ITF

Gra pojedyncza

Finały juniorskich turniejów wielkoszlemowych

Gra podwójna

Bibliografia

Urodzeni w 2001
Ludzie urodzeni w Budapeszcie
Węgierskie tenisistki
Triumfatorki wielkoszlemowych turniejów juniorskich

redpajama_set_name: RedPajamaWikipedia


Walk Carroll - The Partnership for a Healthier Carroll County, Inc.
COME WALK WITH US at free group walking events all around Carroll County. Get health information and fun giveaways. Dates and locations vary. Local walking clubs are forming now! Walk Carroll has a walking club in Westminster, MD that walks weekly. Walks will usually be between 1.5 and 2 miles. All ages and ability levels are welcome!
Walk Carroll is a long-term walking and exercise program that provides regular, accessible physical activity opportunities for anyone who lives, works, or plays in Carroll County. Track your physical activity and try to reach the CDC-recommended goal of 150 minutes each week! With Walk Carroll, you can enjoy free group walking events all over Carroll County. Join us for fun walks, health information, cool giveaways, raffles, healthy snacks, activities for children, and more.
Join the Westminster Walk Carroll club email list for updates.
Please confirm the exact times and locations of walks with the club coordinator or with Partnership Staff, as these may vary. Local club information and sign-up sheets can also be found at most CCPL library branches. There is no fee to join a walking club. If there is no walking club in your area, call or email to find out about starting your own!


'On 8 November 2004, after more than two months of aerial attacks, the US began its second major assault on Fallujah - originally codenamed "Thanksgiving Massacre" - devastating the city and killing hundreds of civilians. ' Much of the resistance fighting against the U.S. occupation of Iraq stems from the bloodthirsty violence launched by U.S. forces against Fallujah in November 2004. And to be accurate, November 8, 2004 was the Monday following George Bush's re-election on November 2, 2004. It would obviously have been bad politically for George Bush if a bloodthirsty slaughter had been occuring before the election.
It may seem curious why the U.S. Military used the codename 'Thanksgiving Massacre'. However the true history of the Thanksgiving celebration is a celebration of a successful massacre of native americans, so has a curious sort of logic to it.


How can you know everything about me, though you're looking at me for the first time?
Finally I know everything about you, and I'm not afraid to let you go.
Gladly close the gates of evil.
Dome Karukoski, Eero Heinonen, Jäppi Savolainen, Tuukka Ylönen, Pini Hellstedt a někteří další.


The plastic container is made with surprisingly thick plastic. This stuff is way thicker than your standard Tic-Tac case, and it has this cute little bite taken out of the bottom. Even with that little bite mark, this still stand upright all on it's own, and the colors are really appealing. Not bad for a dollar store product.
Each of the candies inside are tear-drop shaped, glossy, and they correspond to a fruity Lemonhead & Friends flavor.
Lemon (yellow) - not very flavorful at all! It took a while before I could taste anything, and when I finally did, it was a little zesty, kind of like a sugared lemon rind. When I crunched it up the inside was a bit tangier, but it was really artificial and unappealing. Like a more artificial version of those white Bomb Pop Tic-Tacs. Okay, but not great.
Orange (orange) - again, it took a while to get going, but once I got past the shiny coating this tasted like orange baby aspirin. Really medicinal and I found it to be extremely unappealing. Then again, I don't like orange Tic-Tacs either. Maybe if you like those this flavor will appeal to you, but it is not for me.
Apple (green) - Very mild, and oddly enjoyable for a green apple flavored breath mint. It was a bit on the floral side of things, but the crunchy inside was tangy and tart. Normally I hate green apple, but this was my favorite of the bunch! I wish that evil green apple Skittle tasted like this.
Grape (dark purple)- Nope! This was a big ol' nope for me. It reminded me of purple Sweetarts, Pixie Stix, and children's cold medicine. Easily my least favorite.
Cherry (red) - Slightly medicinal cherry flavor, kind of like a cough drop, but not that bad. I like the flavoring of the shell a lot more than the crunchy insides, which was more intense and essential oil-like.
Overall, these were not a great breath mint, or a candy. I didn't feel like any of these flavors gave me fresher breath, and other than the green apple, none of them were enjoyable. This has interesting packaging, but I can't see anyone truly enjoying these. If you see them at your local dollar store, I'd suggest leaving them there.
I personally liked them. They are a refreshing change from the ordinary TicTac.
Are Reese's Thins The New Oreo Thins?


@guessed... one more note... I thought about call_delay instead of os.execute("sleep #"), but as far as I know, call_delay doesn't allow you to pass more than one argument to the function it is calling... and i need to pass both the pronto code and the repeat variables.
wow. Nice work woodsby. I bet there are several other PS3 owners out there who will be your new biggest fans.
My fiddling was much more pedestrian than that, but I can share if it'll help guessed. I simply had problems getting my Denon AV receiver and Sharp Aquos TV to receive the commands issued in the advanced tab of my scenes. I knew the IR codes were correct because I was able to test them (as mentioned before) when selecting devices, but once the devices were created I couldn't get them to work. It was simply a matter of delay and repeat experimentation, which I believe must be done manually.
As such here is an example of my Play iTunes on the Stereo's advanced tab. The Denon AV receiver is using the AVR2309CI template since it had the best available selection of commands, though mine is a different model number.
I tried several combinations of using only a single repeat, or only a single delay with mixed success. As strange as the above sequence seems, it is what works for me reliably.
I used the same approach with my TV, though it seemed to be less finicky.
Very crude, and should be cleaned up, but it was a quick first attempt and it works fine. I actually don't have a scene calling this yet. I just have my on and off buttons and macros in sqremote calling this.
1) The draft API is almost complete... please feel free to bug John!
3) You can take the hex codes straight out of the device definitions we store up in box.net and I would imagine easily add them to the Vera IR xml files... Alternatively, I am open to anyone who wants to build a web service around our database to connect and see what we can do.
Mat, downloading the XML from box is exactly how I got my ps3 codes for the above code. I appreciate how easy that is.
Cool. Now that I look at the codes, they would have to be from SQ.
Great job on this bit of code @Woodsby, so you are pinging the PS3 and if it doesn't respond it must be off? Could this work for XBOX360 easily?
That's the concept @Shady. It basically allows you to create discrete power commands when they don't exist; if you assign a static IP on the device, and if it responds to pings anytime it's on, but not when it's off. But, you can do the same to check power status for devices that have a long power on delay, like TV's; which is what I plan on doing next - when I get back to this.
I've split out the bits of the discussion surrounding the SQBlaster Plugin to make it easier to find, and to avoid the "hijack" I did on your thread here, since it's diverged somewhat from your original stuff.
i want to share this with you. It is not complete, but it definitely speeds up the process of IR/remote creation using input from SQBlaster xml file (as stored in box.net).
Hope this works for you as good as it works for me. If you improve this in any way, please send it back so we can all benefit from it.
Great, love seeing new ways of getting the files converted over.
I ran into problems with getting it working under MiOS (weird things) so folks cannot use that specific plugin, just it's older brother the SQBlaster.
Anyhow, the *.map file, contains most of the mapping rules for going from the device.xml XML over to it's counterpart I_xxxx.xml file.
Hi, i wonder if its easier/cleaner to generate a new S file for actions. Since, it will use the same names in SQBlaster and MCV. It is even easier and cleaner to code.
Maybe, but I built it with the expectation that other Control points would eventually be able to call MCV's AV functions. If you want this to work, then you need to use the standard API's (S_xxxx.xml files) that are part of the AV suite of interfaces.
That doesn't stop us from adding one in addition to whatever comes with MCV, but it wouldn't remove the need to "map" SQBlaster functions to the existing MCV set, it would just give you an extra Service/Interface to implement "side-by-side" with the existing ones.
I search in all the forum and in the code.mios.com for a step by step instruction to generate the XML file starting from the box.net file.
Should we load your file to Vera, then load the box.net files and Vera automatically will generate the XML file to create the ir device?