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Q: Sharpening of Lindelöf hypothesis The Lindelöf hypothesis is:
$$
\forall \epsilon >0,\exists C_\epsilon >0,\forall t\ge 1,\quad
\vert\zeta(\frac12+it)\vert\le C_\epsilon t^\epsilon.\qquad \tag{LH}.
$$
It is a weaker statement than the Riemann hypothesis: $(RH)\Longrightarrow (LH)$. The (not-so-easy) texbook result that the estimate above is true for $\epsilon=1/6$ was improved in 1986 by Bombieri and Iwaniec (mathreview#:MR0881101) who found the estimate for $\epsilon=\frac{9}{56}$.
Several works followed, using some variations of their method, but I do not think that the threshold $1/7$ was reached.
Now my question:
is there a stronger  inequality, e.g. $$
\exists C >0,\forall t\ge 2,\quad\vert\zeta(\frac12+it)\vert\le C(\ln t)^C\tag{LH$^\sharp$}
$$
which would be equivalent to $(RH)$?

A: No, zeta will not be so small, as already mentioned in another answer.
Since you give the equation just as example, I assume you care for what is believed to be 'the truth'; thus in addition I mention a rather recent conjecture on the 'exact' maximal value (Farmer, Gonek, Hughes, The maximum size of L-functions, J reine angew. Math. 2007; link to arXiv though; see Conjecture A)
The maximum of $|\zeta(1/2 + it)|$ in the interval $[0,T]$ is
$$\exp(  (1+o(1)) \sqrt{\frac{1}{2} \log T \log \log T}) .$$

A: There are reason to doubt that the size of $\zeta(s)$ alone could be responsible for the truth of the Riemann Hypothesis, however bounds for $\zeta(s)$ could be equivalent to a statement of the form "RH does not fail massively", as I will explain further.
Let me present one argument to convince you that the size of $\zeta(s)$ should be independent of the truth of RH: Suppose that the following (unlikely, but currently not ruled out) configurations of zeros occur in infinitely many intervals $[T; T + 1]$: we have roughly $\asymp \log T / \log\log T$ clusters of $\log\log T$ zeros, then in such interval $\zeta(s)$ should be of size $\exp(c \log T / \log\log T)$ (in particular contradicting the conjecture of Farmer, Gonek and Hughes). And then imagine that there are a few (say $4$) zeros of $\zeta(s)$ lying off the critical line.
The two behaviors are envisage-able to occur simultaneously, unless of course we prove the falsehood/truth of each statement independently.
To wit: The size of $\zeta(s)$ is in a sense a local behavior, having $O(\log T)$ badly placed zeros in a $O(1)$ vicinity of a point $1/2 + it$ is enough to produce a very large (if not super large) value of $\zeta(s)$ at that point. Therefore the size of $\zeta(s)$ will not be affected by the truth or a small failure of the Riemann Hypothesis. However good bounds for $\zeta(s)$ can prevent the Riemann Hypothesis from failing badly. For example a result of Turan and Halasz asserts that if the Lindelof Hypothesis is true then there are at most $O(T^{\varepsilon})$ zeros in the half-plane $\sigma > \tfrac 34$.

A: No. In fact it is known that for any $\varepsilon>0$ there are arbitrarily large values of $t$ with
$$ |\zeta(1/2+it)| \ge \exp\left( (1-\varepsilon) \sqrt{\frac{\log t}{\log \log t}} \ \right).$$
This is a recent result of Soundararajan, Math. Ann. (2008) 342:467–486.
Ramachandra and Balasubramanian had previous proved an inequality of a similar form with the factor of $1-\varepsilon$ replaced by a smaller constant.

redpajama_set_name: RedPajamaStackExchange


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Professor Robert Langdon gazed up at the forty-foot-tall dog sitting in the plaza. The animal's fur was a living carpet… - Dan Brown, Origin.
CBS Gets Creative With Mobile Ad Consortium
August 9 – August 16, 2007 Edition
CBS Gets Creative
With Mobile Ad
NEW YORK, NY/8/2/07–CBS Mobile has forged partnerships with four of the country's leading mobile advertising-enabling companies – AdMob, Millennial Media, Rhythm NewMedia and Third Screen Media, in an effort to build a full-service approach to mobile advertising for its entertainment, news and sports programming. In line with its focus on innovation, industry firsts and open and non-exclusive partnerships with cutting-edge companies, CBS Mobile is the first major broadcast network to work with AdMob, Millennial Media and Rhythm NewMedia.
Two of the four–Third Screen and AdMob–work closely with the publishing industry. CBS also owns Simon & Schuster, one of America's largest publishing houses.
"We believe mobile advertising is one the biggest business opportunities in the mobile world, and we want to be at the forefront of it," said Cyriac Roeding, Executive Vice President, CBS Mobile. "Teaming up with best-in-breed companies in an open and non-exclusive way is the cornerstone of our strategy – and these companies are leading the mobile advertising marketplace in terms of intelligent ad serving and distribution technologies and services. They will enable us to expand our relationship with our Top 200 advertisers while reaching thousands of smaller advertising brands from around the world wanting to place ads around CBS Mobile content."
CBS also announced that starting immediately, it will provide clients with one of the widest menus of mobile advertising options in the market, ranging from text and banner ads on mobile websites, to commercials in video news and sports alerts, to video ads within mobile video, to commercials on CBS Mobile's 24/7 television network.
The four companies offer varying areas of expertise in mobile advertising.
AdMob is a leading mobile advertising marketplace. AdMob serves over 1 billion ads per month worldwide and over 350 Million per month in the US alone. AdMob serves banner and text ads on mobile web pages for advertisers and their agencies. Through AdMob's self serve capabilities and dedicated mobile ad sales force, CBS's content will be available to thousands of advertisers, allowing them to leverage rich targeting and advanced ad serving capabilities. CBS will initially utilize AdMob's mobile ads on three of its fast-growing mobile websites: wap.sportsline.com, wap.cbsnews.com, wap.theshowbuzz.com. AdMob was founded in 2006 and is based in Silicon Valley.
"CBS has consistently provided great content and innovative features to its users," said Omar Hamoui, AdMob CEO. "AdMob is proud that CBS has chosen the AdMob Marketplace to serve and manage its mobile ads based on our scale and advertiser base. The combination of CBS content and AdMob's sophisticated targeting and optimization technologies will provide advertisers with an important new channel in mobile."
Millennial Media operates mobile ad networks designed specifically to best meet the diverse needs of agencies, brands, and direct marketers. With Millennial Motion rich media for engaging user experiences, the Millennial Marketplace for targeted audiences on premium content, and Decktrade for large-scale performance campaigns, we help advertisers succeed in meeting their objectives. Millennial Media will provide CBS with both text and banner ads and will sell CBS inventory on the mobile websites and video products.
"We are thrilled to be working with CBS Mobile to provide leading advertisers with innovative and effective solutions to improve their mobile impact," said Paul Palmieri, CEO of Millennial Media. "CBS's continued leadership and innovation in mobile is helping to grow the overall mobile advertising market."
Rhythm NewMedia's intelligent ad-serving technology enables next-generation mobile video commercials to be attached to mobile video content dynamically and then distributed to targeted audience profiles. CBS will work with Rhythm NewMedia to offer this next-generation service in the United States. In addition, Rhythm's ad sales team will sell video ads for CBS. Rhythm is funded by The Carlyle Group, Morgenthaler Ventures, LightSpeed Venture Partners and Rembrandt Ventures.
"Rhythm NewMedia has demonstrated that targeted ad-supported video snacking is very attractive to both consumers and advertisers, in multiple countries. Rhythm is pleased to support CBS initiatives in mobile advertising," said Ujjal Kohli, CEO of Rhythm NewMedia. Third Screen Media, which was recently acquired by AOL, offers a Web-based mobile ad management and delivery platform that quickly and easily connects advertisers, publishers and mobile carriers. With a reach of nearly 50 percent of all U.S. mobile subscribers, it also has one of the largest single sources of mobile advertising inventory and the ability to target by specific demographics. A partner of CBS SportsLine.com for several years, Third Screen Media will sell advertising for CBS mobile Web sites.
"Having supported CBS SportsLine.com for the past few years, we're pleased to grow our CBS partnership to provide innovative campaigns on the mobile handset," said Tom Burgess, CEO, Third Screen Media. "We view CBS as a first mover in mobile advertising and applaud their efforts to bring relevant, targeted advertising to the mobile consumer."
About AdMob
AdMob is the world's largest mobile advertising marketplace, having served more than 5 Billion advertisements in 18 months. Founded in 2006, AdMob allows advertisers to reach their customers on the mobile Web and publishers to increase the value of their mobile sites. AdMob offers both advertisers and publishers the ability to target and personalize advertising to their customers in 160 countries. Recent AdMob customers include Coca-Cola, Adidas, Starbucks, MSN, Paramount Pictures, Reuters, MTV and many more. AdMob serves ads for over 2000 mobile web sites including CBS, ESPN, Weather Underground, and Maxim.
About Millennial Media
Millennial Media operates mobile ad networks designed specifically to best meet the diverse needs of agencies, brands, and direct marketers. With Millennial Motion rich media for engaging user experiences, the Millennial Marketplace for targeted audiences on premium content, and Decktrade for large-scale performance campaigns, we help advertisers succeed in meeting their objectives. Millennials are more than today's youth. With a larger population than the baby boomers and representing more than 70% of mobile media usage, they are the mass market for today and tomorrow, and Millennial Media provides the best solutions to reach them. For more information please visit us at http://www.millennialmedia.com/
About Rhythm NewMedia
Rhythm NewMedia enables ad-supported mobile content with a broad suite of advertising solutions, including video and WAP. The company is currently launched with 3 UK and will be available on four other top tier international mobile operators by the end of this quarter. Rhythm's technology enables advertising that has broad reach, sharp targeting and precise frequency management. Rhythm automates key business processes and enables reporting to each member of the mobile advertising value chain. Rhythm has a platform for serving content with targeted ADs, sources content, and sells Ads on behalf of its media and operator partners. Rhythm is based in Mountain View, California. Rhythm also has offices in London and Gurgaon (India).
About Third Screen Media
Third Screen Media is a software and services company dedicated to enabling advertising on mobile devices. Its MADX product suite links advertisers, publishers and carriers together on a common platform to increase the efficiency and time-to-market for the buying and selling of mobile advertising in WAP, video, MMS and downloadable applications. MADX goes beyond ad delivery by providing in-depth research, planning and publisher inventory management analytical tools, yielding the highest possible ROI. The company's TSM|Network is North America's largest single source of mobile advertising inventory, offering best-in-class content, targeted demographics and broad reach. Customers and partners, including many of the world's largest marketers, advertising agencies and media companies rely on Third Screen Media's products and services to deliver, manage and optimize mobile advertising campaigns. Third Screen Media is a wholly owned subsidiary of AOL's Advertising.com.
CBS Corporation (NYSE: CBS.A and CBS) is a mass media company with constituent parts that reach back to the beginnings of the broadcast industry, as well as newer businesses that operate on the leading edge of the media industry. The Company, through its many and varied operations, combines broad reach with well-positioned local businesses, all of which provide it with an extensive distribution network by which it serves audiences and advertisers in all 50 states and key international markets. It has operations in virtually every field of media and entertainment, including broadcast television (CBS and The CW – a joint venture between CBS
Corporation and Warner Bros. Entertainment), cable television (Showtime and CSTV Networks), local television (CBS Television Stations), television production and syndication (CBS Paramount Network Television and CBS Television Distribution), radio (CBS Radio), advertising on out-of-home media (CBS Outdoor), publishing (Simon & Schuster), interactive and mobile media (CBS Interactive, CBS Mobile), music (CBS Records), licensing

redpajama_set_name: RedPajamaCommonCrawl


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What Is a Content Library? Plus Answers to 9 More Questions about This Innovative Lead Gen Approach
written by Demian Farnworth
In May 2013, a small company with fewer than 40 unusual employees made a historic lead generation move that resulted in stunning lead generation results. (I stress "unusual" in a good way.)
The company with those odd employees, of course, was Copyblogger Media (now known as Rainmaker Digital). The story of what happened follows.
The historic move:
Up until that point, Copyblogger had been offering an email newsletter to attract and capture email subscribers. Pretty standard in the online business world.
We wanted to up the ante.
So we launched My.Copyblogger.com — a free membership site, where people sign up to access (at the time) 15 free ebooks and a 20-part email course.
Think of a content library as a password-protected source of premium content that you can access once you register with your email address.
That's essentially what a "content library" looks like. But how did it perform? Let's look at the results to see.
The historic results:
According to the case study by Marketing Sherpa,
Through the first seven weeks, the free subscription page averaged a 67 percent conversion rate.
The first week's growth was 300 percent bigger than the best week of growth for Internet Marketing for Smart People (a previous Copyblogger 20-part email course) — closer to 400 percent, if you include new paid subscribers.
The most visited page on Copyblogger at the time was behind the paywall — with almost a third of all traffic logging in after arrival.
Those are some substantial results, particularly in such a competitive space as content marketing.
Now, I can't promise you the exact same outcome, but I can promise you that a content library will, at the very least, increase the number of subscribers you capture.
The key, as always, is to build trust first by providing a ton of value before asking for anything in return.
If that concept is new to you, then you can review how to build the know-like-trust factor.
In the meantime, let's dig a little deeper into the common questions surrounding lead generating content libraries.
1. What's a "content library?"
You'll hear sales and marketing people refer to a content library as a bank of all the content assets owned by a company that is placed in a central, internal portal so other departments within that company can access that content.
That's not what we are talking about here.
Yes, a content library is a bank of content, but in the way we will be using the phrase, it is full of resources that your audience can access once they register with an email address.
In other words, the public can access these resources, which makes this type of content library a lead generation tool.
2. What type of content goes into a content library?
You could include:
Data and analysis reports
The trick is to offer enough value that prospects view signing up for your content library as a no-brainer — an insane bargain.
See Question 5 for some examples of ways you could structure your content library.
3. What makes a content library better than a conventional email newsletter?
When you offer more resources for the same price (in this case, an email address), you are naturally going to get better results.
Our case study is one such example.
With a content library, you are likely to elevate more of your visitors into an ongoing relationship — in other words, a content library will help you convert more prospects into solid leads.
But not just any type of lead.
See, the main difference between a typical email newsletter and a content library offer is that with the content library, you can now identify your site visitors, which ultimately helps you convert more leads into sales.
4. What's the difference between an email sign up and website registration?
In both cases, it's true that the prospect gives you an email address. With a sign-up, you have permission to send that person email — namely, your email newsletter or latest published blog posts.
With a content library registration, you give your prospect access to a site — access to exclusive resources like ebooks, videos, webinars, forums, and more.
In the first situation, the content marketer is throwing stuff at the prospect. In the second, the content marketer is inviting you to his place — which is loaded with useful resources.
And like I said before, when people visit your site as signed-in members, you can customize your promotional messages, which leads to higher conversions.
5. How many resources should you put into a content library?
There isn't a hard-and-fast rule.
However, you need to include more than one piece of content. Don't forget: you are trying to create a sense of great value.
For example, a content library with two, five-page ebooks is not going to suggest high value. But four 50-page ebooks and seven 30-minute training videos, however, will suggest high value.
Here's another way you could structure your content library:
30 exclusive podcast episodes
3 worksheets
As you can see, the numbers of ways you can structure your content library is limitless. Which leads us to our next question.
6. Do I give access to all the content at once?
The short answer is to start by giving away a large amount of content to create a sense of high value.
The ebooks in the original My.Copyblogger content library ranged between 31 and 142 pages — and there were 15 ebooks, plus a 20-part email course.
However, you can start small and build as time goes on.
For example, make the promise of adding more content once a month (or the frequency that works for you).
That strategy has a number of benefits.
It brings all those members back to your site every time you release a new piece of exclusive content.
In other words, you don't need all the resources in place before you launch.
If you only have four ebooks and two podcast episodes, you can launch with that offer. But as you add more resources, don't forget to update your content library's promotional copy and alert your members.
7. How do I get people to my content library?
If you already have an email list in place, then promote your content library to that list.
With My.Copyblogger, an announcement was sent out to our general email list, and because there were 15 ebooks, there were 15 unique email promotions sent out, each one customized to that particular topic.
We sent out one of these emails a week, usually on a Friday.
Depending on the number of resources you have, your campaign might end up lasting two or three months.
Before sending each email, suppress the email addresses of people who have already registered, so those members of your community aren't annoyed by seeing the same pitch multiple times.
If you don't have a list (or want to continue promoting the content library after you've finished the campaign to your email list), the next step is to create high-quality, tutorial-type blog content that leads to a promotion of the content library.
Once people are on your site because of this high-quality, tutorial-type blog content, give them an opportunity to register.
Here are four useful ideas:
Include a footer at the end of each blog post that encourages visitors to register for your content library.
Add a sidebar that appears on every page of your website.
Create feature boxes that appear in the header of your website.
Use pop-overs and pop-ups (yes, there is a difference).
Learn more about these strategies in Beth Hayden's article, 4 Quick Solutions that Spawn Radical Email List Growth.
8. Won't content that requires a registration hurt SEO efforts?
True, the content behind the registration wall won't get crawled or indexed by Google (or any search engine for that matter).
However, search "copywriting" on Google and you'll see that Copyblogger ranks at the top of the first page of search results. The rest of the topics in our content library are also on the first page of Google for terms like "content marketing," "landing pages," and "SEO copywriting."
And every single one of those pages is what we call a cornerstone content page — which drives social and search traffic to register for the content library on My.Copyblogger.
9. Do I have to call it a "content library?"
You can call it whatever you want to call it.
Here are my ideas for different industries like health, fashion, and cooking:
The Cross-Fit Foundation
8 Beautiful Wardrobe Basics
Your Wok Recipe Essentials
It's a good idea to mention in the description copy that this is a library of resources — and be very specific about what is in it.
You want to give your prospect the sense that there are some really juicy resources behind that registration wall.
10. Does this mean I'm starting a membership site?!?!
I added all those question marks and exclamation points because what most people say immediately after asking that question is … I'm not ready for that!
You get a real sense they are scared out of their wits.
If that's you, relax, because registering people as members doesn't mean you're suddenly running a full-fledged membership site.
It just means people are joining your community.
However, if you achieve critical membership mass, a nice touch to your content library would be to offer a simple forum where your members could chat, share ideas, and ask you questions.
Our Rainmaker Platform enables someone who is dumber than a bag of bricks when it comes to coding (like me) to set up a password-protected content library — plus a forum — by simply grunting and pointing (like I do).
In the end, what really matters is that members of your community — even if what you offer them is free — benefit from content that's tailored to their customer journeys.
filed under: Content Marketing, Content Marketing Strategy
Demian Farnworth
Want to graduate from the minor to the major leagues? Dominate your domain with an authorial voice that people listen to? Demian Farnworth can help you go from being a good writer to a great one. Learn more. You can also follow him on Twitter.
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Shipbulding veteran Peter Fetten will become president and CEO of MV Werften, effective May 1.
Fetten has been SVP corporate ship refit at Carnival Corp. & plc for the past nine years.
Current MV Werften CEO Jarmo Laakso will remain a member of the shipyard cluster's executive board as managing director and focus on newbuilding projects as chief operating officer, reporting to Fetten.
'I am pleased to be working with Peter Fetten again. Together we will build high-quality cruise ships, which Germany will be proud of,' Laakso said.
Fetten, a German citizen, has vast experience in cruise shipbuilding. Before Carnival, he spent eight years as VP newbuilding and fleet design at Royal Caribbean Cruises Ltd. He also served on the board of Grand Bahama Shipyard. For a time he ran his own consulting business.
Earlier, Fetten held a number of key positions over many years at Germany's Blohm+Voss. He started his career at Norderwerft.
'I look forward to returning to Germany and making a significant contribution to the further growth of the shipbuilding industry in Mecklenburg-Vorpommern and the creation of thousands of jobs in the country's maritime industry,' Fetten said.
Genting Hong Kong-owned MV Werften has just begun construction of the first 204,000gt Global-class newbuild for Dream Cruises and the first newbuild for Crystal Yacht Expedition Cruises, Crystal Endeavor.
Last month the builder delivered Crystal Debussy for Crystal River Cruises, and Crystal Ravel is scheduled for handover this month.
There was no immediate word on who will assume Fetten's duties at Carnival Corp.


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Album Releases Album Reviews CD Releases
Alestorm – Curse of The Crystal Coconut – 2nd Opinion Review
Comments Off on Alestorm – Curse of The Crystal Coconut – 2nd Opinion Review
Released by: Napalm Records
Genre: Pirate metal
Christopher Bowes – Vocals & Keytar
Máté Bodor – Guitar
Gareth Murdock – Bass
Elliot Vernon – Keyboards
Peter Alcorn – Drums
Treasure Chest Party Quest
2. Fannybaws
3. Chomp Chomp
4. Tortuga
5. Zombies Ate My Pirate Ship
6. Call of the Waves
7. Pirate's Scorn
8. Shit Boat (No Fans)
9. Pirate Metal Drinking Crew
10. Wooden Leg Part 2. (The Woodening)
11. Henry Martin
OK let's get one thing straight, if you are looking for a new direction from Alestorm in this album you are going to be very very disappointed and you should walk away now. If, however, you are hoping for an album full of Alestorm's signature pirate metal, jigging round the garden with a rum in hand suitable songs, then you are in the correct place.
It's not often a promo comes with a lyric sheet, but this one did, and whilst waiting for the MP3's to download I decided to give these a read first, and I am glad I did. There is plenty of fun to be had in trying to sing along to a song you have yet to hear, with the exception of the (at time of writing) three singles that have already been released from the album.
The album opens with the lines '500 years ago when I was born, I crawled from the womb with a drinking horn, I held it to the sky in my tiny metal hand, And got real drunk before I could stand' and that is where this Treasure Chest Party Quest of an album sets its tone, as Alestorm makes it very clear they are 'only here to have fun, get drunk, and make loads of money'. With live music currently on hold and all 2020 festivals cancelled the 'make loads of money' part may be a bit of a challenge. But the 'have fun, get drunk' part, we can totally still do.
FannyBaws follows the opening track, continuing the outrageous party theme, I mean 'He went to battle naked, wearing just a tiger's pelt'… and the worrying thing is there will be people at festivals next year wearing 'just a tiger's pelt' for Alestorm sets (although some people do not need this as reason). Chomp Chomp continues the party feeling.
Tortuga, for me is possibly the weakest song on the album, and I can't quite put my finger on why. It's not the rap from Captain Yarrface (although it's not great, John Barnes is better at rapping in my opinion), it just sounds a bit, well bitty, as a song it doesn't seem to flow. I am a bit 'meh' about it. [Make your own mind up, the video is below:]
Luckily, the next song on the album makes up for the previous one, a 5 minute musically adept epic about, well, Zombies eating their pirate ship. The guest vocals from Patty Gurdy fit perfectly into the middle of this song, which you can easily imagine a group of pirates, in an Inn, Ale in hand, singing side by side, swaying along, quite seriously until you listen to the lyrics and realise that they are indeed still having fun.
The tempo picks up with Call of The Waves, this is a proper power metal track, with some very nice symphonic breaks thrown in, a great song before the next two surprises come along.
Now, having not seen the Donkey Kong Television show, I did have to research the original version of Pirate's Scorn, and let's just say this is one of those covers that are better than the original. Clearer lyrics, better music, but still keeping the same fun atmosphere from the original children's TV show. With this and You're a Silly Sausage, Alestorm are well on their way to a Childrens album. Shit Boat (No Fans) is not for the kids however, at a minute 15 long, it is a quick blast of a fight song, with hilarious lyrics, this was one that I was giggling at whilst waiting for the MP3s to download.
Pirate Metal Drinking Crew, is well Alestorm doing Alestorm, a song about pirates, metal, drinking and being a crew, against the world, with plenty of profanities to drunkenly shout along with.
A follow up to Wooden Leg (Sunset On The Golden Age) Wooden Leg Part 2. is 8 minutes of epic sillyness, starting with what could almost pass as the Star Wars opening film theme, before crashing into what is possibly my favourite song on the album. The song tells a story of wooden limbs, in a way Alestorm only can.
The Album would have been perfect ended here, but it feels like somebody looked at the track times and thought 'oh, we have a couple of minutes spare. What can we add?'
That addition is Henry Martin, a Scottish folk song, which does seem a bit out of place at the end of this album, it's a bit of an anticlimactic finish.
However, despite the way this album ends, I shall be playing this album very loudly this summer, with a drink in hand and dancing round the garden like a loon, trying to forget that all my summer festivals have been cancelled, as it is ultimately an album of Alestorm doing what they do best, Pirate metal party songs, and for that I shall have a rum for them.
With all of the music needed to get us through lockdown and the effects of COVID-19, Alestorm are just the ticket to put some zest back in your life. With no live shows forthcoming, the band have instead released a live video filmed in Tilburg last year , you can see the full gig below:
SCORE: 9 /10
Reviewed by Kalli Isborne
Tagged 2nd Opinion, Alestorm, Curse of The Crystal Coconut -, Pirate Metal, review
Album Releases Album Reviews
TIGERTAILZ – LOST REELZ REVIEW
Starting off with Jay Pepper's version of the Welsh National Anthem, it finally hits us that the Welsh Glam Rockers are back and doing it for their country. 'Lost Reelz' is an album filled with the delights of a collection of songs that have never before been available to the public. Covering years of material including demos and mixes this is a true album of rarities that any Tigertailz fan will certainly enjoy.
Riverside – Shrine of New Generation Slaves Review
At this point, any complaints are really just minor nitpicking and other than that, it's just another masterful work from Riverside, which to me truly is one of the best progressive rock acts out there right now. But other than that, Shrine of New Generation Slaves is just a wonderful ride from one end to the other and it will likely get the most spinning time out of all progressive rock/metal albums in 2013. What a strong start to the year!
Destruction – Spiritual Genocide Review
the band decided that the best way to celebrate was to get back in the studio and do what they do best…
Albert Cummings – Believe – Review
Restive Nation release new single "Coma"


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by Dick Ebert · Published December 29, 2022 · Last modified January 3, 2023
This Is Spinal Tap (1984)
"This Is Spinal Tap" shines a light on the self-contained universe of a metal band struggling to get back on the charts, including everything from its complicated history of ups and downs, gold albums, name changes and undersold concert dates, along with the full host of requisite groupies, promoters, hangers-on and historians, sessions, release events and those special behind-the-scenes moments that keep it all real.
Austin Powers: The Spy Who Shagged Me (1999)
In his second screen adventure, British super spy Austin Powers must return to 1969, as arch-nemesis Dr. Evil has ventured back to that year and successfully stolen Austin's "mojo" and set up a powerful laser and aimed it at Earth. With the help of gorgeous agent Felicity Shagwell, the newly single Austin must now not only contend with Dr. Evil, but also Evil's vicious, pint-size attack-clone, Mini-Me.


A Camarillo center set up to assist victims of Ventura County's recent wildfires has helped more than 80 people, federal workers said Friday.
Representatives from the Federal Emergency Management Agency, the U.S. Small Business Administration, the Internal Revenue Service and other agencies were on hand all last week to help those affected by the wildfires.
In Ventura County, two blazes scorched more than 170,000 acres, destroying 38 homes and damaging 11 others.
The local assistance center, at 730 Paseo Camarillo, has cut back its days of operation to Thursday through Saturday.
Hours are 9 a.m. to 7 p.m. on Thursdays and Fridays and 9 a.m. to 4 p.m. on Saturdays.
The center does not dispense aid; it is set up to answer questions and provide advice. Fire victims should register for assistance with FEMA by calling (800) 621-3362. Countywide, 235 people have registered through that number, said FEMA spokesman Dean Cushman.
In Ventura County, the agency so far has awarded grants of $60,759 to those who have suffered damage to a residence and $149,723 for other sorts of loss, such as personal property, Cushman said.
The SBA has received 10 applications for low-interest loans in Ventura County and has made one loan, for $16,500, said SBA spokesman Ken Shuman. Those interested in loans can call (800) 488-5323.
In the five-county region affected by the fire, FEMA has awarded $11 million in grants and the SBA has made loans of more than $22 million, Cushman said.


of bright flame to deep darkness.
tain food and work experience.
dren fish for less than a dollar to feed themselves and their siblings.
Scene: North Texas Daily (Denton, Tex.), Vol. 90, No. 86, Ed. 1 Friday, March 10, 2006, newspaper, March 10, 2006; Denton, Texas. (https://texashistory.unt.edu/ark:/67531/metapth145321/m1/4/: accessed April 22, 2019), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting UNT Libraries Special Collections.


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. ScriptPath\Set-DisplaySettings.ps1
Set-ScreenResolution $Width $Height

redpajama_set_name: RedPajamaGithub


I think it was Eric Meyer who first coined this expression (or at least he did where I read it first), and I think it's something that describes what I sometimes feel. Whitespace blues is the feeling you experience when HTML tags aren't written next to each other, resulting in weird effects, margins etc.
Sad but true. Personally, I dislike giving up on writing well-structured code just to get rid of strange whitespace. So is taking whitespace into consideration for web browsers really necessary? Or should whitespace only have any affect whatsoever within PRE tags?
I think mixing both inline and block level elements within the same container is bad design, but nevertheless, I believe there are other ways to solve this. Putting the IMG element to 'display:block' works for example. (I haven't tested it though, but I believe it is correct.) For the LI elements you can set the container to inline for IE only by using '_display:inline' and there are more known workarounds. If you put up some test cases online to prove me wrong, I'll try to make some to counterproof that.
Doesn't CSS2's white-space property (which applies to block-level elements) handle this?
The code above wasn't the best example and not tested by me, it was just a way of showing the difference between whitespace in the code or not (imagine the containing DIV being floated to work as a column, then it would be ok to have the UL within it).
Unfortunately, for the moment I don't have any example code that generates the behavior I'm talking about (but I'm sure one of my readers have an example for me, don't you??? *begging*).
When it comes to using display:block for the image, sure, I usually do it like that. But in the cases where the image's height is less than 1em, I think it will show whitespace before the next element, and it has to be positioned using vertical-align. Or am I wrong here?
I guess the whitespace property does it job correctly for block-level elements, I've only really used it to avoid line breaks within certain elements.
But is the solution then to set every inline element that generates extra unwanted whitespace to display:block and use white-space for them (I don't know, I'm just raising the question)?
What inspired me to this post, is that I read in one of Eric Meyer's books that sometimes the only solution to avoid whitespace bugs were to write all the <acronym title="HyperText Markup Language">HTML</acronym> together. Either Eric (yes, we're on a first-name basis ;-)) said so beacuse of lack of experience (which I doubt) or there actually are cases where whitespace problems can't be solved through <acronym title="Cascading Style Sheets">CSS</acronym>.
Whitspace text nodes in the DOM tree should be ignored by the user agent if all children of an element are block-level. IE gets this wrong sometimes.
Something that trips beginners up is when they use display:inline on list elements to create a horizontal list. Since the children now generate inline boxes, the whitespace matters.
A draft of the DOM (Core) Level 1 specification had an isIgnorableWhitespace attribute on Text nodes, but it didn't make it to the CR.
But this then means that a DIV element with whitespace before its A and IMG children (who aren't set to display:block) will render differently than if those tags were written on the same line as the starting DIV?
And if that's the case, that's what I'm talking about.
This may result in long lines that are difficult to read, as opposed to writing the code in a nice hierarchical way with line breaks and intendation.
Browsers seem to ignore empty text nodes as the first children of block-level elements. I think that's the proper behaviour, but I haven't been able to locate anything about it in the W3C specs today.
IE has some issues with list elements under certain circumstances, where it gets this wrong, but in a test document I just wrote with div elements containing a single a element, Mozilla and IE6 behaved identically (ignoring the whitespace node).
In order to avoid problems with SGML line break rules and inconsistencies among extant implementations, authors should not rely on user agents to render white space immediately after a start tag or immediately before an end tag.
I can't find anything definitive about how user agents should handle leading or trailing whitespace-only text nodes, but it seems like contemporary don't render them, to allow authors to format their markup in a legible way.
Er … that should be "contemporary browsers".
The examples given use p and a elements, to this behaviour is not limited to block-level children as I suggested in my first comment.
I'm sitting out at a customer's, so it's good to have a bloodhound like you hunt for clues, when I can't!
All of that seems correct and the way it should be, but I guess that <acronym title="Internet Explorer">IE</acronym> doesn't always fall under that category.
I have nothing to back it up with, but I'm pretty sure that there are cases where <acronym title="Internet Explorer">IE</acronym>, especially version 5.x on PC, doesn't abide to above rules.