text:
if SERVER then
	AddCSLuaFile("shared.lua")
end

if CLIENT then
	SWEP.ViewModelFOV = 55
	SWEP.ViewModelFlip = false
	SWEP.PrintName = "SPAS-12"
	SWEP.IconLetter = "k"
	SWEP.Slot = 3
	SWEP.Slotpos = 3
end

SWEP.HoldType = "shotgun"
SWEP.Base = "rad_base"
SWEP.UseHands = true
SWEP.UseShellSounds = false
SWEP.ViewModel = "models/weapons/c_shotgun.mdl"
SWEP.WorldModel = "models/weapons/w_shotgun.mdl"
--SWEP.SprintPos = Vector(-0.6026, -2.715, 0.0137)
--SWEP.SprintAng = Vector(-3.4815, -21.9362, 0.0001)
SWEP.SprintPos = Vector(1.4752, 0.0296, -3.577)
SWEP.SprintAng = Vector(5.8948, 20.2814, 0)
SWEP.IsSniper = false
SWEP.AmmoType = "Buckshot"
SWEP.Primary.Sound = Sound("Weapon_Shotgun.Double")
SWEP.Primary.Pump = Sound("Weapon_Shotgun.Special1")
SWEP.Primary.ReloadSound = Sound("Weapon_Shotgun.Reload")
SWEP.Primary.Recoil = 9.5
SWEP.Primary.Damage = 30
SWEP.Primary.NumShots = 8
SWEP.Primary.Cone = 0.080
SWEP.Primary.Delay = 0.500
SWEP.Primary.ClipSize = 8
SWEP.Primary.Automatic = false

function SWEP:Deploy()
	self:SetNWBool("Reloading", false)
	self:SetVar("PumpTime", 0)
	self:SetNextPrimaryFire(CurTime() + 0.3)

	if SERVER then
		self:SetZoomMode(1)
	end

	self:SendWeaponAnim(ACT_VM_DRAW)

	return true
end

function SWEP:CanPrimaryAttack()
	if self.HolsterMode or self.LastRunFrame > CurTime() then return false end

	if self.Owner:GetNWInt("Ammo" .. self.AmmoType, 0) < 1 then
		self:EmitSound(self.Primary.Empty)

		return false
	end

	if self:GetNWBool("Reloading", false) then
		self:SetNWBool("Reloading", false)
		self:SetNextPrimaryFire(CurTime() + 0.5)
		self:SendWeaponAnim(ACT_SHOTGUN_RELOAD_FINISH)

		return false
	end

	if self:Clip1() <= 0 and not self:GetNWBool("Reloading", false) then
		self:SetNWBool("Reloading", true)
		self:SetVar("ReloadTimer", CurTime() + 0.5)
		self:SendWeaponAnim(ACT_VM_RELOAD)
		self:SetNextPrimaryFire(CurTime() + self.Primary.Delay)
		--self:SetClip1( self:Clip1() + 1 )

		return false
	end

	return true
end

function SWEP:ShootEffects()
	if IsFirstTimePredicted() then
		self.Owner:ViewPunch(Angle(math.Rand(-0.2, -0.1) * self.Primary.Recoil, math.Rand(-0.05, 0.05) * self.Primary.Recoil, 0))
	end

	self.Owner:MuzzleFlash()
	self.Owner:SetAnimation(PLAYER_ATTACK1)
	self:SendWeaponAnim(ACT_VM_PRIMARYATTACK)

	if self.UseShellSounds then
		local pitch = self.Pitches[self.AmmoType] + math.random(-3, 3)
		local tbl = self.BuckshotShellSounds
		local pos = self.Owner:GetPos()

		timer.Simple(math.Rand(self.MinShellDelay, self.MaxShellDelay), function()
			sound.Play(table.Random(tbl), pos, 50, pitch)
		end)
	end
end

function SWEP:PrimaryAttack()
	if not self:CanPrimaryAttack() then
		self:SetNextPrimaryFire(CurTime() + 0.5)

		return
	end

	self:SetVar("PumpTime", CurTime() + 0.5)
	self:SetNextPrimaryFire(CurTime() + self.Primary.Delay)
	self:EmitSound(self.Primary.Sound, 100, math.random(95, 105))
	self:ShootBullets(self.Primary.Damage, self.Primary.NumShots, self.Primary.Cone, self:GetZoomMode())
	self:TakePrimaryAmmo(1)
	self:ShootEffects()

	if SERVER then
		self.Owner:AddAmmo(self.AmmoType, -1)
	end
end

function SWEP:Reload()
	if self:Clip1() == self.Primary.ClipSize or self:Clip1() > self.Owner:GetNWInt("Ammo" .. self.AmmoType, 0) or self.HolsterMode or self.ReloadTime then return end

	if self:Clip1() < self.Primary.ClipSize then
		self:SetNWBool("Reloading", true)
		self:SetVar("ReloadTimer", CurTime() + 0.5)
		self:SendWeaponAnim(ACT_VM_RELOAD)
		self:SetNextPrimaryFire(CurTime() + self.Primary.Delay)
		--self:SetClip1( self:Clip1() + 1 )
	end
end

function SWEP:PumpIt()
	self:SetNWBool("Reloading", false)
	self:SendWeaponAnim(ACT_SHOTGUN_PUMP)
	self:EmitSound(self.Primary.Pump)
	self:SetNextPrimaryFire(CurTime() + self.Primary.Delay)
end

function SWEP:Think()
	if self.Owner:KeyDown(IN_WALK) and self.HolsterTime < CurTime() then
		self.HolsterTime = CurTime() + 2
		self.HolsterMode = not self.HolsterMode
		--[[if self.HolsterMode then

		self.Owner:SetLuaAnimation( self.HoldType )

	else

	self.Owner:StopAllLuaAnimations( 0.5 )

end]]
end

if self:GetVar("PumpTime", 0) ~= 0 and self:GetVar("PumpTime", 0) < CurTime() then
	self:SetVar("PumpTime", 0)
	self:PumpIt()
end

if self:GetNWBool("Reloading", false) then
	if self:GetVar("ReloadTimer", 0) < CurTime() then
		-- Finsished reload
		if self:Clip1() >= self.Primary.ClipSize then
			self:SetNWBool("Reloading", false)
			self:SetNextPrimaryFire(CurTime() + 0.5)
			self:SendWeaponAnim(ACT_SHOTGUN_RELOAD_FINISH)

			return
		end

		-- Next cycle
		self:SetVar("ReloadTimer", CurTime() + 0.75)
		self:SendWeaponAnim(ACT_VM_RELOAD)
		-- Add ammo
		self:SetClip1(self:Clip1() + 1)
		-- Sound
		self:EmitSound(self.Primary.ReloadSound, 100, math.random(90, 110))
	end
end

-- individual
if self.Owner:GetVelocity():Length() > 0 then
	if self.Owner:KeyDown(IN_SPEED) and self.Owner:GetNWFloat("Weight", 0) < 50 then
		self.LastRunFrame = CurTime() + 0.3
	end
end
end

function SWEP:ShootBullets(damage, numbullets, aimcone, zoommode)
	if SERVER then
		self.Owner:AddStat("Bullets", 1)
	end

	local scale = aimcone

	if self.Owner:KeyDown(IN_FORWARD) or self.Owner:KeyDown(IN_BACK) or self.Owner:KeyDown(IN_MOVELEFT) or self.Owner:KeyDown(IN_MOVERIGHT) then
		scale = aimcone * 1.75
	elseif self.Owner:KeyDown(IN_DUCK) or self.Owner:KeyDown(IN_WALK) then
		scale = math.Clamp(aimcone / 1.25, 0, 10)
	end

	local tracer = 1

	if (zoommode or 1) > 1 then
		tracer = 0
	end

	local bullet = {}
	bullet.Num = numbullets
	bullet.Src = self.Owner:GetShootPos()
	bullet.Dir = self.Owner:GetAimVector()
	bullet.Spread = Vector(scale, scale, 0)
	bullet.Tracer = 0
	bullet.Force = damage * 2
	bullet.Damage = damage
	bullet.AmmoType = "Pistol"
	bullet.TracerName = tracername

	bullet.Callback = function(attacker, tr, dmginfo)
		dmginfo:ScaleDamage(self:GetDamageFalloffScale(tr.HitPos:Distance(self.Owner:GetShootPos())))

		if tr.Entity.NextBot then
			tr.Entity:OnLimbHit(tr.HitGroup, dmginfo)
		end

		if math.random(1, 6) == 1 then
			self:BulletPenetration(attacker, tr, dmginfo, 0)
		end
	end

	self.Owner:FireBullets(bullet)
end

function SWEP:DrawHUD()
	if self:ShouldNotDraw() then return end
	local x = ScrW() * 0.5
	local y = ScrH() * 0.5
	local scalebywidth = (ScrW() / 1024) * 10
	local scale = self.Primary.Cone

	if self.Owner:KeyDown(IN_FORWARD) or self.Owner:KeyDown(IN_BACK) or self.Owner:KeyDown(IN_MOVELEFT) or self.Owner:KeyDown(IN_MOVERIGHT) then
		scale = self.Primary.Cone * 1.75
	elseif self.Owner:KeyDown(IN_DUCK) or self.Owner:KeyDown(IN_WALK) then
		scale = math.Clamp(self.Primary.Cone / 1.25, 0, 10)
	end

	scale = scale * scalebywidth
	local dist = math.abs(self.CrosshairScale - scale)
	self.CrosshairScale = math.Approach(self.CrosshairScale, scale, FrameTime() * 2 + dist * 0.05)
	local gap = 40 * self.CrosshairScale
	local length = gap + self.CrossLength:GetInt()
	surface.SetDrawColor(self.CrossRed:GetInt(), self.CrossGreen:GetInt(), self.CrossBlue:GetInt(), self.CrossAlpha:GetInt())
	surface.DrawLine(x - length, y, x - gap, y)
	surface.DrawLine(x + length, y, x + gap, y)
	surface.DrawLine(x, y - length, x, y - gap)
	surface.DrawLine(x, y + length, x, y + gap)
end


This year seems quite different from last year. In 2017, the scene became so populated with new albums that for every two I got, there were six or eight that I had missed. Honestly, I'm still trying to catch up, and I couldn't be happier that there is so much material out there. Abusively curb-stomping their way into 2018 is Varmia, a band that just formed in 2016 and has now released its second full-length today, W Ciele Nie. It seems these guys who took their name from the name of the northern region of Poland in which they live and the inspiration for their compositions, are hungry. That sentiment could not be better conveyed than by listening to this treasure containing nine songs characterized by the blending of traditional black metal with folk and even some doom elements. According to the band's label's site (pagan-records.com), the album was recorded in a barn that they converted into a makeshift studio. Furthermore, the vocals and folk instruments were actually recorded live in the very forests of Warmia, a region in northern Poland. It doesn't get more black metal than that.
The album literally starts off like an uppercut to the chin from the very first second. "TAWE" is the name of the first track, and it introduces the ears to Varmia's brand of aural assault which comes across in the classic rough sound of black metal, almost lo-fi, but aptly capturing the essence of the band. One gets vibes of conflict, aggression, and hate when letting the song work its way through the mind. This is abrasive yet focused, well-written black metal. One of the most impressing aspects presented is the drum sound which literally sounds like a platoon of soldiers are marching on the roof. In perfect contrast, the guitar goes on to play clean, crystalline chords which ring out infecting the air, yet all the while, the drums maintain the driving, forceful, militant assault. The band ups the ante with the second track, "biesowisko" with its diverse usage of noise rock elements and absolutely massive bass sound. The clean vocals which occur during the chorus sound a bit like old Enslaved or even early Ulver, but the true highlight of the song is at the 3:50 mark where after relentless blasting and screaming, the guitar simply plays the bleak, minor-key chords of the song while super-slowly chugging on the bottom strings effectively morphing into an impressive breakdown. I couldn't help but wonder if the band had been listening to Crowbar while writing this. "Ni ya" is the fifth track, and just when I started zoning out and becoming distracted, the blasting returns with brutality and jagged, hurtful guitar chords. Next, the monster chords performed by the guitar are joined with folk-inspired passages of violin adding a whole new dimension. When combined, the music is slowed down, and the low, guttural vocals truly make the song come alive. The seventh track, "Now sie rodzi," contains my absolute favorite part, and it shows that subtle things can certainly cause a good song to be a great song. What I'm referring to is a part of the song where the guitar is rigorously strumming just the higher notes of the chosen chord progression while underneath, the distorted bass is playing the low notes to blend in and it works.
Instrumentally, one of the key aspects of the band that sets them apart from others in black metal is the prominent role given to the bass. As mentioned earlier, the guitar can focus on truly letting the melody ring out while the bass provides the low-end girth, and the end result is that the band sounds solid, forceful, and as one. The bass at times seems to be moving like an erratically purposeful flying saucer as it goes up and down the chords emphasizing notes that would otherwise fly under the radar. A point of reference for what I'm describing would be to listen to practically any Opeth song and take note of the bass's fluid motion, or "Individual Thought Patterns" by Death which features the mighty Steve Digiorgio, though he's playing a fretless. Folks will most likely love or hate the drums on this record. They definitely are not bright and triggered or using effects, but instead they are constant, resembling holding the trigger on a machine gun, relentlessly pounding the album to a deadlier place. It's interesting how the guitar at times focuses on eerie, wicked chords clearly ringing out while furiously strumming (much like classic Mayhem, but more purposefully poignant), and all the while the bass is driving the low end. The band definitely have the ears to be able to determine how to best utilize all of the myriad instruments on the recording. At times, it seems as if the band is trying to refine the listeners' ears in the way, for instance, the acoustic plays folk-inspired passages that are minor or diminished in order to give the song that ominous sound that pervades black metal. Those passages help the listener to connect the acoustic chords to the mayhem that occurs on the electric. Vocally, this is a standard black metal affair, though there are some clean passages that while they aren't as refined as Ihsahn or Garm, still push the envelope and show that the band is trying to create original, epic black metal.
Clearly Varmia are still in their formative stage, but they are admirably unafraid to experiment. It's exciting to come across a band that, like so many great bands, have a plethora of ideas that are incredibly impressive. Listening to this conjured the same vibe I had in high school when I first discovered Ulver and their classic debut "Bergtatt." Varmia couldn't be coming from a better place for they are using the high point of black metal a la Emperor and Dissection as the basis which they expand upon, classic top-notch black metal as the canvas upon which they create adding folk elements, doom-flavored riffs, well-played bass, and their own unique, cold, violent atmosphere. One has to admire the fact that the band is unafraid of putting some groove in the music to mix things up a bit as well. I cannot help but be stoked that I've found a band to put on my "underground favorites" list, but perhaps I haven't yet grown up because part of me doesn't want to share my discovery. All joking aside, let it be known that Varmia, on their second album, have proven themselves to be a band to watch: their personalized sound is capable of truly innovating not just black metal, but extreme metal in general.


Forum acting funny in the last two days?
An Australian friend lost his workshop and 40 yrs of tools . . .
Cant find my personal page?
Are the spammers being irritating?
Considering a "Paypal Donate" button for this site . . . . .
How to find INFO on stepping motor's?
Here is a new sub-forum for "troubleshooting"
Drawings download as .php ?


text:
The Racing Line and avoidable accidents
Thread starter Hamberg
Start date 14 June 2011
Hamberg
Those who know, they know
Is there a difference between slamming the door and knowingly hitting someone? I remain quiet undecided on this and wonder if this view is based on the unspoken rule (as in it isn't a rule) of the racing line and cars length in front. Or if there is a documented rule that explains this?
The racing line is the quickest/natural line to take, the one with the most grip and speed. This is where everyone really wants to be.
Where in the rules does it state that if you are the one on the racing line, it gives you the automatic right to follow that line, even if somebody else has stuck his whole car or even his nose into it?
The drivers talk about "I gave him room" or sometimes complain that they weren't given room depending on which side they were on. So this goes some way to suggest that even if the overtaking car is slightly behind or preventing the car in front from retaining their line, that it is still expected that both drivers should make an attempt not to make contact if they've seen what's going on.
We also have the added issue of braking points and those late brakers/expert trail barkers etc can make corners using lines that others can't, although they may encroach on the racing line. And will sometimes say the other driver braked early or late and caught them out.
I guess in a long winded way of asking, should a driver only be penalised for causing an avoidable accident when they have clearly made a move that they would be unable to complete cleanly either
a) because they cannot complete the corner/move due to factors such as carrying too much speed/missing the apex
b) because the other driver has absolutely no chance of avoiding the overtaking car (racing line or not) within the white lines
All drivers would have found themselves in any situation so whilst examples of course can be used - this isn't a blame thread.
Reactions: F1ang-o, RickD, RevMaxPower and 2 others
Andyoak
I've got to log off but...
a)... Yes
b)... Yes
anything else is an accident.
Problem is there will always be exceptions to the rule so I've probably got it wrong again on both counts...
Porceliamone
This cost me a tenner, but so L'Oreal.
Copy and paste of my comments from another thread. Sorry, I'm feeling lazy!
Do we want to see drivers racing or do we want to see drivers hanging back because someone turns in on them? I know what I want...
Put it this way, if I was on a normal road and a car pulls up half way or even a third of the way up on me I would never turn in on them - I know I'm going to have a crash if I do so - even at slow speed there's barely any time for them to react and it would be a silly thing to do.
On a racing circuit, if you as a racing driver have allowed that situation to arise in the first place by either positioning your car incorrectly or simply because you are unfortunate enough to not have a fast enough car then do you have the right to turn in on the other driver who, by their own merit, with or without DRS or KERS assistance has gotten themselves close enough to attempt the manoevre?
Note: The following comments are specifically related to all the anti-Hamilton overtaking sentiment raised in the media (esp. a certain N. Lauda) and by the drivers (a question asked by Brogan in another thread).
Hamilton is aggressive, cocksure and has consistently pulled moves most drivers wouldn't make stick nor have the balls to attempt. The reason drivers defend SO HARD when he's coming up is because they know that it's almost inevitable he will pass them.
Most of all though it's a simple as this: in F1 other drivers are scared of Lewis Hamilton.
This is reflected in the statements they make in general, amongst themselves and most importantly, to the media. This in itself becomes a vicious circle.
Hamilton won't and shouldn't (in my opinion) change his driving style and other drivers and the media will continue to talk about it negatively because it serves their interests. It feeds itself and is nigh on impossible to stop.
It really pisses me off that such an exciting talent in F1 is constantly bemoaned for doing the thing 99% of the public moan that they want more of in the sport – EXCITING RACING AND EXCITING RACING DRIVERS.
Reactions: F1ang-o
Due to lack of visibility in those rubbish mirrors, generally the driver behind is the one who could avoid an incident. Alonso-Button for example, Alonso was on the line into a one line corner, Buttons nose cone was in the wrong place a the wrong time. Yet Button-Hamilton is more the blame of Button due to the movement on the straight on the straight, but that was the racing line. In Indycar there is that stale "no blocking rule" (On street/non-oval tracks) which makes any sort of fight impossible. It would be tragic if that were adopted in F1.
My main issue goes back to the old complaint of inconsistent steward decisions, Di Resta was punished for a very similar accident to Button-Alonso (Di Resta was Button).
So after a slightly irrelevant answer I think these issues could only be solved by adopting anti-racing rules. But if they stay then drivers have to know when they are in the right, and when they are not.
The Pits
Harumph. Again.
In my opinion........
The racing pine is the fastest way to get round the race track.
Overtaking involves trying tp get past someone who wants to use the same piece of tarmac that you do. By definition overtaking is putting your car in a position where you are relying on the other driver to not use the piece of tarmac you need to be on to get past.
Lewis Hamilton has proved to be an expert at getting into a position to do this.
However, every overtake is a risk. How much of a risk will depend on conditions, who you are overtaking, where you are overtaking and how you position the car in respect of the other driver. It is a fine line between success and failure, and some are better at assessing the risks, both in defending, and overtaking.
Personally, I think reputation makes a difference, as to how you approach both defence and attack.
My disappointment recently has been the consistency of approach to the judgements and penalties, as after a short period of reflection, it seems like there are similar incidents which are being judged very differently. However, in the absence of any hard and fast rules, how can this be policed?
Personally, I think that the benefit of the doubt should be given to the attacker, rather than the defender, as it seems to be at the moment, and some guidelines published as to the investigation process, such as relative lines, conditions, telemetry etc. I am sure that it would not be too difficult to draw these up. I also think that the penalties should be consistent, but mother draconian, such as a card system (similar to the reprimand system, but better and more consistently applied, as for foul in football)
There should also be an appeals process, to allow peer review to hopefully prevent some of the recent nonsense, which should count both ways.
The rules should not make the drivers feel that they are likely to get penalized, and there should also be recourse in the event of an unfair penalty.
I seem to have drifted a little, but I think the key is consistency, which means no sanction unless you are certain.
Reactions: Brogan, Andyoak, teabagyokel and 1 other person
I would love to know what the racing pine is! Also, why center I not edit my post on my Android phone! My deafness shall remain on display for all to see!!!!
aaaaagggggghhhhh!!!!!!
Is the racing pine related to the lonesome pine...
Reactions: jenov2003
Is this article alot to do with Di Resta more than Hamilton?
If so i think Di Resta's drive through on Sunday was bang out of order. He'd been punished enough with his wing falling off he didn't deserve a drive through aswell. Plus i think Di Resta lost grip going into the chicane and went into the back of Heidfeld and i see that as a racing incident. Felt Sorry for Paul as other drivers did a similar thing and weren't punished! So for me it was an unfair drive through.
Reactions: RickD
For those who are debating what the racing line is and what relevance that has to driver A overtaking driver B, let me see if can be of some help.
1) As has been stated by several contributors to his and indeed other threads on this forum, the racing line is simply the fastest route around a racetrack.
2) The racing line does not confer any rights and privelages on any driver, whether in front, alongside or behind.
3) The code that existed until fairly recently with regard to overtaking and being overtaken was a custom and practise observed by most racing drivers and was simply this: If driver A opens the door and driver B "showed a wheel" - i.e. placed his own front wheel alongside and ahead of driver A's rear wheel - it was accepted practise for driver A to give best and concede the corner.
This code has changed since the arrival Lewis Hamilton and as drivers have closed the door with impunity it has now become custom and practise to shut the door regardless of whether or not there will be contact and risk of damaging one's own car. It is bad enough that poor stewarding in the past has led to this new entrenchment but now we have a new trend thanks to the internet. We have a seething mass of fans who, having called for more action and overtaking in F1 and for stewards to be more professional and sensible, have got what they asked for. But now they want penalties for every bump and bash just because their favourite geezer is or isn't, in their mindset, cutting the mustard. It's gotta be his fault or their fault or anyones fault so dock points, give 'em a 5 place grid slot penalty, 6 race ban, just get them the hell outa there so that our guy can win! F1 is for grown ups and there isn't a soul in it who doesn't know that or they wouldn't be there.
Reactions: johnnoble1990, RickD, Cookinflatsix and 3 others
That as well Hammy, I think The Pits has hit the nail on the head for me as it is a lot to do with consistent application of the rules. But then it struck me, what are the rules?
Why should a driver not expect someone to get out of their way if they got into that space first (even if it is with their front wing)? Who says the racing line gives you right of way? Where is this rule that states front wheel in front of rear wheel?
I fear that these are all a mix of personal opinion/assumed rules from the stewards coupled with driver reputation, which accounts for a greater than usual inconsistency in the application of the "causing an avoidable accident" rule.
Hamberg, I've had time to reflect and I'm afraid to say I still think you got it right first time... keep it simple and just ignore the noise.
Controversial decisions have usually only come about from trying to pacify the more vocal teams (can I say the F word?)rather than the drivers. Usually the drivers are able to sort it out amongst themselves and forget about it by the following weekend. Some are more direct than others in sorting it out (Saint Senna )... and we all know which 'accidents' weren't 'accidents' at all.
It wasn't that long ago that we were all moaning that no-one would overtake again since 'that' decision against Lewis. The great thing this year is that drivers seem to have the confidence to overtake without fearing a steward reprimand / penalty. I hope the stewards maintain this fairly balanced and fair policy and ignore this fan based raving / raging over the past few days.
So to wind up this ramble... let them sort it out amongst themselves unless its obviously wrong.
Reactions: RickD, Fenderman and Hamberg
Fenderman, I agree with most of what you are saying; especially about a sport for grown ups. But I question whether this started wit Hamilton... I'm sure Senna and Schumacher were just as guilty and there must have been plenty before then.
TBH - I think either one of the DRS or KERS system has to go. Reason been is drivers are getting to close to the back of each other cause of the speed their all going. This is way we're seeing loads of front wings coming off. Personally i know i didn't approve of DRS to start with but i think KERS should be dropped, just because i can see the two DRS zones been kept and drivers will produce loadsa overtakes in those zones.
I don't know about that... I thought we all wanted closer racing and DRS is giving us that. KERS is helping with overtakes and the EBD is giving us some ground effect. The tyres are doing what they are supposed to do and there is less reliance on pit-stops to pass.
Maybe we're seeing more accidents because people are trying to overtake for a change. It seems new and novel for some but it used to happen quite a lot... and we had more accidents back then too. I wonder if there is some correlation?
Reactions: RickD, jenov2003 and Fenderman
I guess your right Andy.
TBH - It's these drive through penailties for racing incidents that is really getting on my nervous. Plus the stewards are also not consistant enough with giving them out. Di Resta must feel like Hamilton at the mo with the last two penalities his recieved.
Reactions: Fenderman and Andyoak
I'm with you there on DiResta...
Reactions: RickD and Fenderman
Hamberg said:
which accounts for a greater than usual inconsistency in the application of the "causing an avoidable accident" rule.
The phrase itself is an oxymoron.
Accidents by their very definition aren't avoidable.
Reactions: dave, teabagyokel, Fenderman and 1 other person
I agree with a lot of what all of you have said actually but without wanting to go down the DRS/KERS/Pirelli route I'm not convinced we need all 3 but that's another discussion.
We've actually not had too many collisions so far this year considering. I am sad that the traditional excellent moves have been missing somewhat though. I'd rather have quality over quantity. As Hammy says maybe that's what has caught a couple of the drivers out actually, the ease at which they can close up - even Alonso, Massa and Rosberg have clipped peoples rear wings when going for an overtake and Brundle has commented a number of times that the drivers don't seem to know where their front wings are. Interestingly Alonso was penalised for that very thing but other drivers (Sutil and Rosberg?) haven't been.
It sounds like we are all on the same page at the moment so I'm looking forward to some conflicting view points. This is where being fickle helps as I'm quite open to having my mind changed.
Reactions: Fenderman and hammydigrassi
F1 has become too "PC" and there's too much Pussyfooting about. For crying out loud just let the drivers get on with it and have a darned good enjoyable thrash out there on the circuit. I'm sure nobody deliberately runs into a competitor because the risk of wrecking your own transport in the process must be pretty high. No quarter should be expected or given and by that I simply mean it should be 'dog eats dog'. Nobody should be expected to give way to another and all overtakes should be made using the skill and judgement of the guy doing the overtaking. If they get it wrong - tough! The whole track is useable and therefore fair game, so the 'racing line' doesn't really mean much in my opinion.
Reactions: Andyoak, jenov2003 and Fenderman
Grand Prix 2022 Italian Grand Prix Practice, Qualifying & Race Discussion
Should Merc continue to develop its unique design concept or abandon it?
Grand Prix 2022 Japanese Grand Prix Practice, Qualifying & Race Discussion
Tuesday at 12:14
Things ... Interpretation of regulations

redpajama_set_name: RedPajamaCommonCrawl


Webengage captures user profile data and merges with transactional data to create dynamically personalized campaign messages. WebEngage's personalization module comes integrated with multi-channel marketing suite. Increase marketing ROI with email personalization via recommendation engine and personalization software. User profiles, cross-device segmentation, single customer view, personalization, geo-fencing and much more to automate and supercharge your marketing across channels.
WebEngage is an experience in itself a lot has been said about that on Glassdoor, Quora and other places. They are hiring for the positions below. Apply now to be a part of one of the coolest workplaces of times As a SaaS solution, they are releasing new features to customers on a weekly basis and needed a way to notify our customers in real-time as they deployed them the to app. It uses WebEngage's notification tool, and target the notifications based on cookies that we set in application to reach the desired subset of users. When they have questions about how much customers value features, it uses WebEngage's survey tool to gather input, and refine recent releases. We could not be happier with our decision to use WebEngage, and strongly recommend it to anyone else needing a more effective way to communicate directly with customers.
Capture user profile data and merge with transaction data to create dynamically personalized campaign messages.
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Traveling back in time to an age of glamor and class with Duet. Join us as we transport you back to the golden age of Hollywood! We'll begin with an elegant Beginner Foxtrot class that'll give you that 'Fred and Ginger' feeling. After that, we'll open up the dance floor for open dancing to holiday classics and swanky, old-school tunes. Sip complimentary champagne and let yourself mingle with Bogart, Hepburn, Brando and Monroe. If you'd rather bring your own 'giggle juice', the class is BYOB. Costumes are encouraged, and we'll award the 'Best Dressed' at the end of the night. So don't hesitate to 'put on the ritz' and dance the night away with Duet!
BYOB. Guests must be 21 or older to attend.
Cost: $30 per person. $20 for currently enrolled students.


A short meditation to allow you to become open to receiving love. Many times in active addiction and early recovery, we forget how to be loved or even believe we don't deserve it. This meditation will allow you to let go of those old beliefs, allowing you to feel the love that surrounds you.


I grew up and went to school in the midwest including 4 years at Northern Michigan University in Marquette and medical school at the University of Utah. I did my residency training at Sinai Hospital in Detroit.
After a short time in the Detroit area, I moved to Salt Lake and I was on faculty at the University of Utah for 17 years. In 2005 I went into private practice in Oregon, and moved back to Salt Lake in 2006 to open a private practice, only seeing patients for EMG consultation. I also work doing medical reviews (preauthorizations, pharmacy reviews etc.) i am a lifelong Packer fan.
I love to cook and bake and plan fine dining events for family and friends including the yearly Fajitas Party in the summer and the Christmas Cookie Party in December. I have a particular interest in using fine dark chocolate and artisanal honeys.
I also enjoy counted cross stitch and tending to hundreds of drought resistant perennials in my grass free yards.


I am a resident of the Kapahulu neighborhood and over the past two years I have observed noisy helicopter traffic getting worse and worse. It used to be that the occasional helicopter would fly along the coastline of Waikiki, but in recent months the frequency of helicopters buzzing Waikiki beach has increased drastically, sometimes three helicopters call all be seen from the beach at the same time!
Now these helicopters are flying directly over our neighborhood at all hours of the day, and it is extremely irritating. This past Friday, we had a helicopter circling over our house AT NIGHT!! It was a new "fireworks tour" being offered by one of the helicopter companies.
This HAS to stop. Do you have any experience dealing with helicopter issues? I did some research online and found your site. There also is an active group on Big Island called HiCOP (http://www.hicop.org/) that seeks to curb helicopter noise there.
I am interested in connecting with others to stop this incessant noise pollution. Please let me know if you would be willing to take on this issue.
We, too, have seen an uptick in the number of reports of loud helicopters. Seems the primary areas are from Waikiki out to Hanauma Bay where they buzz the Hawaii Kai neighborhood as part of their East Oahu/Koko Crater/Hanauma Bay tours. I've attached a copy of the O'ahu Noise Reference Manual. Although dated 2008, it is still the current version. We recommend three approaches for helicopter/aircraft noise. At page 6 of the Reference Manual you'll find numbers for the FCC and the Hawai'i Department of Transportation, Aircraft Division (DOTA). Both accept reports about aircraft - from a "safety of flight" perspective - they will tell you they don't regulate noise. But safety of flight rules stipulate that aircraft, and I believe this includes helicopters, operate at not less than 1000 feet over congested areas. I believe Waikiki qualifies as "congested." Third, living in Waikiki you're fortunate that you have a very active Neighborhood Board. You can find your board representatives at this link: http://www.honolulu.gov/cms-nco-menu/site-nco-featured/191-site-nco-cat/682-test.html . The Diamond Head/Kapahulu/St. Louis Heights Board No. 5 meets the 2d Thursday of each month at 6:30 at the Ala Waitlist Clubhouse, 2d Floor, 404 Kapahulu Avenue. Recommend you contact your board and identify this issue for discussion at board meetings. They can invite reps from the FCC and DOTA to respond to citizen questions, and is you most accessible level of Gov't to address this very valid grievance. I believe you'll find others attending who are similarly like-minded on the issue of helicopters.
We will post you input, minus identifying info, for others to read and comment to. We will also add your provided email address to our distribution for noise and related information that we periodically disseminate. You can unsubscribe at any time.
Good luck on carrying forward. Please update us should you find allies or other paths of approach.


The team behind the Caravan Doree sandwich truck are rolling out a new restaurant on wheels: a bo-bun truck. The cold rice noodle salad doused with fish sauce, meat, herbs, peanuts, veggies and occasionally topped with crushed spring rolls will now be available on the go.
You can track down the bo-buns down here to find out whether they're headed near Republique, Chatillon, or Montreuil, or follow the truck on twitter for more information.


The Falcon 7X takes you where others can't. Flying into La Môle, the Saint-Tropez Airport, just off the coast of Southeastern France.
The near sea level airport has a short, 3,871 foot runway, limiting access to just a handful of large jets. No problem for the Falcon 7X.
Editors Note: these jets are quite well sold in the US and meanwhile in China. The landing problem with a group of clients I know from a similar airport in Lugano where I sold real estate for new urbanization's at the Monte Brè.
Sometimes YouTube blocks content in various countries because of legal reasons. If the video is not working, please send us a note and we will substitute the link by another source provider if available.
The New York skyline from the Hudson River with an ICON A5!


text:
Home Arts & Entertainment Derby Racing Returns to Monrovia's Old Town
Derby Racing Returns to Monrovia's Old Town
Susan Motander
King Taco is one of this year's event sponsors. – Courtesy photo / Facebook, Monrovia Old Town Derby
By Susan Motander
Soapbox-style racing is returning to Old Town this September. The Monrovia Old Town Derby will take place on Sept. 7 in conjunction with the 29th Annual Street Rods Forever Car Show in Old Town. With Delaware Financial as its principal sponsor, and the Street Rods Car Club playing host, soapbox derby-style racers will once again whisk down Myrtle Avenue.
This year, proceeds from the event will benefit the Boys and Girls Club of the Foothills as a tribute to the Fred and Diane Bowden Family. The racing will take place on Myrtle with the starting ramp located at Palm and Myrtle at the north end of Library Park. The races will start at 9 a.m. and should be concluded by 3 p.m.
Complete rules for the derby can be found at monroviaoldtownderby.com as well as the registration form. Registration is open now. Any questions regarding the derby can be sent to info@monroviaoldtownderby.com.
There are three classes of cars for racing: stock, super stock and open. The rules detail the differences between the classes.
For those of you who recall fondly the old derby races in conjunction with Monrovia Day, there is good news: former chief of police Joe Santoro has been acting as a technical advisor to the organizers and has promised to be on hand on race day.
The day will start early for the racers and those setting up the event. Starting at 5 a.m., the hale bay barriers will go up on Myrtle Avenue from Palm to Lemon avenues. Families will be allowed onto Palm Avenue to drop off racers and canopies and picnic supplies for "Family Pit Spaces" in Library Park between 7 and 8:30 a.m.
This great community event will give families a chance to work together and cheer each other on.
Monrovia Old Town Derby
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'The Father' Astounds at the Pasadena Playhouse
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Silent Flicks to Talkies: Film Historian Talks at Pasadena Museum of History
First 2020 Concert of the Pasadena Community Orchestra
Public Invited to Evensong at St. Luke's Monrovia
Monrovia's Community Emergency Response Training This Saturday
Staff Writer - January 28, 2020
Monrovia Community Emergency Response Training's (CERT) next basic training is the first three Saturdays of February from 8 a.m. to 5 p.m....
May Ruiz - January 27, 2020
Alfred Molina stars as 'The Father'. - Photo by Paisley Smith / Pasadena Playhouse By May S....


. Topics range from getting started with AdWords and improving ROI, to learning how to track the effectiveness of your campaigns, so there's truly something for everyone. You can register using the links provided on the AdWords Events Calendar page.
We're also offering a special webinar on July 30 and July 31, 2008 to help retailers prepare for this fall's back-to-school rush. This special session will highlight industry trends, profile key demographics of your target audience, and provide tips to reach top influencers so you can make the most of this busy shopping season. Our back-to-school webinar will begin at 10AM PDT on both days, and will last an hour. The same material is covered both days, so pick the time that's most convenient for you.
Space in all our webinars is limited, so register today! We look forward to seeing you in class.
This summer, we're offering a number of webinars covering a broad range of topics -- if you're interested in learning inside tips about Google AdWords, check out our webinar calendar. Topics range from getting started with AdWords and improving ROI, to learning how to track the effectiveness of your campaigns, so there's truly something for everyone. You can register using the links provided on the AdWords Events Calendar page.


text:
Q: Mostrar datos de 1 tabla y su relacion con otra MVC Buen dia compañeros tengo este Action Result en el controlador Productos que me busca todos los productos de un cierto IdEntrega y lo mando llamar desde la vista Entrega para saber todos los productos de esa entrega y funciona bien pero ahora necesito que ademas de aparecer todos los productos de esa entrega en la vista, tambien algunos datos de la entrega en la parte de arriba de la vista, como puedo hacerle?
public ActionResult Entrega(int id)
{
var Productos = db.Productos.Where(d => e.IdEntrega==id).Include(p =>
p.Compra).Include(p => p.Empresa);
return View(Productos.ToList());
}

@Html.ActionLink("Detalles", "Entrega", "Productos", new { id = item.IdEntrega }, null)

A: Puedes crear un módelo que tenga los dos módelos.
public class MiModelo
{
    public List<Producto> Productos{ get; set; }
    public DetallesEntrega DetallesEntrega { get; set; }
}

Y en el controlador simplemente lo rellenas.
public ActionResult Entrega(int id)
{
var Productos = db.Productos.Where(d => e.IdEntrega==id).Include(p => p.Compra).Include(p => p.Empresa);

var miModelo = new MiModelo();
miModelo.Productos = Productos.ToList();
miModelo.DetallesEntrega = new DetallesEntrega();

return View(miModelo);
}

No olvides declarar MiModelo en la vista.

A: Los ActionResult solo pueden enviar un solo modelo. Si quieres enviar mas 1 objeto entonces se utiliza el ViewBag o un ViewModel:
ViewBag: Son datos adicionales que pasas a las vistas ademas del modelo. Puedes enviar cuantas necesites y pueden ser de cualquier tipo ya que son del tipo Dynamic:
public ActionResult Entrega(int id)
{
   var Productos = db.Productos.Where(d => e.IdEntrega==id).Include(p =>
    p.Compra).Include(p => p.Empresa);

    ViewBag.Detalles = db.DetalesEntrega.Where( x=> x.EntregaId == id);
    return View(Productos.ToList());
}

Y para utilizar los valores en la vista
foreach(DetallesEntrega entrega in ViewBag.Detalles)
{

        @entrega.Fecha

}

ViewModels: En español: Modelo de la vista. Esto es una clase que representa exactamente la vista. Contiene todos los objetos que la vista requiere para funcionar:
public class EntregaViewModel
{
   public EntregaViewModel(List<Producto> productos, DetalleEntrega detalle)
   {
     this.Productos = productos;
     this.DetallesEntrega  = detalle;
   }

   public List<Producto> Productos {get; private set;}
   public DetalleEntrega Detalle {get; private set;}
}

EntregaViewModel representa los datos que el action resulta Entrega requiere. Entonces en vez de retornas los productos retornamos el viewmodel con los datos correspondientes:
public ActionResult Entrega(int id)
    {
       var Productos = db.Productos.Where(d => e.IdEntrega==id).Include(p =>
        p.Compra).Include(p => p.Empresa);
        var detalles = db.DetalesEntrega.Where( x=> x.EntregaId == id);
        EntregaViewModel viewModel = new EntregaViewModel(Productos.ToList(), detalles);
        return View(viewModel);
    }

Entonces en tu vista:
@model EntregaViewModel

    foreach(DetallesEntrega entrega in Model.Detalles)
    {

            @entrega.Fecha

    }

foreach(Producto producto in Model.Productos)
    {

            @producto .Nombre

    }

Nota: Creo que estaria demas decir que esto es solo una guia. Cabe de ti adaptar el ejemplo a tus necesidades.

redpajama_set_name: RedPajamaStackExchange


text:
Antiblemma anhypa är en fjärilsart som beskrevs av Achille Guenée 1852. Antiblemma anhypa ingår i släktet Antiblemma och familjen nattflyn. Inga underarter finns listade i Catalogue of Life.

Källor

Nattflyn
anhypa

redpajama_set_name: RedPajamaWikipedia


The NIH knows of at least 299 wearable-based clinical trials.
Researchers hope they can reduce their dependence on patients' reports about their behavior.
(Bloomberg) — Pharmaceutical companies are enlisting Fitbits and other gadgets strapped to patients' wrists, chests and skin as a way to bring drugs to market faster.
What began as an aid for athletes and dieters to track their movements is quickly becoming a critical tool for medical researchers and drugmakers. By outfitting trial participants with wearables, companies are beginning to amass precise information and gather round-the-clock data in hopes of streamlining trials and better understanding whether a drug is working. Down the line, wearables also could help pharmaceutical makers prove to insurance companies that their treatments are effective, thus reducing health costs.
"The use of wearables has the potential to be a revolution," said Kara Dennis, managing director of mobile health at Medidata Solutions Inc., which consults with companies on ways to improve clinical trials.
Drug researchers find this tracking technology is more accurate than human memory gleaned from subjective questionnaires that ask patients to rate their ability to walk on a scale of, say, zero to four. So far, there are at least 299 such clinical trials using wearables, according to National Institutes of Health (NIH) records.
In one study, GlaxoSmithKline PLC— working with McLaren Applied Technologies, part of the company that makes sports cars — will follow the movements of 25 patients with Lou Gherig's disease, the muscular neurodegenerative condition also known as ALS. Participants will be outfitted with a small, rectangular light-weight monitor that sticks to their chests, said Paul Rees, medicines development leader at Glaxo. The device, made by Finnish medical technology company Mega Electronics Ltd., measures heart rate as well as walking steps and elevation gain, Rees said.
The biometric data is stored in the device and downloads automatically via a Bluetooth connection when a patient gets near a wireless router about the size of a mobile phone. The hub then sends that data to a secure server Glaxo can access and potentially use for researching much-needed treatments for the disease.
Meanwhile, the Department of Veterans Affairs is preparing to run a clinical trial next February to monitor veterans with back pain. People in pain tend not to be very active because movement inflames their condition, so the department plans to track the veterans' steps — possibly via a Fitbit, they haven't settled on the exact device yet. They will input the data, along with other information such as patients' personal pain assessments, into an algorithm to determine whether they need more or less treatment, said John Piette, senior research career scientist in the department's Ann Arbor Center for Clinical Management Research in Michigan and one of the lead researchers.
See also: The world of wearables: gold mine or gamble for insurers?
As interest grows, tech companies are seeking ways to make wearables less and less obtrusive. MC10 Inc., a biotechnology company based in Lexington, Massachusetts, has developed one such device called a "biostamp," an adhesive with flexible circuits and sensors. Co-founder Ben Schlatka describes it as a "lightweight, intelligent Band-Aid" that can be stuck on any part of the body. MC10 has partnered with a number of pharmaceutical companies, though its device isn't in use in a trial, Schlatka said.
MC10 is partnered with Belgian drugmaker UCB to work on severe neurological disorders. Schlatka declined to name other companies.


text:
This article originally appeared in Geospatial Solutions Magazine's Net Results column of June 1, 2003. Other Net Results articles about the role of emerging technologies in the exchange of spatial information are also online.
1. Introduction and Glossary 2. Who's Zoomin' Who? 3. Public Science 4. Cast of Thousands
To a Hawaiian, the word wikiwiki (pronounced "wee kee wee kee") means quick, hurry, or hasten. To a programmer (Hawaiian or otherwise) it means a collaborative Web site where anyone and everyone can insert, update, and delete content. Ward Cunningham, a self-dubbed "Smalltalk/Objects/Patterns consultant" for his own firm, coined an abbreviated version of the term--Wiki--for the first collaborative Web site (www.c2.com/cgi/wiki) he created in 1995 to gather information about patterns in programming languages. Although the idea of a completely unmoderated Web site might seem like an open invitation to chaos and vandalism, Cunningham's experience in the past eight years of creating Wiki sites has been that people appreciate the responsibility of open access, and prefer to create rather than destroy. Because Wiki have no security to overcome, they present no challenge to the truly malevolent, and so are not heavily vandalized. They are, however, popular: approximately 24,000 Wiki have sprung directly from Cunningham's original site. Many others exist independently, particularly to support collaborative software projects.
Is there such a creature as a geospatial Wiki, offering every Internet visitor the power to edit the same map? I couldn't find any quite that open, but at least two spatial Web sites are already headed in the Wiki direction. The City of San Francisco's SFProspector (www.sfprospector.org) and the University of California's OakMapper (www.oakmapper.org) both capture some of their geographic content from users unaffiliated with the sites' owners. According to their managers, collaborative spatial Web sites raise issues of privacy, usability, and outreach, but significantly enhance the value of the existing dataset.
Would your dataset benefit from other people's data, and, if so, what will prompt them to contribute in the first place? This column explores the issues that arise when a public spatial Web site welcomes data entry by multiple private or public users.
SOD Sudden Oak Death
UCB University of California, Berkeley
USGS U.S Geological Survey


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text:
Novak Djokovic's anti-fax tampering beliefs keep him out of the US Open
Tennis star Daria Katkina says Ukraine war must end, comes out as gay
Will Roger Federer get the points to face Wimbledon in 2023?
With tennis style, it's hard to beat the classics
Hewitt was praised by his Australian champions in the Tennis Hall of Fame ceremony, a tribute
Is there any truth to the allegations that Serena Williams was ostracizing Meghan Markle? The breakdown of their friendship over the years
"I don't have any money.." - Andre Agassi once had to apologize to his arch rival Pete Sampras, after a joke made a fatal mistake


The word 'agile' is tagged on to just about everything these days, but what does it actually mean?
This week, Ross Dickie is joined by Owen Ferguson and Jonny Anderson to discuss the principles of agile project management and how it can be applied in organisations.
This week the GoodPractice team break open the dark art of Learning Needs Analysis. What is it? How do you do it? And where do you need to just get out of the way?
Then: spell-checking goofs, the political impact of broadband, and Ross' irrational hatred of Jeremy Corbyn.
And finally, what do we do for our own CPD?
Pokémon GO is a cultural phenomenon. In the space of less than a month, the app has been downloaded more than 100 million times. But what is the secret to its success, and what lessons does it hold for those in the L&D industry?


This bench is located in the Snowmass Mall; a brass plaque is attached to the back of it.
If you have any information on Pam Gray, please send to the author at AspenShrines@aol.com.
Photos of the bench and plaque are below.


text:
Win Butler on why he ignores the internet, and why he expects Arcade Fire to stick around
Noel Murray
Photo: Ernesto Ruscio/Getty Images. Graphic: Jane Harrison.
No matter how much professional rock critics and casual cultural commentators may find the Grammy-winning alt-rock act Arcade Fire exhausting, the group shows no signs of fading away. Arcade Fire's fifth LP, Everything Now, was released a few weeks ago to some of the most negative reviews the band has yet received, with songs slammed for everything from earnest preachiness to clumsily ripping off old disco records. Yet the album still became Arcade Fire's third straight to debut at No. 1 on the Billboard album charts, with some of the year's highest sales figures. And after a successful European summer tour (which helped goose some of Everything Now's initial singles up the charts overseas), the band's about to begin a jaunt through North American arenas in September.
Days after Everything Now's release, Win Butler spoke with The A.V. Club about making and marketing the record, as well as Arcade Fire's fluctuating critical reputation and why he thinks people who've already made up their minds to dislike the band may be missing out on the wit, exuberance, and communal connection that fans enjoy.
The A.V. Club: It took about eight months to record Everything Now. How much of that time was spent actively working on it?
Win Butler: Well, we've ended up building a studio for every record, so that takes time. The space you make it in ends up being the first step of figuring out how it's going to sound.
AVC: Wasn't this one recorded in multiple studios?
WB: Yes, but I would say 80 percent of it was recorded in New Orleans, in our tiny studio. We did some sessions in Paris and a little bit in Montreal, but not too much. Just some finishing touches. Régine [Chassagne] and I moved to New Orleans, but my brother's in New York, and the rest of the band's in Montreal, so the guys would come down for a couple weeks at a time and we'd record for two weeks or so. Then they'd go away and we'd listen to stuff. It's a process.
Every once in awhile you get a gift of something that's super easy. Like "Good God Damn" is an example of one of the most stripped-down things we've ever done. We cut it at midnight, with the guys flying out the next day. I had Tim [Kingsbury] and Jeremy [Gara] play it with me to make a demo so I could figure out what the lyrics were going to be. We played it once and never touched it again. It ended up being this perfect take.
But most songs just take forever, to figure out how the pieces all fit together. It's historically taken us about a year to make a record. Even the first EP. There's just certain things that we have to go through.
AVC: Do you do a lot of tinkering with the style and arrangements? For example on the new album, you have multiple versions of "Infinite Content" and "Everything Now." Is that a common practice for you, to record different styles of the same song?
WB: Sometimes. Part of the idea with "Infinite Content" was that we put a thing online that was just the MIDI files and a score, and we had a bunch of people submit versions. The idea of that was to end up with 150 versions of the same song. A friend of mine who plays in this amazing Cajun band called Lost Bayou Ramblers just sent me a zydeco version of "Infinite Content" in Creole. It's pretty amazing. I've heard a Kraftwerk-type version of it. Pretty all over the place.
AVC: On both Reflektor and Everything Now you've worked with high-profile collaborators like LCD Soundsystem's James Murphy and Daft Punk's Thomas Bangalter. What do you get out of that process, bringing in someone not in Arcade Fire to work on a song?
WB: It's mostly stuff we've done through friendship. James, we toured with, and we've been friends with him for a long time. We were actually talking about working together on Neon Bible, and it never really lined up. Markus Dravs first came in just to help us with our studio. We owned a small church outside of Montreal where we recorded Neon Bible. Markus had recorded Post and Homogenic, and our manager was managing Björk at the time, and Björk is one of my all-time heroes, so Markus came out to help us with some recording and ended up becoming a lifelong friend. Same thing with Steven Mackey [of Pulp] and Thomas.
These people all have just incredible taste in music. I think when you've been in a band for a really long time, sometimes you don't appreciate what's good about yourself. It's easy to play something and get too focused on some small detail. It's helpful to have somebody around who can say, "No, that was good." Just so you don't get too lost or forget what you do. You need somebody you really trust who has great taste.
AVC: Do you think that critics read too much into all that? If they find out that you worked with someone from Daft Punk, do they say, "This song sounds like Daft Punk?"
WB: Yes. [Laughs.] One hundred percent. I think probably everyone that has worked on an Arcade Fire record would be just as happy to do it anonymously. Five years from now, it won't really matter, but during the promotion of a record, when people are writing reviews, I feel like a lot of people don't take the time to understand it. It's like people are still writing reviews of Reflektor with our new album. They say, "James Murphy is into dance-y music. James Murphy made Arcade Fire be dance-y." And what's funny is that an extremely large percentage of the world's population has never even heard of Arcade Fire or James Murphy. That collaboration is really only interesting to people who write about music and the small part of the demographic who pay attention to those kind of details.
AVC: It's not at all uncommon for people who write about music to be "over" a band that a large, large portion of the world has never heard of.
WB: Yeah, but maybe it works in the opposite way, too. If you were a critic when our first record came out, you kind of had to like it. I'm sure there were people who had to pretend to like it because it would've seemed uncool not to. It's a cyclical thing.
So yeah, there's blowback. But I've been experiencing that to some extent since we formed. I remember an early Arcade Fire show, where we played a song called "Headlights Look Like Diamonds," which is kind of a dance-y, New Order song. It was our first hit, really. We played it, the crowd went crazy, and everyone was dancing. Even these super punk kids were just losing their minds, until like, a week later, when we played again and the context had changed. I saw them lose their shit, and then a week later they were all, "This band sucks."
And it's been like that for a long time. It wasn't very cool to like Bruce Springsteen in the '90s. When Nirvana was huge, there weren't a lot of people saying, "You know who's amazing? Bruce Springsteen." You know what I mean? It's very cyclical. And impossible for us to control.
AVC: I've had a somewhat different relationship with your band, in that I wrote a mixed review of Funeral and was converted by Neon Bible. More specifically, my mind was changed by your Austin City Limits performance. There was something about seeing the songs from the first two records in a live context. Suddenly, the music made sense. You've had a strong reputation as a live act from the very beginning. When you're working on a record, how much do you think about how the songs are going to translate onstage?
WB: We're essentially a live band, so they're completely related. I don't think about it like, "How's this going to sound in an arena?" But we're on our fifth record now, so we already have all the songs we wrote already, and with the songs we haven't written we're trying to do stuff that'll serve a different purpose.
We've traveled the world so much and have played our music for so many different cultures and for so many different people. You can really feel how people react differently to different music in different places. Even within Europe, there's such a big difference between a big French crowd and a big English crowd, or a big Portuguese crowd and a big Spanish crowd. There are different nuances in rhythm, and different feelings and different lyrics that translate differently. If we're playing Coachella, a song that people are going to be really into isn't the same song that people are going to be into if we're playing Port-Au-Prince.
By the way, Austin City Limits is great. I grew up in Houston, and I still remember seeing Tom Waits on Austin City Limits. It's still what I think about most when I think of Tom Waits. It really felt like he was from outer space. What is this music? Who is this person? I never got super deep into Tom Waits, but it still resonated for me.
I kind of feel the same way about The White Stripes. The White Stripes did a performance on one of Conan O'Brien's shows, and I don't even remember what the record was or the song, but Jack White was playing the guitar, and he went over to Conan's desk doing his guitar solo, and I was like, "I can never talk shit about this band." That one performance was so great that they could've honestly made 50 horrible records and I'd never talk shit about The White Stripes. Because I know they're fucking for real.
It's all really deeply related to the live thing, to me. The records and the concerts give each other life.
AVC: You played several of the new songs during the European leg of your tour before the album came out. Have you learned anything from playing them live?
WB: Everything Now is our first album where the songs have been played on pop radio in Europe. Radio 1 and Radio 2 in the U.K., which, it doesn't really get any bigger than that. And it's interesting, because when you really know a song, it's amazing what your mind does. Your mind fills in all sorts of details.
When I went to see Prince play just before he passed, he was doing a greatest-hits kind of show. Like, every single fucking song he played the whole night, you'd heard a million times—and it almost didn't matter what he was playing, because your mind knows the material so well that it fills in all the details. It's really different.
So it's interesting, because we got a really amazing energy playing in Montreal and in Europe, and a really great response. It's some of the funnest shows we've played in a long time.
AVC: Even though the lyrics on Everything Now are often bleak, the music seems more joyous than Reflektor. Is that fair to say?
WB: I don't know. I think we tried to make a funky record—something that we found satisfying rhythmically. I don't really think of our band as dance music, although in the U.K., you'd hear songs from Funeral on some clubs' disco nights, because we've always made music that favors four-on-the-floor. That's one of our go-to things. If you hear the new record through a big system, there's a lot going on in the low end. A song like "Good God Damn" sounds like a little song, but you put it in a big PA, it's massive. There's nothing in the low end fighting for those frequencies, which was something I was a lot more aware of on a production standpoint, just from deejaying and hearing music in different systems. You start to appreciate amplification.
I was deejaying at a party and they had this enormous PA, playing super-banging house music all night. I played "Use Me" by Bill Withers, and it nearly blew out the whole thing, because even though it's just electric bass and a little bit of drums, the amount of low information in an acoustic bass is actually insane. Same thing with "Iko Iko," which is someone playing a double bass and someone hitting some cans. Put it in a big system and it's like, "Holy shit!" What is going on on the low end of these records?
That was definitely something I wasn't as aware of, like, five years ago. I'd never heard a lot of that music on a real PA.
AVC: As I recall, there was a Rolling Stone magazine article back in the '80s about the making of Don Henley's Building The Perfect Beast, where the reporter mentioned that Henley insisted on taking the tapes of the final mixes to his jeep, to hear how they sounded coming out of those speakers. Do you do anything like that? Testing out the different ways an album will sound?
WB: We have a bar in Montreal, a Haitian bar, where there's a really good sound system—a big, proper, Jamaican-style sound system. I definitely play mixes in there sometimes. Compared to the stuff you're listening to on your laptop, it's almost like 3-D versus 2-D.
AVC: The marketing of this record has been unusual, in that you released a new video of a new song every week or two, over a month in advance of the release.
WB: We put out four songs, I think every two weeks. So the whole thing was two months basically, from when we released the first song. And that was probably two months sooner than someone on the label would tell you to do it. But the speed at which things come and go has hit such a point that under normal circumstances a record doesn't stand much of a chance to have people hear it. Everything seems like it's around for forever now, but that's just because news cycles are so fast and so early.
Look at Funeral. It came out in September in the U.S., but didn't come out in the U.K. until six months later, because we didn't have a record deal outside of America for those six months. It came out overseas, and we did the whole promotion thing again. Back then we were in a van, with one cellphone, and we didn't have a manager. I don't even fully understand how press people got our number. Régine and I did a press tour by ourselves. I think it was our first time to Europe. We thought, "Oh, it's going to be fancy, and we're going to get to see all of Europe," and then it was just, like, traveling from city to city in a room from 10 a.m. until 10 p.m., talking to journalists.
If that happened now, people would be like, "What went wrong?" [Laughs.]
AVC: Was the decision to put out these videos so early all guided by the band?
WB: Yeah, it was just a way to give people a chance to hear some of the record, because once it comes out, it's like people are onto the next thing immediately. This was an opportunity for people to spend some time with songs they might not have paid attention to otherwise. Ultimately, that's what it's about, getting people to hear the music. That's why you make it.
AVC: Were you tracking the response? Seeing what fans had to say, what critics had to say, how many hits it was getting?
WB: No. I mean, I think the internet is where negativity thrives, very easily. People get an emotional hit from it. It's unhealthy to worry too much what people think—and particularly what someone thinks who's just hearing something for the first time and writing a response as they're listening. That's not useful information.
AVC: Can anticipating the response affect your creative process? Multiple pop artists lately have put out records that have tried to make a social statement and have been mocked or even pilloried. Everything Now doesn't shy away from sociopolitical commentary. Did you think about how it might be received?
WB: Whenever you do anything or say anything, you're opening yourself up to criticism. But that's okay. That's part of the deal. We're a political band. Like, we didn't expressly make a record about Donald Trump, but I'm not interested in pretending like he's not the president, or that it's not an insane cesspool of nightmare reality that we're all living in, all day, every day.
It's no accident that Donald Trump is by far the most successful Twitter user in the history of Twitter. He's the master—the Rembrandt of Twitter. But the hope with some of the social media stuff we're doing is to work with some really funny writers and… I don't know, just maybe have people be a little more critical about what they're reading. It's meant to be kind of lighthearted, in a somewhat toxic environment.
AVC: It's not unusual for Arcade Fire to do something lighthearted, because your presentation is so theatrical and theatricality often demands a certain amount of whimsy. The band is often pegged as serious and dour, but do people miss your sense of humor?
WB: I think it's possible that people miss the point. But what are you going to do?
It reminds me of an interview I read where Sacha Baron Cohen was talking about this insane French clowning school that he went to, to study the tradition of clowning. There was this very serious clown-master, and when people would get up onstage, he had a little bell that he would ring, and the second he'd ring the bell, you were done. You weren't funny. You were off the stage.
So he's doing his bit, and the teacher started ringing the bell, and he just kept ignoring him. The teacher got angrier and angrier, and kept ringing the bell more and more, getting more and more furious. He said, "In that moment, I knew what I wanted to do for the rest of my life. The clown teacher yelling at me for clowning, ringing that bell and being furious, is the funniest, highest form of clowning that could possibly exist."
I find that really inspiring. [Laughs.]
AVC: When a band's starting out, people try to pigeonhole who you sound like, which means you'll get questioned a lot about your influences. But you don't get asked about that as much once you've established your own sound, even though your roots can become even more tangled as you evolve—especially if you're as successful as Arcade Fire. So I'll ask, have your musical role models changed, from Funeral to Everything Now?
WB: Well, there are different things you look up to about different artists. Look at someone like Tom Waits or Neil Young or David Bowie or even Dylan to a certain extent. They've all been so uncompromising. The real question though may be, who would I change careers with? And there's no one where I'm like, "Man, I wish that was my life." I'm very proud and satisfied with where we're at as a band, and how we've done it.
Y'know, we're just still in the middle of this thing. My grandfather was 96 when he passed away, and he was still playing until he was, like, 94, and still recording in the basement. He had ProTools on his computer, in the basement recording himself with an optic pedal on the guitar, making bass lines and shit. He's my role model.


Big data is currently a top geek fashion. But more data does not directly imply better understanding. Avinash Kaushik offers great wisdom on the mistakes of data puking. Collecting data and making tables and diagrams is no substitute for figuring out what to do.
Actually understanding the test. Kohavi et al. (2012) point to the importance of A/A testing. If you can't understand and control the outcomes of A/A testing, don't waste your time doing A/B testing. A test implicitly encompasses judgments about sample relevance and time-horizon relevance. A test also necessarily implies some anticipated change in behavior. Have you considered possibilities for changes in behavior apart from and unrelated to your proposed test change?
Actually identifying a feasible and meaningful outcome measure. Optimizing what is measurable may not increase economic value. Figuring out the best feasible measure of the economic value relevant to a specific enterprise often isn't easy. Kohavi et al. (2012) provide some insightful examples of trade-offs between short-run value and long-run value in the context of testing search advertising.
In short, big data and controlled experiments are tools for thinking, not substitutes for thinking.
Kohavi, Ron, Alex Deng, Brian Frasca, Roger Longbotham, Toby Walker, Ya Xu. 2012. "Trustworthy Online Controlled Experiments: Five Puzzling Outcomes Explained." To appear in KDD 2012 Aug 12-16, 2012, Beijing China.