text:
Evans, Bill (Piano) , Jim Hall (Guitar) , Zoot Sims (Tenor Saxophone) , Philly Joe Jones (Drums) , Ron Carter (Bass)
Loose Blues
Год издания : 1992
Компания звукозаписи : Milestone, (ru)
Музыкальный стиль : Post-Bop
CD, стоящие на полке рядом : Jazz (Small Orchestra - Smooth)
This long-lost session, not released initially until 1982, features pianist Bill Evans, tenor saxophonist Zoot Sims, guitarist Jim Hall, bassist Ron Carter and drummer Philly Joe Jones interpreting seven of the pianist's recent originals. Due to some difficulties during the recording process (none of the sidemen were familiar with the often-complex numbers), the results were originally shelved and lost for a couple of decades. This CD reissue shows that the music was actually much better than originally thought. While "Time Remembered," "Funkallero" and "My Bells" would become Evans standards, it is quite interesting to hear such forgotten obscurities as "Loose Bloose" (heard in two versions), "There Came You," "Fun Ride" and "Fudgesickle Built for Four;" a couple of the songs could stand to be revived. It is a pity that Evans and Zoot (a logical combination) never did record together again.
- Scott Yanow (All Music Guide)
The late Bill Evans was one of the most innovative and influential piano stylists of his day. Since that "day" ended only a relatively short time ago, with his death in September 1980, it remains impossible to judge how far-reaching and long-lasting his influence will be. But if the depth and the extent of his impact on jazz performers of the past two decades is a reliable clue, we will be hearing partial and complete would-be Bill Evans clones for quite some time to come.
In one way, this is certainly not to be regretted: provided that enough future followers display much the same degree of taste and talent as has been shown by such artists as (just to pick two random examples) Herbie Hancock and Keith Jarrett, jazz listeners and the future libraries of recorded music can only gain. But looking at it another way, to be such a thorough influence both on your contemporaries and on succeeding generations poses certain dangers to the artistic status of the innovator. After a while, the original works may no longer seem as fresh and adventurous when we return to them - simply because we have heard so much music in approximately the same vein. Even worse, listening to various self-appointed disciples who actually only grasp (and consequently exaggerate) one aspect of the master's style almost inevitably tends to leave a lopsided and diluted memory of what the original artist was really trying to say.
Louis Armstrong, who was the first to do so many things in jazz, may well have been the first to suffer from this. Certainly the legends and legacies of pioneers like Charlie Parker and John Coltrane have at times been at least momentarily tarnished by the work of decidedly lesser performers who claimed to be following in the path of the master. Evans, even during his lifetime, was similarly somewhat victimized by more than a few pallid pianists capable of playing old pop ballads at slow tempos with a few modal quirks thrown in, presumably sounding "just like Bill Evans" but actually very much missing the point.
One way of appreciation how far off the mark such players are - and of recognizing as well the shortsightedness of listeners and critics who stereotype Bill as a Debussy-ridden specialist in languid mood music - is to pay attention to the several examples of other aspects of his playing, to the non-introspective and occasionally even non-trio Evans.
It is of course true that ever since December 1958, when he ended an eight-month stay with the Miles Davis Sextet, Bill appeared in public almost exclusively as the leader of his own trio. There's certainly no question about that being his preferred and most comfortable setting, and there's also no doubt that if a running statistical count had been kept for two decades it would have shown many more down tunes than up.
But there were times when those trio sets swung like mad - and that more often than not corresponded to the several different periods when Philly Joe Jones was his drummer. Their association had begun when Bill joined Miles in the spring of '58, and even though it was very shortly thereafter that Joe left the band (or was fired, or both - his relationship with Davis having always been a rather temperamental one), their influence on each other remained substantial.
A Miles Davis album that prominently includes Evans, the ground-breaking Kind of Blue, is an excellent place to begin paying particular attention to the more forceful and aggressive elements in his playing. The swinging involved doesn't really have too much to do with tempo, because what I'm referring to is much more a matter of what gets called playing "hard" or (even on a slow ballad) "with fire" than of playing fast. The drummer on Kind of Blue is not Jones, but his successor. Jimmy Cobb. So what is heard are two of the three elements that I feel fueled Bill's performances of that period: the fact of working with three horns (and of course not just any three, but no less than Miles, Coltrane, and Cannonball Adderley) and the added confidence and adrenalin that came from being thoroughly accepted as belonging in such company.
For recorded examples of the third element - being propelled by Philly Joe - you have to look elsewhere, but not very far. The Milestone reissue package called "Peace Piece" and Other Pieces happens to be titled in honor of a most celebrated example of "normal" Evans-a moody, even Debussy-ish solo improvisation. But is is largely devoted to trio sides recorded immediately after Bill had quite amicably departed from Miles's band to permanently become his own leader. Several numbers include the longtime Davis bassist, Paul Chambers, and the drummer throughout is Philly.
The Davis and Evans sessions noted would seem to represent the culmination of Bill's early period. They take the shy and self-deprecating young bebop pianist I had first met and recorded for Riverside in 1956 to a point some two years later where he briefly admitted liking his own work, had contributed very substantially to the new modal music of Miles and Trane, and had gained the praise and respect of major black jazz artists (a rare accomplishment in those years for a fledgling white musician).
The very next phase in his career took him in quite another direction. Not only did he choose to lock himself exclusively into a trio format, but he concentrated heavily on the possibilities opened up by a remarkable young bassist he had hired after a brief amount of on-the-job auditioning.
Scott LaFaro's unique approach to his instrument, plus the always adventurous work of drummer Paul Motian, led to a two-and-a-half-year period in which there was much emphasis on collective improvisation and a constantly growing rapport that, at its most successful, simply reached levels of performance interaction that no other trio has ever equaled. They were often close to their best on what turned out to be their final day's work together. By fortunate coincidence, it was fully taped; the two albums I produced from their matinee and evening sets of June 21, 1961 have been reissued on Milestone as The Village Vanguard Sessions.
The unique achievements of that trio were primarily a matter of the tremendous musical empathy between Evans and LaFaro. So, when Scott was killed in an auto accident ten days later, there could be no direct successor and no valid follow-ups. What had been created were some marvelous moments, and a suggested path (which no one as yet has really retraced and extended), but unfortunately not a tradition. Actually, for quite some time there was room for doubt as to whether Bill Evans as a creative force would entirely survive. He took the loss very hard; for a while he declined to work at all, and then only accepted a couple of briefsolo engagements. In all, it took the better part of a year before he found a bassist he felt he could relate to on a regular basis. That was Chuck Israels, who then remained with the trio from the spring of '62 until replaced by Eddie Gomez a full four years later.
Bill had already begun to get back into the studio: he appears on a mostly big-band Tadd Dameron LP recorded early in the spring, and in April had started on a never-completed solo piano project. The latter was abandoned largely because of a quite uncharacteristic spurt of recording activity that included all the material in this double album. The burst really began when Evans surprised me by announcing that he was ready to record with his new trio; eventually it meant that he was in three different studios on a total of eight separate occasions between April and August 1962, creating four-and-a-half albums* worth of solo, trio, and quintet selections.
I don't know how impressive that sounds to anyone else; to me, who was on hand for all of it, it is still overwhelming. It must be understood that I had for years been frustrated by Bill's overly cautious approach to recording: more than two years had elapsed between his first and second albums (mostly because he felt he didn't have anything new to say!); and although there were four albums by the trio with LaFaro, two of these resulted from that one-day, last-chance taping at the Vanguard. Only rarely had he mixed with other players on the active New York recording scene: in the mid-Fifties he had participated in some memorable experimental George Russell dates, but since then his only important non-trio moments had been on Kind of Blue, on Cannonball's 1958 Riverside debut album, and a duet recording with Jim Hall made for another label in, I believe, 1959. By early June of '62 we had two completed trio albums, only one of which was scheduled for quick release. So it was more than a little startling when Evans - that chronic under-recorder - came to me very shortly thereafter with the idea for the quintet sessions with trumpet and guitar that make up the first two sides here.* But it was a valid concept, and it was the sort of interplay with other major musicians that I had been hoping for. (Yes, the blues called "Interplay," which provided the album with its original title, was named by me.) In addition, it was an unfortunately practical idea. I am revealing nothing new when I note that Bill at this time and for some years before had been burdened with what often is described in public as "personal problems" and in real life as a severe dependency on narcotics.
I do not propose to discuss the physical, emotional, or sociological aspects of junk, or to make moral value judgments. I am specifically recalling some conflicting drives that I know to have been at work then, because I feel some awareness of the facts is helpful in appreciating the music and its setting. Evans, like certain others, was usually able to adjust externally to the problem; and I do not feel that his internal emotional reactions (whatever they might have been) detracted from his music. In other words, he could play. But this dependency uses up a lot of cash; the most feasible way for a musician who had not been working much in the past year to get money was from his record company.
Bill's record company at that time was Riverside; I signed checks at Riverside. It was not easy in those days to be his friend and producer and record company all at the same time. Other jazz labels of that period stockpiled albums quite regularly; I have never liked the idea of recording a man's music with no intention of issuing it until two or three years later-when he might by then have drastically altered his musical concepts. Nevertheless, recording ahead-so that advances could legitimately be paid to Bill-seemed the only way to deal with both the artist's and the company's cash-flow problems in this situation. Rather ironically, it turned out that 1 was to delay the initial release of the second quintet album for not two or three but a full 20 years.
I have no reason to believe these two albums would have been recorded when they were if not for Evans's problem at that time. Actually, knowing his personality and recording attitudes, I'm not at all sure they would ever have been proposed under other circumstances. However, I also consider them to be fascinating and valuable pieces of work: quite different from each other, but both well conceived and well thought-out, and diligently (sometimes brilliantly) executed. Bill made some demands on me that summer; we struck a bargain; and he totally delivered as promised - as he always did.
The first album was quickly assembled: Philly Joe was an obvious choice, and Percy Heath (deeply involved in the Modern Jazz Quartet but still accepting occasional outside record dates) was a strong favorite with both of us. Evans decided that a guitar would give more lightness and flexibility than a second horn; besides, he welcomed a chance to work with Jim Hall.
On trumpet, his first thought had been Art Farmer, who was unavailable; choosing young Freddie Hubbard, then only beginning to attract attention as an Art Blakey sideman, was a bit of a gamble, but it worked out just fine. Bill's repertoire choices were mainly standards from the Thirties, and Freddie was somewhat too young to know them. Instead of presenting a problem, that turned out to be an asset: it was easy enough for him to learn the tunes, and he didn't have any original concepts to unlearn. In most cases here the Evans approach runs against the grain of the usual interpretation of the song. (Lyrics are good clues to how a pop tune is normally treated, but even if you don't happen to know the words, it's soon clear that these versions are not trying to retain the emotions that led to titles like "I'll Never Smile Again" or "You and the Night and the Music") Tempos and spirits are mostly bright. The story of the previously unreleased August sessions is rather more complex. First of all, I wasn't even asked to do this one until after the July ates, making me feel a bit overloaded. Secondly, Bill informed me that he intended to record no less than seven original compositions. My suspicion was that the publisher he was dealing with was willing to give him advances on new tunes only when they were scheduled to be recorded.
Соисполнители не найдены
1 Loose Bloose 0:07:08 Evans
2 Loose Bloose 0:05:35 Alternate Take - Evans
3 Time Remembered 0:06:02 Evans
4 Funkallero 0:06:13 -"-
5 My Bells 0:05:25 -"-
6 There Came You 0:05:53 -"-
7 Fudgesickle Built For Four 0:04:31 -"-
8 Fun Ride 0:05:15 -"-


text:
In Remembrance: Leatrice Joy Gilbert Fountain, 1924 - 2015
Leatrice as a baby, left, and in her later years
One night in January 2010 Turner Classic Movies aired Rediscovering John Gilbert, a 45-minute documentary about the great star of the late silent era. I was aware of Gilbert and recalled that he had failed the transition to talkies because, it was said, his voice was too high and too thin. In the course of watching the documentary, which prominently featured the actor's daughter and biographer, Leatrice Gilbert Fountain, I learned that the causes of Gilbert's demise and early death were more complex than that. By the time the short film ended my curiosity was aroused and I decided to get my hands on a copy of Fountain's biography of her father, Dark Star, so jumped online and searched. I soon found and ordered one from Amazon, but I'd also noticed that the search had turned up information on the author; she was on Facebook. So I sent her a message...and she replied.
She told me that Dark Star had been nearly twelve years in the making and had involved "tracking people down, in some cases, just in time. These were very old Hollywoodites," she wrote, "but their memories were powerful."
Maria Riva (left) with her mother Marlene Dietrich and Leatrice
At the end of January I wrote, "I'm in the midst of Dark Star, which is fascinating, and was interested to read that your father went to Hitchcock Military Academy in San Rafael, which is where I live. I copied a historical map I found online and believe I know where it was..." Very near present-day San Rafael High School, I found out. Our Facebook correspondence continued and a friendly dialogue developed between us.
When I first knew Leatrice this blog didn't yet exist. I was a contributor to The Classic Film & TV Cafe then and also occasionally posted on the blog pages at TCM's Classic Film Union. In July 2010 I learned through the TCM guide "Now Playing" that John Gilbert would, for the first time, be honored with a day of his own - August 24, 2010 - as part of the network's annual "Summer Under the Stars" showcase. An idea occurred to me and I asked Leatrice if she'd like to do a Q&A with me about her father for a blog post at the Cafe that would publish in advance of his day on TCM. She agreed. My original plan was to conduct an interview in writing but what I didn't know then was that Leatrice had osteoarthritis and that lengthy written answers would be too much for her. Thankfully, she suggested a phone conversation and I would finally "meet her" - over the phone - on August 5th. We must've spoken for nearly an hour and a half.
The next day she messaged me: "I can't say when I enjoyed an interview more. It was just an easy conversation with a friend..." I felt the same way. She was so comfortable to talk with, so sharp and articulate - and what memories she had!
About John Gilbert...an Interview with Leatrice Gilbert Fountain posted at The Classic Film & TV Cafe on August 23. The piece brought many comments, including this one from Leatrice:
Leatrice in Of Human Hearts (1938)
"Lady Eve, I read your beautifully written blog about my father and when I reached the end, and read all the warm comments from your viewers, I was in tears. I am not unduly sentimental, but the response of people to my father's career is deeply moving. He was a brave, vulnerable, talented man who lived for his career. I only knew him during his last days when it all seemed to fall apart for him. Many of those he had known and worked with for years abandoned him. A few noble, loyal friends, Cedric Gibbons, Lewis Milestone, Lee Garmes, Carey Wilson, all veterans of the industry who knew bad things could happen to any of them, continued to see him and offer what help they could. Yesterday's event on TCM was an unexpected coda to his gallant struggle. Thank you all for your thoughts and goodwill."
Leatrice onstage at a screening
Leatrice celebrated her 86th birthday on September 6, and shortly afterward I was very happy to give her the news that our post about her father had been honored with the 2010 CiMBA Award from the Classic Movie Blog Association for "Best Profile of a Performer."
Lady Eve's Reel Life launched on September 10, 2010, and one of my earliest posts drew on an aspect of our conversation that wasn't featured in the Cafe piece: her father's home on Tower Grove Road in Beverly Hills. Titled The House That Jack Built, it told the story of that fabled estate, home to several of Hollywood's glitterati over its five-plus decade lifetime.
Leatrice and I stayed in touch through Facebook and every so often the subject of another interview came up. It finally happened in July 2011. This time we talked more about both of her parents - her mother was silent star Leatrice Joy - and we talked about Leatrice's life in more depth. Father and Mother Were Movie Stars: Leatrice Gilbert Fountain Remembers posted in August 2011. The piece closed with these lines, "I could've asked Leatrice to reminisce for days, but her two visiting sons returned from a fishing expedition and it was time for both of us to return to the 4th of July weekend and our daily lives. We agreed to talk again soon..."
Leatrice on Facebook
But this was not to be, our last contact was that summer day in 2011. Leatrice suffered a stroke a few months later and would go through a slow recovery process. She passed away peacefully in her sleep on January 20, 2015, at age 90.
I got to know Leatrice well enough during the year-and-a-half we were in touch to appreciate how fulfilling her long life had been. She spoke warmly of her beloved five children and many grandchildren; she had traveled the world and become a respected figure in the world of classic film; and she had rescued her father's tarnished reputation with her biography of him. The woman who so generously shared her amazing memories with me was extremely bright, gracious and witty. But what I seem to recall most and can still hear, is her lovely voice. Rich and melodious, like the chime of fine aged crystal, it's beauty seemed to personify her.
Posted by The Lady Eve at 3:55 PM
Labels: John Gilbert, Leatrice Gilbert Fountain, Leatrice Joy, Leatrice Joy Gilbert, The Lady Eve (author)
Rick29 December 30, 2015 at 9:12 PM
Your interview with Leatrice Gilbert Fountain was fabulous--it's still one of my all-time favorite posts on any movie blog. As you said, she was insightful and witty and shared her memories of her father and a movie era that will never be replicated. She will be missed.
The Lady Eve December 30, 2015 at 10:55 PM
Thank you, Rick, for your kind words and for much more. You've been encouraging and supportive of me as a writer/blogger since we first met nearly seven years ago at TCM's CFU. I was and still am honored to have been one of the Cafe's original contributors.
Motorcycle Boy January 2, 2016 at 8:27 AM
What a dignified looking woman - to have aged with such grace often indicates strength of character. I very much appreciated your piece on Leatrice; it's memorable for being both touching and enlightening, a personal portrait of a Hollywood legend, seen through the loving eyes of his daughter.
The Lady Eve January 2, 2016 at 12:38 PM
Thanks, MCB. Leatrice certainly did have strength of character and dignity. I am extremely fortunate to have known her. And honored.
Christian Esquevin January 24, 2016 at 10:31 AM
This is a wonderful tribute to Leatrice Joy Gilbert Fountain. I read your original thorough and outstanding piece in 2011. I had been an MGM early film fan and had admired John Gilbert's films (especially with Garbo) but also The Big Parade. I had read enough to know he was ill-treated at the studio. How great it was that his daughter could help revive his image and you could be part of that.
The Lady Eve January 24, 2016 at 11:08 AM
Thank you, Christian. It was a pleasure to know Leatrice, a woman I admired very much for several reasons, particularly for rescuing her father's legacy
What was the connection between Leatrice and Irene Ryan ?
Were they related somehow and is that Irene Ryan the "Granny" Irene Ryan of Beverly Hillbillies fame ?
If there was a connection, I'm unaware of it.
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Ølgod is een plaats en voormalige gemeente in de Deense regio Zuid-Denemarken, gemeente Varde. De plaats telt 3965 inwoners (2008).

Bij binnenkomst in Ølgod (vanuit Varde) valt meteen de Watertoren in het oog. Echter, de gemeente was van zins deze te slopen, omdat het bouwwerk erg instabiel was geworden. Een fonds werd opgericht (Vedligeholdelsesfonden Ølgod gl. Vandværk; Onderhoudsfonds Ølgod Oude Waterwerk), en geld bijeengebracht, om de toren te redden. Het fonds is nu opgeheven, en het geld overgedragen aan de gemeente Ølgod, die opgegaan is in de gemeente Varde.

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Vic Rawlings
About Vic
Price & Schedule
Tenor Guitar/Banjo
Workshops & Special Projects
Prepared Cello
Electronics / Speakers
Projects & Groups
Linefork
NavigateMusic Instruction – About Vic – Price & Schedule – One-Liners – Acoustic Guitar – Electric Guitar – Electric Bass – Banjo – Mandolin – Ukulele – Tenor Guitar/Banjo – Workshops & Special Projects Improvised Music – Prepared Cello – Electronics / Speakers – Projects & Groups – Releases – Performances – CV – Press – Press Kit – Writing – Instruction Contact Linefork
Vic Rawlings is a composer, improvisor, teacher, and instrument builder based in Boston. He performs and teaches across North America and Europe. He uses instruments of his own design: an amplified/extensively prepared cello and a highly unstable electronic instrument with an array of exposed speaker elements. He collaborates with a broad range of artists (Christian Wolff, Ikue Mori, Andrea Neumann, Sean Meehan, and Bhob Rainey), and works in film, theater and dance. His writings have appeared in a variety of journals and his work has been widely reviewed.
He gives artist talks and leads master classes and workshops at numerous and diverse institutions, including Harvard, Princeton, Oberlin Conservatory, schools for the blind, high schools, grade schools, juvenile detention facilities and homeless shelters. His sound-based music curriculum engages students of all levels in participatory experiences that broaden their appreciation of the phenomenon of sound and the possibilities presented by music.
Ensembles/Collaborations
The BSC: amplified/prepared cello, electronics with Bhob Rainey, director, (soprano saxophone), James Coleman (theremin), Greg Kelley (trumpet), Mike Bullock (contrabass), Howard Stelzer (tapes), Liz Tonne (voice), Chris Cooper (prepared guitar).
undr quartet: amplified/prepared cello, electronics with Liz Tonne (voice), Greg Kelley (trumpet), James Coleman (theremin).
Duo with Mike Bullock: amplified/prepared cello, electronics with Mike Bullock (contrabass and electronics).
Duo with Tim Feeney: amplified/prepared cello, electronics with Tim Feeney (percussion).
Mawja: amplified/prepared cello, electronics with Mike Bullock (contrabass and electronics), and Mazen Kerbaj (trumpet).
Symptomatic: electronics with Steve Norton (reeds).
Lucre: amplified/prepared cello, electronics with Bryan Eubanks (electronics), and Chris Cogburn (percussion).
NRA: amplified/prepared cello, electronics with Tatsuya Nakatani (percussion), and Ricardo Arias (bass balloon kit).
Laurence Cook Disaster Unit: amplified/prepared cello, electronics with Laurence Cook (percussion), Jason Lescalleet (tape loops, objects), and Greg Kelley (trumpet, microphone).
Other collaborations: Michael Pisaro, Ikue Mori, Christian Wolff, Lionel Marchetti, Lê Quan Ninh, Jérôme Noetinger, Eddie Prévost, Keith Rowe, Otomo Yoshihide, Andrea Neumann, Borah Bergman, Daniel Carter, Donald Miller, Jaap Blonk, Stephen Drury, Laurence Cook, Christine Sehnaoui Abdelnour, Sharif Sehnaoui, Jack Wright, Newton Armtrong, Bertrand Gauguet, Sean Meehan, Jake Meginsky, Bill Nace, David Gross.
Master Classes/Residencies/Workshop Presentations/Awards
Providence Community Music Works, Providence, RI. Semester-long teaching residency and performance with student ensemble. Introduced grade-school string players to instrumental preparations, amplification, extended techniques, and their use in sound-based free-improvisation.
Dartmouth College, Hanover, NH. Master class: Collective Free Improvisation, with Tim Feeney.
Texas School for the Blind and Visually Impaired, Austin, TX. Workshop: Sonic Exploration: Exercises & Activities.
Oberlin Conservatory, Oberlin, OH. Workshop: Electroacoustic Instrument Building, master class: Collective Electroacoustic Improvisation (with Tim Feeney), lecture: Rehearsal Techniques of The BSC (with Mike Bullock) as part of FestivOINC.
Massachusetts Institute of Technology, Cambridge, MA. Workshop: Electroacoustic Instrument Building, master class: Collective Electroacoustic Improvisation.
University of Texas, San Antonio, TX. Workshop: Electroacoustic Instrument Building (with Bryan Eubanks).
Hardy Elementary School, Arlington, MA. Taught 8-week course: Sound Exploration Studio for 3rd, 4th, and 5th grade students based in exploration of sound through listening exercises, physics demonstrations, and sound-based improvisation.
Nameless Sound, Houston, TX. Teaching residency, workshops: Electroacoustic Instrument Building for teen ensemble, Sonic Exploration: Exercises & Activities for groups of children in community centers, schools, and homeless shelters.
University of California, Santa Barbara, CA. Artist talk and workshop: Electroacoustic Instrument Building (with Tim Feeney).
No Idea Festival, Austin/San Antonio, TX. University of Texas, San Antonio, Workshop: Now that there's cool gear, what do we do? (with Bryan Eubanks); workshop also presented at Switched On, Austin, TX; Recipient of Meet The Composer Grant.
Universidad Autónoma de Yucatán, Mexico. Artist talk and workshops: Basic Hardware Hacking and Electroacoustic Instrument Building.
Pilgrim Treatment Center (juvenile detention center), Boston, MA. Semester-long teaching residency as visiting artist. Artist talk, Workshop: Sonic Exploration: Exercises & Activities.
Oberlin Conservatory, Technology in Music and the Related Arts (TIMARA), Oberlin, OH. Workshop: Cardew's Treatise, (with Tim Feeney).
Michigan State University, East Lansing, MI. Artist talk and master class: Collective Electroacoustic Improvisation (with Tim Feeney).
University of California, Berkeley, Center for New Music and Audio Technology (CNMAT), Berkeley, CA. Artist talk and workshops: Electroacoustic Instrument Building, Collective Free Improvisation (with Tim Feeney).
Megapolis Festival, Boston, MA. Workshops: (Easy/Uncomplicated/Elemental) Electroacoustic Instrument Building and Collective Free Improvisation (with Bhob Rainey).
University of California, Davis, CA. Workshops: Electroacoustic Instrument Building, Collective Electroacoustic Improvisation (with Tim Feeney).
Cornell University, Ithaca, NY. Artist Talk and panel discussion with Tim Feeney, Newton Armstrong. Presented by Department of Music.
STEIM, Amsterdam, Netherlands. Ensemble residency with Mawja.
Rivers School Conservatory, Weston, MA. Seminar on Contemporary Music for the Young. Lecture/performance: Contemporary Improvised Music and Sound: Context, Method, Performance (with Tatsuya Nakatani). Semester-long teaching residency: introduced grade- and high-school classical musicians to instrumental preparations, amplification, extended techniques, and their use in sound-based free-improvisation. Performance with student ensembles at the Seminar.
Wesleyan University, Middletown, CT. Artist residency with The BSC. Performance of student works in Memorial Chapel.
Princeton University, Princeton, NJ. Artist residency with The BSC. Performance of student works with The BSC and duo performance with Prof. Dan Trueman.
Harvard University, Cambridge, MA. Artist in Residence. Led workshops on collective improvisation. Solo and student ensemble performance at Paine Hall.
Multicultural Education and Counseling Through the Arts (MECA) Community Center, Houston, TX. Artist residency. Led group improvisation workshops and ensemble performance with high school and adult students, presented by Dave Dove and the Pauline Oliveros Foundation.
Music Instructor: Fretted Instruments (guitar/banjo/mandolin/bass, etc.).
Develop curriculum and teach traditional/contemporary styles of music and music theory, with an emphasis on free and idiomatic improvisation for students aged 5 to 83. Private instruction and ensemble coaching.
Tinicum Art and Science High School, Tinicum, PA, Music Department Faculty and curriculum development.
Uphams Corner Charter School, Boston Public Schools, Boston, MA. Teacher.
Developed curriculum for, and taught Middle School music and sound exploration program based in part on R. Murray Shafer's book, Creative Music Education.
Citybound Residential Treatment Center, Boston, MA. Expressive Therapist.
Initiated and implemented music/expressive therapy group at residential treatment facility for at-risk urban youth. Supervised DSS-referred male adolescent special needs population in all aspects of residential life.
1988 B.A., Psychology, Boston College, Magna Cum Laude
2003–2013 Independent study of eastern Kentucky banjo styles with Lee Sexton, Linefork, KY
1990–2000 Independent study: cello technique with George Neikrug, Rhonda Rider
1994–1995 Independent study: sarangi technique with Chand Khan, Varanasi, India
1990–1994 Independent study: microtonal theory with Joe Maneri, New England Conservatory
1996–1999 Apprenticeship, Violin Family Restoration, with Ken Meyer, Newton, MA
1995 & 1996 Oberlin Violin Restoration Workshops, Oberlin Conservatory, Oberlin, OH
Selected Performances/Installations
Sound Installation for 54-channel speaker system, voice recording, and motor-activated switch in collaboration with Susan Howe, poet, at Bennington Writers Seminars, Bennington College, Bennington, VT.
Dartmouth College, Dartmouth, NH. Presented by Music Department. With Tim Feeney.
Cage: Beyond Silence, a festival of John Cage, Philadelphia, PA (presented by Bowerbird in conjunction with the Philadelphia Museum of Art). Performances by The BSC: John Cage's Song Books, at The Episcopal Cathedral of Philadelphia and The Philadelphia Museum of Art.
FestivOINC, Oberlin Conservatory, Oberlin, OH. Presented by Modern Music Guild. Duo performance with Tim Feeney and large ensemble performance including students and other faculty.
No Idea Festival, Austin and San Antonio, TX. Performances with Greg Kelley, Bhob Rainey, Andrea Neumann, Chris Cogburn, Bryan Eubanks.
Tour of the Northeast United States. With Mawja.
CREATE (Center for Research in Electronic Art Technology), University of California-Santa Barbara. With Tim Feeney.
Songlines Concert Series, Mills College, Oakland, CA. Duo with Tim Feeney; trio with Feeney and James Fei, (winds).
SASSAS (The Society for the Activation of Social Space Through Art and Sound), in collaboration with Human Resources, Los Angeles, CA. Duo with Tim Feeney; trio with Feeney and Casey Anderson (winds/electronics).
Boston Cyberarts Festival, Boston, MA. Curated by Eric Chasalow. With Bryan Eubanks.
Goethe-Institut, Boston MA. Curated by Non-Event. With Greg Kelley, Liz Tonne, Jake Meginsky.
Cha'ak'ab Paaxil Festival, Merida, Yucatan, Mexico. Solo and collaborative performances. Also performances in Mexico City at Fonoteca Nacional, Laboratorio Arte Alameda.
The Stone, New York, NY. With Mike Bullock.
Hampshire College, Amherst, MA. A night of…Michael Pisaro…, Performance of compositions with the composer.
Floating Points Festival, Issue Project Room, Brooklyn NY. With Tim Feeney and Ricardo Arias.
Modern Music Guild, Oberlin College, Oberlin, OH. With Tim Feeney.
The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC), RPI, Troy, NY. With The BSC and Pauline Oliveros.
PONDER 2: A full day of performances and installations, presented by Michael Pestel, Middletown CT. With Andrew Lafkas (contrabass), Bryan Eubanks, Mike Bullock. Single-String Instrument Live Performance/Installation.
New England Conservatory, 6-hour performance of Karlheinz Stockhausen Intuitive Musik as guest with Callithumpian Consort. Stephen Drury, director.
Center for New Music and Audio Technology (CNMAT), UC-Berkeley, Berkeley, CA. With Tim Feeney, Ken Ueno (voice), Matt Ingalls (clarinet).
Cantor Arts Center, Stanford University, Palo Alto, CA."The Metaphysics of Notation," Mark Applebaum, graphic score. With Tim Feeney.
Flux 53, Oakland, CA. With Tim Feeney, Ken Ueno (voice), James Fei (electronics), Chuck Johnson (electronics).
Cornell University, Ithaca, NY. Presented by Department of Music. With Tim Feeney and Newton Armstrong.
Mobius Gallery, Boston, MA. Presented by Non-Event. With Ikue Mori.
Bent Festival, NYC. Presented by The Tank at Downtown Community Television Center. With Bryan Eubanks.
Dartmouth College. Vaughn Recital Series. With Andrea Neumann, Jack Wright.
Middle East Club. Laurence Cook Disaster Unit 10-year concert.
Swedenborg Chapel, Cambridge, MA. Presented by Non-Event. undr quartet 10-year concert.
Musique Action Festival. Nancy, France. With NRA. Also performances in Toulouse and Paris with Frederic Blondy, David Chiesa, and Bertrand Gauguet.
STEIM, Amsterdam, Netherlands. Mawja and friends, with Christine Sehnaoui (alto sax), Sharif Sehnaoui (guitar), Jean-Léon Pallandre (recordings), as part of a weeklong residency.
Phoneme Festival presented by Bowerbird at Circle of Hope, Philadelphia PA. Curated by Dustin Hurt. 3-concert series with The BSC and sub-groupings.
Festival International de Musique Actuell de Victoriaville, Québec, Canada. With NRA.
Issue Project Room, Brooklyn NY. With The BSC.
Summer Institute for Contemporary Piano Performance, Jordan Hall, New England Conservatory, Boston MA. With The BSC and Christian Wolff.
Seattle Improvised Music Festival. Gallery 1412. Seattle, WA. With Mike Bullock, others.
Bent Festival, New York, NY. Presented by The Tank, Harvestworks. Solo electronics.
Jordan Hall, New England Conservatory, Boston, MA. Enchanted Circle Series. With The BSC and Christian Wolff: "Edges", composed by Wolff.
Vision Festival, New York, NY. Curated by William Parker. With NRA.
Roulette at Location One, New York, NY. With NRA.
Summer Institute of Contemporary Piano Performance, New England Conservatory, Boston, MA. presented by Stephen Drury. With The BSC: "Treatise" composed by Cornelius Cardew.
Tonic NYC, New York, NY. With Mike Bullock.
Improvised and Otherwise Festival at Bric Studio 57, Brooklyn NY. With Mike Bullock.
Les Voûtes, Paris, France. Trio with Mike Bullock and Benjamin Renard (electronics).
Ten-day tour in France, including Les Instants Chavirés, Paris. Solo improvisation and duo with Mike Bullock.
New Music Brandeis: Aleatoric and Improvised Music, Brandeis University, Waltham, MA. With undr quartet.
BEAMS Electronic Music Marathon, Boston CyberArts Festival, Brandeis University, Waltham, MA. Curated by Eric Chasalow. With Greg Kelley.
Festival of New Trumpet Music, at Tonic, New York, NY. Curated by Dave Douglas and Roy Campbell Jr. With Greg Kelley and Sean Meehan.
Ten-day tour of the eastern and southern United States with The BSC, including Wesleyan University, Middlebury, CT.
Durrell Hall, Cambridge, MA. Presented by Non-Event. With The BSC and Otomo Yoshihide.
Faculty Recital, New England Conservatory, Boston, MA. With Masashi Harada Condanction Ensemble and guest Malcolm Goldstein.
Ten-day tour of the eastern and southern United States, including Alliance for Improvised Music (AIM), curated by Walt Davis, Chapel Hill, North Carolina. Solo improvisations and duo with Mike Bullock.
Summer Institute of Contemporary Piano Performance, New England Conservatory, Boston, MA. Curated by Stephen Drury. "Unlimited" by Karlheinz Stockhausen, with The BSC and Drury.
Impulse Response, iEAR Studios, Rensselaer Polytechnic Institute, Troy, NY. Curated by Jason Murphy and Scott Smallwood. With undr quartet.
Summer Institute of Contemporary Piano Performance, New England Conservatory, Boston, MA. Curated by Stephen Drury. Performance of one page from "Treatise" by Cornelius Cardew. With The BSC and guest, Drury.
Mobius Gallery, Boston, MA. Participant in performance/installation: "My Five-Year-Old Daughter Could Do That, an Anti-Music Performance and Installation" by Greg Kelley.
New England Conservatory, Boston, MA. Morton Feldman Concert Series, curated by Stephen Drury. With undr quartet.
Autumn Uprising Festival of New Improvised Music, Institute of Contemporary Art Boston, Boston, MA. Curated by David Gross and James Coleman. With undr quartet and Eddie Prevost's Boston Procession.
Two-week tour of the eastern United States with Greg Kelley, including Wake Forest University, Winston-Salem, North Carolina, presented by Louis Goldstein.
Two-week tour of the United States with Saturnalia String Trio with Daniel Carter, including Salvador Dali Museum, Clearwater, FL, and Music of the Moment Series, curated by LaDonna Smith, Birmingham, Alabama.
Vision Festival, New York, NY. Curated by William Parker. With Saturnalia String Trio with Daniel Carter.
Massachusetts Institute of Technology (MIT), Cambridge, MA. Live performance contribution to vibro-sonic installation, "The Live Room, at the Limits of Architecture and Improvisation," by Mark Bain. With Greg Kelley, Bhob Rainey, James Coleman.
Tour of northeastern US with the Laurence Cook Disaster Unit, as opening act for Borbetomagus.
One Day 4 Contemporary Art at the Institute of Contemporary Art, Boston, MA. Live soundtrack performance for "The Way Things Go," a film by Peter Fischli & David Weiss. With ensemble.
Multi-instrumentalist (cello/banjo/sarangi/keyboard/mandolin) with avant-rock group Mile Wide. Performances in New York, Cambridge, and Boston, including shows at The Knitting Factory, Middle East, TT The Bear's, Jacque's Cabaret, And Massachusetts College of Art (1995-1997).
Selected Reviews/Features/Scholarship
The Wire, "The Sound Sorcerers of EAI" by Dan Warburton.
Paris Transatlantic, "The BSC: Manual" review by Michael Rosenstein.
Analytical and Cross-Cultural Studies in World Music, Oxford University Press, "Timbre-and-Form: The BSC and the Boston Improvising Community" by Lou Bunk.
Decibel Magazine, "Truck Krone" review by Scott Seward.
Just Outside, "Live One" review by Brian Olewnick.
The Kind of Music We Play': A Study of Self-Idiomatic Improvised Music and Musicians in Boston," Featured artist in dissertation for the PhD in Electronic Arts, Bullock, Rensselear Polytechnic Institute.
Handmade Electronic Music: The Art of Hardware Hacking(Second Edition), by Nicolas Collins, Routledge. Text, video, and photo documentation of Rawlings' open circuit electronics instrumentation.
The Wire, "In Six Parts" review by Dan Warburton.
Paris Transatlantic, "On That Which Is Best and the Best That Can Be Done Under the Circumstances" review by Dan Warburton.
The Village Voice, "NRA Live at Office Ops" review by Chuck Eddy.
The Wire, "Fall of Song" review by Keith Moline.
Selected Articles and contributions
SoundAmerican.org, "BSC on John Cage's Song Books," with Vic Rawlings, Bhob Rainey, Liz Tonne, Mike Bullock, Interview by Nate Wooley, 2012.
"Should We Teach Experimental Music to Children?" by Vic Rawlings, Intransitive Magazine, 2010.
"My Favorite Things: The Joy of the Gizmo" by Vic Rawlings, Leonardo Music Journal, LMJ 17, 2007.
Test Pattern, WZBC, Guest Curator, Shirley Collins Retrospective, 2006.
"Whereupon There Is Not There Is Also Another That," YDLMIER, Cassette.
"Truck Krone," split premiere solo releases with Liz Tonne, Semata Productions, Cassette.
"Green Report 7," duo with Tatsuya Nakatani, LP (forthcoming).
"Nowhere Fast," with Graveyards (John Olson and Ben Hall) and Bhob Rainey, LP (forthcoming).
"The BSC: Manual," NO Books, book and audio recordings of three performances.
"Fairchild Chapel," Feeney/Rawlings, Homophoni, digital download.
"Failed State," Symptomatic , YDLMIER, Cassette.
"By My Side; I Am Your's," duo with Howard Stelzer, Intransitive Records, CD.
"Ithaca Recordings," Feeney/Rawlings, The Watchful Ear Listen Series, digital download.
"Exploding Heart Mixes" (film soundtrack), with Brendan Murray, Students Of Decay, CD.
"LCDU 1998," Laurence Cook Disaster Unit, self-released, CD, Limited Edition.
"Live One," MAWJA, Chloë, CD.
"Studio One," MAWJA, al Maslakh, CD.
"On that which is best, and the best that can be done under the circumstances," Rawlings/Bullock, Fargone, CD.
"In Six Parts," Feeney/Rawlings, Sedimental, CD.
"Pancake Alley," guest banjo and electronics with United States Of Belt, Champ Records, CD.
"N.R.A. (2)," N.R.A., Audio Dispatch, CD.
"Enterprising Mass of Cilia," with Masashi Harada Condanction Ensemble, Emanem, CD.
"Fall of Song," Rawlings/Bullock, Chloë, CD
"Good," The BSC with Axel Dörner, Andrea Neumann, Grob, CD.
"Open," trio with Howard Stelzer and Jason Talbot, BOXmedia, CD.
"Ziuhitsu," undr quartet (two tracks) and duo with James Coleman (one track), Sedimental, CD.
"Fin de la Voix," electronics with Due Process (Ron Lessard and Jason Lescalleet), RRRecords, CD.
"Everything's Fine," guest cello, banjo with Willard Grant Conspiracy, Rykodisc, CD and LP.
"Saturnalia String Trio with Daniel Carter," self-titled, Sublingual, 7″.
"Mile Wide", self-titled, Unlikely Records, CD.
Selected Music For Film/Theater/Dance
"Glen, Girl, Gallery," Gwen Welliver, choreographer. Center for Performance Research, New York, NY. Composed and performed live score for dance with Jake Meginsky.
Black Diamonds: Mountaintop Removal and the Fight for Coalfield Justice, feature-length film by Catherine Pancake. Solo banjo improvisations.
Clara Wainwright: Tales of a Community Quilt, film by Alla Kovgan, soundtrack with Tatsuya Nakatani.
"Red Haired Boy," at Tsai Performance Center, Boston University, Boston, MA. Collaborative sound and movement performance with the Nicola Hawkins Dance Company. Composition for banjo.
"Landscape," at Tsai Performance Center, Boston University, Boston, MA. Sound and movement performance with Nicola Hawkins Dance Company. Composition for solo amplified aluminum cello.
Ebbing, film by Jeff Silva, soundtrack with Tatsuya Nakatani.
Belongings, film by Alla Kovgan, soundtrack.
"Misguided Again," at Mobius Gallery, Boston, MA, sound design for multi-media installation/performance (film by Pixonik Labs).
"We Have Always Lived in the Castle," at Killian Hall, MIT, Cambridge, MA. Sound design for theater performance by Charlestown Working Theater Group.
"My Murderer," at Mobius, Boston, MA. Sound design for theater performance by Charlestown Working Theater Group.
Electronics: hardware hacking, basic circuit building, creative re-appropriation of materials.
Fine wood- and metal-working bench skills.
String instrument (fretted and violin family) restoration, repair, and modification.
In addition to creating/modifying my own instruments, I have created/modified instruments/preparations and performance-based audio equipment for Jason Lescalleet, Greg Kelley, Bhob Rainey, Chris Cogburn, and others.
© 2022 Vic Rawlings.


Working from home is increasing in popularity as technology and the internet take on bigger roles in the world of business. Online sales, marketing services and writing are just a few examples of fields that open the door for individuals to make money from the comfort of their own homes. Below is a list of methods for making online that may be of interest.
As companies become more reliant on blogging and other forms of online copy for marketing, freelance writing opportunities have become more abundant. Writing emails, drafting sales copy and contributing to blogs are examples of ways you can get paid to write from the comfort of your own home. By sending writing samples to websites such as Interact Media you may be able to start writing content for a profit.
For example, companies that hire freelance writers may ask that you generate blog posts for relevant topics such as addiction treatment programs While you may not get to write about your most preferred areas of interest right off the bat, getting your name out there and developing a web-based writing portfolio can go a long way toward establishing yourself as a talented and sought-after freelancer.
Web marketing is increasingly becoming a priority for businesses. As the importance of the web grows for businesses, so does the value they place on their websites. For an individual who knows html and the basics of website development the opportunity exists to serve as a freelance web developer.
If you have experience in developing websites for friends or family members, howstuffworks.com suggests setting up an online portfolio to display your work. From there, you can create a LinkedIn profile and other social media channels for letting businesses know about your services and talent.
Websites such as eBay, Amazon and Half.com offer people the chance to take up online sales as a source of income. These sites are easy to use and charge fairly inexpensive fees for listing goods for sale. In terms of these listing charges, both eBay and Amazon offer frequent deals that allow you to try posting a few items for free in order to get you started.
While most people utilize these sites to sell odds and ends from around the house, others have adopted this branch of online sales as a full-time occupation. If you intend to sell frequently, consider setting up an online store via eBay or Amazon on which you can list all of your items.
The opportunity to make money online is one that continues to expand and diversify. Based on your own unique talents and interests you may be able to find a method that works for you.
Alicia is a content coordinator for a tech company. In her free time, she enjoys hiking and making small animal traps, cooking healthy meals, and blogging about health, tech and communication.
Don't Overlook These 3 Non-Writing Ways to Make Money Online 5 Ways to Earn Money Through Social Media What is Better, Online Bill Pay or Checks by Mail? WordGigs: Is it Worth Your Time?
What you're saying is completely true. I know that everybody must say the same thing, but I just think that you put it in a way that everyone can understand.
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text:
Q: How do I prove these functions are linear independent? So i need to determine if these functions are linear dependent or independent:  $$f_1(x)= \ln(\sqrt{x^2+1}+x)\\f_2(x)= \ln(\sqrt{x^2+1}-x) $$
I cant find the way to resolve this, can anyone help me? Thank you

A: $$f_1 (x)=\ln (\sqrt {x^2+1}+x) $$
then multiplying by the conjugate, we get
$$f_1 (x)=\ln (\frac {x^2+1-x^2}{\sqrt {x^2+1}-x} )$$
$$=\ln (\frac {1}{f_2 (x)} )$$
$$=-f_2 (x) .$$
what is your conclusion ?.

A: HINT: solve the equation
$$\alpha\ln(\sqrt {x^2+1}+x)+\beta\ln(\sqrt{x^2+1}-x)=0$$ for all real $x$

redpajama_set_name: RedPajamaStackExchange


Study of general and oral pathology with emphasis on disease and anomalies related to the oral and paraoral structures. 2 Credits (2 Lecture) Prerequisite(s): BIO125 and BIO201 and DEN123 and DEN126 and DEN130 and DEN211. Corequisite(s): DEN204 and DEN212 and DEN214 and DEN216. Fall Only.


text:
County Fairs: Connecting Us to Our Agricultural Roots
This, dear urbanite, is how Texas grows
By Camille Wheeler October 2011
Image: Kent Barker
It's frightening, says a former executive director of the Texas Association of Fairs & Events, to think about how separated mainstream culture is from agriculture. As the state's population becomes more urban, many people don't understand, or consider, how food is grown and gets to the table.
We're losing our agricultural roots. And that, says Penny Reeh, who directed the fair association from 2002 until May, is why county fairs, big and small, are so important. The blue ribbons on canned goods represent more than local pride: Vegetables like okra, green beans and peas come from exhibitors' gardens.
The corn, potatoes, peppers, watermelons, pumpkins, grains and seeds in ag exhibits come from farmers' fields. And the livestock being shown and judged, from poultry to cattle, will be sold and enter the food chain.
"Those Chicken McNuggets and junior burgers have to come from somewhere," says Eddie Smith, a former president of the Walker County Fair Association in Huntsville.
This, dear urbanites, is how Texas grows. And this, says Reeh (pronounced RAY), president and CEO of the Fredericksburg Chamber of Commerce, is how it goes: County fairs bridge the gap between city and country while retaining local flavor and reflecting regional culture. The association counts a handful of big-city fairs, including the largest of them all—the State Fair of Texas in Dallas, which runs through October 23—among its approximate 120 members.
But most of the members are county fairs, each offering its own unique slice of rural life. And fall is the peak county fair season, so now's the perfect time to go.
Reeh sees county fairs as an iconic brand that immediately brings to mind nostalgic images: fair queens and princesses, carnival rides, rodeos, magicians, home-sewn clothing, children's petting barnyards, quilts, pies and cakes.
The challenge going forward, Reeh says, is to preserve the traditional county fair elements while offering entertainment for diverse crowds. Reeh's doing her part to uphold tradition: She grew up showing steers and hogs at the Gillespie County Fair in Fredericksburg and now is emcee of the county fair's parade, following in the footsteps of her father, who handled that job for 30 years.
"The fair product has endured, sustained and entertained generations of Texas families and will continue to do so," Reeh says. "The way the story is told must change, but the tale remains just as compelling today as it was to our ancestors."
Camille Wheeler, associate editor
This article appeared in the issue


text:
package dialer

import (
	"net"
	"net/http"
	"net/url"
	"os"
	"strings"
	"time"

	"golang.org/x/net/proxy"

	"github.com/syncthing/syncthing/lib/logger"
)

var (
	l           = logger.DefaultLogger.NewFacility("dialer", "Dialing connections")
	proxyDialer proxy.Dialer
	usingProxy  bool
	noFallback  = os.Getenv("ALL_PROXY_NO_FALLBACK") != ""
)

type dialFunc func(network, addr string) (net.Conn, error)

func init() {
	l.SetDebug("dialer", strings.Contains(os.Getenv("STTRACE"), "dialer") || os.Getenv("STTRACE") == "all")

	proxy.RegisterDialerType("socks", socksDialerFunction)
	proxyDialer = getDialer(proxy.Direct)
	usingProxy = proxyDialer != proxy.Direct

	if usingProxy {
		http.DefaultTransport = &http.Transport{
			Dial:                Dial,
			Proxy:               http.ProxyFromEnvironment,
			TLSHandshakeTimeout: 10 * time.Second,
		}

		// Defer this, so that logging gets setup.
		go func() {
			time.Sleep(500 * time.Millisecond)
			l.Infoln("Proxy settings detected")
			if noFallback {
				l.Infoln("Proxy fallback disabled")
			}
		}()
	} else {
		go func() {
			time.Sleep(500 * time.Millisecond)
			l.Debugln("Dialer logging disabled, as no proxy was detected")
		}()
	}
}

func dialWithFallback(proxyDialFunc dialFunc, fallbackDialFunc dialFunc, network, addr string) (net.Conn, error) {
	conn, err := proxyDialFunc(network, addr)
	if err == nil {
		l.Debugf("Dialing %s address %s via proxy - success, %s -> %s", network, addr, conn.LocalAddr(), conn.RemoteAddr())
		SetTCPOptions(conn)
		return dialerConn{
			conn, newDialerAddr(network, addr),
		}, nil
	}
	l.Debugf("Dialing %s address %s via proxy - error %s", network, addr, err)

	if noFallback {
		return conn, err
	}

	conn, err = fallbackDialFunc(network, addr)
	if err == nil {
		l.Debugf("Dialing %s address %s via fallback - success, %s -> %s", network, addr, conn.LocalAddr(), conn.RemoteAddr())
		SetTCPOptions(conn)
	} else {
		l.Debugf("Dialing %s address %s via fallback - error %s", network, addr, err)
	}
	return conn, err
}

// This is a rip off of proxy.FromURL for "socks" URL scheme
func socksDialerFunction(u *url.URL, forward proxy.Dialer) (proxy.Dialer, error) {
	var auth *proxy.Auth
	if u.User != nil {
		auth = new(proxy.Auth)
		auth.User = u.User.Username()
		if p, ok := u.User.Password(); ok {
			auth.Password = p
		}
	}

	return proxy.SOCKS5("tcp", u.Host, auth, forward)
}

// This is a rip off of proxy.FromEnvironment with a custom forward dialer
func getDialer(forward proxy.Dialer) proxy.Dialer {
	allProxy := os.Getenv("all_proxy")
	if len(allProxy) == 0 {
		return forward
	}

	proxyURL, err := url.Parse(allProxy)
	if err != nil {
		return forward
	}
	prxy, err := proxy.FromURL(proxyURL, forward)
	if err != nil {
		return forward
	}

	noProxy := os.Getenv("no_proxy")
	if len(noProxy) == 0 {
		return prxy
	}

	perHost := proxy.NewPerHost(prxy, forward)
	perHost.AddFromString(noProxy)
	return perHost
}

type timeoutDirectDialer struct {
	timeout time.Duration
}

func (d *timeoutDirectDialer) Dial(network, addr string) (net.Conn, error) {
	return net.DialTimeout(network, addr, d.timeout)
}

type dialerConn struct {
	net.Conn
	addr net.Addr
}

func (c dialerConn) RemoteAddr() net.Addr {
	return c.addr
}

func newDialerAddr(network, addr string) net.Addr {
	netaddr, err := net.ResolveIPAddr(network, addr)
	if err == nil {
		return netaddr
	}
	return fallbackAddr{network, addr}
}

type fallbackAddr struct {
	network string
	addr    string
}

func (a fallbackAddr) Network() string {
	return a.network
}

func (a fallbackAddr) String() string {
	return a.addr
}

redpajama_set_name: RedPajamaGithub


text:
Drop Zone () é um filme de ação e aventura de 1994 dirigido por John Badham.

Sinopse
Prisioneiro transportado em avião foge espetacularmente de pára-quedas. Mesmo suspenso do caso, o policial responsável decide persegui-lo por conta própria. Para tanto, se infiltra no mundo dos pára-quedistas e descobre o envolvimento dos criminosos na venda de informações secretas para o crime organizado.

Elenco
Wesley Snipes ....	Pete Nessip
Gary Busey .... Ty Moncrief
Yancy Butler .... Jesse Crossman
Malcolm Jamal-Warner .... Terry Nessip
Kyle Secor .... Swoop
Rex Linn .... Bobby
Corin Nemec .... Selkirk
Claire Stansfield .... Kara
Michael Jeter ....	Earl Leedy

Filmes dos Estados Unidos de 1994
Filmes de ação dos Estados Unidos
Filmes de aventura dos Estados Unidos
Filmes de ação da década de 1990
Filmes de aventura da década de 1990
Filmes em língua inglesa


text:
Welcome To Ephpheta
Catholic Centre For Deaf & Hard Of Hearing People
Make a Bequest for the Ephpheta Centre
A bequest to the Ephpheta Centre will help the Ephpheta Centre continue to support and provide services to the deaf community. Whilst we are proudly Catholic, we aim to support all deaf and hard of hearing people in a variety of capacities.
The Ephpheta Centre is a not-for-profit Catholic organisation which provides support to Deaf and hard of hearing people and their families throughout the Greater Sydney Area. The Centre receives no Government funding and is primarily funded by the Charitable Works Funds of the Catholic Archdiocese of Sydney, Parramatta and Broken Bay.
Many people in our Deaf Community suffer extreme isolation from social, business and educational communities. The Ephpheta Centre endeavours to address this isolation and has a strong focus on community development and support projects that enable, educate, encourage and benefit the Deaf to more actively participate in a variety of activities.
Your gift will help us fund valuable programs to meet the needs of the many disadvantaged members of our deaf community and provide programs and services to meet the increasing needs of deaf people.
By including the Ephpheta Centre in your Will, you will be sharing our vision of a strong and inclusive community. Your support is very important to us and the Ephpheta Centre!
For more information about how to leave a bequest in your will to the Ephpheta Centre, please contact the Ephpheta Centre:
e: office@ephpheta.org.au
Calendar List Of Events
Friday Morning Mass
Mutiple Events (click to view)
Gosford Mass
Blacktown Mass
Punchbowl Mass
Faith in Auslan
Deaf Directory
Deaf Organisations
Deaf History
Deaf Cafe
Deaf Youth Sydney
Deaf Mens Day Out
Deaf Womens Day Out
Copyright © Ephpheta 2013


text:
Q: carrierwave uploader validates :presence => true not working model/songs.rb
require 'file_size_validator'
  class Song < ActiveRecord::Base
    mount_uploader :attachment, AttachmentUploader
    validates :attachment, :presence => true,
        :file_size => {:maximum => 2.megabytes.to_i}
  end

new.html.erb
<div class="well">
 <%= form_for @song, html: { multipart: true } do |f| %>
  <%= f.label :attachment %>
  <%= f.file_field :attachment %>
  <%= f.submit "Upload", class: "btn btn-primary" %>
 <% end %>
</div>

when I submit empty form or form without file selection it gives error as :-
ActionController::ParameterMissing at /songs

param is missing or the value is empty: songs

actionpack (4.1.4) lib/action_controller/metal/strong_parameters.rb

    182   def require(key)

    183     self[key].presence || raise(ParameterMissing.new(key))

    184   end

I'm wondering why ActiveRecords::Base validates :presence => true not working.
(new bie to rials)
songs_controller.rb
require 'zip'
require 'taglib'
class SongsController < ApplicationController
  respond_to :html, :js

  def index
    session[:ids] = nil
    @songs = Song.where("song_name IS NOT NULL AND song_path IS NOT NULL").page(1).per(5)
  end
  def new
    @song = Song.new
    @songs = Song.find(session[:ids]) if !session[:ids].nil?
  end
  def create
    @song = Song.new(song_params)

    if @song.save
    puts @song.errors.messages
    zip_file_path = Pathname.new(@song.attachment.current_path)
    destination_path = zip_file_path.dirname

    unzip(zip_file_path, destination_path, true) if zip_file_path.extname == ".zip"
    session[:ids] = Array.new
    Dir.glob("#{destination_path}" + '/*') do |music_files|

      if %w(.mp3 .wav .aac .wma .m4a).include? File.extname(music_files)

        song_details = extract_music_metadata(music_files)
        if !song_details.nil?
          @song = Song.new(song_details)
          session[:ids].push(@song.id) if @song.save
        end

      else
        File.delete(music_files)
    end
   end
    redirect_to new_song_url, notice: "The contents of zip files are listed below !!!"
  else
    render "new"
  end
end

def edit
  @song = Song.find(params[:id])
end

def update
  @songs = Song.where("song_name IS NOT NULL AND song_path IS NOT NULL").page(1).per(5)
  @song = Song.find(params[:id])
  @song.update_attributes(song_params)
  if !session[:ids].nil?
    @songs = Song.find(session[:ids])
  end
end

def delete
  @song = Song.find(params[:id])
end

def destroy
  @songs = Song.where("song_name IS NOT NULL AND song_path IS NOT NULL").page(1).per(5)
  @song = Song.find(params[:id])
  @song.destroy
  File.delete(@song.song_path)
    if !session[:ids].nil?
    @songs = Song.find(session[:ids])
  end
end

private

def song_params
  params.require(:song).permit(:attachment, :title, :artist, :album, :year, :track,
                               :genre, :comment)
end

# extract contents of a zip file
def unzip(zip, unzip_dir, remove_after = false)
  Zip::File.open(zip) do |zip_file|
    zip_file.each do |f|
      f_path=File.join(unzip_dir, f.name)
      FileUtils.mkdir_p(File.dirname(f_path))
      a = zip_file.extract(f, f_path) unless File.exist?(f_path)
    end
  end
  FileUtils.rm(zip) if remove_after
end

def extract_music_metadata(music_files)
  TagLib::FileRef.open(music_files) do |fileref|
            unless fileref.null?
              tag = fileref.tag
              song_details =  {
                              song_name: File.basename(music_files),
                              song_path: music_files,
                              title: tag.title,
                              artist: tag.artist,
                              album: tag.album,
                              year: tag.year,
                              track: tag.track,
                              genre: tag.genre,
                              comment: tag.comment
                              }
      end
    end
  end
end

Error from console is:
Started POST "/songs" for 127.0.0.1 at 2014-10-16 11:45:10 +0545
Processing by SongsController#create as HTML
  Parameters: {"utf8"=>"✓", "authenticity_token"=>"oLgt6szICw1/4FIiP4dQk2IGSPqQb3l7roS0E1l7ovk=", "commit"=>"Upload"}
Completed 400 Bad Request in 1ms
ActionController::ParameterMissing - param is missing or the value is empty: song:


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Capital punishment: there will always be a significant debate about this.
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text:
Vanessa & Shane
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text:
Q: Communication in k8s cluster I have a k8s cluster of 2 hazelcast instances and one client application. Target is to have many clients and at least 2 hazelcast members.
I've set up a LoadBalancer type service in k8s to expose hazelcast instances
apiVersion: v1
kind: Service
metadata:
  name: hazelcast-service
  labels:
    app: hazelcast-service
spec:
  type: LoadBalancer
  ports:
  - port: 10236
    targetPort: 5701
  selector:
    app: hazelcast

And when it comes for client to start with given config:
clientConfig.getNetworkConfig().addAddress("127.0.0.1:10236");

in recognizes a hazelcast members:
May 08, 2018 11:25:21 AM com.hazelcast.core.LifecycleService
INFO: hz.client_0 [dev] [3.9.3] HazelcastClient 3.9.3 (20180216 - 539b124) is STARTING
May 08, 2018 11:25:22 AM com.hazelcast.core.LifecycleService
INFO: hz.client_0 [dev] [3.9.3] HazelcastClient 3.9.3 (20180216 - 539b124) is STARTED
May 08, 2018 11:25:22 AM com.hazelcast.client.connection.ClientConnectionManager
INFO: hz.client_0 [dev] [3.9.3] Trying to connect to [127.0.0.1]:10236 as owner member
May 08, 2018 11:25:22 AM com.hazelcast.client.connection.ClientConnectionManager
INFO: hz.client_0 [dev] [3.9.3] Authenticated with server [10.1.0.151]:5701, server version:3.10 Local address: /127.0.0.1:60102
May 08, 2018 11:25:22 AM com.hazelcast.client.spi.impl.ClientMembershipListener
INFO: hz.client_0 [dev] [3.9.3]

Members [2] {
    Member [10.1.0.148]:5701 - b0e4a52f-0170-47f2-8ff3-74d9b67f45f5
    Member [10.1.0.151]:5701 - 1355caa4-5c2b-4366-bd5b-b504f4f0ae4f
}

May 08, 2018 11:25:22 AM com.hazelcast.client.connection.ClientConnectionManager
INFO: hz.client_0 [dev] [3.9.3] Setting ClientConnection{alive=true, connectionId=1, channel=NioChannel{/127.0.0.1:60102->/127.0.0.1:10236}, remoteEndpoint=[10.1.0.151]:5701, lastReadTime=2018-05-08 11:25:22.420, lastWriteTime=2018-05-08 11:25:22.418, closedTime=never, lastHeartbeatRequested=never, lastHeartbeatReceived=never, connected server version=3.10} as owner with principal ClientPrincipal{uuid='28696aaf-e678-47ee-8c7d-a79ba7a0079a', ownerUuid='1355caa4-5c2b-4366-bd5b-b504f4f0ae4f'}
May 08, 2018 11:25:22 AM com.hazelcast.core.LifecycleService
INFO: hz.client_0 [dev] [3.9.3] HazelcastClient 3.9.3 (20180216 - 539b124) is CLIENT_CONNECTED
May 08, 2018 11:25:22 AM com.hazelcast.internal.diagnostics.Diagnostics
INFO: hz.client_0 [dev] [3.9.3] Diagnostics disabled. To enable add -Dhazelcast.diagnostics.enabled=true to the JVM arguments.

and when it tries to connect to second instance (10.1.0.151) it also seems to be fine:
May 08, 2018 11:25:29 AM com.hazelcast.core.LifecycleService
INFO: hz.client_1 [dev] [3.9.3] HazelcastClient 3.9.3 (20180216 - 539b124) is STARTING
May 08, 2018 11:25:29 AM com.hazelcast.core.LifecycleService
INFO: hz.client_1 [dev] [3.9.3] HazelcastClient 3.9.3 (20180216 - 539b124) is STARTED
May 08, 2018 11:25:29 AM com.hazelcast.client.connection.ClientConnectionManager
INFO: hz.client_1 [dev] [3.9.3] Trying to connect to [127.0.0.1]:10236 as owner member
May 08, 2018 11:25:29 AM com.hazelcast.client.connection.ClientConnectionManager
INFO: hz.client_1 [dev] [3.9.3] Authenticated with server [10.1.0.148]:5701, server version:3.10 Local address: /127.0.0.1:60113
May 08, 2018 11:25:29 AM com.hazelcast.client.spi.impl.ClientMembershipListener
INFO: hz.client_1 [dev] [3.9.3]

Members [2] {
    Member [10.1.0.148]:5701 - b0e4a52f-0170-47f2-8ff3-74d9b67f45f5
    Member [10.1.0.151]:5701 - 1355caa4-5c2b-4366-bd5b-b504f4f0ae4f
}

May 08, 2018 11:25:29 AM com.hazelcast.client.connection.ClientConnectionManager
INFO: hz.client_1 [dev] [3.9.3] Setting ClientConnection{alive=true, connectionId=1, channel=NioChannel{/127.0.0.1:60113->/127.0.0.1:10236}, remoteEndpoint=[10.1.0.148]:5701, lastReadTime=2018-05-08 11:25:29.455, lastWriteTime=2018-05-08 11:25:29.453, closedTime=never, lastHeartbeatRequested=never, lastHeartbeatReceived=never, connected server version=3.10} as owner with principal ClientPrincipal{uuid='a04aa2ca-626d-4d1a-a366-38c0dbc4781f', ownerUuid='b0e4a52f-0170-47f2-8ff3-74d9b67f45f5'}
May 08, 2018 11:25:29 AM com.hazelcast.core.LifecycleService
INFO: hz.client_1 [dev] [3.9.3] HazelcastClient 3.9.3 (20180216 - 539b124) is CLIENT_CONNECTED
May 08, 2018 11:25:29 AM com.hazelcast.internal.diagnostics.Diagnostics
INFO: hz.client_1 [dev] [3.9.3] Diagnostics disabled. To enable add -Dhazelcast.diagnostics.enabled=true to the JVM arguments.

but immediately after above message I got another one (seems to be connection problem regarding first member that my client connected to):
Constructor threw exception; nested exception is com.hazelcast.core.OperationTimeoutException: ClientInvocation{clientMessage = ClientMessage{length=72, correlationId=272, operation=Client.createProxy, messageType=5, partitionId=-1, isComplete=true, isRetryable=false, isEvent=false, writeOffset=0}, objectName = hz:impl:mapService, target = address [10.1.0.151]:5701, sendConnection = null} timed out because exception occurred after client invocation timeout 120000 ms. Current time: 2018-05-08 11:27:29.913. Start time: 2018-05-08 11:25:29.458. Total elapsed time: 120455 ms.

Sometimes it cannot even connect to the first member as I got OperationTimeoutException after client says that it connected to 10.1.0.151 member. Funny thing is that sometimes it works all fine:( And when I only have one replica of hazelcast pods it works predictable & fine. Thus, I believe this is because of LoadBalancer service which distributes requests equally among target pods and that there is something wrong with this set-up.
I suppose that client should be able to connect to any node it wants as any node can store requested item in its map but I don't know how to set up such a configuration in k8s.
Question is: how should I configure services in k8s so that client apps can talk to all members? Or this is not the case and it should work in a different way?
Am I missing something?

A:
Thus, I believe this is because of LoadBalancer service which distributes requests equally among target pods and that there is something wrong with this set-up.

Yes, it is true.

how should I configure services in k8s so that client apps can talk to all members?

Service can only balance requests between available pods.

Or this is not the case and it should work in a different way?

Yes, that is a good idea. The simplest way is to create one service per hazelcast replica. And that is practically the only way to do that.

A: If your hazelcast client is inside the kubernetes cluster, you dont really need LoadBalancer type.  A simple service ClusterIP or headless would suffice.  Hazelcast supports kubernetes discovery mode.  I suggest try using ClusterIP or none.


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List of materials combined result of standards ASTM A600 and EN 10025. Europe Germany France Italy Belgium Sweden U.K. Canada India Japan Internat.
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P295GH is the EN10028-2 standard pressure vessel boiler steel has a minimum yield strength of 295MPa. P295GH is characterized by good weldability and creep, not only suitable for high-temperature environment, but also to adapt to low-temperature environment.


text:
/* -*- tab-width: 4; -*- */
/* vi: set sw=2 ts=4: */

/* $Id: c4b6d4c928f6a816d5bf1d8005ea2e95f663b9c0 $ */

/**
 * @file hashtable.c
 * @~English
 *
 * @brief Functions for creating and using a hash table of key-value
 *        pairs.
 *
 * @author Mark Callow, HI Corporation
 */

/*
Copyright (c) 2010 The Khronos Group Inc.

Permission is hereby granted, free of charge, to any person obtaining a
copy of this software and/or associated documentation files (the
"Materials"), to deal in the Materials without restriction, including
without limitation the rights to use, copy, modify, merge, publish,
distribute, sublicense, and/or sell copies of the Materials, and to
permit persons to whom the Materials are furnished to do so, subject to
the following conditions:

The above copyright notice and this permission notice shall be included
unaltered in all copies or substantial portions of the Materials.
Any additions, deletions, or changes to the original source files
must be clearly indicated in accompanying documentation.

If only executable code is distributed, then the accompanying
documentation must state that "this software is based in part on the
work of the Khronos Group".

THE MATERIALS ARE PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF
MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT.
IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY
CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT,
TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE
MATERIALS OR THE USE OR OTHER DEALINGS IN THE MATERIALS.
*/

#include <stdio.h>
#include <stdlib.h>
#include <string.h>
#include <assert.h>

// This is to avoid compile warnings. strlen is defined as returning
// size_t and is used by the uthash macros. This avoids having to
// make changes to uthash and a bunch of casts in this file. The
// casts would be required because the key and value lengths in KTX
// are specified as 4 byte quantities so we can't change _keyAndValue
// below to use size_t.
#define strlen(x) ((unsigned int)strlen(x))

#include "uthash.h"

#include "ktx.h"
#include "ktxint.h"

/**
 * @internal
 * @struct _keyAndValue
 * @brief Hash table entry structure
 */
typedef struct _keyAndValue {
    unsigned int keyLen;    /*!< Length of the key */
    char* key;                /*!< Pointer to key string */
    unsigned int valueLen;    /*!< Length of the value */
    void* value;            /*!< Pointer to the value */
    UT_hash_handle hh;        /*!< handle used by UT hash */
} key_and_value_t;
/**
 * @internal
 * @typedef key_and_value_t
 * @brief type of a hash table entry.
 */

/**
 * @~English
 * @brief Create an empty hash table for storying key-value pairs.
 *
 * @return pointer to the newly created hash table or NULL if there
 *         is not enough memory.
 *
 *
 */
KTX_hash_table
ktxHashTable_Create()
{
    key_and_value_t** kvt = (key_and_value_t**)malloc(sizeof (key_and_value_t**));
    *kvt = NULL;
    return (KTX_hash_table)kvt;
}

/**
 * @~English
 * @brief Destroy a hash table.
 *
 * All memory associated with the hash table and its keys and values
 * is freed.
 *
 * @param [in] This pointer to the hash table to be destroyed.
 */
 /*
 * @memberof ktxHashTable @public
 */
void
ktxHashTable_Destroy(KTX_hash_table This)
{
    key_and_value_t* kv;

    for(kv = *(key_and_value_t**)This; kv != NULL;) {
        key_and_value_t* tmp = (key_and_value_t*)kv->hh.next;
        HASH_DELETE(hh, /*head*/*(key_and_value_t**)This, kv);
        free(kv);
        kv = tmp;
    }
    free(This);
}

/**
 * @~English
 * @brief Adds a key value pair to a hash table
 *
 * @param [in] This        pointer to the target hash table.
 * @param [in] key        pointer to the UTF8 NUL-terminated string to be used as the key.
 * @param [in] valueLen    the number of bytes of data in @p value.
 * @param [in] value    pointer to the bytes of data constituting the value.
 *
 * @return KTX_SUCCESS or one of the following error codes.
 *
 * @exception KTX_INVALID_VALUE if @p This, @p key or @p value are NULL, @p key is an
 *            empty string or @p valueLen == 0.
 */
/*
 * @memberof ktxHashTable @public
 */
KTX_error_code
ktxHashTable_AddKVPair(KTX_hash_table This, const char* key, unsigned int valueLen, const void* value)
{
    if (This && key && value && valueLen != 0) {
        unsigned int keyLen = (unsigned int)strlen(key) + 1;
        /* key_and_value_t* head = *(key_and_value_t**)This; */
        key_and_value_t* kv;

        if (keyLen == 1)
            return KTX_INVALID_VALUE;    /* Empty string */

        /* Allocate all the memory as a block */
        kv = (key_and_value_t*)malloc(sizeof(key_and_value_t) + keyLen + valueLen);
        /* Put key first */
        kv->key = (char *)kv + sizeof(key_and_value_t);
        kv->keyLen = keyLen;
        /* then value */
        kv->value = kv->key + keyLen;
        kv->valueLen = valueLen;
        memcpy(kv->key, key, keyLen);
        memcpy(kv->value, value, valueLen);

        HASH_ADD_KEYPTR( hh, /*head*/*(key_and_value_t**)This, kv->key, kv->keyLen-1, kv);
        return KTX_SUCCESS;
    } else
        return KTX_INVALID_VALUE;
}

/**
 * @~English
 * @brief Looks up a key a hash table and returns the value.
 *
 * @param [in]     This            pointer to the target hash table.
 * @param [in]     key            pointer to a UTF8 NUL-terminated string to find.
 * @param [in,out] pValueLen    @p *pValueLen is set to the number of bytes of
 *                              data in the returned value.
 * @param [in,out] ppValue        @p *ppValue is set to the point to the value for
 *                                @p key.
 *
 * @return KTX_SUCCESS or one of the following error codes.
 *
 * @exception KTX_INVALID_VALUE if @p This, @p key or @p pValueLen or @p ppValue
 *                              is NULL.
 * @exception KTX_NOT_FOUND     an entry matching @p key was not found.
 */
/*
 * @memberof ktxHashTable @public
 */
KTX_error_code
ktxHashTable_FindValue(KTX_hash_table This, const char* key, unsigned int* pValueLen, void** ppValue)
{
    if (This && key && pValueLen && ppValue) {
        key_and_value_t* kv;
        /* key_and_value_t* head = *(key_and_value_t**)This; */

        HASH_FIND_STR( /*head*/*(key_and_value_t**)This, key, kv );  /* kv: output pointer */

        if (kv) {
            *pValueLen = kv->valueLen;
            *ppValue = kv->value;
            return KTX_SUCCESS;
        } else
            return KTX_NOT_FOUND;
    } else
        return KTX_INVALID_VALUE;
}

/**
 * @~English
 * @brief Serialize a hash table to a block of data suitable for writing
 *        to a file.
 *
 * The caller is responsible for freeing the data block returned by this
 * function.
 *
 * @param [in]     This            pointer to the target hash table.
 * @param [in,out] pKvdLen        @p *pKvdLen is set to the number of bytes of
 *                              data in the returned data block.
 * @param [in,out] ppKvd        @p *ppKvd is set to the point to the block of
 *                              memory containing the serialized data.
 *
 * @return KTX_SUCCESS or one of the following error codes.
 *
 * @exception KTX_INVALID_VALUE if @p This, @p pKvdLen or @p ppKvd is NULL.
 * @exception KTX_OUT_OF_MEMORY there was not enough memory to serialize the data.
 */
 /* @memberof ktxHashTable @public
 */
KTX_error_code
ktxHashTable_Serialize(KTX_hash_table This, unsigned int* pKvdLen, unsigned char** ppKvd)
{

    if (This && pKvdLen && ppKvd) {
        key_and_value_t* kv;
        unsigned int bytesOfKeyValueData = 0;
        unsigned int keyValueLen;
        unsigned char* sd;
        char padding[4] = {0, 0, 0, 0};

        for (kv = *(key_and_value_t**)This; kv != NULL; kv = kv->hh.next) {
            /* sizeof(*sd) is to make space to write keyAndValueByteSize */
            keyValueLen = kv->keyLen + kv->valueLen + sizeof(khronos_uint32_t);
            /* Add valuePadding */
            keyValueLen += 3 - ((keyValueLen + 3) % 4);
            bytesOfKeyValueData += keyValueLen;
        }
        sd = malloc(bytesOfKeyValueData);
        if (!sd)
            return KTX_OUT_OF_MEMORY;

        *pKvdLen = bytesOfKeyValueData;
        *ppKvd = sd;

        for (kv = *(key_and_value_t **)This; kv != NULL; kv = kv->hh.next) {
            int padLen;

            keyValueLen = kv->keyLen + kv->valueLen;
            *(khronos_uint32_t*)sd = keyValueLen;
            sd += sizeof(khronos_uint32_t);
            memcpy(sd, kv->key, kv->keyLen);
            sd += kv->keyLen;
            memcpy(sd, kv->value, kv->valueLen);
            sd += kv->valueLen;
            padLen = 3 - ((keyValueLen + 3) % 4);
            memcpy(sd, padding, padLen);
            sd += padLen;
        }
        return KTX_SUCCESS;
    } else
        return KTX_INVALID_VALUE;
}

/**
 * @~English
 * @brief Create a hash table from a block of serialized key-value
 *        data read from a file.
 *
 * The caller is responsible for freeing the returned hash table.
 *
 * @param [in]        kvdLen        the length of the serialized key-value data.
 * @param [in]        pKvd        pointer to the serialized key-value data.
 * @param [in,out]    pHt            @p *pHt is set to point to the created hash
 *                              table.
 *
 * @return KTX_SUCCESS or one of the following error codes.
 *
 * @exception KTX_INVALID_VALUE if @p pKvd or @p pHt is NULL or kvdLen == 0.
 * @exception KTX_OUT_OF_MEMORY there was not enough memory to create the hash
 *                              table.
 */
 /* @memberof ktxHashTable @public
 */
KTX_error_code
ktxHashTable_Deserialize(unsigned int kvdLen, void* pKvd, KTX_hash_table* pHt)
{
    KTX_hash_table kvt;
    char* src = pKvd;

    if (kvdLen == 0 || pKvd == NULL || pHt == NULL)
        return KTX_INVALID_VALUE;

    kvt = ktxHashTable_Create();
    if (kvt == NULL)
        return KTX_OUT_OF_MEMORY;

    while (src < (char *)pKvd + kvdLen) {
        char* key;
        unsigned int keyLen;
        void* value;
        khronos_uint32_t keyAndValueByteSize = *((khronos_uint32_t*)src);

        src += sizeof(keyAndValueByteSize);
        key = src;
        keyLen = (unsigned int)strlen(key) + 1;
        value = key + keyLen;

        ktxHashTable_AddKVPair(kvt, key, keyAndValueByteSize - keyLen, value);
        /* Round keyAndValueByteSize */
        keyAndValueByteSize = (keyAndValueByteSize + 3) & ~(khronos_uint32_t)3;
        src += keyAndValueByteSize;
    }

    *pHt = kvt;
    return KTX_SUCCESS;
}