text:
Cases of Net Banking and ATM Frauds Increase by 50% in New Delhi
Cases of illegal matters like Net Banking, ATM hackings, and fraud banking cards rose over 50% to pass more than 52,000 cases in the year 2018, with New Delhi being the banking scams metropolis estimating for approximately 27% of the recorded instances of "theft of money."
The Indian Government, however, replies by saying the situation is not that bad as the amount of money stolen in such instances have dropped. Cases of theft related to Netanking, ATMs, and transactions have risen by 50%. But the amount of fraud money involved in these cases has fallen by 12%.
The capital New Delhi amounts for 3,164 complaints registered, top in the list of ATM frauds cities.
However, the figures in the public sector ATM frauds are quite staggering. State Bank of India, which has more than 58,000 ATMs throughout the country, has been the victim of 1 out of 5 frauds happening to its ATM. SBI amounts to 25% of the ATM frauds that happened in 2018-19. Following SBI is IDBI Bank, who is second in the list of ATM frauds. According to IDBI's website, the bank has over 3700 ATMs in the country, and it reports 1800 cases of scam. IDBI amounts for 15 % of the ATM heists cases between 2017 and 19.
As of now, the Indian government has not revealed the causes that led to the fraud. The bankers, on the other hand, say that India has been falling prey to banking frauds day by day, at the time when the country is working to develop its infrastructure to protect itself. "The country is observing a large entrance of frauds from alien nations as the support system in Europe has been enhanced, causing more trouble for the fraudsters," says a banker.
Whereas, another banker says that hidden cameras are being planted over the ATM keyboards for spying the pin codes, and different hacking methods like viruses are being deployed by the hackers in the ATMs to steal all the money.
The RBI has announced specific measures to control the situation but the banks are very slow in responding to the measures suggested.
ATMBankingCasesdelhifrauds
Teen arrested after viral photo on social media 'knife with gang sign'
FTC warns of robocall scammers pretending from Apple & Amazon
Google hacker point 'Wormable' WiFi Exploit to Hack iPhones
Slim.ai announces $6.6M seed to build container DevOps platform
Slim.ai, new startup wants to build commercial product on top of the open source project, announced $6.6 million seed to build container DevOps platform.
How to Run Signal Private Messenger on Windows 10 PC
Fortnite Fans Say This Feature "Gives an Advantage" to PC Players


If you want to become a pilot then one question that often comes to your mind is how long will take to get private pilot license? Reading this article would get you a better perspective of private pilot license training and the requirements that you have to comply to get this particular certification.
The first thing that you need to understand that this license is not the stepping stone to fly a helicopter or other single engine aircrafts, it also is the step you take in the direction to become a commercial pilot. This is primarily because to become eligible to fly a commercial plane, you first need to earn certification as a private pilot.
In order to obtain a private pilot license, the first thing that you have to do is undergo helicopter training at an aviation training school that has specialty in providing this type of training. As a matter of fact, the aspiring pilot can start training at any age however 18 years is the minimum age to obtain the student pilot certificate. Please note that you need to have ten hours of solo flight time in order to get a private pilot license. These ten hours tend to form the minimum of forty hours of time required for obtaining the license. Once the candidate has completed solo flying hours and other parts of the training, he or she has to appear for written examination and verbal tests for theoreticalknowledgerelated to flying an aircraft. At last, the aspiring candidate would undergo a check ride with an instructor or examiner that would help in determining whether or not the person has the knowledge and skills needed to fly an aircraft.
Of course, choosing the right flight training is the most important factor for a person who wishes to pursue career as a private pilot.also, make sure that you check the credentials of the flight instructors, the number of years aviation academy has been in operation, the reputation of the flight training academy and the total investment that you have to make in order to get a private pilot license training. Make it a point to ask whether or not the school will be providing a study guide for the exams and tests that you will be appearing for because quality schools are concerned about their student's ability to clear these exams. Clearing queries is essential to undergo the right training.
Well, if you are keen to become a private pilot, make sure that you are able to find out as much information as possible about the flight training school. Instead of making any decision in a haste, it is strongly suggested that you spare out time and do thorough research and homework. There are so many details you will come across while doing the research that making the right decision might become quite easy for you. So, get going for a career of which sky is the limit.


What I want is to set outputs on my raspberry Pi high and low with a button, and maybe expand it after that.
What I did is, I added a refrence library of WiringPi.
All commands are recognized in my code, but when I debug I get the error.
It seems like the library is not added well..?
Hope someone can help me out, I will apprreciate that.
I was wondering if anyone has a solution for this?
Really want to get this working.
wiringPi is a Linux based GPIO library. Has it been ported to Windows?
I found another easy solution, I made a GUI in Python 3 and from there on it is easy to control the GPIO of the Raspberry Pi 3B+.
Somehow it should be possible I guess with visual studio, but I have no time at the moment to discover that out.


Unlike the dishwasher or clothes washing machine, the dryer needs a little ongoing maintenance to keep it in safe, proper working condition.
How does a clothes dryer work? The way your dryer works is pretty simple - it spins clothes around in hot air while an exhaust vent sends damp air outside. A round, flexible exhaust tube connects to the back of your dryer and then to a duct in the wall that leads somewhere outside -- so all the hot, moist air coming out of the dryer ends up outside. As your heated clothes tumble in the hot air, lint (tiny bits of the cotton or other fibers that make up your clothing) comes off the fabric and most of it gets caught in the lint trap as the exhaust air passes through it.
The lint trap is usually accessed either inside the dryer door or on top of the dryer -- it usually looks like a plastic or wire screen. Whatever gets past the lint trap goes out the exhaust vent and duct and either clings to the sides of the tube (it is wet with condensation and can be sticky) or blows out the exhaust vent outside.
A lot of effort goes into creating the perfect meal: acquiring the right spices, finding the perfect recipes & knowing how to combine the right ingredients.
Not all of the credit should go to the chef, however. Every cook, no matter what their tastes or talents, owes some of their success to a dependable, top-notch oven or stove. Many homes, however, have appliances that spark, overheat, or don't turn on at all. If this describes a cooking appliance in your kitchen, contact Accredited Appliance today.
Our technicians have all the skills and resources necessary to accurately troubleshoot your appliance, locate the underlying source of the problem, and offer an effective solution. Don't let your "misbehaving" stove ruin your holiday meal, especially Santa's cookies!
If you need some oven TLC consider scheduling a check-up visit!


The Fiege Group complies with ISO 13485 at its healthcare location in Münster. The certification confirms an operational quality management for the production of, and trade with, medical products.
Münster, 21st December 2016. The Fiege Group has been awarded the ISO 13485 certificate at its healthcare facility in Münster, meeting Quality Management requirements relating to medical technology. The focal point of the ISO standard is product safety and the establishment of a risk management system. The logistics provider Fiege thus meets demanding national as well as international requirements in terms of safety and reliability of medical products. During a two-day audit, Dekra checked Fiege's compliance with a comprehensive list of specifications.
Error reports are one of the main challenges within healthcare, says Thälker. "A low error rate during daily operations is very important to us", says Carina Haverstreng, who manages the healthcare branch for Fiege. Reliability in this segment is crucial for the customer's satisfaction.
"Our experience in the pharmaceutical field has meant that authorities have audited us repeatedly over the past years. Through an active exchange with the industry we established that specialised certifications have an ever-growing value for medical technicians", says branch manager, Carina Haverstreng about the reasons that led to the certification of the Münster location. To guarantee an optimal process flow, the logistics provider Fiege audits its suppliers. Potential suppliers are audited in relation to their performance before being awarded a task.


text:
SEC: Tech Company Misled Investors About Key Product
Washington D.C. — The Securities and Exchange Commission today announced that a developer of technologies for touchscreen devices has agreed to pay $750,000 to settle charges that it misled investors about the production status and sales agreements for a key product.
Two former company executives face related charges in an SEC complaint filed today in U.S. District Court for the Southern District of Texas. The SEC entered into a deferred prosecution agreement with the company's former chairman of the board, who has agreed to cooperate and be barred from serving as an officer and director for five years.
The SEC alleges that Uni-Pixel Inc. began publicly touting sales of a touchscreen sensor product supposedly in speedy high-volume commercial production when in fact only a few samples had been manually completed. The misrepresentations caused Uni-Pixel's stock price to more than double, enabling then-CEO Reed Killion and then-CFO Jeffrey Tomz to make more than $2 million in personal profits from selling their own shares of company stock. Killion and Tomz allegedly knew the company's statements were untrue and Uni-Pixel's manufacturing process was still incapable of mass producing commercial quantities of sensors.
"We allege that Uni-Pixel and top executives portrayed a company whose technology had arrived when in truth it was still in the developmental stage," said Shamoil T. Shipchandler, Director of the SEC's Fort Worth Regional Office. "Tech companies and their officers must be honest with investors about the state of their products and cannot portray them as something they are not."
According to the SEC's complaint:
Uni-Pixel announced "multi-million dollar" sales agreements in 2012 and 2013 that highlighted potential revenues but omitted material conditions the company had to meet to actually receive those revenues.
Uni-Pixel announced in April 2013 that its high-volume production line was "qualified and production ready" and its capacity "started at fifty moving to hundreds and then thousands over the next several months." At the time, Uni-Pixel had yet to produce any functional sensors through its high-speed process.
Uni-Pixel issued a press release in November 2013 touting a "purchase order" for its sensors that expected to ship an initial "commercial run" of sensors by year-end. The company concealed that the order was for a mere $10 worth of sensors for the customer to review as samples.
Without admitting or denying the SEC's charges, Uni-Pixel consented to entry of a final judgment permanently enjoining it from violating Section 17(a) of the Securities Act of 1933 and Sections 10(b), 13(a), and 13(b) of the Securities and Exchange Act of 1934 as well as Rules 10b-5, 12b-20, 13a-1, 13a-11, and 13a-13. The settlement is subject to court approval. The SEC's litigation continues against Killion and Tomz.
The deferred prosecution agreement with former board chairman Bernard T. Marren alleges that he became aware that information in Uni-Pixel's press releases was inaccurate but failed to ensure that the company corrected the releases. The agreement requires him to cooperate with the SEC's continuing case while complying with certain undertakings in order to avoid civil charges against him.
The SEC's investigation was conducted by David Whipple, Carol Hahn, and David King, and the case was supervised by Jessica Magee in the SEC's Fort Worth Regional Office. The SEC's litigation will be led by Matt Gulde.

redpajama_set_name: RedPajamaCommonCrawl


text:
A Parent Information Guide for Assisting Their Child with the Transition to High School
Wendi Frank, Central Washington University
Don B. Woodcock
C. Weiner
Harold S. Williams
The purpose of this project was to develop a guide for parents of Eisenhower High School and the various feeder middle schools in the Yakima School District to help the eighth graders transitioning from middle school to high school. The intent of the program was to increase the ninth grade student's academic and social success by having parents involved in the transition along with various transition activities. To accomplish this purpose, a review of current literature, research and selected programs related to transitioning middle school students and parent involvement in the transition, were examined. The culminating guide was designed and developed for implementation at Eisenhower High School and will be given to future freshmen in the Yakima School District, Yakima, Washington.
Frank, Wendi, "A Parent Information Guide for Assisting Their Child with the Transition to High School" (2006). All Graduate Projects. 895.


text:
\section{Introduction}

Type I X-ray bursts are thermonuclear explosions observed from neutron
stars (NSs) in many Low Mass X-ray Binaries (LMXBs). In these systems
the NS accretes H- and/or He-rich matter from its companion star and
when enough fuel is accumulated it can burn unstably causing periodic
thermonuclear flashes on the NS surface
\citep{2006csxs.book..113S,2008ApJS..179..360G,1976Natur.263..101W,
  1978ApJ...220..291L}.  During a burst the X-ray flux rises by a
factor of $\sim 10-20$ in a couple of seconds and then decays on a
longer timescale as the surface cools. Oscillations have been detected
during the rise and/or decay of some of these X-ray bursts with
frequencies that are within a few Hz of the NS spin frequency
\citep{1996ApJ...469L...9S, 2012ARA&A..50..609W}.  These ``burst
oscillations'' are rotationally induced modulations resulting from an
asymmetric temperature distribution on the NS surface. Their
properties during the rise can be explained by a spreading hot spot
that engulfs the star in about 1 s
  \citep{1997ApJ...487L..77S,2014ApJ...792....4C}, however,
oscillations observed during the decay phase (tail) of bursts have
been harder to understand, as the source of asymmetry is less clear
cut.  Figure \ref{fig:burst1728} shows an example of an X-ray burst
observed with {\it the Rossi X-ray Timing Explorer (RXTE)} from the LMXB 4U
1728-34 on 1997 September 20, which shows oscillations both during
burst rise and decay. As shown in the lower panel, during the rise the
amplitude of the oscillations decreases until the peak of the burst,
then it slowly increases in the tail until it reaches a maximum of
$\approx 15 \%$ and then decays again. Here and throughout we use the so-called half-amplitude (see \S 3
  for a detailed explanation).

Several models have been proposed to explain the tail oscillations. It
was suggested by \cite{2004ApJ...600..939H} that they might be due to
surface oscillation modes, such as r-modes (see also
\cite{2005MNRAS.361..659L}), however, it remains unclear whether the
modes can be excited to the amplitudes required to account for the
observed X-ray modulation amplitudes (see Figure 1), and estimates of
their mode frequencies in the co-rotating frame are uncomfortably high
to be consistent with the observed closeness of the burst oscillation
and stellar spin frequencies
\citep{2008MNRAS.385.1029B,2002ApJ...580.1048M}.

Alternatively, \cite{2000ApJ...544..453C} suggested that the tail
oscillations might be due to a ``cooling wake,'' the temperature
asymmetry due to cooling of the NS surface since it takes a finite
time for both the atmosphere to cool and the burning to spread around
the star. \cite{2002ApJ...566.1018S} showed that
the temperature gradient will drive a zonal thermal wind moving
opposite to the NS rotation, and suggested that if an
inhomogeneous feature such as a vortex were trapped in it, this could
produce a flux modulation.

The timescale and geometry of the flame spreading are important, even
for oscillations in the tail, because they set the ``initial
conditions'' for subsequent cooling. Spitkovsky et al. (2002) first
analyzed global hydrodynamical flows on an accreting NS and estimated
the burning front speed taking into account the Coriolis effects. It
was subsequently shown by \cite{2007ApJ...666L..85B} and
\cite{2008MNRAS.383..387M} that these effects are important for
explaining observations of burst light curves and oscillation
amplitudes (see also \cite{2014ApJ...792....4C}).  Spitkovsky et
al. (2002) also argued that ignition is likely to start at the equator
where the effective gravitational acceleration is lowest on a fast
rotating NS, but later \cite{2007ApJ...657L..29C} showed that,
depending on the accretion rate, ignition could occur on or off the
equator. More recently, Cavecchi et al. in a series of papers
  \citep{2013MNRAS.434.3526C, 2015MNRAS.448..445C, 2015arXiv150902497C}
  presented results of 2D hydrodynamical simulations of Type I
  X-ray bursts, including the effect of rotation and magnetic field
  which confirmed earlier results by Spitkovsky et al. (2002) regarding
  the importance of the Coriolis force on the flame propagation and
  showed that the magnetic field can also have an influence on the
  flame propagation and ignition location that, depending on the field
  strength, may be comparable to the Coriolis force.

However, to date there have not been any detailed, quantitative studies
of the properties of tail oscillations that can be produced by
realistic ``cooling wake'' models. Here, we attempt to address
the question of whether such models can naturally account for the
relatively large amplitudes seen in some bursts, or whether additional
physical effects are needed. The plan of the paper is as follows. We
first summarize our methods for modeling burst light curves, including
ignition, spreading and subsequent cooling. We then present
  results for several models. First we explore two ``canonical''
  cooling models, where each patch on the NS surface heats and cools
  in a prescribed way.  In the first such model the heating and
  cooling functions are assumed to be identical for all parts of the
  star. In the second case we allow for latitude dependent variations
  in the cooling timescale, as might occur if the accretion rate (and
  thus column depth) were to vary with latitude. Such variations are
  expected for rapidly rotating stars due to latitudinal variations in
  the effective surface gravity (see \cite{2002ApJ...566.1018S};
  \cite{2007ApJ...657L..29C}). We show that while such models do
  produce oscillations in the cooling tail, they cannot easily
  generate the large amplitudes seen in some bursts.  Next, we explore
  a phenomenological ``asymmetric'' cooling model where parts of the
  star cool at significantly different rates. We show that this simple
  model can achieve higher amplitudes consistent with the largest
  observed. Finally, we briefly discuss several physical effects that
  could induce asymmetric cooling.

  \begin{figure}
\includegraphics[width=3.30in, height=2.8in]{f1.pdf}
\caption{\label{fig:burst1728} Dynamic power spectrum overplotted on
  the PCA light curve (top) for the 1997 September 20 burst from 4U
  1728-34, and the fractional amplitude (half-amplitude, see Section
    3) of oscillations during the burst (bottom). The contour levels that are plotted on the top panel are [20, 24, 28, 32, 36, 40, 50, 60, 70, 80, 100, 120]. Power spectra
    (and amplitudes) were computed from overlapping 1 s intervals,
    with a new interval starting every 1/4 s. The light curve has
    1/16 s time bins.}
\end{figure}

\section{Method}

To model X-ray burst light curves we assume the burst ignites a hot
spot locally somewhere on the star and burning
then spreads to engulf the entire surface.  We assume that surface
elements comprising the hot spot emit a black body spectrum, and we
take into account in our computations both special- and general
relativistic effects, including Doppler shifts and boosting,
aberration, gravitational redshifts and light-bending in the
Schwarzschild geometry (the so-called Schwarzschild$+$Doppler
approximation, see \cite{1998ApJ...499L..37M,2006MNRAS.373..836P}).
We also include an angle dependent emissivity in our models using an
approximation from J. Poutanen (2012, private communication), where the
spectrum is given by the Planck
function, but the angular distribution is assumed to be that produced
by a coherent electron scattering dominated, plane-parallel,
semi-infinite atmosphere.

On a fast rotating NS the burning region is unlikely to spread
uniformly over the surface and one needs to include the effect of the
Coriolis force
\citep{2002ApJ...566.1018S,2007ApJ...666L..85B,2008MNRAS.383..387M}.
Spitkovsky et al. (2002) estimated the flame speed in a NS ocean as
follows:
\begin{equation}
v_{flame} \sim [\frac{g h_{hot}}{t_n}\frac{1/t_{fr} +\eta/t_n}{f^2+(1/t_{fr}
+ \eta/t_n)^2}]^{1/2}
\end{equation}
where $t_n$ is the timescale of the thermonuclear burning which is set
by the composition of the burning material, $t_{fr}$ is the frictional
coupling timescale between the top and bottom layers of the burning
region, $h_{hot}$ is the scale height of the ocean behind the
burning front, $f=2\Omega \cos\theta$ is the Coriolis parameter,
where $\Omega$ is the angular spin frequency of the NS and $\theta$ is
the colatitude of the spot center, and $\eta$ is a constant of order unity.

When frictional coupling is weak, (i.e. $t_{fr}\gg t_n$ and $t_{fr}
\gg 1/f$):
\begin{equation}
v_{flame}=\frac{v_{pole}}{\cos\theta}
\end{equation}
where $v_{pole}\sim \sqrt{g h_{hot}}/2\Omega t_n$.

In the case of strong friction ($t_{fr}\lesssim t_n$ and
$t_{fr}\ll 1/f$):
\begin{equation}
v_{flame}\sim(\frac{gh_{hot}t_{fr}}{t_n})^{1/2}
\end{equation}

The flame speed reaches its maximum value in the intermediate regime
when friction is important (i.e. $t_{fr}\lesssim t_n$) and $t_{fr}=
1/f$:
\begin{equation}
v_{flame}=\frac{v'_{pole}}{\sqrt{\cos\theta}}
\end{equation}
where $v'_{pole}\sim \sqrt{gh_{hot}/(4\Omega t_n)}$.

\cite{2013MNRAS.434.3526C} performed hydrodynamic simulations of the
lateral propagation of a deflagrating, vertically resolved flame on
the surface of a rotating, accreting NS and showed that the horizontal
propagation velocity is proportional to $\frac{1}{\cos\theta}$. In
our modeling we consider both cases of $1/\cos\theta$ and
$1/\sqrt{\cos\theta}$ for the latitude dependence of the flame
speed. We consider flame speeds such that the time to ignite the
entire stellar surface is less than a few seconds, so as to
approximately match the observed rise times of bursts.

\begin{figure*}
\begin{center}
\begin{tabular}{lr}
\includegraphics[width=3.30in, height=2.8in]{f2a.pdf}&
\includegraphics[width=3.30in, height=2.8in]{f2b.pdf} \\
\end{tabular}
\caption{\label{fig:lc_tod} Bolometric light curves for the
  ``symmetric" cooling model. The left panel shows the smoothed
  bolometric light curves during the rise and decay of the burst
  (averaged over five rotation cycles). The right panel is similar
    to the left panel, but the first second of the light curve (burst
    rise) is shown on an expanded scale. The black, red, green and
  blue curves correspond to models with $M=1.4M_{\odot}$, $R$=10 km,
  $\nu$=400 Hz, $i=70^{\circ}$, $D=10$ kpc and $v_{flame}\propto
  \frac{1}{\cos\theta}$ with $\theta_s= 10, 30, 85$ and $150^{\circ}$
  respectively.  The orange and cyan curves have similar parameters as
  the green curve ($\theta_s=85^{\circ}$) but with $M=1.8M_{\odot}$
  and $v_{flame}\propto \frac{1}{\sqrt {\cos\theta}}$
  respectively. The magenta model is the same as the cyan one but with
  a spreading speed that is half of that model. Temperature parameters
  used in these models are $T_0=1.5$ keV, $\Delta T=1.5$ keV, $\Delta
  t_r=0.46$ s, $\tau_r=0.1$ s and $\tau_d=6$ s.}
\end{center}
\end{figure*}

\begin{figure*}
\begin{center}
\begin{tabular}{lr}
\includegraphics[width=3.30in, height=2.8in]{f3a.pdf}&
\includegraphics[width=3.30in, height=2.8in]{f3b.pdf} \\
\end{tabular}
\caption{\label{fig:famps_tod} Fractional oscillation amplitude
  vs. time for the ``symmetric" cooling model. The color coding is the
  same as Figure \ref{fig:lc_tod}. On the right panel the fractional
  amplitudes are shown on an expanded scale up to $t=1$ s. Note that the vertical scales are also different before and after $t=1$ s.}
\end{center}
\end{figure*}

We consider several models to explore the
properties of burst oscillations in the tail. The first is a
``canonical'' cooling model in which we assume that, once ignited, all
surface elements of the star follow the same temperature evolution
(we refer to this as the ``symmetric'' cooling model). In this
model each surface element, once ignited, evolves in temperature
according to an exponential rise and decay. We use an expression
similar to \cite{2006ApJ...636L.121B} and
\cite{2008MNRAS.383..387M} for the temperature evolution:

\begin{equation}\label{eq:temperature}
\begin{aligned}
T =  T_0,  \qquad \qquad \qquad \qquad \qquad \qquad \qquad \qquad \qquad \quad t\leq t_{ig}\\
\quad  =  (T_0+\Delta T[1-\exp(\frac{-(t-t_{ig})}{\tau_{r}})]), \quad   t_{ig}\leq t\leq t_{ig}+\Delta t_r\\
\quad = (T_0+\Delta T_m\exp(\frac{-(t-(t_{ig}+\Delta t_{r}))}{\tau_{d}})), \quad   t\geq t_{ig}+\Delta t_r
 \end{aligned}
\end{equation}

where $t_{ig}$, $\Delta t_r$, $\tau_{r}$, $\tau_{d}$ are the
  ignition time, the temperature rise time (from ignition to peak),
  the rise timescale, and the decay timescale, respectively. In
  addition, $T_0$ and $\Delta T$ are the background (minimum) temperature and
  temperature contrast, respectively and $\Delta T_m=\Delta T[1-\exp(\frac{-\Delta
      t_r}{\tau_{r}})]$.

1D hydro simulations of X-ray bursts \citep{1980ApJ...241..358T,2004ApJS..151...75W,2006ApJ...639.1018W} give the light curve for a single patch on the
  star. The shape of the light curve in these models is sensitive to
  the composition of the accreted layer and the burning regime. The
  temperature profile that we use here gives a reasonable
  approximation to the shape of a single patch light curve in these
  simulations. Temperature parameters used in our models are $T_0=1.5$
  keV, $\Delta T=1.5$ keV, $\Delta t_r=0.46$ s, $\tau_r=0.1$ s and
  $\tau_d=6$ s. These parameters result in a burst rise time of about
  1 s and a decay time of about 11 s. Since there is a finite time over which the burning spreads, there
will always be some temperature gradient across the NS surface. This
temperature asymmetry combined with rotation of the star results in
oscillations during the burst tail.

\begin{figure}
\includegraphics[width=3.30in, height=2.8in]{f4.pdf}
\caption{\label{fig:famps_tod_asym} Fractional amplitudes for the
    ``canonical'' cooling model with latitude-dependent cooling
    timescales. The black, red, and green curves correspond to models
    with $M=1.4M_{\odot}$, $R$=10 km, $\nu$=400 Hz, $i=70^{\circ}$,
    $D=10$ kpc and $v_{flame}\propto \frac{1}{\cos\theta}$ with
    $\theta_s= 30, 60$, and $85^{\circ}$ respectively. The blue and
    cyan curves are the same as the red one but with $M=1.8M_{\odot}$
    and $\nu$=600 Hz, respectively (note that red, cyan and green curves almost overlap). The magenta curve has
    $M=1.4M_{\odot}$, $\theta_s=85^{\circ}$, $\nu$=600 Hz and $R$=12
    km. The orange curve has similar parameters as the magenta one,
    but with a spreading speed that is half of that model. Note that the amplitudes are shown on an expanded scale up to $t=1$ s. Also the vertical scale is different before and after $t=1$ s on this plot.}
\end{figure}

\begin{figure*}
\begin{center}
\begin{tabular}{lr}
\includegraphics[width=3.30in, height=2.8in]{f5a.pdf}&
\includegraphics[width=3.30in, height=2.8in]{f5b.pdf} \\
\end{tabular}
\caption{\label{fig:lc_simin} Left panel shows the smoothed bolometric
  light curves for the rise and
  decay of the burst in our
  ``asymmetric'' cooling model. The black, red,
  green and blue curves correspond to models with $M=1.4M_{\odot}$,
  $R$=10 km, $\nu$=400 Hz, $i=70^{\circ}$, $D=10$ kpc, $T_h=3$ keV, $\Delta
  T=T_h-T_c=1.5$ keV and $v_{flame}\propto \frac{1}{\cos\theta}$ with
  $\theta_s= 10, 30, 85$ and $150^{\circ}$ respectively. The orange,
  magenta and cyan curves are similar to the green curve ($\theta_s=85
  ^{\circ}$) but with $M=1.8M_{\odot}$, $\Delta T$=2 keV and
  $v_{flame}\propto \frac{1}{\sqrt {\cos\theta}}$ respectively. Right
  panel shows the light curves on an expanded scale up to $t=1$ s (burst rise).}
\end{center}
\end{figure*}

\begin{figure*}
\begin{center}
\begin{tabular}{lr}
\includegraphics[width=3.30in, height=2.8in]{f6a.pdf}&
\includegraphics[width=3.30in, height=2.8in]{f6b.pdf} \\
\end{tabular}
\caption{\label{fig:famps_simin} Fractional oscillation amplitude
  vs. time for the ``asymmetric" cooling model. The color coding is the
  same as Figure \ref{fig:lc_simin}. In the right panel the fractional
  amplitudes are shown on an expanded scale up to $t=1$ s.}
\end{center}
\end{figure*}

  We also consider a variation
  of the ``symmetric'' model in which the
  cooling timescale, $\tau_d$, is assumed to vary with latitude
  (we call this the ``latitude-dependent'' cooling model). On a
  rapidly rotating NS the effective gravitational acceleration is
  reduced along the rotational equator and enhanced at the poles.
  This can lead to variations in the local accretion rate and hence
  the accreted column with latitude (Cooper \& Narayan 2007). Since
  the vertical cooling time is basically set by the column depth at
  which heat is released, coupled with the thermal conductivity of the
  material above, variations in the accreted column and/or composition
  across the star could in principle lead to changes in the cooling
  timescale with latitude. Since the local mass accretion rate is
  proportional to the inverse of the effective gravitational
  acceleration ($\dot{m}(\theta)\propto g_{eff}^{-1}(\theta)$)
  \citep{2002ApJ...566.1018S,2007ApJ...657L..29C}, we assume that the
  cooling (decay) timescale, $\tau_d$, in Eq.~\ref{eq:temperature}
  varies with latitude like $1/g_{eff}(\theta) \propto 1/(1+c_e
  \bar{\Omega}^2 \sin^2 \theta+ c_p \bar{\Omega}^2 \cos^2
  \theta)$. Where $c_e=-0.791+0.776 (M/R)$, $c_p=1.138-1.431 (M/R)$
  and $\bar{\Omega}=\Omega \sqrt{R^3/M}$ (in geometric units $G=c=1$;
  \citet{2014ApJ...791...78A}). Note that $g_{eff}$ is lowest at the
  equator and increases toward the pole, and therefore the mass
  accretion rate and the cooling timescale are largest at the equator
  and decrease toward the poles. While this model includes variations
  in the cooling timescale across the star, the variations retain
  symmetry about the spin axis.

Lastly, we consider a simple phenomenological model with
  ``asymmetric'' cooling. By this we mean that the variations in the
cooling timescale are no longer symmetric about the rotational
axis. In this model we do not consider the full temperature
evolution of each individual surface element. In this ``spreading
cooling wake" model we have only two temperatures, $T_h$ and $T_c$
that represent the temperature of the burning region and the rest of
the star (cool regions), respectively. In this model, when burning
spreads over the star, the temperature of each patch changes from
$T_c$ to $T_h$. The burning spreads in the same way as in the previous
model, the only difference is that at $t=t_{rise}=1$ s when the whole
surface is burning there is no temperature gradient across the
star. When cooling begins, regions that started burning earlier are
assumed to cool first and their temperature changes from $T_h$ to
$T_c$. The cooling is assumed to spread in the exact same way as the
burning but just over a longer time. Here, we
use a total duration of 10 s for
  the cooling phase, which is characteristic of observed
bursts. That is, the speed of the spreading of cooling is taken
  to be $0.1\times v_{flame}$, which gives a total decay time of 10 s.
  In this model at $t=$1 s all patches on the surface are ignited and
  have a temperature of $T_h$, but since the cooling duration is
  longer, and also the cooling is assumed to spread in a similar way
  as burning, the patches that burned first will cool first and also in
  a shorter time than other parts of the star. For example, at
  $t=$1.5 s a small region on the surface that has been ignited first
  will be already cool (with $T=T_c$), but it will take longer (up to
  10 s) for the patches that burned last to cool. Therefore the total
  time that a given patch is hot is different from any other
  patch. For example, the total time that the first burned patch is
  hot is about 1 s, the patch that burned at $t=$0.5 s will be hot
  for $\sim 5.5$ s and the last patch that burned at $t=$1 s will be hot
  for $\sim 10$ s.  This simple model approximates what may happen if
the timescale of cooling varies across the surface in a manner
  that breaks the symmetry about the rotation axis, i.e. if the heat
transport varies with position on the star. For example, if there is
significant transverse heat flow between hot and cold regions then the
timescale of cooling in the area where burning started first might be
shorter since it is initially surrounded by cooler regions, but those
that burn last are already surrounded by hot areas and therefore it
might take longer for them to cool. While it is likely that
  lateral conductive heat transport is negligible given the large
  difference between the vertical and horizontal scales in the burning
  front (Cavecchi et al. 2013), convective and hydrodynamic flows not
  fully captured by 2D hydrodynamic simulations could perhaps
  increase the transverse heat flow. Other possibilities for inducing
asymmetric cooling would be different fuel depths or composition
across the star and also varying amounts of heat flux from deeper
layers for different parts of the NS surface.

\begin{figure*}
\begin{center}
\begin{tabular}{lr}
\includegraphics[width=3.30in, height=2.8in]{f7a.pdf}&
\includegraphics[width=3.30in, height=2.8in]{f7b.pdf} \\
\end{tabular}
\caption{\label{fig:famps_inclination} Fractional amplitude
    vs. time for different inclination angles for the ``symmetric''
    cooling model (left panel) and ``asymmetric'' model (right
    panel). In both plots the solid curves correspond to an ignition
    latitude of $\theta_s=30^{\circ}$ and the dashed curves correspond
    to an ignition latitude of $\theta_s=85^{\circ}$. The black,
    green, blue, magenta and cyan curves correspond to $i=30, 70, 90,
    110$ and $130^{\circ}$, respectively. Other parameters are the
    same as those used for the red and green models in Figures 2 and
    4. Note that the amplitudes are shown on an expanded scale up to $t=1$ s. Also the vertical scale is different before and after t=1 s on the left panel.}
\end{center}
\end{figure*}

\section{Results}

Figure \ref{fig:lc_tod} shows several burst light curves computed with
the canonical (``symmetric'') cooling model. Different curves
correspond to different ignition latitudes, $\theta_s$, NS compactness
and flame spreading speeds ($v_{flame}\propto \frac{1}{\cos\theta}$
and $\frac{1}{\sqrt{\cos\theta}}$). The black, red, green and blue
curves correspond to models with $M=1.4M_{\odot}$, $R=10$ km,
$\nu=400$ Hz, $i=70^{\circ}$, $D=10$ kpc and $v_{flame} \propto
\frac{1}{\cos\theta}$ with $\theta_s= 10, 30, 85$ and $150^{\circ}$,
respectively.  Here, $M$, $R$, $\nu$, $i$ and $D$ are the stellar
mass, radius, spin frequency, observer's inclination angle, and the
distance to the source, respectively. The orange and cyan curves have
similar parameters as the green curve (all have $\theta_s=85^{\circ}$)
but with $M=1.8M_{\odot}$ and $v_{flame}\propto \frac{1}{\sqrt
  {\cos\theta}}$, respectively, to show the effect of compactness and
flame spreading velocity on the light curve. The magenta curve has the
same parameters as the cyan curve but with a spreading speed that is
half of the cyan one.

To highlight the differences in the rising phase more clearly, in
Figure \ref{fig:lc_tod} (right panel) we also show the light curves
on an expanded scale up to $t=1$ s. As
burning spreads over the surface the flux increases until it engulfs
the whole star, after that, since the temperature of each surface
element decays exponentially with time, the flux decreases. The shape
of the light curve during the rising phase depends on several factors
such as the ignition latitude, the flame spreading geometry and speed,
and its latitudinal dependence \citep{2008MNRAS.383..387M}.  When
ignition starts near a pole (black, red and blue curves with
$\theta_s=10, 30$ and $150^{\circ}$) the rise light curve is more
concave (rises more slowly) compared to when it starts near the
equator ($\theta_s=85^{\circ}$, see \cite{2008MNRAS.383..387M}).

Figure \ref{fig:famps_tod} shows the evolution of burst oscillation
amplitudes during the burst rise and decay for the ``symmetric''
model. The color coding is similar to Figure \ref{fig:lc_tod}. To compute
the fractional amplitudes we calculate the so-called
  half-amplitude. The light curve is phase-folded in the time
intervals of interest, and the amplitude is determined as $f =
(I_{max} - I_{min})/(I_{max} + I_{min})$, where $I_{max}$ and
$I_{min}$ are the maximum and minimum values in the phase-folded light
curves, respectively. To the extent that the light curves are
  consistent with sinusoids, this is equivalent to fitting the
  phase-folded light curve with the model $A+B \sin (2 \pi \nu
  t+\phi_0)$, and defining the fractional amplitude as $B/A$. This
  definition of fractional amplitude is $\sqrt{2}$ times larger than
  the rms amplitude used in many papers. Therefore, to compare the
  rms amplitudes with our amplitudes, they should be multiplied by
  $\sqrt{2}$.

The maximum of the tail amplitudes in the
  ``symmetric'' model ranges from ~1.5\% to 8\% depending on the ignition
latitude, NS compactness and the flame spreading geometry/speed. The
temperature asymmetry combined with rotation of the star produces
oscillations during the decaying phase, but since the temperature
gradient across the surface is not very large after burning has spread
over the whole surface, the amplitude does not get large enough to
explain the observations where the amplitudes in the tail can be $\geq
15 \%$ (see Figure 1;
  \cite{2008ApJS..179..360G,2002ApJ...581..550M,2001ApJ...551..907V}). Note
that the amplitudes only slightly increase by increasing $\Delta T$ in
Eq.~\ref{eq:temperature}.  The largest tail amplitude is produced
  by the model with the longest (slowest) rise-time (spreading
  speed). This is not too surprising since there is a longer time for
  cooling to introduce a temperature gradient when the spreading speed
  is slower (assuming a constant cooling timescale).  However, some
  bursts with large tail amplitudes have fast ($\approx 1$ s) rises
  (see Figure 1), so this effect cannot account for all large observed
  tail amplitudes.

In Figure \ref{fig:famps_tod_asym} we show the evolution of the
  fractional amplitudes for several models with latitude-dependent
  cooling timescales.  The black, red, and green curves correspond to
  models with $M=1.4M_{\odot}$, $R$=10 km, $\nu$=400 Hz,
  $i=70^{\circ}$, $D=10$ kpc, $v_{flame}\propto \frac{1}{\cos\theta}$
  and $\theta_s= 30, 60$, and $85^{\circ}$, respectively. The blue and
  cyan curves are the same as the red one but with $M=1.8M_{\odot}$
  and $\nu$=600 Hz, respectively. The magenta curve has
  $M=1.4M_{\odot}$, $\theta_s=85^{\circ}$, $\nu$=600 Hz and $R$=12 km,
  and the orange model has similar parameters to the magenta one, but
  with a spreading speed that is half of that model. Increasing both
  the spin frequency and stellar radius increases the variations in
  effective gravitational acceleration from equator to pole, thus
  making the difference between cooling timescales at the equator and
  pole larger. This causes a larger temperature asymmetry across the
  star and leads to somewhat larger fractional amplitudes. Comparing the red
  and cyan curves, which almost overlap, and also the green and
  magenta curves we note that increasing the frequency has a smaller
  effect on increasing the amplitudes than the radius. However, comparing
  Figure \ref{fig:famps_tod_asym} with Figure \ref{fig:famps_tod} we see
  that the fractional amplitudes in the burst tail only slightly
  increase with the inclusion of a latitude-dependent cooling
  timescale, thus, this model is still not able to explain the
  largest observed amplitudes in burst tails.

Figure \ref{fig:lc_simin} shows the light curves for the
phenomenological model with ``asymmetric'' cooling. The black, red,
green and blue curves correspond to models with $M=1.4M_{\odot}$,
$R$=10 km, $\nu$=400 Hz, $i=70^{\circ}$, $D=10$ kpc, $T_h=3$ keV,
$\Delta T=T_h-T_c=1.5$ keV and $v_{flame}\propto \frac{1}{\cos\theta}$
with $\theta_s= 10, 30, 85$ and $150^{\circ}$ respectively. The
orange, magenta and cyan curves are similar to the green curve
($\theta_s=85^{\circ}$) but with $M=1.8M_{\odot}$, $\Delta T$=2 keV
and $v_{flame}\propto \frac{1}{\sqrt {\cos\theta}}$, respectively. As
for the ``symmetric'' model, one can see a clear difference in the
shape of the light curves during the rising phase depending on whether
the ignition starts near the pole or the equator
\citep{2008MNRAS.383..387M}. Also, for models where ignition starts
near the pole the light curve decays more slowly in the first few
seconds after the peak compared with near-equatorial ignition. This is
due to our assumption for this model that cooling spreads in the same
way as burning (i.e., with the same angular dependence as from the
Coriolis effects), in which case it would take longer for the cooling
to reach the equator.

Figure \ref{fig:famps_simin} shows the fractional amplitudes
during the burst rise and decay for the ``asymmetric'' cooling
model. The color coding is similar to Figure \ref{fig:lc_simin}.
During the burst rise as the hot spot gets larger, the fractional
amplitude increases, until burning reaches the equatorial region and
quickly wraps around the equator due to the Coriolis effect. This then
results in more symmetric burning and therefore smaller fractional
amplitudes. As the burning spreads over a larger portion of the star
and also the total flux increases the fractional amplitude continues
to decrease. When burning engulfs the whole star there is by
assumption no longer any temperature asymmetry in this model and the
fractional amplitude goes to zero.\footnote{This is due to the
    simplification in the asymmetric model where the temperature
    changes like a step function as opposed to the gradual temperature
    change in the ``canonical'' models where there is always some
    temperature difference between different regions, even in the peak
    of the burst. If there was a gradual change from $T_c$ to $T_h$
    and vice versa, the amplitude would not go to zero at the peak.}
After that, as the star begins to cool, the temperature asymmetry and
therefore the fractional oscillation amplitude grows. The amplitude of
the tail oscillations can be significantly larger in this model
compared to the ``canonical'' models, and ranges from less than 10\%
to about 35\% depending on the compactness of the star, the
temperature gradient and the flame spreading speed in this
model. The sudden rise in amplitudes around $t=4-6$~s in the red,
  blue and black curves is due to the rapid cooling near the equator,
  and therefore a sudden decrease in the total flux. This is because
  when the cooling front reaches the equator it spreads around the
  star and decreases the total flux, but since the spreading is more
  or less symmetric around the equator it doesn't cause a big
  temperature asymmetry, therefore the amplitude of the oscillations
  stays approximately the same, but since the total flux decreases,
  the fractional amplitude increases at that point. In general the
amplitude of the tail oscillations are larger when $v_{flame}\propto
\frac{1}{\sqrt{\cos\theta}}$ compared to $v_{flame}\propto
\frac{1}{\cos\theta}$, assuming that the burning engulfs the star in
$\sim 1$ s in both cases. The reason is that in the former case
it takes longer for the burning to spread around the equator and
therefore there will be more temperature asymmetry compared to the
latter. We also note that as the compactness of the star
increases the oscillation amplitudes decrease, since at each time a
larger portion of the surface would be visible.

Since we are interested in exploring the largest amplitudes that
  can be produced in the cooling tails of bursts we used a favorable
  observer's inclination angle of $70^{\circ}$ for the results shown
  in Figures 2 - 6.  However, for completeness, in
  Figure \ref{fig:famps_inclination} we also explored the effect of
  inclination angle on the amplitude of burst oscillations. The left
  panel in this figure corresponds to the ``symmetric'' cooling model,
  and the right panel to the ``asymmetric'' model. In both plots the
  solid and dashed curves correspond to an ignition latitude of
  $\theta_s=30$ and $85^{\circ}$, respectively. The black, green,
  blue, magenta and cyan curves represent $i=30, 70, 90, 110$ and
  $130^{\circ}$, respectively, with $M=1.4M_{\odot}$, $R$=10 km,
  $\nu$=400 Hz, $D=10$ kpc, $v_{flame}\propto \frac{1}{\cos\theta}$
  and $\Delta T=1.5$keV.  In the ``symmetric'' model the oscillation
  amplitudes increase as the inclination angle gets closer to
  $90^{\circ}$, where at each time more temperature asymmetry would be
  observable. In the cases where the ignition starts near the equator
  there is a symmetry between inclination angles above and below the
  equator. For example, for $\theta_s=85^{\circ}$, the amplitudes are
  almost the same for $i=70^{\circ}$ and $110^{\circ}$ and for $i=30^{\circ}$ and
  $130^{\circ}$. We note that such symmetry doesn't exist when the
  ignition starts off the equator. In the ``asymmetric'' model the
  effect of the inclination angle on oscillation amplitudes are
  similar to the ``symmetric'' model for the cases where the ignition
  starts near the equator, but for off-equatorial ignitions,
  $i=90^{\circ}$ no longer corresponds to the highest amplitudes.

\section{Summary and Conclusions}

In this paper we have computed for the first time the light curves and
amplitudes of oscillations in X-ray burst models that realistically
account for both flame spreading and subsequent cooling. This allows
us to consistently track the oscillation amplitude both during the
rise and decay (tail) in these models.  We have compared results
  from several models. We consider two variations of ``canonical''
  cooling models, one ``symmetric'' model in which each patch on the
  NS heats and cools in the same manner, and another which allows for
  variations in the cooling timescale with latitude, as could result
  from rotationally induced changes in the effective gravity. We also
  explored a simple ``asymmetric'' model where parts of the star that
ignite first cool faster than those that burn last. This may happen,
for example, if there is significant transverse heat exchange between
hot and cold regions, or if the local cooling time is shorter near the
ignition site than elsewhere on the star. We showed
that the ``canonical'' cooling models can generate oscillations in the
tails of bursts, but they cannot easily produce the highest observed
modulation amplitudes. One way to increase the modulation amplitudes
in such models is to increase the temperature contrast during the
burst.  For a fixed cooling timescale this can be done by decreasing
the flame speed (increasing the rise time), but to reach substantially
higher amplitudes one requires rise times longer than typically
observed. Nevertheless, a signature of such a ``canonical'' cooling
wake would be a positive correlation between burst rise time and tail
oscillation amplitude.  Another way to increase the modulation
  amplitudes in the ``canonical'' model is to include a
  latitude-dependent cooling timescale in the temperature
  evolution. We showed in Figure \ref{fig:famps_tod_asym} that although
  this will boost the amplitudes, it is still not large enough to
  explain the observed amplitudes in some of the burst tails.

 On the other hand, a relatively simple phenomenological model with
 asymmetric cooling, where the speed of the cooling wake is
   different in different regions on the star, and is not symmetric
   about the rotation axis, can achieve higher amplitudes consistent
 with the highest observed.  While the particular asymmetric model we
 employ is not rigorously self-consistent, and it may tend to
 overestimate actual cooling asymmetries, its results demonstrate that
 asymmetric cooling processes can boost the amplitude of tail
 oscillations, and are thus important areas for further
 research. Indeed, the amplitude evolutions of several of the models
 in Figure \ref{fig:famps_simin} have some qualitative
 similarities to that of the 4U 1728-34 burst shown in Figure 1, in
 particular the rise in amplitude several seconds after the peak.

A number of physical effects could plausibly lead to asymmetric
cooling, and we briefly discuss several here. As we noted previously,
significant transverse heat flow could lead to such asymmetries. The
ignition site is initially surrounded by cooler regions, thus, heat
flow laterally away from the hot spot could cool it faster than
regions which are last to burn, since they are surrounded by hot,
already ignited fuel. Previous work has shown that the vertical scale
height within the front is much smaller than the relevant transverse
length scales (for example, the Rossby adjustment radius, Spitkovsky
et al. 2002; Cavecchi et al. 2013). This suggests that thermal
conduction is unlikely to result in significant transverse heat
flow. However, 2D simulations indicate that larger scale horizontal
(zonal) and convective flows can be set-up by the burning.  These
flows could perhaps transport heat in a manner which induces some
level of asymmetric cooling like that present in our simple
``asymmetric'' model.  Fully 3D hydrodynamic simulations will likely
be needed to further explore the likely magnitude of any such effects,
and they can then be incorporated into fully self consistent light
curve models.

\acknowledgments We would like to thank Cole Miller and the
  anonymous referee for helpful comments. SM's research was supported
by an appointment to the NASA Postdoctoral Program at the GSFC. This
material is based upon work supported by the National Aeronautics and
Space Administration under Grant No. 14-ADAP14-0198 issued through the
Science Mission Directorate.

redpajama_set_name: RedPajamaArXiv


text:
package env

import (
	"log"
	"os"
	"strconv"
)

var requireDLSecretKey = boolEnv("GOLANGORG_REQUIRE_DL_SECRET_KEY")

// RequireDLSecretKey reports whether the download server secret key
// is expected to already exist, and the download server should panic
// on missing key instead of creating a new one.
func RequireDLSecretKey() bool {
	return requireDLSecretKey
}

func boolEnv(key string) bool {
	v := os.Getenv(key)
	if v == "" {
		// TODO(dmitshur): In the future, consider detecting if running in App Engine,
		// and if so, making the environment variables mandatory rather than optional.
		return false
	}
	b, err := strconv.ParseBool(v)
	if err != nil {
		log.Fatalf("environment variable %s (%q) must be a boolean", key, v)
	}
	return b
}

redpajama_set_name: RedPajamaGithub


text:
Watching UNDATEABLE LIVE live
UNDATEABLE LIVE is unlike any sitcom I've ever worked on. And of course, I'm old enough that the first sitcom that ever put me on staff was run by Euripides. I've done single camera, multi-camera, block-and-shoot, tape, film, High-Def, and Greek Chorus, but I've never done one that aired live.
Last Friday I attended the broadcasts (I can't say tapings) of UNDATEABLE LIVE after writing a post about the show saying I was curious to see what it's like – the process and the contrasting experience of witnessing the broadcast and then seeing it on television.
This was my second attempt at this. Thankfully, there were no worldwide catastrophic events that caused cancellation. I understood why the producers and network cancelled last week and understand even more having now seen the process. It's a party.
For a studio audience, it's the best sitcom experience ever. Normally an audience will be there for at least three hours. Scenes are filmed multiple times and there are generally lengthy delays for costume changes, joke changes, and one light bulb goes out on the set necessitating six ladders, seven guys, and twenty minutes. With UNDATEABLE LIVE you're in and out in ninety minutes tops. You sit down, a warm up guy gets you revved, there's a band and musical guest, the cast is introduced, you watch the show ONCE, the musical guest does a few more numbers, and you go. Compare that with FRIENDS where it took so long to shoot an episode they literally had TWO audiences. After four or five hours the first audience was mercifully released and a new one took its place. Navy Seals in training are not put through that torture.
UNDATEABLE LIVE does two performances – one for the East Coast at 5:00 PM (8:00 back East) and 8:00 for the West Coast. Some changes are made between shows.
Me and Bill Lawrence
UNDATEABLE LIVE embraces the convention, which – what the hell? You might as well. Several of the cast members are stand ups, so they're comfortable tossing out an ad lib now and again. And part of the fun of the show is watching to see if something unexpected happens – if an actor flubs a line, someone breaks up, the Messiah comes. There are meta lines where they occasionally break character and take shots at each others' career, and producers will sometimes give an actor a line intended to throw off another actor, but it's clear viewers are watching the making of a television show; they're not suspending belief and pretending there is a reality to the setting and situation. That's the trade off, but again, what the hell? Their primary goal is to entertain so why not use all the tricks at their disposal?
Interaction is the key. They even give out a phone number and cast members have been known to talk to viewers during the broadcast. If only I could have called the Bionic Woman and asked her out.
The half-hour warm up is streamed on Periscope. Show runner Bill Lawrence also interacts with fans. Ironically, years ago only union photographers were allowed to take pictures on a sound stage. And now everyone including the dog is snapping photos and selfies.
Because of the looseness of the format and storytelling, scripts are only about 22 pages long. CHEERS scripts used to be almost double that. (Of course we also had more program time and no musical guests... except the Righteous Brothers).
Me and Phill Lewis
Unlike normal multi-camera shows where you have four cameras; UNDATEABLE LIVE has nine (eight standard cameras on rolling tripods and a hand-held). Credit to director Phill Lewis who can wrangle all of that and not emerge like Ozzie Osbourne after New Years Eve at a frat house. As a director myself, I can honestly say – a live sitcom is like working in the Hurt Locker but with more pressure.
During the show the writers all Tweet. The goal is to get the show trending. I remember Desi was very big on this during I LOVE LUCY'S heyday.
There is a running time that shows how many seconds or minutes they are over or under. During commercial breaks, Bill Lawrence goes out on the stage and makes cuts on the fly.
During the show it's organized chaos. After the first scene they moved the bandstand and sixty people had to clear out. To my knowledge, no one was trampled. Even the network executives were forewarned.
The show seems to go by like a shot. Of course, we're not seeing the endless parade of commercials.
For the second show, they made cuts and added some new fun schtick designed to throw off the cast. Guest star Christa Miller (Bill Lawrence's wife) grabs Chris D'Elia's crotch. And Bianca Kajlich notes that when Christa was on THE DREW CAREY SHOW she was only five. (Christa was a good sport... and very funny. It's not easy for a guest actor to join this insanity.)
I then went home and watched the West Coast version. It captures some of the craziness but not all. It's obviously more of a delightful surprise when an actor says a line you know is an ad lib. Or when an actor does something physical that improves upon what he did in the first show. I imagine watching the Presicope pre-game and following the live-Tweets helps the home viewer feel like he's part of the inner circle.
I love how experimental the show is, and wonder if I could make a suggestion? This occurred to me after watching the show on the air. I wonder, if one time, the audience could be told beforehand what tricks the writers have planned for the actors? The actors are off behind stage and Bill Lawrence or whoever takes fifteen seconds and tells the audience someone is going to grab Chris D'Elia's crotch and Bianca and Bridget will be put on the spot. On the one hand you spoil the surprise, but on the other you have the fun that the audience is ahead of the actors. The audience might be more invested if they're watching for these moments. I dunno. Could be a horrible idea.
Unfortunately, for UNDATEABLE it airs on a bad night and has an awful show that follows it. The audience for UNDATEABLE is out dating on Friday night. And 8:00 is a little early for some of the humor. The ratings have been bad, but what can you expect? What I'd like to see is NBC airing it one night after THE VOICE to really give the show a chance to prove itself. I don't think NBC could get numbers Friday night at 8:00 with Kardashian sex tapes.
Thanks to Chris Luccy, the staff, and Bill Lawrence for letting me hang out. Usually you never like to look behind the curtain, but in this case, I wish everyone could. You need enormously skilled people to pull off a live sitcom – from the actors who get thrown new lines at the last minute, to the director who must adjust to changes live on the air, to the cameramen who have no second chances if they blow a shot – everyone is a tightrope artist and yet somehow they make it seem easy. The behind-the-show is awesome, and the show itself is getting there.
By By Ken Levine at 12:00 PM
Sounds fascinating, andf something I may have tio take in. (I suppose airing in the Friday night ghetto enables Lawrence to try some things he couldn't do if "Undateable" aired earlier in the week.
Your comments about the length of taping a "Friends" ep makes me appreciate how fortunate I've been as a sitcom filming attendee. The four I've been to ("Frasier" in 2000, "Hot in Cleveland" last December and two eps of "Mom") all went rather smoothly, 2 1/2 hours tops (not ncluding warmup, showing a previous episode to inform the audience of story arc changes, etc.)
Incidentally, the second "Mom" ep I attended -- the first one filmed this seasonm back on July 31 -- will air Thanksgiving night. In retrospect, it's not an especially strong episode, which is why it's been relegated to a holiday eveniung, though it has its moments...and those who are fans of Sadie Calvano (Violet) should enjoy it.
Maybe this is a silly comment, but why is this significantly different from a play?
Well, Friday night.......hmmmm how about we put it up against Tim Allen?
As in he is washed up, old guy right?
Not to mention "Friday Night Flights"
Which is football at the high schools here in the midwest. NBC - "Not Bright Correct" !
Norm, are you saying networks should go dark on Friday nights?
Yes, it's a party and that's why we enjoy watching it and being a part of the fun.
This past week's undateable was actually the weakest of this season's shows. Which was odd considering they had twice as much time to tweak it.
Maybe it was because so many lines was given to the guest star which took away from the interaction of the cast.
Haven't watched the west coast version yet which is generally zanier and wilder than the East coast.
I don't think the show could be transferred to any other day for NBC. Sponsors may notice a lot of bitch and penis jokes.
KEN, Question... it seems that the audience changes between the East and West coast broadcasts. Do they just make everyone swap seats or is it a different audience?
BTW, Norm, I happen to enjoy the Tim Allen show. It's not a classic by any means, but I have laughed out loud on a number of occasions.
Different audiences for the east and west coast shows.
Matt, it's significantly different because a stage play isn't being broadcast. The home audience isn't just watching from a fixed spot in a theater, it's being shown multiple angles by the camera operators and director, the mics have to pick up the audio without being spotted on camera, and the actors didn't spend weeks perfecting their performances before the performance.
Also, the show has to fit a precise time slot down to the second. That's tough, too. I've produced thousands of live newscasts, but you can talk in an anchor's ear and drop individual stories if you start to run long. I have no idea how you instantly shorten a storyline that has to play out (and pay off!), and I have no idea how you count down the actors on the fly to make sure you're off on time.
They saluted the live show once by one of the characters asks what's on TV, turns on the TV and sees himself on it.
It does go up against the Amazing Race, which, I believe still has great ratings in spite of it's Friday time slot.
Howard Hoffman said...
The use of Periscope is integral to the show's experience. Bill Lawrence hopped on just before the West Coast show and told us after the cast was introduced to the studio audience that he was "gonna get" Chris D'Elia. He let us in on his giving a note to Christa about grabbing his crotch (and that the network gave him the okay to do it). Sure enough, she does it, and D'Elia screams "OH MY GOD!!!" The audience was in convulsions, but D'Elia recovered perfectly.
Other things they reveal in their daily Periscopes: They hire their handheld camera operators from NBC Sports and ESPN because they know how to cover "the plays." Their favorite and easiest crack-up targets are Brent Morin and Bianca Kajlich. And everyone is completely behind doing live shows for the remainder of the run.
Do yourself a favor. Join Twitter, download Periscope, be there every day at 4:30 PT to track that week's show, then nestle in on Friday night as they 'Scope the show, starting an hour before airtime and during every commercial break. You'll be in on the fun.
Oh, and after you download it, add the cast and crew to the follow list. You'll get a chirp on your phone when they're on.
Official Undateable Live - @NBCUndateable
Bill Lawrence - @vdoozer
Ron Funches - @RonFunches
Chris D'Elia - @chrisdelia
Brent Morin - @brentmorin
Bianca Kajlich - @MissKajlich
Rick Glassman - @rickglassman
Bridgit Mendler - @bridgitmendler
David Fynn - @davidfynn
And now I'll leave before I sound creepier than I already do.
VP81955: Glad to hear Violet's coming back. I miss her.
Interesting to read how they are using social media to help build interest and an audience. I'm a big fan of Bill Lawrence, especially his work on SCRUBS. Didn't realize he was involved with the show and will give it a shot this Friday. Having Christa Miller pop up more couldn't hurt. I still catch DREW CAREY SHOW reruns with its memorable cast and laugh just as hard as I did when I saw them in the original run.
if it wasn't mentioned - I can't remember - this is actually the third season of undateable. I had been recording it on my DVR but only watched 3 episodes and somewhere last season I just decided to dump all of them. And then they had the live episode last season, which I recorded but hadn't watched until after this season premiere.so that night I had two full hours which was really too much. but I really like Bill Lawrence and I was a big fan of Scrubs although I just couldn't get into Cougar Town and I tried twice. the window is on Periscope, I tend pay attention. sometimes he lets his daughter sing or shows us what Christa is making for dessert.
it's true I didn't like this episode as much as some of the others although I did like Christa. Chris was mingling his lines on the East Coast feed which was the only one i saw. and in general, if this show wasn't live I wouldn't be watching it. danny is not a character that appeals to me at all. it was kind of cool to see him in khakis with his hair pulled back though.
I was sad last season that surviving jack didn't even get 9 episodes on the air. It was funny and it seemed to me that it was what s*** my dad says was supposed to be, even if the kids were younger. ground floor was good. I really didn't get into enlisted and I never could get into Cougar Town.
if only I could remember WHen the L AFF network airs those Spin City reruns...I mean the ones that aren't on in primetime. back when Spinn city was on I watched it and loved it and obviously like Michael J Fox and had no idea that Bill Lawrence existed.but since scrubs I've tried to be loyal.
and I love the shot of the control room with all the monitors because I am a production geek even though I only got to do it for a little while on cable access. I always wanted to be the one to take camera one and take camera 3 but I ended up just doing the graphics.did I say thanks for the report? Thanks :-)
I'll second @Matt's comment. This seems very retro - essentially farce theatre or pantomime with a massively enlarged audience through television and social media. Which is probably a compliment. There's a unique electricity to a live performance.
Reminds me of British Saturday night television in the '70s or '80s when variety shows were the big draw. Watching back classic clips of Morecombe & Wise, it all seems to be filmed in one take. Any mistakes are worked into the act and used to embellish it - often the best parts. The accursed Noel's House Party would hide live cameras around the living room of an unsuspecting viewer, than deposit the viewer live onto national TV without warning. I assume America had similar programmes.
Most interesting. I'll have to see if I can get tickets to a broadcast, as I'd find it fascinating also.
I've been recently to a taping of @Midnight (and am going back again on December 7). What impressed me most was that they shot almost an hour for a 22 minute show, and had at most 5 hours to edit it for broadcast, yet when I saw the broadcast, the edits I knew were there were so seamless as to be undetectable if you weren't there, though they lost some good stuff in the edit, but the unedited shows can then be seen online. (I was mildly creeped out by the one woman in line who attends EVERY broadcast of the show, having apparently no other life, who is on a first name basis with the entire production crew by now.)
Stephen Marks said...
What happens when it goes into reruns, do the actors and crew have to go to the studio and do it again at 2 a.m. for WXY TV in Toledo for 3 cents of residual payments? See folks its not as glamorous as Robin Leach made it out to be.
This sounds like an interesting experience, and I applaud Bill Lawrence for embracing the current social media culture and having Twitter and Periscope be integral to the experience. That said - as much as I like Lawrence (loved Scrubs and the bulk of Cougar Town), it seems like too much "work" to watch this show properly. (I say this as someone in their mid-30s; not young but not out of their target demo, either.)
My question is - how do you think this show would do in reruns and/or next day on Hulu, etc? Not ratings-wise, but experience wise? Is it truly something that needs to be seen as it happens, or will it hold up on repeat and/or delayed viewings?
I can answer that, as I have never watched it live. TiVo doesn't take away from the experience.The atmosphere is charged with that "dancing on the razors edge" of a live broadcast.
My question is: who are the little blond boys who are always in the audience and mug for the camera?
Why did Friends take so long to shoot? Was it that complicated or was it a case of everyone was such a big star that the audience just loved more and more??
"Anonymous Sarah said...
This sounds like an interesting experience, and I applaud Bill Lawrence for embracing the current social media culture and having Twitter and Periscope be integral to the experience. That said - as much as I like Lawrence (loved Scrubs and the bulk of Cougar Town), it seems like too much "work" to watch this show properly."
You know, you can watch the show without diving into Social Media. I just watch the show (Recorded so I can fast-forward through commercials) with no active participation, and when it's done, hit "Delete."
Tallulah Morehead said...
You know, you can watch the show without diving into Social Media. I just watch the show."
Dougie, you lazy bastard. COMMIT! Tweet, Periscope, phone the cast and suggest how they could be funnier (They're not busy at all between scenes), live blog them! If you actually have time to look at the TV screen and listen to the soundtrack while it's on, you are soooo last century!
cb said...
Not a nitpick , just info...it's Phill Lewis. Two L's.
Lawrence said...
At the FRIENDS taping we attended, at least part of the reason it took so long was that none of the show's stars appeared to have bothered to learn their lines. For that matter, we weren't sure they'd even rehearsed. None of them seemed to know what they were supposed to be doing, and it really looked like they were rehearsing, blocking out the action, and then shooting, scene by scene, as they went along. It was really pretty boring and quite disappointing. The "least fun" taping we've ever attended. I think the fastest, most efficient taping we ever saw was for THE GOLDEN GIRLS. There were some blown lines here and there and the usual stopping and starting, but those ladies knew their lines and their business, and were impressively professional.
Bankable said...
I guess in a play there are months of rehearsals so everyone is word perfect and depending on the source material I.e. Arthur Miller or Shakespeare the audience will also have a deep knowledge of the play. Whereas neither of these will be true for a weekly sitcom
So Christa Miller was instructed to surprise Chris D'Elia by grabbing his crotch on live TV, just to see how he would react? I'm sure everyone was a good sport about this -- but if the genders had been reversed in this situation, it would eventually be cited as an example of sexism in Hollywood, and it would make headlines.
unkystan said...
I'm glad the show is fun for the folks in the audience. Too bad it never seems come across at home. And, I ask again, do these people actually have jobs?
Igor said...
Great post. Two things.
I thought Euripides is what you do to deez network notes.
As for the idea of letting the audience in on a joke before it happens, as I read that it had the feel of a Folgers ad. (https://www.youtube.com/watch?v=K_Gtb1kElRk) Not that there's anything wrong with it.
It would be sexism if the genders were reversed in the crotch grabbing scene.
do not forget to follow the tweets the most important people...the writers.
@undateablewroom
Had the same experience with FRIENDS as Lawrence. Looked like the cast was learning their lines, rehearsing and then filming, scene by scene, as they went along. It was pretty tedious and pretty dull. And I was/am a fan of the show.
I've heard UNDATEABLE LIVE described as the result of a union between live television and those skits they used to do on Carol Burnett's old show where Tim Conway and Harvey Korman were paired up for no other reason than to see how often and how intensely Conway could break up Korman. The thing about live television these days is that it might as well not be. Like SATURDAY NIGHT LIVE. Lorne Michaels takes a notoriously dim view of ad-libbing and of straying from what's been carefully scripted and rehearsed. There's no real reason for the show to be live. It's as safe and predictable and as un-spontaneous as if it was all pre-recorded and edited together days ahead of time. (In fact, many of SNL's sketches ARE pre-taped, something they've been doing for years for sketches requiring elaborate make-up or production.) UNDATEABLE LIVE is unique in the way it plays on the unpredictability that can be inherent in its being live. The audience really doesn't know what's coming next. Often, neither does the cast. It adds a level of excitement lacking in too many sitcoms these days.
Granted, it's a gimmick, and I can't help but wonder if at some point that gimmick won't burn-out, but for the moment, it's a lot of fun to watch.
Katherine @ Grass Stains said...
I'm a big Bill Lawrence fan and have liked Undateable from the beginning -- even before it was live. I do like the live shows, and I'm glad you got to attend a broadcast. I especially like that you had such a great time and it made you more of a fan ... it's akin to seeing a band play live. You were on the fence before, but now that you've seen them live, you really, really like them. :-)
Bryan Thomas said...
Isn't Phill Lewis the younger dentist from CITY SLICKERS? Father and son duo? He looks familiar.
Writers are getting royally screwed... AGAIN
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Austrian band Hearts Hearts have released their debut album after nearly six years together. The long gestation period shows in what is a very polished introduction. They first started to perfect their sound in a monastery in Upper Vienna which probably explains the choral sound of a number of their songs.
The opening track, 'The World Is My Oyster' has a feeling of Nordic Noir suffusing its lush soundscape. You could easily imagine it playing during The Bridge, such is its unsettling quality.
'I Am In' is the lead track from the album and this is probably a wise choice. The lyrics, like most of those in the album, are open to interpretation but they are secondary to the beautiful arrangement with its jazzy soulful notes undercut with the cool sensibility that is clearly going to be Hearts Hearts' trademark. It brings to my mind a vision of 80s favourite Sade in a fur coat!
'Hunter Limits' seems to channel 'Some Great Reward' era Depeche Mode in its marriage of unsettling chords and distrust of suburbia. The album closer 'If' returns to the Nordic Noir styling of 'The World Is My Oyster' to finish a thoroughly polished debut.
Hearts Hearts are that rare beast, a thoroughly interesting new band with a sound that borrows from a number of electronica influences. 'Young' wears those influences lightly and, instead of being constrained by them, takes them in to surprising, satisfying places that hint a talent that will simply continue to grow.
I look forward to hearing more of this talented quartet who could well feature on a number of artists to watch lists before the year is out.


SOUTH BEND, Ind. (AP) — A North Carolina teenager has agreed to plead guilty to federal charges that he used the Internet to make fake bomb threats to Purdue University and other college campuses across the country.
A judge has scheduled a hearing for Wednesday in South Bend to consider whether to accept the plea agreement with the 17-year-old boy of Oxford, N.C.
The teen admits in court documents that made the threats in early 2009 to Purdue, Indiana University-Purdue University at Fort Wayne, the University of North Carolina at Chapel Hill, Clemson University and Florida State University, along with FBI offices in Louisiana and Colorado.
The agreement says he faces up to five years in prison but that prosecutors will recommend less time.
A message seeking comment was left for defense attorney Alison Benjamin.


text:
Hollie-May Saker is a British fashion model.

Early life and career
Saker was born in Liverpool, England, and grew up in Marbella, Spain, before the family returned to Liverpool when she was a teenager.  She was discovered in Marbella, and signed with Models 1 and the now-defunct Trump Model Management. On the runway she has walked for Marc Jacobs, Louis Vuitton, Tory Burch, Marchesa, Vivienne Westwood, Dolce & Gabbana, Burberry, Miu Miu, Fendi, Just Cavalli, Roberto Cavalli, Giorgio Armani, Versace, Chanel, Kenzo, Nina Ricci, Sonia Rykiel, Gareth Pugh, Ann Demeulemeester, Rodarte, Alberta Ferretti, Prabal Gurung, Tommy Hilfiger, and Valentino.

She has appeared in campaigns for Blumarine, Lanvin, Moschino, H&M, Gap, and River Island. Saker has been on the cover of Vogue Italia, Harper's Bazaar UK, and Wonderland among others, with appearances in editorials for British Vogue, Miss Vogue, American Vogue, V, The Guardian, Dazed, Elle France and Japan, CR FASHION BOOK, and Love.

At the 2013 Paris Fashion Week, she got into a physical altercation with Femen protesters after they grabbed her arm. She was wearing for designer Nina Ricci at the time.

References

1995 births
Living people
People from Anfield
English female models
People from Marbella
Models from Merseyside

redpajama_set_name: RedPajamaWikipedia