text:
Signature Scooters
BMX Demos
Hot Wheels Superchargers
Nitro World Games
Bluegrass Brawl
Pastranaland Pit Bike Championship
Life Size Toys
Race to Rebuild
Action Figures 2
FMX News
BMX News
The Entire Nitro Family
Contraptions
Daredevil Nation
NITRO CIRCUS ELEVATES ANDY EDWARDS TO CEO
Nitro Staff
New Strategic Vision Set to Launch Leading Sports and Entertainment Brand to New Heights
(Los Angeles – Thursday March 21, 2019) Nitro Circus today announced that veteran executive Andy Edwards has been named Chief Executive Officer. For the past two years, Edwards has served as President of the leading sports and entertainment brand, which has seen the company grow globally across all aspects of the business including media production, live touring, sport competition, and consumer products. Prior to that Edwards was Chief Operating Officer and Board Director after co-founding Nitro Circus Live in 2009. Now, following a transformative 2018, Edwards is poised to take Nitro Circus to the next level in his newly expanded role.
Regarding this new chapter, action sports icon Travis Pastrana said, "Thinking back to where Nitro Circus started – a few crazy friends filming each other in our backyards and editing out of a garage in Utah – to now where we have the opportunity to work with the best camera crews, editors, ramp builders, riders and logistical geniuses in the business. Creating events that are seen live around the world, it's a dream come true." Pastrana added, "It takes a truly special type of leadership to run a company like this. As Nitro's grown, Andy's ability to keep this crazy train on the rails has been unparalleled. I'm so psyched about where we are headed and can't wait for what's next."
Under Edwards' watch, Nitro Circus has enjoyed strategic success on several fronts:
Blockbuster Live Broadcasts and Hit Original Content:
The last two years have seen Nitro Circus aggressively expand its media output across multiple platforms. Highlights have included partnering with HISTORY last summer to create the unprecedented live television event, "Evel Live." In front of an estimated 25,000 fans, Travis Pastrana celebrated the legacy of legendary daredevil Evel Knievel by recreating – and then exceeding — three of his most famous jumps. The broadcast was a top-rated cable special in the U.S. with 3.5 million Total Viewers and also aired in Europe and South America. Look for exciting news on new television projects coming soon.
Film projects such as Travis Pastrana's Action Figures series have also solidified Nitro Circus as a preeminent content producer. Both Pastrana's 2015 directorial debut and its 2018 sequel paid homage to classic action sports videos and the adrenaline-charged results have clearly resonated with audiences: Action Figures topped Apple's iTunes charts upon release while Action Figures 2 is now available globally for the first time on iTunes and Amazon.
Digital Innovation and Social Media Ascendancy:
Further demonstrating its leadership, Nitro Circus stands at the forefront of the burgeoning video streaming movement. One of the prestige brands invited to participate in Facebook Watch's 2017 launch, Nitro Circus hit full throttle last year, streaming nearly 40 hours of live and shoulder content which scored over 50 million combined content views. It is also one of Snapchat's top performing brands and is quickly approaching one million subscribers on YouTube. Overall, Nitro Circus' industry leading social presence has accelerated exponentially and now surpasses 25 million fans across multiple touch points.
Nitro World Games Expansion and Nitro Rallycross Debut:
Nitro World Games exploded onto the action sports competition scene with its first groundbreaking contest in 2016. Over the last two years, its footprint has spread to cover multiple events and locations around the globe with the addition of sites in Utah, Southern California, Paris, France and the U.K. With that growth, Nitro World Games now features the largest mix of action sports disciplines in competition including BMX Park and Skate Park, two sports set to make their highly-anticipated Olympic debut in 2020.
Nitro Circus also moved into four-wheel motorsport for the first time last year, unveiling Nitro Rallycross to rave reviews from the industry. Champion drivers like Ken Block and Tanner Foust hailed it as the most incredible experience they've ever had in a rally car. Fans and athletes can look forward to more premier competition in 2019, with Nitro World Games and Nitro Rallycross set to return and expand further.
Global Touring Success:
Nitro Circus' touring team hit a major milestone in 2018 as it sold its three millionth ticket and the brand is gearing up to go even bigger on the road: in February an outdoor stadium version of its You Got This tour launched in Australia, drawing 60,000 fans at just three shows in Sydney, Melbourne and Brisbane. A New Zealand leg is wrapping up now with North American and Spanish dates kicking off in May and June, respectively. More tours worldwide are planned for Mexico, South America, Southeast Asia and China.
Nitro Circus is also entering the festival space, teaming up with Synergy Global Entertainment (SGE) and Chris Cole on the just-announced KLOS Presents Gnarlytown: Bikes, Boards & Bands, a celebration of action sports and punk rock coming to Southern California on June 22. Other new, innovative festival concepts are in development with more announcements to come. With this surge in momentum, as well as what is expected to be a game changing in-theatre residency in Las Vegas currently in pre-production, Edwards believes that the company stands at a key threshold:
"We have worked very hard over the years to create a unique brand that straddles entertainment and sport, always pushing the limits of what is possible and delivering incredible content across our live shows, events and movies to a hugely passionate and diverse body of fans around the globe. The company has never been better placed to capitalize on this and I am beyond excited to be leading it into this next phase of expansion."
Pushing the limits and breaking boundaries in action sports.
info@nitrocircus.com
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Privacy Policy | Terms of Use | Do Not Sell My Info | © 2020 NITRO CIRCUS LIVE PTY LTD. ALL RIGHTS RESERVED
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Sishui County () is a county of southwestern Shandong province, People's Republic of China. It is the easternmost county-level division of Jining City. It takes its name from the Si River, which flows through the county.

The population was  in 1999.

Administrative divisions
As 2012, this county is divided to 2 subdistricts, 8 towns and 3 townships.
Subdistricts
Sihe Subdistrict ()
Jihe Subdistrict ()

Towns

Townships
Shengshuiyu Township ()
Dahuanggou Township ()
Gaoyu Township ()

Climate

References

External links
 Official homepage

Counties of Shandong
Jining

redpajama_set_name: RedPajamaWikipedia


text:
WOODARD, CLYDE
WOODARD, Clyde L.
It is with great sorrow that we announce the passing of Clyde L. Woodard (Woody), 97 of Springfield, Ohio, on January 2, 2021. A Springfield resident for nearly 70 years, Clyde was born in Nelsonville, Ohio, on November 1, 1923, to Clarence and Clara Ruth (Todd)
Woodard. Clyde graduated from Trimble High School in 1941 before enlisting in the
Army Reserve Corps in December of 1942. Following basic training, Clyde, joined the Army Air Force in February 1943 where he ultimately received his Commission piloting the B-17 Flying Fortress as a member of the 390th Bomber Group during WW2. Having flown more than 30 combat missions from June 1944 to November 1945, Clyde transferred to the USAF Reserve where he completed his service, attaining the rank of Major. Following his military service, Clyde attended and graduated Wittenberg University in Springfield, Ohio, receiving a Bachelor of Arts in Science. Throughout his career, Clyde worked at Wright-Patterson AFB as a Physicist, initially working on the development of Infrared technologies before retiring as a Branch Chief at Wright Patterson AFB. An avid outdoorsman, Clyde enjoyed hunting, fishing and Ohio State Football. A generous soul always thinking of others, Clyde chose to donate his remains to the Anatomical Gift Program at Wright State University. Clyde is survived by his stepson, Chris Rutherford, a niece and several nephews. Clyde is preceded in death by his wives, Adonna Lynn Woodard, Joann Woodard, his daughter, Sharon Woodard, his parents and two brothers, Ralph and Howard Woodard.
Sign the guestbook at Legacy.com
View the obituary on Legacy.com
ENOCHS, CHRISTOPHER
Alexander, Justin Prescott
CAMPBELL, Corbie
ROLKE, Karen
HOSWELL, Malcolm

redpajama_set_name: RedPajamaCommonCrawl


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text:
Portal (Activision, 1986): an interview with Rob Swigart
A few months ago I came across Portal, a 1986 video game written by Rob Swigart and produced by Activision for Amiga, Apple II, Commodore 64 and other home computers of the time. I started playing / reading it and I was struck by the modernity of the narrative system. In fact Portal is a real work of electronic literature, built as a database which can be accessed by navigating between different text atoms, just as today we would surf the internet.
I continued reading and playing it for several weeks and eventually I couldn't resist and I went in search of the author to interview him and know how he had done, thirty-four years ago, to design such an innovative work.
Rob replied with great courtesy and punctuality, and below you will find the interview that photographs a moment of great creativity in the IT industry and also – if I can say it – the desire to break down the walls that divide humanities and literature from the world of the exact sciences.
Happy reading and – thanks again to Rob for everything.
I accidentally discovered Portal, your interactive work for Activision from 1986 and I was impressed by how innovative your project was. I mean, it is a work that is experimental today, I could only imagine it in 1986.
The first question: how did you come up with the idea? What was the "cultural" background in which you moved and which models inspired you?
I got my first computer in 1976. An employee of the local camera shop I called Techman was I guess representing a new company called ETC, for Electronic Tool Company. It was a big expensive box with 128 k of RAM and a hexadecimal keyboard. I learned a bit of Tiny Basic and fiddled with it. A year later I got an Apple II. I had thought from the beginning that it might be an interesting medium for telling stories. My third book was a satire about computers, particularly computer networks (The Time Trip). In 1984 I had been doing a little writing for Apple and a producer at Activision named Brad Fregger asked me to write a manual for a music program, which I did. We got to talking about storytelling and he pushed me to make a proposal. That became Portal.
If you read this article ( https://www.filfre.net/2014/11/portal/ ) you will read that everything was his idea, and that I was his cheap solution for the project. This is from his autobiography. I'm afraid my memories are quite different, and lamentably he has become a right wing extremist I had to unfriend on Facebook.
Computers were used for three things back then: word processing, spreadsheets, and databases. The first seemed boring for storytelling, spreadsheet wars sounded silly, so databases, which contain information or stories, fit. So I settled on this for the general idea. My first sentence in the proposal (as I remember it) was something like "We are surrounded by screens." That is far more true now than then.
The story gradually emerged out of this soil. An abandoned world with a live but decaying network. Every user's computer a terminal. A failed star mission by a lone astronaut returned, and what happened? The user has to find out.
Computers were quite primitive then, as you know, so the interface was crude. Speech cost $1000 per word, so not much in the way of sound. Slow load times (I;ve seen a lot of discussion about this around Portal), though I found giving demonstrations to user groups that each computer – Amiga, Apple II, C64m etc — created its own expectations for load, and created a sometimes interesting rhythm in the experience. Today it would be very different. You've experienced it so you know.
As for the story, I remember thinking a) the people interested in computer games are teenage boys and b) per the Dune series, young messiah figures are compelling. After that it was world building for the future (now partly the past), and working with the developers, a company called Nexa, later Specturm-Holobyte with a very talented group of machine language programmers. They did the best they could at the time.
Speaking of the cultural background, a work that is often cited as the "father" of electronic literature is Michael Joyce's "afternoon, a story", which actually was released a year after your Portal. Are these works born in different cultural areas, or they shared a common background?
I became involved in the early game developers conference, and discovered a number of people with an early interest in electronic literature as it came to be called. Michael Joyce and many others. In the late 90s I was a founding member (and on the board of) the Electronic Literature Organization. At that time I was working on a CDROM project called Down Time (now an audio book). Elit takes many forms now, more interactive, more visual, more experimental, and requiring more complex programming skills since they are very often individual projects. I was lucky to have Activision's support. Unfortunately they had no comprehension what I was doing.
Portal on a Macbook via Amiga emulator
Also, an interesting thing is that Portal was sold by a software house specializing in video games, Activision. Is Portal a video game, or an electronic literature work?
They tried to sell it as a game. I had a T-shirt that said Portal is not a game (or something like that), but the marketers didn't understand and probably at least help make it fail, in part by failing to support it (MacSE came out, but they never ported it).
How did the public and critics in 1986 respond when they realized what they had in their hands? On the contrary: did they realize what they had in their hands?
Public and critics? I guess there are reviews around still. Activision put it up for a programming award, but a printing program got the prize. Very strange since the winner was not innovative or interesting at all. I did hear from some who did get it, but Portal was too bizarre for most.
I have often noticed a certain reluctance and a certain difficulty of literary critics when they have to judge an electronic work, especially if it is produced as a "video game". How did Portal experience this hybrid nature, from the point of view of literary recognition?
I really don't know. Portal is a footnote, I think. Robert Pinsky's project came out around the same time, and he became poet laureate of the US, so it got quite a bit of attention, but it was a game.
Wikipedia reports Brad Fregger as a designer of Portal. What was the contribution did he give to the project?
Well I think I already answered that one. His contribution was supporting the project and selling it to the money people. I never new he had ever discussed interactive literature with anyone before we met. He read my first book and thought he came up with the idea that I'd be ideal to do this kind of project. I'm not sure he understood what it was, but at the time he seemed to appreciate the story.
Read today Portal is striking for the modernity of the system. Worldnet is a global network that closely resembles our internet, and it is very different from the BBS networks that were used to when the story was designed. What were the inspiration models for the "telematic part" of the story?
I had a friend who was a researcher at IBM at the time and had a tour of their facility near me. I heard stories about a global network, which may have been something they were talking about. It seemed pretty obvious at the time.
Portal is not an easy story to read: a "multitasking" approach is required to the various materials that gradually emerge in the various Worldnet databases, yet this emergence is carefully calibrated. How was the management of textual atoms in history structured?
As I remember I wrote the story first and then deconstructed it, consolidating the narrative bits (I called then "nits") in the various "voices" of the database. It was really fun to do that, too. Then there were lots of added bits of dialog needed as the programming advanced.
It also amused me to see the parts where the "character sheets" of the novel are kept, which contain their family, but also medical and psychological data. Is it a sort of meta-novel that (ironically?) also contains the vital parameters of the main characters or is there a narrative utility?
Hmm. I think those all came after the story was done to flesh out the sense that the databases were deep and rich. As an aside I remember insisting that games were broad and shallow, and Portal was narrow and deep. Or deeper, anyway. The databases were meant to give at least the illusion of that.
A curiosity: at one point I stumbled upon an information sheet entitled "Martian Meteorites" of the "Scitech" database where it is said that the Syrtis base gave the first concrete proof that the meteorites found in the Yamato mountains in Antarctica are Martians. I came out of the 1986 novel and entered the internet in 2020 to find out if these Yamato mountains in Antarctica exist, and I spent the night finding out that they exist and that asteroids have actually been found in the Yamato mountains. Martians. Except that, reading, I come to discover that only in 1995 it was understood that these meteorites were Martians. You wrote the novel nine years earlier. Many of those meteorites had not yet been found in 1986 and those few were not yet known to be Martians. How did you know? Time Machine?
Either I was precognitive or I extrapolated something or I took a guess. If a guess, a lucky one.
I'm still reading/playing Portal but it seems to me there is not a "Choose Your Own Adventure" structure. The reader has to search information in Worldnet database, but he can not change the story or have a storyline other than a person reading/playing Portal. Is this impression correct? It is a design choice or a way to limit complexity?
Both a design choice and a way to limit complexity. Choose your own adventure was the text-based model, along with text games (MIT – you are in a room facing east. There are three doors. You go E. S. W.?) At every branch there are different stories that unfold. The design was deliberately designed to be one story that has already happened, so no need for alternate realities.
In the manual I found on the net, there are instructions for installing the game on the Macintosh … but porting has never been done. Why? Macintosh would have been an ideal machine to read it.
There was a Macintosh version that worked quite well, but the SE came out and Portal was no longer compatible and Activision was not willing to spend a little money for the port, thus killing it.
I also read about your 2012 project that wanted to re-create Portal digitally, but in a different way. What went wrong?
I wasn't that involved in the kickstarter project, that was a guy in Illinois named Eric Dieter. When I saw the kinds of proposal others were doing for kickstarter projects I knew we would have to spend a lot of money we didn't have. We did the best we could, but it fell far short of the slick promotional materials other people were doing. It was a labor of love for Eric.
Here, I'll avoid to ask you questions about the story of Peter, Wanda and the other characters of Portal, because I'm still reading it and I don't want spoilers (I'm at the second floppy disk!).
It's been a while, so I'm not sure I remember the story details, though it would have been fun to do a sequel.
Instead, I'll ask you one last general consideration. Thirty-four years later, what do you think has been the evolution of electronic literature (if any)? If you were to make an interactive story today, which media and which audience would you turn to?
I dip fairly often into contemporary games, first person shooters even, the Assassins Creed series, etc., mainly because my daughter, now in her 40s, loves them. The narrative aspect keeps improving, and sometimes even seems to approach compelling, so probably in that direction. The other branch is the individual avant garde projects from the ELO crowd, which is much more academic and experimental. There's room for both, and probably others not yet invented.
Read the italian translation
Thanks Niccolò Venerandi for the help in the translation
Categories: Interactive Fiction, Le grandi interviste, videogame	| 1 comment
emu says 13 aprile 2020 at 16:50
apple version running in your browser here:
https://archive.org/details/wozaday_Portal


A petition created by Black Lives Matter organizers has over 130,000 signatures following the rapper's arrest by ICE agents last weekend.
A petition was created by Black Lives Matter organizers to prevent the deportation of 21 Savage following his arrest by U.S. Immigration and Customs Enforcement in Atlanta last weekend. ICE claims that the rapper, born Sha Yaa Bin Abraham-Joseph, is a U.K. citizen and has been living in the states on a visa that expired in 2005. 21 Savage remains in police custody and is at risk of deportation. The petition, created yesterday, has already gathered over 130,000 signatures.
"The circumstances of Mr. Abraham-Joseph's detention stand as a testament to the consistent and historically under-reported harassment and targeting of Black immigrants," the description of the petition reads. "The US' violent history of criminalizing Blackness intersects with its deadly legacy of detaining and deporting Black and Brown immigrants."
In a performance for The Tonight Show with Jimmy Fallon days before his arrest, 21 Savage altered the lyrics to "A Lot." "Been through some things so I can't imagine my kids stuck at the border / Flint still need water / People was innocent, couldn't get lawyers," he rapped late last month.
Yesterday 21's attorney Charles Kuck released a statement to TMZ to in an attempt to clear up some of the confusion around the news. "As a minor, his family overstayed their work visas, and he, like almost two million other children, was left without legal status through no fault of his own," says Kuck. The attorney also claimed that ICE agents are trying "to intimidate him into giving up his right to remain in the United States." Kuck also claims 21 Savage applied for a U-Visa in 2017. This type of visa is extended to victims of crimes committed in the US. 21's lawyer told TMZ he was applying on the basis of a 2013 incident in which he was shot and a friend was murdered, after which he was "severely affected physically and mentally." This application has yet to be approved.
Visit OrganizeFor to sign the petition.
Noisey has reached out to representatives of 21 Savage for comment.
[UPDATE, February 5, 2019, 3:10 PM EST]: The petition now has 164,698 signatures.
[UPDATE, February 5, 2019, 6:09 PM EST]: Representatives for 21 Savage have released a statement further clarifying his legal situation. Read that statement in full below.


text:
Курметура () — село у повіті Бузеу в Румунії. Адміністративно підпорядковане місту Нехою.

Село розташоване на відстані 106 км на північ від Бухареста, 48 км на північний захід від Бузеу, 135 км на захід від Галаца, 61 км на південний схід від Брашова.

Населення
За даними перепису населення 2002 року у селі проживали  осіб, усі — румуни. Усі жителі села рідною мовою назвали румунську.

Примітки

Села повіту Бузеу


A compare & contrast essay expounds the uniformities along with differences between subjects to be able to put an emphasis on ways the two are similar or dissimilar to each other in some significant manner.
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In every argument, end with the issue you're placing emphasis on. By the way, I've got known about this from https://edureviewer.com/ and not only about this. Such kind of organization works out when you're relating how particular objects measure up to a final end. As long as you're using a argument-by-argument arrangement, organize the thesis to ensure that it complies with the framework employed in the outline. Learn by heart, making the essay is complying with the thesis statement and your sketch.
Creation of a Venn sketch can make it less complicated for you to quickly and effectively compare and contrast two or more arguments. To make a Venn diagram, just draw overlapping circles, a circle for every subject you are considering. In the center, where they overlap, list the characteristics both items have in common. In the non-overlaping areas, you can catalog the qualities which make the things distinct.


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text:
Ugandan rebels sign deals, walk out of talks
A final peace agreement ending one of Africa's longest-running conflicts.
Uganda's government and the rebel Lord's Resistance Army (LRA) have signed the last in a series of documents before a final peace agreement to end one of Africa's longest-running conflicts, officials said.
But only hours later, the rebel delegation stormed out of a meeting held after the signing ceremony late on Friday in protest at the chief mediator's insistence that a day should be set for a final peace deal.
"You have finally signed the necessary agreements and protocols for the final agreement," chief mediator Riek Machar told the delegations after they signed texts that provided for the disarmament and demobilisation of the LRA.
The Ugandan rebels' delegation head, David Matsanga-Nyekorach, told Reuters after emerging from the hall that the LRA would not sign a final peace deal until international indictments on its leaders are lifted.
An agreement already signed by the two delegations allows for special courts to prosecute war crimes to be set up in Uganda, a move that was seen as answering the rebels' demand not to be tried by the International Criminal Court (ICC).
The ICC has indictments out on LRA leader Joseph Kony as well as two of his deputies for crimes against humanity. The LRA has been accused of murder, rape, the abduction of children and slicing off body parts.
Although the rebellion has little direct impact on one of Africa's fastest growing economies, ending it permanently would be a major coup for President Yoweri Museveni and a relief in the coffee-exporting country of over 30 million.
It would also remove a destabilising element in a remote corner of the continent where conflicts can easily spill over national borders.
Last Mod: 01 Mart 2008, 17:13


text:
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No transmission of data over the Internet is guaranteed to be completely secure. It may be possible for third parties not under the control of Advance Metal Industries Australia to intercept or access transmissions or private communications unlawfully. While we strive to protect your Personal Information, neither Advance Metal Industries Australia, it's related companies nor any of our service providers can ensure or warrant the security of any information you transmit to us. Any such transmission is done at your own risk. If you choose to visit the Website, your visit and any dispute over privacy is subject to this Privacy Policy, our Terms of Use and Disclaimers, including but not limited to limitations of damages, under any theory of liability whatsoever, and application of the law of the State of New South Wales. UNDER NO CIRCUMSTANCES, INCLUDING BUT NOT LIMITED TO NEGLIGENCE, SHALL ADVANCE METAL INDUSTRIES AUSTRALIA, ANY OF ITS SERVICE PROVIDERS OR RELATED COMPANIES BE LIABLE, ON ANY THEORY OF LIABILITY WHATSOEVER, FOR ANY DIRECT, INDIRECT, SPECIAL, PUNITIVE, INCIDENTAL, EXEMPLARY OR CONSEQUENTIAL DAMAGES THAT RESULT FROM THE USE OF THE INFORMATION OR MATERIALS ON THE WEBSITE, EVEN IF ADVANCE METAL INDUSTRIES AUSTRALIA OR ANY OF OUR SERVICE PROVIDERS OR AFFILIATES, OR AN AUTHORIZED REPRESENTATIVE OF ADVANCE METAL INDUSTRIES AUSTRALIA OR ANY OF OUR LICENSORS, SERVICE PROVIDERS OR AFFILIATES HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
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Last modified: April 3, 2012
Excerpt from Coffs Coast Focus Magazine – February 2014 Issue "I deal with them in short, because they are very professional… their...
Steve Lastavec - National Sheds & Shelters


Warehouse rental in Singapore are largely aligned in the East or West areas of Singapore, driven by the need for easy and quick access to either airports or seaports. Warehouse rental in Singapore are typically classified into one of two categories. They are known as ramp-up or as conventional warehouses in order to meet the needs of the customer at hand.
In the West, the customer can easily access the PSA ports available at Jurong Port, Tanjong Pagar or Pasir Panjang as well as Changi Airport and Tuas Checkpoint to Malaysia via Ayer Rajah Expressway, West Coast Highway or Pan Island Expressway.
Warehouse rental in the Eastern areas are typically of a more specialised nature. They are located for the most part within the free trade zone or may be closely aligned to the more established areas that can be accessed via expressways such as the East Coast Parkway, the Tampines Expressway or the Pan Island Expressway.
Our grounding in warehouse and logistic real estate solutions gives our team the in-depth experience, knowledge and understanding the market dynamics, location and design criteria. With our vast experiences in warehouse finding and our excellent relationships and unrivalled connection with warehouse space providers, we are able to suggest some better and more cost-effective warehouses and locations which help lowering your real estate cost while maintaining business objectives.


text:
Megalithic Symphony
Some Sort of Creature
Soul Wars
Guilty Filthy Soul
Kill Your Heroes
My Nightmare's Dream
Knights of Shame
Aaron Bruno – vocals, rhythm guitar
Drew Stewart – lead guitar, backing vocals
Kenny Carkeet – keyboards, backing vocals, rhythm guitar
Hayden Scott – drums
Devin Hoffman – bass
Awolnation (often stylized as AWOLNATION) is an American electronic rock band, formed and fronted by Aaron Bruno, formerly of Under the Influence of Giants, Hometown Hero and Insurgence. The band is signed to Red Bull Records, and their first EP, Back from Earth, was released on iTunes on May 18, 2010.
Creation, Back from Earth (2009–2010)
Frontman Aaron Bruno was approached by Red Bull Records in 2009, asking if he wanted free use of the Red Bull recording studio in Los Angeles, CA. He recorded a few songs in the studio and ultimately signed with the label, calling it more of a "partnership", and was allowed to make the recordings that he wanted. Aaron Bruno has been with numerous bands before he created Awolnation, including chart-breaking Under The Influence Of Giants. Bruno writes all of his songs himself, but confides in close friends and family or respected artists for guidance. The name Awolnation is derived from Aaron Bruno's high school nickname. In an interview with Kristin Houser of the LA Music Blog, he stated that he "would leave without saying goodbye because it was just easier, so that's where the name Awol came from."
Megalithic Symphony (2011–present)
The band released their debut album Megalithic Symphony digitally on March 15, 2011, and physically on March 29, 2011 on Red Bull Records. Megalithic Symphony features a total of 15 tracks, including the singles "Sail", "Not Your Fault", and "Kill Your Heroes" (produced by Brian West). Bonus tracks are also offered with the purchase of the digital album depending on the outlet. These tracks include "Shoestrings", "Swinging from the Castles" and "I've Been Dreaming".
The band's first single, "Sail", peaked at #10 on the U.S. Billboard Rock Songs and has gone platinum in the US and double platinum in Canada. The single got extra media attention when it was used under a video of the professional BASE jump, skydiver, and wingsuit flyer Jeb Corliss. "Sail" has been featured in the episode "Whiskey Tango Foxtrot" of CBS's television show The Good Wife, commercials for the Fox television show House, Nokia's commercial for Lumia and PT's commercial for 4G LTE. It is also the background music for Under Armour's "Are You from Here" commercial, featuring Derrick Williams of the Minnesota Timberwolves. "Sail" was covered by Macy Gray and is included on her album 'Covered', issued on March 26, 2012 (USA release). Recently, "Sail" was used for a Sonya Tayeh routine in So You Think You Can Dance Season 9 Episode 6. "Sail" was also used at the end of episode 5 "Dog Soldiers" in season 1 of Longmire. 'Sail' has also gathered major attention by Youtube Host 'Nanalew' along with fellow Youtuber 'Meekakitty' Sail "Sail" was on the soundtrack of the thriller horror movie "Playback" released in March 2012 featuring Christian Slater, Toby Hemingway, Jennifer Missoni and Ambyr Childers et.c. "Sail" gained even greater exposure when it was featured in BMW's Olympic Opening Ceremony and in commercial spots throughout the Olympic broadcasts. Sail was also featured in a CBC Hockey Night in Canada opening tease on February 18, 2012, prior to a game between the Vancouver Canucks and Toronto Maple Leafs. It is also used as of March 2013 in commercials for History Channel's new series, "Vikings."
Another of the band's songs, "Burn It Down", is featured in the Sons of Anarchy episode "To Be, Act 1". Also one of their songs "Guilty Filthy Soul" has been featured in the episode "Break On Through" of The CW's television show The Vampire Diaries. The band's songs, '"Sail", and "All I Need", are featured in Season 1 Episode 12 of Common Law episode "Gun!". "Kill Your Heroes" is featured at the beginning and the end of Season 3 Episode 2 of the Canadian TV series "Rookie Blue" as well as the Remix of "Sail" together with Innerpartysystem in Episode 8 of the same Season. Their song "All I Need" was recently used in the season finale of the NBC show Whitney
The band is currently working on a second studio album. They are releasing two new songs, "ThisKidsNotAlright" and "Some Kind of Joke". "Some Kind of Joke" appears as the second song on the Iron Man 3 soundtrack.
© 2022 Copyright Awolnation Tour.


Affiliate promotion can seem difficult, but can be very lucrative if you have the knowledge to succeed. Fear not because the following tips will help you become profitable with affiliate promotion.
TIP! It's vital that you and your various affiliate marketing partners do not try to take advantage of the visitors with this particular procedure. This is extremely annoying for viewers in the best case.
You want to be completely honest about this. Tell visitors exactly what your policy is. And make sure your partners are also transparent about it. At the best, this is going to be irritating to your potential customers. You could possibly spread viruses or break the customer tracking chains.
When comparing affiliate programs you need to know how they track commissions. If the company is not careful with their tracking, especially on phone orders, you may lose commission.
TIP! When choosing affiliate products to promote, see how each company tracks sales coming from your efforts, that don't go through the site directly. If orders are made by mail or phones and they cannot be linked to your ID, you'll lose a lot of your commissions.
Being open with your readers is important to develop trust. Being honest is very important when working in the arena of affiliate marketing. Most users consider online marketing to be a convenient means of shopping and will use these links the same as any other.
To maximize the profitability of your affiliate network, drop affiliates that are not performing up to standard. Keep an eye on your affiliates to make sure that they are performing well. Cutting ties with underperforming affiliates gives you room to add more ambitious partners.
Text services are a great way to help affiliates earn commission. Text services are a new thing but there are already so many people using them to communicate their news to customers.
TIP! Every program is unique. There are advantages and disadvantages to every program.
Make sure the affiliate companies you are doing business with are both fair and generous. A company should not offer you less than 20 percent of the profit on every item you sell. Your efforts will be rewarded with a higher pay if your company is one that recognizes your work.
It is inevitable that some affiliate websites will be much better then others. There are plenty of partner sites out there that are very hard for would-be customers to use. A proactive webmaster would never allow poor affiliate sites to harm their profits. These obviously helps out visitors, but it can also increase trust, and may motivate people to make purchases.
When choosing affiliate partners, make sure companies you work with have an impressive sales conversion ratio. Use a conversion ratio of 1 percent as a standard.
Attach a deadline to the products that you are marketing through affiliate programs. Visitors might get extra motivation to buy your product if there's very little time left to buy it. Incorporating this strategy is an effective way to increase your sales.
TIP! Look for affiliate partners that provide resources to help you advertise and sell their products. Generally, affiliate businesses are not stupid.
You need to be quite aware of who your target audience is in online marketing. It is imperative that you target your readers' needs. You must find what draws people to your site. What draws reader to your site?
Publish a digital copy of an advertisement that you have written by hand on your website. The reason for doing this is because sales can skyrocket by adding a more personal feel to your site. Customers can actually see for themselves that there is an actual human being involved in the process. Consider using a freelance writer to create your ad if deciphering your handwriting is difficult.
TIP! If you want to make money in affiliate marketing, it is crucial to know what you're doing. You should want your site or blog to rank as high in search as you can.
Online marketing isn't something that has to be complicated. It is involved in terms of research, working and networking, but it is worth it for the future of your site. These helpful tips will improve your understanding of web marketing.


text:
Q: boost mutex throwing (odd?) exception I am using a blocking queue example I got from this website, thinking it was pretty nice.
This blocking queue is using boost::mutex.
It is sometime throwing an exception :
terminate called after throwing an instance of 'boost::exception_detail::clone_impl<boost::exception_detail::error_info_injector<boost::system::system_error> >'

what():  Bad file descriptor
Here's the Blocking Queue code :
#include <boost/thread/mutex.hpp>
#include <boost/thread/thread.hpp>
#include <boost/thread/condition_variable.hpp>
#include <exception>
#include <list>
#include <stdio.h>

struct BlockingQueueTerminate
  : std::exception
{};

namespace tools {
  template<class T>
  class BlockingQueue
  {
  private:
    boost::mutex mtx_;
    boost::condition_variable cnd_;
    std::list<T> q_;
    unsigned blocked_;
    bool stop_;

  public:
    BlockingQueue()
      : blocked_()
      , stop_()
    {}

    ~BlockingQueue()
    {
      this->stop(true);
    }

    void stop(bool wait)
    {
      // tell threads blocked on BlockingQueue::pull() to leave
      boost::mutex::scoped_lock lock(mtx_);
      stop_ = true;
      cnd_.notify_all();

      if(wait) // wait till all threads blocked on the queue leave BlockingQueue::pull()
    while(blocked_)
      cnd_.wait(lock);
    }

    void put(T t)
    {
      boost::mutex::scoped_lock lock(mtx_);  // The exception is thrown here !
      q_.push_back(t);
      cnd_.notify_one();
    }

  T pull()
    {
      boost::mutex::scoped_lock lock(mtx_);
      ++blocked_;
      while(!stop_ && q_.empty())
    cnd_.wait(lock);
      --blocked_;

      if(stop_) {
    cnd_.notify_all(); // tell stop() this thread has left
    throw BlockingQueueTerminate();
      }

      T front = q_.front();
      q_.pop_front();
      return front;
    }
  };
}

Anyone can spot what's going wrong here ? because I have tried the all day figuring it out in vain. I guess I need a outside eye to see it.
Look for the comment '//The exception is thrown here !' to see where exactly the problem occurs.
EDIT 1 :
The context : I'm using this blocking queue in order to create a MySQL async wrapper.
Here's my MySQL.hh
#ifndef MYSQL_HH_
# define MYSQL_HH_
# include <boost/asio.hpp>
# include <boost/thread.hpp>
# include <boost/function.hpp>
# include <mysql++/mysql++.h>
# include <queue>
# include "async_executor.hh"
# include "BlockingQueue.hh"

class t_mysql_event {
public:
  t_mysql_event(std::string query, boost::function<void(mysqlpp::StoreQueryResult)> cb) :
    m_query(query), m_store_cb(cb), m_store_bool(true) {}

  t_mysql_event(std::string query, boost::function<void()> cb) :
    m_query(query), m_exec_cb(cb),  m_store_bool(false) {}

  bool is_store_query() {
    return m_store_bool;
  }

  std::string toString() {
    return m_query;
  }

  std::string                       m_query;
  boost::function<void(mysqlpp::StoreQueryResult)>  m_store_cb;
  boost::function<void()>               m_exec_cb;

private:
  bool                          m_store_bool;
};

namespace pools {
  class MySQL {
  public:
    ~MySQL() {}

    static MySQL* create_instance(boost::asio::io_service& io);

    static MySQL* get_instance();

    void exec(std::string query, boost::function<void()> cb);
    void store(std::string query, boost::function<void(mysqlpp::StoreQueryResult)> cb);

  private:
    MySQL(boost::asio::io_service& io) : executor(io, 100), parent_io(io), m_strand(io)
    {
      for (int i=0; i < 100; ++i) {
    boost::thread(boost::bind(&MySQL::retreive, this));
      }
    }

    void async_exec(std::string query, boost::function<void()> cb, mysqlpp::Connection& conn);
    void async_store(std::string query, boost::function<void(mysqlpp::StoreQueryResult)> cb, mysqlpp::Connection& conn);

    void retreive();

  private:
    tools::async_executor           executor;
    boost::asio::io_service&        parent_io;
    boost::asio::strand         m_strand;
    tools::BlockingQueue<t_mysql_event*>    m_events;
    std::queue<mysqlpp::Connection*>    m_stack;
  };
}

#endif //MYSQL_HH_

Here's the MySQL.cc :
#include "MySQL.hh"

static pools::MySQL* _instance = 0;

namespace pools {

  MySQL* MySQL::create_instance(boost::asio::io_service& io) {
    if (!_instance)
      _instance = new MySQL(io);
    return _instance;
  }

  MySQL* MySQL::get_instance() {
    if (!_instance) {
      exit(1);
    }
    return _instance;
  }

  void MySQL::exec(std::string query, boost::function<void()> cb) {
    m_events.put(new t_mysql_event(query, cb));
  }

  void MySQL::store(std::string query, boost::function<void(mysqlpp::StoreQueryResult)> cb) {
    m_events.put(new t_mysql_event(query, cb));
  }

  void MySQL::retreive() {
    mysqlpp::Connection conn("***", "***", "***", "***");
    for(;;) {
      t_mysql_event *event = m_events.pull();
      if (event->is_store_query())
    async_store(event->m_query, event->m_store_cb, conn);
      else
    async_exec(event->m_query, event->m_exec_cb, conn);
      delete event;
    }
  }

  void MySQL::async_exec(std::string query, boost::function<void()> cb, mysqlpp::Connection& conn) {
    mysqlpp::Query db_q = conn.query(query.c_str());
    db_q.exec();
    parent_io.post(cb);
  }

  void MySQL::async_store(std::string query, boost::function<void(mysqlpp::StoreQueryResult)> cb, mysqlpp::Connection& conn) {
    mysqlpp::Query db_q = conn.query(query.c_str());
    mysqlpp::StoreQueryResult res = db_q.store();
    parent_io.post(boost::bind(cb, res));
   }
}

Afterwards :
class MyClass {
public:
   MyClass() : _mysql(pools::MySQL::get_instance()) {}

   startQueries();
private:
   void Query1() {
      std::stringstream query("");
      query << "INSERT INTO Table1 ***";
      _mysql->exec(query.str(),
                   boost::bind(&MyClass::Query2, this, _1));
   }
   void Query2() {
      std::stringstream query("");
      query << "INSERT INTO Table2 ***";
      _mysql->exec(query.str(),
                   boost::bind(&MyClass::Query3, this, _1));
   }
   void Query3() {
      std::stringstream query("");
      query << "INSERT INTO Table3 ***";
      _mysql->exec(query.str(),
                   boost::bind(&MyClass::done, this, _1));
   }
   void done() {}
   pools::MySQL *_mysql;
};

Hoping that will answer to some request for more informations...
Funny thing :
If I replace every _mysql by pools::MySQL::get_instance() I does not seems to crash.
But I suspect there is an error far more important below that...

A: this exception can be thrown if queue is already destroyed but you try to call its put method. Check this by putting a breakpoint (or print statement) in queue destructor.

redpajama_set_name: RedPajamaStackExchange


Thank you for your interest in pursuing an education at Southeastern. All students who are not citizens of the United States or who do not possess a resident alien card are classified as international students. Here you can view admissions criteria, required materials and resources for more information.
All international students are encouraged to submit the online application and send the required documents as early as possible to allow for timely processing of both the application and immigration documents. Please refer to our Dates and Deadlines page for priority application dates, final application deadlines and fees.
To gain admission into the MBA program, a student must have at least - 525 paper-based, 195 computer-based, or 75 internet-based or IELTS score of 6.0 overall band.
Must meet all other requirements as set forth by the individual departments. Please see the Research and Graduate Programs page for further information. Conditional admission cannot be offered to an international student on the F1 or J1 visas.
I am... I am a new graduate student. I am returning to Southeastern to finish my graduate work. I have taken graduate courses at another university.
Please visit the International Services Office website for more information.


My P. caudatum has been in spike for weeks now. The wait is over – the first bud is opening. I'll be continuing to post pictures to my caudatum Flickrset – if you're interested, check back in as the season progresses.
That *has* to be your office.
I wish! My office has zero windows – but the room across the hall has a mini-greenhouse area = happy plants.
You know, if I did not absolutely *know* that Phrags are orchids – I'd swear that was a pitcher plant (Nepenthes).
I believe you and all – but it just has the visual look of a Nepenthes.


Read freely text sermons and articles by the speaker Robert Murray M'Cheyne in text and pdf format. Scottish divine, youngest son of Adam McCheyne, writer to the signet, was born in Edinburgh, 21 May 1813. At the age of four he knew the characters of the Greek alphabet, and was able to sing and recite fluently. He entered the high school in his eighth year, and matriculated in November 1827 at Edinburgh University, where he showed very versatile powers, and distinguished himself especially in poetical exercises, being awarded a special prize by Professor Wilson for a poem on 'The Covenanters.' In the winter of 1831 he commenced his studies in the Divinity Hall, under Dr. Chalmers and Dr. Welsh; and he was licensed as a preacher by the Annan presbytery on 1 July 1835.
"THEY SING THE SONG OF MOSES"
MAN REGARDED, BUT GOD DESPISED.
THE BETTER MINISTRY OF CHRIST.
THE CONTENTS OF THE TABERNACLE.


Stuart and I are busy people. People constantly say to us, "We don't know how you two do it." Look at our lives as we travel to different areas, preaching, speaking, praying, writing, listening, counseling, crying, laughing, giving, receiving, planning, getting sick, getting well, worrying, wondering, worshipping, and working hard. It's busy stuff! But are we too busy? What does it mean to be too busy?
There seems to be a whole spiritual industry that has grown up. It is the "how to be un-busy" industry. There are books, CDs, T-shirts, and places to go to unwind. I understand why. People are burning out, and we need to help. But to lay the reason at the feet of busyness alone is dangerous. You can be busy, very busy, or over busy. On the other hand, you can be just downright idle. Stuart has said for decades that ministry affords you the grand opportunity to either be so busy you burn out, or downright lazy and check out! So what's the balance?
All this emphasis on being too busy is okay, unless we are being so busy reorganizing, analyzing, going to small group meetings about all of our busyness, we have forgotten something. Busyness isn't bad in itself! If you're being un-busy when you ought to be busy that's bad. You don't burn out by being busy with the work He has given you to do for one reason: That "busy burden" is easy and light because His grand cosmic shoulder is under it! If He has given you something He wants you busy doing, it will not wear you out.
But you can be weary in well-doing and rejuvenated in spirit. As was Jesus, who lost all interest in the lunch His body needed badly when, He out of His tiredness, ministered anyway to the Samaritan woman. There is inner food that is the most important nourishment sometimes. You get your energy from the people you help.
To rest isn't always to rest the body first, though it might be. For each, the inner rest that energizes us for the work He has called us to do is the Sabbath of the heart that should happen every seven days of the week, 24 hours of the day and night. It is the tranquility of order in the midst of chaos, the whispers of His grace heard by our soul above the cacophony of the world and its troubles, the church and its turmoil, and our personal inner foes flee. It is the "yes" of the soul to the call of Christ. "Yes, Lord! Anytime, anyplace, anywhere!" That's where the joy that is our strength lies. That's where the rest is to be found.
Get into the habit of receiving busyness of the day from Jesus' hand, the earlier the better. Every day - the Sabbath included. This will mean you cannot be "too busy." He will not allow that. It comes down to how well we hear His voice as we follow Jesus' example in Mark 1:35 and "come early" before Him.


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WGA Sr. Points System
UPDATED ELIGIBILITY & POINT ALLOCATIONS FOR 2021
Eligibility: To be eligible for WGA Senior Player of the Year, a competitor must be a member of a WGA member club and must compete in at least three (3) local events on the point ranking system during a season, including at least one of the following WGA championships: the Westchester Amateur Championship, Westchester Open Championship, Westchester Mid-Amateur Championship, Westchester Senior Open Championship or Westchester Senior Amateur Championship. To be eligible for Senior Player of the Year points for any event, the player must have reached his 55th birthday by the first day of the competition.
+ In Open Stroke Play events, points awarded for making the On-site Cut, Sectional and Local Qualifying, and for finishing Low Amateur (+) would be in addition to any other points awarded.
# Points for Sectional Qualifying, On-site Cut and "Matches Won" (#) are cumulative. However, players who finish 10th or better in amateur stroke play events, or winner, runner-up, semifinalist or quarterfinalist in match play events, will receive only the points listed for that position.
## Qualifying Medalist Points are bonus points and will be added to any other points awarded.
It is the responsibility of each player to notify the WGA of top finishes in any national or international event or if they qualify for a USGA event outside of the Metropolitan Area within a practical time period upon completion of the event. Points for other national events will be awarded at the discretion of the Committee.
Note: On-Site Medalist points for events are awarded to the medalist at the championship, not the sectional qualifying round.
WGA Senior Amateur POY Points: Local Events
Sr. Open - Stroke Play
Cut+
SQR+
1st Low Am.+
2nd Low Am.+
3rd Low Am.+
MGA Senior Open 400 300 240 200 180 160 140 120 100 80 50 30 100 75 60
WGA Senior Open 350 265 210 175 160 140 125 105 85 70 - - 90 70 55
CSGA Senior Open 300 225 180 150 135 120 105 90 75 60 40 - 75 60 50
Sr. Amateur- Stroke Play
Cut#
MGA Senior Amateur 300 225 200 175 155 135 120 105 90 75 20
CSGA Senior Amateur 250 175 125 110 100 90 80 70 60 50 15
NYSGA Senior Amateur 250 155 125 110 100 90 80 70 60 50 15
Eagle Oaks Sr. Invitational 150 110 90 80 70 65 60 50 40 30 -
NYC Senior Amateur 150 110 90 80 70 65 60 50 40 30 -
Danbury Senior Amateur 100 75 60 50 40 35 30 25 20 15 -
Sr. Amateur- Match Play
Qualifier#
Medalist##
WGA Senior Amateur 300 250 200 150 100 - - - -
The Farrell (Senior Div.) 175 125 100 75 - - - 20 20
Travis Invitational (Senior Div.) 175 125 100 75 - - - 20 15
Nassau Invitational (Senior Div.) 175 125 100 75 50 - - 20 15
Havemeyer Invitational (Senior Div.) 125 100 75 50 - - - 15 10
Senior Amateur POY Points: Regional, National, Int'l Events
*The WGA may award points for top finishes in regional, national or international events NOT listed below. It is the responsibility of each competitor to notify the WGA of such top finishes.
Sr. - Stroke Play
U.S. Senior Open 500 350 200 150 150
Sr. - Match Play
Each Match Won to QF#
Medalist#
SQR#
U.S. Senior Amateur 500 400 325 275 50 75 75 50
Note: Senior players who earn points listed on the WGA Amateur POY points system will have those points added to their totals in the WGA Senior POY competition.
Category: :


The Oncology Division of National Jewish Health's Department of Medicine, located in Denver, Colorado is seeking a BE/BC Hematologist/Oncologist with superb clinical skills to join its faculty and grow general oncology and hematology clinical services through our community clinic offices. The Division's robust clinical program provides patient care at National Jewish Health, community satellite centers, and National Jewish Health|St. Joseph's Hospital.
Work at a Center of Excellence in lung cancer.


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Managing the media for propaganda
John Muscat
Last November, Julia Gillard entered a small auditorium at Sydney's Australian Technology Park to rapturous applause.
Cascading down to the podium, the fixed seating was packed full of women, many wearing red T-shirts bearing the words "Equal Work, Equal Pay" on the front, and "Pay Up!" on the back. They were community workers and Australian Services Union officials who gathered to hear Gillard adopt Fair Work Australia's equal pay decision. At the end of her address, and a few ovations, she wandered up the rows of seats to "mingle" with the audience, pursued by a camera. The scene captured on the evening news bulletins was curious. At one point she was surrounded by a group of beaming admirers, straining to demonstrate their approval. They stood symmetrically to her left and right, forming a tableau with Gillard conspicuously at the centre. The scene looked anything but natural or spontaneous. Gillard seemed barely interested in the people around her, fixing her gaze on the camera, studying it with a frozen smile.
This type of choreographed event is something of a 'house style' for Gillard's government, designed to produce visual images at variance with her dismal standing in the electorate. Another notable case was her visit to a primary school two days before Kevin Rudd's leadership challenge. The highlight came when students formed an honour-guard lining both sides of a long outdoor passageway, followed by Gillard's slow procession down the middle, turning left and right as she extended a limp hand to the children on either side. The cameras were stationed at the end of Gillard's route, facing her, so the news footage again showed her at the centre, flanked by excited onlookers.
At times she has appeared on factory floors, always the focal point, cheered by burly, fluoro-jacketed workers and union officials. Her locations vary according to the issue du jour: a media splash about manufacturing subsidies will draw her to a factory, about education funding to a school, about health care to a hospital. Wherever she turns up, she is "spontaneously" mobbed like a celebrity.
It's hardly news that politicians try to control the images and messages that define them. But government-media relations are also a function of the political system and culture around them. In liberal democratic societies, the state's influence over media can only be partial, limited and contingent, and accountable to alternative power-centres. In authoritarian systems, leaders aspire to exercise comprehensive, or total, control over the received narrative. While democratic governments derive their legitimacy from elections and constitutional processes, authoritarian regimes rely on various forms of media for validation, along with the threat of violent repression. They are free to fabricate narratives that serve their purposes, mostly to discredit or intimidate opponents.
In terms of a broad classification, democratic leaders practise media management, since control is beyond their grasp, while authoritarian regimes resort to rank propaganda. It's like the difference between editing a given text and rewriting it from scratch. If the health of a democratic society is linked to whether the line separating them is observed, there are grounds for concern about where we are headed.
Fair-minded observers concede that in terms of media manipulation, the Rudd Government was a quantum leap ahead of every preceding federal government. Everything from constantly repeated phrases and spin-lines, practised hand gestures, scripted interviews, staged events and press conferences, coordinated announcements, strategic leaks, online videos, social media forums and Orwellian policy titles ("Carbon Pollution Reduction Scheme", "Building the Education Revolution") were deployed as a continuous wall of sound and vision.
Much of this was the work of Labor apparatchiks who pride themselves on being at the cutting-edge of social and technological change, masters of the new 24-hour media cycle. But it also reflected the contemporary Left's deeply patronising views of the public's intelligence and attention span. Perhaps surprisingly, given widespread disillusionment with these techniques toward the end of Rudd's reign, under Gillard they have not been scaled back. If anything, they have intensified.
A handy definition of propaganda is any attempt at mass persuasion which focuses on eliciting a subconscious or emotional response, at least predominantly, rather than a rational response. This is why factual accuracy is of only incidental importance, though outright falsehoods are not an essential feature of all propaganda. One authority, Richard Nelson of the University of Louisiana, has defined propaganda as "a systematic form of purposeful persuasion that attempts to influence the emotions, attitudes, opinions, and actions of specified target audiences for ideological, political or commercial purposes through the controlled transmission of one-sided messages (which may or may not be factual) via mass and direct media channels". Again, in its purest form this type of persuasion flourishes in authoritarian rather than democratic systems. Who can deny, however, that many Rudd and Gillard "innovations" represent a marked shift toward propaganda as defined?
Nor can it be denied that some of these were pioneered by totalitarian movements in the early twentieth century. After all, communist and fascist propagandists were responsible for a number of breakthroughs in the use of mass communication technologies like radio, cinema and sound recording for political purposes. A few of these methods survive today, though in a modified form. It's necessary here to avoid infringing Godwin's Law, which says, generally, that anyone who resorts to calling their opponent a Nazi has lost the argument (the same goes for calling them a fascist or communist). This is a wise and valuable rule of debate.
It would be absurd to call the Labor Government communist or fascist, but Godwin's Law should be subject to a qualification. Sometimes it's valid to compare contemporary political practices to limited aspects – and only limited aspects, not whole programs – of past totalitarian movements, if only to shed light on the origins and implications of those practices. One example is reiteration. In her televised "address to the nation" on the carbon tax package, for instance, Julia Gillard repeated the loaded words "pollution" or "polluter" 14 times in the space of five minutes. Most observers will agree that the following corresponds to a widely held belief in political circles: "the most brilliant propagandist technique will yield no success unless one fundamental principle is borne in mind constantly and with unflagging attention. It must confine itself to a few points and repeat them over and over." It's actually a passage from Mein Kampf.
Also current is the Goebbelsian maxim that reiteration works better in the case of a "big lie" than a small one. Broad propositions like "the stimulus package saved Australia from recession" or "pricing carbon is essential economic reform" or "women are paid less for the same work" – relatively difficult to falsify – are easier to drum into the public consciousness than a narrow claim like "I did not lie about the carbon tax".
Anyone who still doubts that we are seeing a dangerous slide toward a propaganda mindset should contemplate two recent events.
First there was the extraordinary attempt by a member of Gillard's staff to manufacture an anti-Abbott demonstration on Australia Day. This highly significant episode, which opened a window into the propagandistic ethos at the highest levels of the government, deserved more scrutiny from the toadying press gallery. While there is no direct evidence to implicate Gillard or her inner circle, it stretches credulity to call the staffer a rogue actor. More virulent than the artificial love-ins described earlier, the scheme was classic agitprop, a sub-set of propaganda concerned with the demonstrative power of political agitation.
Then there is the disturbing outcome of Ray Finkelstein's media inquiry: an ominous pitch for more regulation. Propaganda and censorship are two sides of the same coin. When one raises its ugly head, the other is sure to follow. As an effort to present a "one-sided" version of events, propaganda fails if someone presents the other side. To complete the equation, opposing voices must be suppressed. Given the apologetics that pass for mainstream journalism, in fact, Gillard is already half way there.
The crucial question is whether this government's infatuation with propaganda is an aberration linked to character flaws in Rudd and Gillard or the unique circumstances of a hung parliament. Or is it, rather, an enduring feature of Labor's degeneration into the political wing of a culturally powerful but narrowly based, sectional interest. All indications point to the latter.
Subscribe to Quadrant magazine here…
The Warmists' Golden Fleece
Multiracialism, yes. Multiculturalism, no
I Didn't Vote for Tyranny. Did You?


Popular iOS app developer The Omni Group has been on a mission in 2015. After previously releasing big updates to OmniGraffle and OmniPlan, the company has just unveiled version 2.3 of OmniOutliner.
And just like the other two apps, which were previously iPad-only, version 2.3 of OmniOutliner brings universal support for the iPhone and iPod touch. As you could probably tell by the name, the app helps users focus and structure their ideas with outlines.
You can see how the new version of OmniOutliner 2 looks on the iPhone 6 Plus in this short video. Click here if you can't see it.
Also, with the update, the outline view now freely scrolls so the outline column can be scrolled off the screen when needed. Image attachments will also automatically scale down to fit the width of the column. All the new features can be found here.
OmniOutliner 2 can be downloaded now on the App Store for $29.99. You'll need to be running iOS 8.1 or later.
With the larger screens of the iPhone 6 and iPhone 6 Plus gaining such rapid acceptance, I'm pleased to see The Omni Group make it a priority to add universal support to their powerful stable of iPad apps.
In a blog post, The Omni Group's Ken Case said that the company is now working on a universal OmniFocus app. While there are currently separate iPhone and iPad versions of the task management app, a free update will soon bring universal support to the tablet version.
Anyone who purchased the iPhone app will receive a 50 percent discount when purchasing the upcoming universal title.
For other news today, see: Drafts adds Workflow integration for iOS text automators, ABC News takes a sneak peak at the secret Apple Watch health and fitness lab, and Apple subscription TV plan could be a large revenue stream.


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2012 Dodge Charger Review
by U.S. News Best Cars Staff | January 5, 2016
Auto writers said the 2012 Dodge Charger offers plenty of power and engaging handling.
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See full 2012 Dodge Charger specs »
The 2012 Dodge Charger's #7 ranking is based on its score within the 2012 Affordable Large Cars category. Currently the Dodge Charger has a score of 7.5 out of 10, which is based on our evaluation of 27 pieces of research and data elements using various sources.
#54 in Used Large Cars under $15K
2012 Charger Photos
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2012 Dodge Charger Overview
The 2012 Dodge Charger is available with V6 and V8 engine choices, and many reviewers were satisfied with the power and acceleration provided by the base V6. A five-speed automatic transmission is standard on the base Charger, as well as the V8-powered Charger R/T and SRT8, while a new-for-2012 eight-speed automatic transmission is available on V6 models. Reviewers recommended upgrading to the eight-speed automatic, noting that it's responsive and contributes to better fuel economy. So equipped, the 2012 Dodge Charger gets an EPA-estimated 19/31 mpg city/highway, which is good for the class. The Charger comes standard with rear-wheel drive, and all-wheel drive is available. Reviewers noted that the Charger is more entertaining to drive than other large cars, with controlled handling, accurate steering and strong brakes.
Automotive journalists said that the 2012 Charger has an attractive cabin design. They wrote that the Charger's front seats are comfortable, but some noted that the Charger's sloping roofline cuts into rear-seat headroom. The Charger has 16.3 cubic feet of trunk space, which is typical for the class. Standard features include push-button start, a six-speaker audio system, a USB/iPod input and Dodge's Uconnect infotainment system with a 4.3-inch touch-screen display. Available features include a sunroof, leather upholstery, power-adjustable front seats, heated and ventilated front seats, heated rear seats, adaptive cruise control, satellite radio, navigation, an Alpine audio system, a Beats by Dr. Dre audio system and an upgraded Uconnect infotainment system with an 8.4-inch touch-screen display. Reviewers really liked the upgraded Uconnect system, which features straightforward menus and a large touch-screen display.
The 2012 Chrysler 300 is also available with all-wheel drive, as well as the same engine and transmission choices that critics loved in the Charger. The 300 also comes with more standard features, and automotive journalists appreciated its luxurious interior design.
Reviewers liked the 2012 Ford Taurus' composed handling and quiet, smooth ride. The Taurus has one of the largest trunks in the class, and critics pointed out that the Taurus has two rows of comfortable seats.
Compare the Charger, 300 and Taurus »
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Phoning it In
July 13, 2009 July 13, 2009 Daryl L. L. Houston
I've got company in town this week and really divided attention, so I'll almost certainly be less prolific and more half-assed about posting over the next few days. For now, some quotes about pattern:
"[Madame Psychosis's] monologues seem both free-associative and intricately structured, not unlike nightmares." (185)
"Madame's themes are at once unpredictable and somehow rhythmic, more like probability-waves for subhadronics than anything else." (187)
"You can never predict what it will be, but over time some kind of pattern emerges, a trend or rhythm. Tonight's background fits, somehow, as she reads… The word periodic pops into his head." (190)
"The background music is both predictable and, within that predictability, surprising: it's periodic. It suggests expansion without really expanding. It leads up to the exact kind of inevitability it denies." (191)
The recurrence of a number of phrases and ideas (e.g. the distant familiarity of MP's voice and its associations for Mario) along with this insistence on paradoxically unpredictably periodic patterns makes me suspect that this section of the book could be charted or analyzed to uncover an underlying pretty tightly-controlled pattern. If so, then Wallace has done just what he's talking about in these passages by providing a sense of unpredictable rhythm that turns out actually to be periodic. It would make a lot of sense for him to do something like this given various themes of circularity/period in the book. Whether or not there's anything to my suspicion will have to be confirmed by somebody else or at another time, though.
I can't help thinking that sections like this might be part of what led Bookworm's Silverblatt to intuit that there was something fractal about the book's structure, an intuition Wallace confirmed. The very pattern Wallace claimed informed the structure of the book makes an appearance on page 213 in the form of the Sierpinski gasket. I've been familiar with this particular fractal since I discovered during high school calculus a function on my graphing calculator that would draw it. With minimal digging, I found the following further information about the figure (source):
It apparently was Mandelbrot who first gave it the name "Sierpinski's gasket." Sierpinski described the construction to give an example of "a curve simultaneously Cantorian and Jordanian, of which every point is a point of ramification." Basically, this means that it is a curve that crosses itself at every point.
The quote stood out to me because of the mention of Cantor, who was mentioned in passing on page 81 in a passage I previously flagged as probably important and about whom Wallace wrote a book a few years ago. Cantor studied infinity and was clearly of interest to Wallace, so his naming here in connection with the Sierpinski fractal along with the confession that the fractal informs the book's structure seems kind of neat.
I was going to stop there but then flipped forward to see if there was anything else important in this milestone. The Joelle things are pretty darned important. I think I probably found these early Joelle passages tiresome or something on my first read, but I was wowed by some of the writing this time around. And not just the description, but the sound of it. Some of this is good to read aloud. Take this fragment from page 221 (emphasis mine):
and now murky-colored people with sacks and grocery carts appraising that litter, squatting to lift and sift through litter; and the rustle and jut of limbs from dumpsters being sifted by people who all day do nothing but sift through I.W.D. dumpsters; and other people's blue shoeless limbs extending in coronal rays from refrigerator boxes in each block's three alleys… red annex's… boxes' tops… Endless Stem
And this from 222:
clogged solid with leaves and sodden litter. She walks on toward the Common with the empty bottle
in which a number of vowel sounds match perfectly, but "walks" can also be reasonably read to match, and the second syllables of "common" and "bottle" are so swallowed by the emphatic first syllables that they almost come off as something close to feminine rhymes. At any rate, it's a very trochaic couple of fragments.
And one more (226):
mistaking little mutters of thunder for the approach of the train, wanting more of it so badly she could feel her brain heaving around in its skull, then a pleasant and gentle-faced older black man in a raincoat and hat with a little flat black feather
In this one, "mutters" does double-duty, sharing its staccato t sound with "little" and its vowel with "thunder." I don't think there's a way to draw any sort of extra meaning out of the poetry of these passages (based on the poetry alone), but it sure stood out to me during this read.
One more shifting of the old gears. I wrote briefly at one point about the cardioid shape of the tennis academy campus and the Lung that exists thereon. During this milestone, we see a cranial building complete with more or less anatomically correct structures. And then we see Enfield described as an arm and the academy described as a cyst on the elbow. In The Broom of the System, Wallace creates a place in the shape of Jayne Mansfield (whether just her face/head or her whole person I forget). There's talk throughout Infinite Jest of eliminating somebody's map as either killing them or messing their face up very badly in the process of killing them. I don't really have a point or a theory to advance. I just think it's interesting to follow this tic or whatever it is.
Uncategorizedbody, Infinite Jest, style
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2 thoughts on "Phoning it In"
infinitedetox July 14, 2009 / 8:32 am
The Sierpinski connection is flat-out fascinating to me — I also first encountered that fractal in HS calc. class. One of the interesting features of it is that you can basically generate it out of randomness, which my teacher demonstrated each year (see: http://infinitedetox.wordpress.com/2009/06/26/spontaneous-sierpinski/). And somebody commenting on IJ this summer — I forget who — noted that the Sierpinski triangle, when fully realized, has an edge length that tends toward infinity and an internal area that tends toward zero.
Slimbolala July 15, 2009 / 4:26 pm
Makes my head hurt a teeny bit, but I like it…


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