text:
Q: How is the MySQL auto_increment step size determined I have a table of web pages, with the primary key as hash of the URL, and an auto_increment ID column, which is also a unique key.
What I'm a bit confused by is why successive inserts don't increment the ID field by 1. When I first created the table and did a single insert, the first id was 1. The second insert produced and id of 5 and the third was 8.
I have a trigger on the table which, on insert, computes the hash of the URL of the webpage. Not sure if that's relevant or not.
It's not a problem to have gaps, but I would like to understand why successive inserts don't generate IDs with a step size of 1.
thanks!

A: Several suggestions of why this may be happening:
See auto_increment_increment.  This controls the incrementation each time a new value is requested during INSERT.
Also if you use InnoDB tables in MySQL 5.1, they optimized auto-inc allocation so that it locks the table for a shorter duration.  This is good for concurrency, but it can also "lose" auto-inc values if the INSERT of a row conflicts with another constraint such as a secondary UNIQUE column or a foreign key.  In those cases, the auto-inc value allocated is not pushed back into the queue, because we assume another concurrent thread may have already allocated the next auto-inc value.
Of course rollbacks also occur, in which case an auto-inc value may be allocated but discarded.

A: It could be related to transactions that end up getting rolled back.  For example,

*

*Insert google.com id=5

*Insert mysql.com id=6

*Insert stackoverflow.com id = 7

*rollback insert google.com

*rollback insert mysql.com

Then stackoverflow.com is inserted with id=7 and 5 and 6 are left blank.

A: The auto increment is always with steps of 1, but once a row gets removed, the ID is not freed up.
The next auto increment ID is stored in the information schema database in your MySQL environment. It is always +1, and when a row gets removed, the ID in between will be missing. So if the first is 1, and the second (according to you) is 5, then 2,3,4 have been removed in the process.
Run this query to find out, and replace the last 2 values in the where ;)
SELECT AUTO_INCREMENT
from `information_schema`.`TABLES`
WHERE   TABLE_NAME = '<<YOUR TABLE NAME HERE>>' AND
      TABLE_SCHEMA = '<< YOUR DATABASE NAME HERE >>'

A: mysql.cnf / ini  can set the change:
auto-increment-increment = 2
auto-increment-offset = 1

In some configuration (for example, for master/master replication), a_i can skip numbers using these variables.

A: SET GLOBAL auto_increment_offset=1;
SET GLOBAL auto_increment_increment=5;
auto_increment_offset: interval between successive column values
auto_increment_offset: determines the starting point for the AUTO_INCREMENT column value.
The default value is 1.
more info here

redpajama_set_name: RedPajamaStackExchange


text:
European Union now has the power to recall emissions-cheating models – report
Ben Zachariah
In an effort to stop a repeat of the 'Dieselgate' scandal, the EU can now revoke the roadworthiness of models found to have cheated emissions regulations.
New laws allow the European Union to recall vehicles found to have breached emissions standards.
If a car is found to be non-compliant, the European Commission – the EU's independent executive arm – can revoke that model's certifications, as well as issuing a €30,000 (AU$48,600) fine per vehicle, according to news agency Reuters.
The new laws, which came into effect this week, are designed to avoid another 'Dieselgate' scandal, in which Volkswagen Group brands were found to have used software to cheat emissions tests. Other car brands were found to have implemented similar cheats.
Vehicles known to have breached safety regulations can also be recalled under the new powers, which span across 27 countries within the European Union.
Emissions testing has previously been the purview of each individual country, but the European Commission says it has invested in two new vehicle evaluation labs to ensure compliance.
In 2015, Volkswagen Group admitted to using software to cheat emissions tests, and is estimated to have paid almost $47 billion in fines, compensation, and vehicle buy-backs since the 'Dieselgate' saga began.
Last week German authorities launched an investigation into Porsche after the company announced it was looking into potential emissions cheats on petrol models built before 2017.
MORE: The 'Dieselgate' scandal
MORE: European Union articles

redpajama_set_name: RedPajamaCommonCrawl


text:
Making sense of Brexit?
January 31, 2017 TheresaPress releases, updates
Supreme Courts. White Papers. Commons Debates. I'm sure many of you are Brexit'd-out. Allow me to try and make sense of some of it.
Last week the Supreme Court ruled that Theresa May cannot fast-track Article 50 through the UK Parliament. Forcing Tory ministers to introduce emergency legislation to authorise the UK's departure from the EU. This doesn't block Brexit, but rather allows us to hold the government to some account over the type of Brexit it chooses to take.
Following on from the ruling, Labour demanded that a While Paper be published to inform the Article 50 process. After much persistence, the PM caved and the European Union Bill (Notification of Withdrawal) was introduced – with the 2nd reading (and first opportunity for MPs to debate the bill) taking place today.
Labour accepts the referendum result. However, that does not mean we will give the Government a blank cheque. We will vigorously oppose any threat to rip up existing economic and social protections, including slashing corporate taxes and public spending. In short, living standards and public services must not be used as a bargaining chip in Brexit negotiations.
Many of these issues were brought to light when the Maltese Presidency visited the Industry, Research and Energy Committee to discuss the importance of tackling energy poverty. The EU's commitment to promoting energy efficiency highlights the need for the UK to enact similar measures post-Brexit. If the UK wants to be an industry leader and protect our most vulnerable citizens, we must implement ambitious energy legislation and targets.
And this highlights why MPs must be given the opportunity to debate Article 50 and May's Brexit plan. Huge swathes of legislation from energy to industry, workers' rights to human rights, economic and environmental policy are going to be altered behind closed doors. Do we really trust the Tories to protect the interests of working people and public services?
That is why the PM will not be given a blank cheque and Labour will work to ensure that any deal upholds our hard fought values.


USQ staff member Melinda Edwards answers Jordan's questions about studying at USQ.
AS THE first day of classes draws near, the University of Southern Queensland (USQ) is helping its newest students prepare for study success.
Study Options Evenings will be held throughout the year, allowing future USQ students to find out more about degrees and courses; and what can be achieved at the University.
The information events will start in Toowoomba on Thursday January 21 then Ipswich, Brisbane City and Springfield.
A wide range of information will be available at the events, covering topics including pathway programs, online and part-time study options, postgraduate and professional development courses, how to apply and more.
For more information and to register attendance, visit www.usq.edu.au/sayhello.
USQ Vice-Chancellor and President Professor Jan Thomas said when commencing higher education, students may have a lot of questions about university.
"That's why I encourage those considering studying in 2016 to come along. It's a great opportunity to receive personalised support from the experts," Professor Thomas said.
"University study is a rewarding and enriching experience, and we are committed to supporting students as they make the transition to higher education."
Online students with questions shouldn't worry if they are unable to attend a Study Options Evening event - 'Say Hello' to USQ in 2016 with Online Open Hour.
Online Open Hour is all about answering questions about studying online at USQ, with one-hour webinars running over three days (Pathways to USQ on February 2; Undergrad at USQ on February 3; and Postgrad at USQ on February 4).


£7 billion a year was cut from welfare spending—and that's on top of cuts already announced in June's budget.
The total welfare spending axed is now an incredible £72 billion over four years.
Sick and disabled people will bear the brunt of these cuts.
A 12-month time limit on the Employment Support Allowance (formerly Incapacity Benefit) will see a million people lose it.
Up to £2,500 a year is being taken away from 58,000 Disability Living Allowance claimants who live in care homes.
Complex changes to Tax Credits will see many people lose them entirely.
Parents will now have to work at least 24 hours a week, up from 16, to qualify for any Working Tax Credits—yet the childcare costs that can be covered are being cut by 10 percent.
Meanwhile, Osborne launched yet another "clampdown" on benefit fraud—in other words, harassing people who are trying to live on £10 a day while ignoring the rich's tax swindles.
The Tories like talking about cutting waste and inefficiencies. But in reality that means huge job cuts. George Osborne said some half a million public sector jobs are to be axed as a result of the spending review.
According to the Unison union, those 500,000 public sector job cuts will be a "false economy"—and will end up costing a further 425,000 jobs in the private sector.
That could cost the Treasury around £4.6 billion in lost tax revenue and £6.1 billion in increased benefits payments—adding £10.7 million to that deficit the Tories say they care so much about.
At the election they promised £3 billion in efficiency savings in government departments.
Osborne just doubled this to £6 billion.
That means hundreds of thousands more job losses, even on top of the half a million that they're willing to admit to.
Local council spending will be reduced by 33 percent over four years—that's a third slashed from the services and jobs that councils currently provide.
Moves to end most "ringfencing" of spending mean councils won't be told what to spend their money on. It is a ploy by the government to get local politicians to take the brunt of the anger as services are destroyed.
For example, a key area currently ringfenced is children's services. Cuts of a third would be devastating.
It's also clear that the cuts will lead to a major drive by right wing councils to extend privatisation and outsourcing into every area.
The government's spending review summary champions Suffolk council.
It plans to turn itself into a "virtual council", outsourcing almost every service to private companies who put their profit above people's needs.
The age you can retire on a state pension will rise to 66 more quickly than previously announced. The increase will now take effect from 2020, not 2024, for men and women.
And, all men currently under the age of 40 will have to wait until they're 68 to retire.
Osborne also announced that pensions contributions by public sector workers will increase by a total of £1.8 billion by 2012.
This will mean most public sector workers will be forced to pay around £450 a year more in contributions by 2014/15—effectively a further pay cut.
This comes on top of a two or even three-year pay freeze for the vast majority of public sector workers.
Osborne also announced a review of the "Fair Pay Deal" reached with unions where workers' jobs have been outsourced to the private sector.
This could see those workers' pensions plummet.
Funding for social housing will be cut by £4 billion—slashing the existing budget by 60 percent.
The government says it aims to build just 37,500 new homes a year. This will destroy the hopes of the millions of people on waiting lists for decent, affordable housing.
And those who do get council or housing association accomodation in the future will be squeezed hard as they face higher rents—up to 80 percent of private rents.
The National Housing Federation says that the average rent for a three-bedroom social home is currently £85 a week.
That figure could now rise to £250 a week.
This comes on top of a major reduction in housing benefit and the threat to end secure council tenancies.
The total benefits any family will be able to receive will be £500 a week—leaving many who have long lived in areas like central London struggling to pay their rent.
Meanwhile the Supporting People budget—which helps over 122,000 vulnerable people to live independently—is to be cut by 11.5 percent.
Osborne claims that the NHS and schools have been protected from cuts. But he is lying.
True, health spending will rise by 0.1 percent above inflation—but health analysts say the NHS needs at least 6 percent a year just to stand still. This is because of the aging population and increasing price of new treatments.
The health service is already facing cuts as the Tories demand £20 billion "efficiency savings" by 2014, and the abolition of local Primary Care Trusts.
NHS employers across England announced large-scale redundancies this autumn.
The Royal College of Nursing says some 10,000 posts have been axed in recent months.
In schools, 40,000 teachers will go in England as a result of the cuts, the government's own education department says in a leaked report.
Osborne has cut the education budget by more than 3 percent once inflation is taken into account.
He abolished the Education Maintenance Allowance (EMA), currently paid to 600,000 poor 16-19 year olds to help them stay in education.
And his 70 percent cut in the youth budget means youth clubs and after-school activities will all but disappear.
The Tories cut the universities budget by 40 percent and the colleges budget by 25 percent.
This will mean fewer places for students, fewer lecturers, and even whole courses and colleges closing down.
On top of this, Osborne threw in the scrapping of English for Speakers of Other Languages (Esol) provision by 2012.
The spending review brought more bad news for anyone who uses public transport.
The government is planning to change the way that train fares are regulated, while cutting back on company subsidies.
At present fare increases are capped at the RPI rate of inflation plus 1 percent.
This is set to rise to RPI plus 3 percent. RPI was 4.8 percent in July.
Also, bus subsidies are to be slashed by 20 percent, so firms will look to protect their profits by pushing up fares and attacking workers' pay and conditions.
Did the queen take a hit too?
The news that the queen was to have a 14 percent real terms cut in spending has been used as proof that "we're all in it together".
But don't expect to see the queen down at Lidl shopping for bargains.
She is worth an astonishing £349 million, not including her palaces and crown jewels.
And a new deal means that she gets a share of the £210 million profits from government estates relinquished by George III in 1760.
The Tories' sheer nastiness was shown by their plans to make any single person under the age of 35 share accomodation or lose their benefits.
So the poor are to be forced to live together in sub-standard homes with people they don't know and possibly in an area they don't want to live in. And George Osborne claims that that's "fair"?


Cockroaches present a real problem in any kitchen because they breed exponentially, resulting in a population explosion if left unchecked –– causing potential health hazards and food contamination. When these insects encounter food items, they can cause all kinds of diseases and health scares, so you don't want them running havoc in your kitchen at any cost. Before the pest control experts arrive, make sure you follow these crucial tips to control your kitchen's roach problem.
As the species' name suggests, drywood termites live within and feed on dry wood structures inside of your home. Unfortunately, a drywood termite infestation can go undetected until serious structural damage occurs, and that's why regular inspections by an experienced pest control professional like Expect the Best Pty Ltd are important. Fortunately, minor infestations can be easily treated before they become serious. Here's how. Heat treatment Pest control firms use heat treatment to remove drywood termites from isolated areas of a house, for example an attic or bedroom.


text:
%READTIMESERIES   Reads a series/stack of TIFF images as a 3D image
%
% SYNOPSIS
%  out = readtimeseries(basefilename,extension,range,color,verbose)
%
%  basefilename : File name without the running number or full file name
%  extension    : File extension
%  range        : First and last index to read [first last]
%  color        : Conserve color information? 'no','yes'
%  verbose      : Show diagnostic messages on which files are read
%
% DEFAULTS:
%  extension    : ''
%  range        : []   % All found images are read
%  color        : no
%  verbose      : no
%
% EXAMPLE:
%  In the directory /data/here, there are 16 files:
%     myfile4.tif,myfile5.tif,myfile006.tif,...myfile020.tif
%  We can read them as a 3D image using:
%     out = readtimeseries('/data/here/myfile','tif')
%  or equivalently naming any one file in the series:
%     out = readtimeseries('/data/here/myfile012.tif')
%  or equivalently using a wildcard:
%     out = readtimeseries('/data/here/myfile*.tif')
%
% SEE ALSO:
%  readim, readtiff
%
% NOTES:
%  For files like myleica_z004_ch01.tif etc. use
%      readtimeseries('myleica_z*_ch01.tif')
%
%  The given file name can have only one wildcard '*'. The directory
%  name or the extension cannot. The wildcard can be anywhere in the
%  name of the file.
%
%  If the file as given is not found, and no path was specified, then the
%  directories listed in the 'ImageFilePath' property (see DIPSETPREF) are
%  searched for the file.
%
% DIPlib:
%  This function calls the DIPlib function dip::ImageReadTIFFSeries.

% (c)2017-2018, Cris Luengo.
% Based on original DIPlib code: (c)1995-2014, Delft University of Technology.
% Based on original DIPimage code: (c)1999-2014, Delft University of Technology.
% Originally written by Bernd Rieger.
%
% Licensed under the Apache License, Version 2.0 (the "License");
% you may not use this file except in compliance with the License.
% You may obtain a copy of the License at
%
%    http://www.apache.org/licenses/LICENSE-2.0
%
% Unless required by applicable law or agreed to in writing, software
% distributed under the License is distributed on an "AS IS" BASIS,
% WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
% See the License for the specific language governing permissions and
% limitations under the License.

function out=readtimeseries(basefilename,extension,range,color,verbose)

if nargin < 2
   extension = '';
end
if nargin < 3 || isempty(range)
   range = [0,-1];
elseif numel(range)~=2
   error('The range parameter must be of the form [start ending]');
end

if nargin < 4
   color = false;
else
   if ischar(color)
      switch color
         case {'yes','on'}
            color = true;
         case {'no','off'}
            color = false;
         otherwise
            error('Cannot parse COLOR parameter')
      end
   end
end

if nargin < 5
   verbose = false;
else
   if ischar(verbose)
      switch verbose
         case {'yes','on'}
            verbose = true;
         case {'no','off'}
            verbose = false;
         otherwise
            error('Cannot parse VERBOSE parameter')
      end
   end
end

fns = find_files(basefilename,extension,range(1),range(2));
if isempty(fns)
   fns = {basefilename};
end
M = length(fns);

% Read in the image files
if M==1
   if verbose
      disp(['Reading multi-page tiff file ',fns{1},' as 3D image.']);
   end
   out = dip_fileio('readtiff',fns{1},range);
else
   if verbose
      disp('Reading the following files:');
      disp(char(fns(:)));
   end
   out = dip_fileio('readtiffseries',fns);
end
if ~color
   out = colorspace(out,'grey');
end

%FIND_FILES return sorted files
%
% out = find_files(filebase,ext,start,ending)
%
%  filebase: string containing the base filename
%  ext     : extension
%  start   : first index to read
%  ending  : last index to read
%
% DEFAUTLS:
%  start  = 0 % start with the first found image
%  ending = 0 % read all found images

function out=find_files(filebase,ext,start,ending)

if any(filebase=='*')
   wc = 1;
   if sum(filebase=='*')>1
      error('Only one ''*'' wildcard accepted.')
   end
else
   wc = 0;
end

[pathstr,basename,extension] = fileparts(filebase);
if ~isempty(ext)
   if ~strcmp(ext,extension) % the extension doesn't match the given one -- it's not the extension
      basename = [basename extension];
      extension = '';
   end
end
if length(extension) > 5 % someone puts dots in the filename
   basename = [basename extension];
   extension = '';
end
if ~isempty(extension) && isempty(ext)
   ext = extension;
end
if wc && ~any(basename=='*')
   error('A wildcard ''*'' is only accepted in the file name, not the extension nor the directory name.')
end

if ~wc
   % remove trailing numbers and substitute them with a '*'
   while ~isempty(basename) && any(basename(end)=='0123456789')
      basename(end) = [];
   end
   basename = [basename,'*'];
end
if ~isempty(ext)
   basename = [basename,ext];
end
fns = dir(fullfile(pathstr,basename));
fns([fns.isdir]) = [];
if isempty(fns) && isempty(pathstr)
   p = convertpath(dipgetpref('imagefilepath'));
   for ii=1:length(p)
      fns = dir(fullfile(p{ii},basename));
      fns([fns.isdir]) = [];
      if ~isempty(fns)
         pathstr = p{ii};
         break;
      end
   end
end
if isempty(fns)
   out = {};
   return;
end

if isempty(ext)
   % No extension given -- let's use the first extension we find!
   [~,~,ext] = fileparts(fns(1).name);
   basename = [basename,ext];
end

jj = find(basename=='*');
assert(length(jj)==1)
kk = length(basename)-jj;
xx = length(ext)-1;

Nout =  length(fns);
out = cell(1,Nout);
iout = zeros(1,Nout);
for ii=1:Nout
   out{ii} = fns(ii).name;
   if ~strcmp(out{ii}(end-xx:end),ext)
      iout(ii) = -1;
   else
      iout(ii) = str2double(out{ii}(jj:end-kk));
      if isnan(iout(ii))
         iout(ii) = -1;
      end
   end
   out{ii} = fullfile(pathstr,out{ii});
end

I = iout >= start;
if ending > start
   I = I & (iout <= ending);
end
out = out(I);
iout = iout(I);
[~,I] = sort(iout);
out = out(I);

redpajama_set_name: RedPajamaGithub


We keep a flock of mixed-breed laying hens, including Plymouth Barred Rocks, Ameraucanas (the blue-egg layers), Delawares, Australorps, Orpingtons, Rhode Island Reds, and a Bantam Silkie. Our chickens tuck themselves into a coup at night for safety, and we close the door. In the morning, we let them out to range freely all day on 1.5 acres of pasture and orchard. They spend the day snapping up bugs, taking dust baths, clipping the grass, stirring our compost, and flocking to us for treats and scratches.
Our chickens play an integral part in our rotational-grazing system. We allow them access to pasture that has already been grazed by goats. The goats only eat the pasture down to about 6 inches. After that, the chickens trim it more and help disrupt the parasite cycle. In turn, this minimizes or eliminates our need to chemically de-worm our animals.
Raising our hens on pasture not only allows them to express their inherent "chickeness," but it gives them the freedom to seek out different foods, vitamins, and minerals to balance their nutritional needs. In addition, we offer soy- and corn-free non-GMO organic layer pellet free-choice as supplemental feed. For treats, we offer organic yogurt (from our own dairy goat herd) and a mix of sprouted barley/oats/sunflower-seed for scratch. This way, we know that our chickens are happy and healthy. As a result, they produce delicious and healthy eggs for us to enjoy.
We don't use antibiotics as a preventative. When one of our flock is under the weather, we always treat first with a holistic approach, approved by our Veterinarian. In the case that this does not work, we collaborate with our Vet to determine the best course of action and only administer antibiotics when absolutely necessary. If one of our animals is facing death, and antibiotics will save his or her life, we will use antibiotics. Only in life-threatening circumstances, however. If antibiotics are given to a hen, that hen's eggs are withdrawn until the medicine has cleared her system. We never administer antibiotics preventatively. Same goes for chemical de-wormers. We trust in our flock's ability to remain healthy when given the food they were intended to consume in a healthy environment with plenty of fresh air, water, and sunshine.
We don't administer hormones. No way, no how. In fact, because our chickens are soy-free and pastured, they actually promote healthy hormone regulation in humans who eat their eggs. Chickens fed diets containing soy transfer soy isoflavens into their yolk. When humans consume those eggs, they consume those isoflavens, which are estrogen-mimicking and can accumulate in the body to cause various health problems. Soy isoflavens depress thyroid functioning, can interfere with fertility, and upset delicate hormonal balances in men and women.
You can read more about our better-than-organic eggs here.


Ah, the sweet smell of cedar and lavender! Made of 100% natural red cedar and infused with lavender, these rounded pieces are a classic, yet innovative way to freshen and protect your closet's contents. Thanks to their round shape, you won't need to worry about them snagging delicate fabrics. Plus, they'll roll around in your drawers for an extra burst of freshness every time you open them up to grab a garment. They're a great, eco-friendly way to repel moths, mildew and mustiness naturally and without the use of harsh chemicals. Now, that's a sweet closet solution!
What a joke. They are suppose to be cedar balls, but they are the size of marbles and hardly any smell. I kick myself for not sending back.


Epigenetics Insights is an open access, peer-reviewed international journal focusing on all aspects of epigenetics, including technical and ethical issues. Please see the Aims and Scope tab for further information.
This journal was previous known as Genetics & Epigenetics.
Epigenetics Insights (previously known as Genetics & Epigenetics) is an open access, peer-reviewed journal that covers all aspects of epigenetics, including technical and ethical issues. Epigenetics Insights aims to offer a channel for the presentation and discussion of the role of epigenetics processes (including, but not limited to, DNA methylation, gene silencing, imprinting, nuclear organization and reprogramming, histone modification, chromatin remodeling and dynamics, non-coding RNAs, and dosage compensation) in all areas of biology.
The journal is now organized into topical sections, with dedicated section editors overseeing the peer review process and guaranteeing rapid while rigorous peer review. Manuscripts are reviewed by experts in the field. Our goal is to return reviews and first decisions within 30 days of submission.
Only manuscripts of sufficient quality that meet the aims and scope of Epigenetic Insights will be reviewed.
Please read the complete guidelines below before you upload your mauscript.
Epigenetic Insights is an open access, peer-reviewed journal. Each article accepted by peer review is made freely available online immediately upon publication, is published under a Creative Commons license and will be hosted online in perpetuity. Publication costs of the journal are covered by the collection of article processing charges which are paid by the funder, institution or author of each manuscript upon acceptance. There is no charge for submitting a paper to the journal.
Before submitting your manuscript to Epigenetic Insights, please ensure you have read the Aims & Scope.
All articles will be considered for publication; however, preferential consideration will be given to reports of significant interest to the broad epigenetics community. We also accept papers with negative results. Main article types are as follows: Original Research, Brief Reports, Letters to the Editor, Methods, Review, Mini-Reviews, Editorials, Case Reports and Commentaries. Commentaries, Mini- and full-length reviews are typically invited by the Editor-in-Chief, however, unsolicited work will be considered. Commentaries are invite-only.
Research reports are full length original articles that should present a major scientific breakthrough.
A letter to the Editor is a brief communication that either addresses the contents of a published article,or is a correspondence unrelated to a specific article. Its purpose is to make corrections, provide alternative viewpoints, or offer counter arguments. Avoid logical fallacies and ad hominem attacks. Letters to the Editor must be written in a professional tone and include references to support all claims if appropriate.
Mini-reviews are brief biographical profiles, historical perspectives, or summaries of developments in fast-moving areas. They must be based on published articles; they may address any subject within the scope of Epigenetic Insights. They should not exceed 3,500 words (excluding the abstract, references and figure and table legends), 4 figures plus tables combined and approximately 40 references.
The journal's policy is to have manuscripts reviewed by two expert reviewers. Epigenetic Insights utilizes a single-blind peer review process in which the reviewer's name and information is withheld from the author. All manuscripts are reviewed as rapidly as possible, while maintaining rigor. Reviewers make comments to the author and recommendations to the Executive Editor who then makes the final decision.
Epigenetic Insights is committed to delivering high quality, fast peer-review for your paper, and as such has partnered with Publons. Publons is a third party service that seeks to track, verify and give credit for peer review. Reviewers for Epigenetic Insights can opt in to Publons in order to claim their reviews or have them automatically verified and added to their reviewer profile. Reviewers claiming credit for their review will be associated with the relevant journal, but the article name, reviewer's decision and the content of their review is not published on the site. For more information visit the Publons website.
Epigenetic Insights requires all authors to acknowledge their funding in a consistent fashion under a separate heading. Please visit the Funding Acknowledgements page on the SAGE Journal Author Gateway to confirm the format of the acknowledgment text in the event of funding, or state that: This research received no specific grant from any funding agency in the public, commercial, or not-for-profit sectors.
It is the policy of Epigenetic Insights to require a declaration of conflicting interests from all authors enabling a statement to be carried within the paginated pages of all published articles.
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The ever-popular Lego advent calendar encourages play and fun every day leading up to Christmas. Our range of boozy advent calendars then offers adults an alternative way to get into the festive spirit too. Make every advent day distinctive and gift them a great advent calendar this holiday season.


Whenever one needs to test somebody's overall sports knowledge, ask them about Carmelo Anthony and Eli Manning and see what happens.
He believes Melo is a top 50 all-time NBA player.
He believes Melo is a top five all-time New York Knicks player.
He believes Melo didn't mesh well with the Oklahoma City Thunder purely due to circumstance.
He believes Melo once represented one of the most dangerous one-on-one scorers of all-time, but has severely remained overrated his entire career.
He believes Melo is now a net-negative for any team at this current stage of the game.
He believes the Houston Rockets are much better off without Melo.
Carmelo Anthony is, absolutely, a Hall of Fame basketball player. Based on his pure scoring of the basketball alone, he makes the cut.
This doesn't mean the overrated nature of his game and purely scoring the basketball hasn't devastatingly hurt the clubs he's played on.
The Eli half of the test didn't really get started until recently, over the last few seasons. Due to the nature of the New York Giants offensive struggles, many believe Mr. Manning is done as an NFL quarterback. This large group is under the strong, stubborn belief that the 37-year-old QB can't play in the league anymore.
If that's the absolute truth, how in the world could he even think about knocking off even a bad team in the San Francisco 49ers on Monday Night Football? Quarterbacks whose arms are toast wouldn't even have a chance to do so.
He believes Eli can't play the position anymore.
He believes Eli should be avoiding sacks based on mobility.
He believes Eli is holding Odell Beckham Jr. back.
He understands Eli isn't the same spry kid he once was, but understands he's not the root cause of the team's offensive issues. That label goes to the O-line.
He believes Eli is and always has been a strange QB who performs best when things are at its most chaotic (clutch, desperate).
Think about it. Is Manning's arm so bad it's to the point he can't make every throw? I don't see that. The man can still make every throw. Has he slowed down to the point his already slow mobility is crushing the offense? No. When given a chance to move a little in San Fran, he did so.
Being "done" and having no success due to uncontrollable surrounding circumstances are two very different things and it's a great way to find out if your target in question really knows sports or not. That's what nearly half of the offense will do (five-of-seven). When the offensive line is involved, things get tricky and the true cream rises to the crop.
Both Carmelo Anthony and Eli Manning, right now, act as the perfect subjects of the greatest sports knowledge test in quite some time.


text:
Don't Trust Your Husband
An Innocent Affair (also released as "Don't Trust Your Husband"), was a 1948 Lloyd Bacon romantic comedy ("They're burning the scandal at both ends... in the surprise romantic comedy hit of the year!") starring Fred MacMurray, Madeleine Carroll, Charles 'Buddy' Rogers, Rita Johnson, Louise Allbritton, and Alan Mowbray. A fantastic stone lithograph with rich print, vibrant colors, and a great image!
Condition: Very Good. Minor border tears and wear.
Year: c.1948 - 75 years old
Size: 13.0" x 29.75" (33cm x 76cm)
See in-stock of type: 1926-1950 1940-1949 1940-1959 Large 25-42" Movies Stone Lithograph United States
Stone Lithograph
Stone lithography is a craft that was invented in the late 18th century and was the printing process most often used to produce the beautiful vintage posters of the 1800s and early 1900s.
It works on the principle of oil and water not mixing, a simple concept that produced stunning results. The artist would first draw the artwork and text for the onto a limestone slab with oil based inks (many times a massive slab) and an acidic compound would be used to etch the stone. The image of course, had to be drawn in reverse to produce a proper copy. Once the image has been etched, the limestone would be inked and then dampened with water, which is repelled by the oil based ink wherever the artist has drawn. Each color needed a different slab, and the whole process was laborious and time consuming. Print runs consisted of relatively small quantities, but the results were spectacular.
Collecting and displaying vintage posters became popular almost as the first image was rolling off the press in the late 1800's. The earliest posters were printed using a method called stone lithography, which produced vibrant colors and bold images. Posters soon appeared everywhere in Paris and beyond; it seemed that everyone was interested in the "new media" of the day. Unfortunately, almost all of these posters were destroyed during use on city walls and other outdoor displays, pasted over when the next advertisement was ready. Posters were not meant to survive the long term, making them so valuable and desired today.
Many people use a vintage poster as a focal point in a room, or to compliment (or contrast) with a particular design style. Still others display an image that has personal meaning to them; a sport they love, a place they've been or an event that has special significance. An office, restaurant, or hotel will often use vintage posters to promote their industries, or create an unforgettable and unique atmosphere. The reasons are as varied as the people who buy them, but for each one a vintage poster provides a unique piece of history that is preserved and displayed.
Original? Reprint? Reproduction? What's the difference?
An original vintage poster is one that was printed and used (or intended to be used) during the time period of it's original purpose. Quite often, successful advertising posters were reprinted for continued use in new campaigns, often over a period of many years and commissioned by the advertiser or the artist, sometimes using the original plates and printing methods, or with minor modifications such as logo alteration. While values will vary, both original posters and vintage reprints have collectible value.
Reproductions, on the other hand, are simply a photographic digital copy of an original poster, and have no collectible value. Authentic Vintage Posters does not sell reproductions.


Reply SD in the subject line if you would like a friend with benefits. I am looking for friendship or something more with a latin or mixed man 25-34. I even take direction very pefsonals. My turn-ons are mainly in being served and role play.
It's just not the same after marriage as everything becomes so much more onerous, as some of you might know.
Who doesn't like some Cold Stone. Just looking for nsa or fwb.
I'm not concerned with what a woman has, where's she's been or what she thinks she can do for me. If you can host near me (sorry far away mans, it just won't work), that'd be great, if not I'd be open to a car thing.


Beach volleyball is back! Join Oakland Yard's volleyball camp for drills, challenging exercises, matches and fun. Beach volleyball campers work out on Oakland Yard's two professional volleyball courts, which feature deep Lake Michigan sand. While at camp, players will be working on serving techniques, passing, digging, setting and attacking the volleyball.


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Q: Seeing bs ad URLs on SO... is this a bug? For me at least, some ads are not rendering and a URL is shown instead:

Is anyone else experiencing this bug?
Here is one URL where I see this bug:
https://stackoverflow.com/questions/57826099/how-to-stop-client-error-with-redux-saga
Here is the ad URL I am seeing instead of an ad:
https://bs.serving-sys.com/Serving/adServer.bs?c=28&cn=display&pli=1074961873&w=728&h=90&ord=1775446033&ifrm=-1&z=0


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This template allows deploying a SUSE Linux Enterprise Server VM (SLES 12), using the latest image for the selected SLES version. This will deploy a Standard D1 VM in the location of your chosen resource group with an additional 100 GiB data disk attached to the VM.

Have a lot of fun ...


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Q: How to copy std::queue into std::string? I am struggling with this piece of code :
std::queue<char> output_queue;
std::string output_string
// put stuff into output_queue
while (!output_queue.empty())
    {
    output_string.insert(0,(output_queue.front()));
    output_queue.pop();
    }

I somehow can't do this since std::queue<char>::front() will return a char& and I can't put this into std::string.

A: You're missing an argument to make insert insert a character. You need to specify how many of that character:
output_string.insert(0, 1, output_queue.front());

If you want to make it easier on yourself, you can also use std::deque instead of std::queue and replace it with this:
std::deque<char> output_queue;
//fill output_queue in same way, but use push/pop_front/back instead of push/pop

std::string output_string(output_queue.begin(), output_queue.end());
output_queue.clear();

It would nearly be the same thing as now because your queue is actually using a std::deque by default under the hood. The deque, however, supports iterators, which makes this possible without ugly code that relies on the underlying storage.

A: You may use
output_string += (output_queue.front());

and then (after while) reverse it


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Chedoke Heights is a community of 211 homes comprised of bungalofts, two and three-storey executive towns. With seven different home styles to choose from, all within an historic area that has long fostered a strong sense of community where residents can explore and define their own sense of life balance and purpose.


specifically target the adult learner.
Learn more about the Brainjo Method at aboutbrainjo.com.
to try to do so by plucking up with our fingers. this may seem like an odd approach to playing.Lesson 1: The Basic Motion Welcome to the first lesson in the "8 Essential Steps to Clawhammer Banjo" lesson series. as you move through this video. if you have any questions or comments. And surely this felt awkward at first. And here there are two points that I want you to remember. This is not because the motion is particularly difficult. but also because it's the thing that oftentimes leads to the most frustration for folks who are trying to learn it. if you've ever played a stringed instrument before. what they also probably realized was that using this technique opened up a world of musical. and then you hammer down on the strings. And. which is the movement of the picking hand. So I want to make sure that you end up getting started off on the right foot. or even if you haven't. For most of you. many years ago. And. possibility that you just can't get using the up picking method. particularly when we're trying to strike individual strings. Now. or the picking hand. So the first thing that I want you to do is start to get comfortable just with the shape that your hand should be in when you're playing clawhammer. better yet. You basically put your hand into a claw-like shape.net 4 . The Shape of the Picking Hand In some respects. that you don't end up developing a technique that will make it difficult for you to progress or that will be really hard to unlearn later. some brave and ingenious soul. I'll be checking often and am happy to answer any questions you may have. Fortunately. clawhammerbanjo. decided that he or she would instead try to strike the individual strings not by picking upwards. In this first installment. as it will feel to you. who was likely playing a banjo-like instrument. This makes sense because we're able to make very precise movements with our fingers. this is going to be your right hand. and particularly rhythmic. I'm covering this first not just because it's what imparts this style with its defining sound. or any of the videos. everything that you need to know about the right hand. but by striking down with the back of their nail towards the ground. I'm going to be covering what is the distinguishing feature of this style of playing. please feel free to leave them in the comments section. in clawhammer banjo is in the name itself. but over time that person must've realized that you could teach yourself to become just as accurate at hitting individual strings with the downpicking motion as you can by up picking. It's our natural inclination. or to think about. but rather because folks get the wrong impression or idea about what it should be. probably in the continent of Africa.
If I were to try to bring it into a more claw-like posture. or "rapping banjo". so my index finger really isn't doing anything. for this reason. Now you'll notice when I play my index finger actually sticks out a little bit. So the first thing is to make sure your hand is nice and relaxed. If they feel equally clawhammerbanjo. just go with that. or you can also move it up and down. about fifty percent use the middle finger. You can use your index finger.a technique many players use in their playing -. clawhammer is also referred to as "knocking banjo". Most of time. as you would if you're shaking off some water from your fingers. or the up and down movement of the hand like you're knocking on a door. I think some people get the idea that the strings are set in motion by keeping a very rigid hand through the striking motion. And the hammering motion is the motion you'll be using to strike individual strings. But the reason it's out there is because that's simply the most relaxed position for my hand. In essence here the striking finger is really just along for the ride as it moves through the string. and if one feels more comfortable than the other. generally speaking. just because that's what I find more comfortable. and mindful of the position where it feels the most relaxed. and muscle tension in the hand with clawhammer banjo is going to lead to a lot of pain and frustration.One is that the hand should be very relaxed. clawhammer banjo players are divided equally in these camps. If you're strumming across multiple strings -. And. and I don't want muscle tension. the reality is the strings are set in motion not from a rigid hand. You can either move it side to side. I use my middle finger. Personally. Now. And you can think of the wrist as having two primary degrees of freedom. but from the momentum of the hand that's generated by the movement at the wrist. So the point here is not that you should stick out your index finger like I do. so in clawhammer banjo almost all of the movement you'll be making is going be at the wrist.then you'll be moving your wrist in the side to side motion. So about fifty percent use the index finger. the movement you'll be making is the hammering motion. it would introduce tension into my hand. Yet. Sometimes.net 5 . or you can use your middle finger. as you would when you're knocking on a door. And what I'd recommend you do when you're first starting out is just experiment with using the middle or the index finger. The Hammer and the Strum Okay. but that you should be mindful of how your hand feels. the question that inevitably arises at this point is: "what finger should I use to strike the strings with?" And here there are really two viable options. Muscle tension in general is the enemy of music. I'm actually striking the strings with my middle finger. and about two percent use another appendage.
If you don't just strike the first string. if you hit others. I think that any time you're learning a totally new technique or skill. The first string is the one that's closest to the floor. And one of the things I want you to experiment with as you do this is how much force. the hammer and the strum. don't worry too much about accuracy here. I just want you to get the basic side to side motion down as you strike the strings. whether or not you hit two. And the purpose of these two exercises is to allow you to get familiar with the two basic motions. Key Points from Video One 1. either in an up and down. then maybe just choose your fate with a coin toss. Again. so those are the two exercises I want you to practice. or equally awkward. You'll probably be surprised at how little effort you have to exert to actually make a sound. that about fifteen to twenty minutes a day of dedicated and focused practice on it is really all you need to make progress. which is more likely.net 6 . it actually takes to get a sound out of the string. or hammering. And just practice striking down in a hammering motion. clawhammerbanjo. If you miss. Just practice getting the basic idea of the hammering motion down. you've got it under your belt. Don't worry here about being accurate. The motion picking hand is the defining feature of clawhammer banjo. 3. 2. then you'll be ready to move on to the second video. it doesn't matter.comfortable. which is the side to side movement. until you feel comfortable with it. The second exercise that I want you do is to just practice the strumming technique with the hand. Okay. Virtually all of the movement of the picking hand occurs at the wrist. or three. Choose whether to use your index or middle finger as your primary striking finger based on what feels most comfortable. And if you can start out with a light touch from the beginning. So the first one we'll start with is the hammer motion. it doesn't matter. and then once you feel like you've got it down. or in a side to side motion. Two Exercises So I'm gonna leave you with two exercises that I want you to get comfortable with before you move on to the next lesson. do that. So all I want you to do here is just practice the hammer motion on the first string. then it'll make your life a lot easier down the road with this style. or four strings when you strum. motion. or how little force. the fifth is the one closest to you. So.
5. clawhammerbanjo.net 7 . the side to side motion is the one you'll use to strum across multiple strings. Practice the two exercises and get comfortable with them before moving to video 2.4. The hammering motion is the one you'll use to strike individual strings.
but. In the first lesson in this series. In that lesson. Here's how your hand should look at the end of the initial clawhammer movement. the flesh of your thumb comes to rest against the fifth string at the end of that movement. One of the signature features of the five string banjo is the short fifth string itself. Again. That's what you'll be using to strike the individual strings like this. in addition. And perhaps the single most important thing for you to do when you're playing this style of music is to make sure you that you always keep that clawhammer motion going. So what's the thumb rest? Each time you make the clawhammer motion with your wrist.net 8 . we also need to make sure we're always keeping this fifth string ringing as well. or knocking motion. THE THUMB REST So in today's lesson I'm going to be covering what I refer to as the thumb rest. which is the signature feature of this style of playing. Hopefully you've been practicing both of those and you've gotten reasonably comfortable with them and are ready to move on to this lesson. And the main movement is an up and down. A drone note is simply a note that is continuously sounded in the background in a piece of music. The second movement you'll make is a side to side movement of the wrist. The easiest way to make sure you do this is to keep the thumb extended as you play. notice that the flesh of the thumb is pressed against the fifth string: clawhammerbanjo. Let's briefly review what I covered in the first lesson in this series. or the side to side strum. that fifth string functions as a drone note. which is what you use to strum across multiple strings. I mentioned that most of the movement that you'll be making with your picking hand in clawhammer banjo is going to be at your wrist. In this lesson. I'm going to share with you what I think is the secret to making sure you're always able to do just that. and most of the time in five string banjo playing.Lesson 2: The Thumb Rest Welcome to the second lesson in the eight steps to clawhammer banjo video series. whether it's the up and down hammer motion. that's how. I mentioned earlier that it's important to always keeping our clawhammer motion going with our picking hand. I introduced you to the basic clawhammer motion of the picking hand. So how do we accomplish both those tasks? With the thumb rest.
What often happens to beginners is they inadvertently break up the motion into three steps. making sure that the flesh of your thumb comes pressed up against the fifth string at the end of each movement. And as I said before. PREPARING FOR LESSON 3 So what I want you to do before the next lesson is to practice the thumb rest with both movements of the picking hand.net 9 . Once you get a little bit comfortable doing that. clawhammerbanjo. This ends up making it hard for them to develop speed. and then they'll try to find the fifth string with the thumb. It's the glue that maintains the clawhammer stroke as an efficient and compact. Fortunately. keeping a steady rhythm is vital to the sound of clawhammer banjo. And I think it's this inadvertent failure to develop or learn the thumb rest that probably serves as the biggest impediment most folks face when learning clawhammer banjo. that's not going to happen to you. They'll strike with picking finger. I want you to practice both of these along with the metronome. and then move back to the starting position. I think the thumb rest is really the key to making sure you maintain a continuous and fluid motion with your picking hand. two-step.As I said earlier. motion. and hard to maintain a steady rhythm throughout their playing.
BUILDING THE FOUNDATION I understand that playing along with the metronome like this may seem a little bit tedious. which is 80 BPM. And I also said in the introductory video that a little bit of patience in the beginning as you're learning clawhammer banjo is really going to pay off in the long run. where the flesh of the thumb comes to rest against the fifth string at the end of the striking motion. A smooth and steady clawhammer picking motion is critical for building speed and a solid rhythm 2. 3. which it most certainly will. but as I mentioned before. then along with the metronome. and practice both the hammer and the strum along with that one. I want you to play one clawhammer stroke for every two clicks of the metronome. I think that getting the thumb rest right is one of the most critical pieces early on when you're learning this style. move to the next fastest one. clawhammerbanjo. like this: CLICK STRIKE CLICK CLICK STRIKE CLICK CLICK CLICK STRIKE I've created a playlist for you (click to access) that has metronome clicks at different settings. is the key to keeping the clawhammer stroke efficient and compact. and continue to do that until you are able to play comfortably and in time using both the hammer and the strum at the 140 BPM metronome setting. Practice the thumb rest with the hammer and the strumming motion. Key Points from Video Two 1. As you get comfortable with it. If you have any questions or comments. Otherwise. So practice the exercises that I've covered here. which would be 90 BPM. I'll see you in lesson three.net 10 .For these exercises. first on their own. Once you're able to do that. And what I'd recommend you do as you're practicing the thumb rest is to start with the slowest metronome setting I have on there. please leave them in the video comments section. The thumb rest. you're all set for the third lesson.
net 11 .4. Once you're able to perform both motions comfortably and in time with the metronome. you're ready for video 3! clawhammerbanjo.
if you put in a little bit of focused effort day in clawhammerbanjo. and are all set to proceed with this lesson. In fact.i. the real goal of a practice session is not to improve right then and there. So.net 12 . Now.e. Hopefully you've practiced the exercises from both of those videos. We want to be able to: 1) Pick each string cleanly 2) Pick each string without looking at our hand. which is that at the conclusion of either of those motions. 3 GOALS So in today's lesson. you're gonna hit the wrong one. Remember that most of the changes that occur in the brain to support any new skill are going to happen when you're sleeping anyhow. please feel free to leave that in the comments section of the video. To recap where we've come from so far. And we have three main goals to accomplish when learning this particular skill. if you have any questions or comments regarding the materials as you work through them. we're going to work on striking the individual strings with our picking finger. but rather to give your brain the signal that you'd like it to change. FRUSTRATION-FREE FRAILING So don't get frustrated. you're gonna hit multiple when you're trying to hit one. as you begin to work on the skill of striking single strings with your picking finger. you're undoubtedly going to be inaccurate at first. and to tell it the way in which you'd like it to change . in the first lesson I discussed with you the two primary motions of the picking hand. 3) Modulate the amount of force we use when we strike the string. the thumb should come to rest pressed up against the fifth string. and I'll be happy to answer any questions you have. This happens to everybody when they first get started. which are the up and down hammer motion and the side to side strum. But. I introduced you to the concept of the thumb rest. You're gonna miss the strings. which will allow us to vary the volume of our playing. the skill that you want it to learn. such a thing is indeed possible just with a little bit of dedicated practice. So. it's a bizarre idea to begin with to think that we'd be able to cleanly strike the single strings of the banjo just by moving our hand up and down. In the next lesson.Lesson 3: Striking Single Strings Welcome to the third installment in the eight essential steps to clawhammer banjo video series. As always. based on what you've done the day prior.
make sure that the flesh of the thumb ends up pressed against the fifth string at the end of the stroke. and then gradually increase the amount of force you give to the string. 2) As you get a little comfortable with this technique. you're going to find that striking the first string is the easiest. It turns out that your brain is actually quite good at monitoring the position of your body. 1) Start out with a very light touch. and once you feel a little bit comfortable with it. And don't forget about the thumb rest.with your picking finger. as opposed to your eyes. you'll probably be surprised at just how little effort it takes to get a sound out of the string. It may seem somewhat counterintuitive. however. simply because it only has one string next to it.and day out. over time as you get a little comfortable with it. and it also will allow you to vary the volume in the playing of any given tune. It's no coincidence that some of the best musicians we've ever known have lost their sight.the first string. start playing out around with not looking at your hand as you're trying to strike the individual strings. but you'll actually be able to develop accuracy more easily and more quickly if you don't look at your hand than you will if you do. it'll be time for a few more exercises with the metronome. ultimately we want to be able to strike the strings with our picking hand without having to look at it at all.net 13 . And as you work on striking each individual string. And so starting to do this early on is a great habit to get into. . so we really want to judge how we're doing by what we hear. second string. and have had no choice but to use these better "body to brain" networks to develop their playing. If you're able to develop a light touch from the beginning it's going to make your life a lot easier down the road. just try striking each individual string by itself . Practice doing this for a bit. Remember. So go ahead and practice a bit trying to strike each of the individual strings with your picking hand using the hammer motion. each day you'll wake up a little bit better. clawhammerbanjo. To begin with. and fourth string . which means they're a lot better suited to playing a musical instrument. And in fact these "body to brain" feedback loops operate a lot faster than the vision to brain loops do. start experimenting some with not looking at your picking finger when you play. without any visual feedback whatsoever. and not by what we see. You don't have to do this right away. including the position of your hands. third string. The other thing that not looking helps with is in getting you in the habit of using your ears as your primary means of feedback. particularly as you try to develop speed. and I think you'll probably surprise yourself at how quickly you're able to learn something that at first may seem impossible. there are a couple of things that I'd like for you to keep in mind. As I said in an earlier video. Almost certainly. We're playing music. until you ultimately reach the point where you no longer have to at all.
and then as you get comfortable playing along with that continue to move up by 10 BPMs until you can play comfortably at around the 100 or 110 BPM setting. As you may remember. For these exercises. Once again. play one stroke for every two clicks of the metronome: clawhammerbanjo. I've set up a metronome playlist you can use on youtube if you don't have your own. Here's the first exercise in tablature. And I once again recommend playing this along with the metronome.net 14 . I don't think you need to be able to play these any faster than that to get to where you need to be at this point.EXERCISE ONE In this exercise we'll strike each string four times. starting with the first string. start with the lower metronome setting of 80 BPM. and then back down towards the first string. progressing up towards the fourth string.
starting with the first.net 15 . and then moving back up to the fourth. but instead after each hammer we're going to throw in a strum: clawhammerbanjo.EXERCISE TWO For the second exercise. and then back down to the first: EXERCISE THREE For the third exercise. we're going to strike each individual string one time. we're going to follow a pattern similar to exercise one.
But if you stay the course. bit by bit you'll undoubtedly get better each day. where we'll finally start putting the fifth string into action! clawhammerbanjo. we'll use a pattern similar to the second exercise. this is will feel awkward at first. And once you've made your way through the exercises. but once again insert a strum after every hammer. And in doing so you'll be forming some great habits that.EXERCISE FOUR For the last exercise.net 16 . rather than limiting what you can do. So that should be enough to keep you busy until the next installment. you're all set to move on lesson 4. will ultimately allow you to reach your fullest musical potential. As I said earlier. put in about twenty to thirty minutes a day of focused practice time.
in order for us to continuously ring a drone note. As such. In this lesson. the short fifth string functions as a drone note in clawhammer banjo playing.net 17 . and then move on to practicing it as part of the clawhammer stroke. DOUBLE DUTY If you recall back in lesson two. Practice plucking the fifth string a few times so you get the feel for it. PLUCKING AROUND Before you start picking the fifth string with your thumb in the context of the clawhammer stroke. Now we're going to do that same exact thing. Press the pad of your thumb up against the fifth string and press forward until your thumb rolls off. And. except we're going to do it at the end of the hammer motion. For many of you. have the flesh of your thumb come to rest against the fifth like we've worked on. this lesson is the moment you've been waiting for. which have set the stage for us to learn this all important technique of clawhammer banjo playing.Lesson 4: Ringing the Fifth Welcome to the fourth installment in the eight essential steps to clawhammer banjo video series. we have to keep ringing the fifth string with our thumb. just strike down on the first string using the hammer motion. Remember that your nail isn't involved at all in sounding the string. for the most part. To do so. Yet. we've building to this moment with the previous lessons. our picking hand must engage in two simultaneous tasks. To recap what we've covered so far. in the first lesson we reviewed the two basic motions of the picking hand. Finally. And on the other hand. On the one hand. meaning that it's a note that's continuously sounded in the background in our music. we're gonna start ringing the fifth string with our thumbs. we learned the all important thumb rest. we have to pick out the melody note on the first through the fourth strings with our picking finger. it's critical that we develop a stroke that's as efficient as possible. which is what we'll end up with at the end of this lesson. in the last lesson. In the second lesson. In many ways. we're going to cover the final piece of the clawhammer stroke: plucking the fifth string with the thumb. which are the hammer and the strum. and then pluck the fifth string with clawhammerbanjo. first just practice plucking the fifth string with your thumb on its own. I mentioned that. we covered the skill of striking the individual strings with our picking finger.
and I'd recommend that you for these exercises you start around the fifty beats per minute mark. which I'd recommend practicing along with the metronome. and once you've got the basic idea of it. Practice both of those strokes a little bit. you're able to sound the fifth string with your thumb as an added bonus with the stroke. Strum across the strings. This means that an eighty beats per minute setting will a good bit faster to you than it did in the other videos. move on to the following exercises. Do this first on first string. and then increase by ten beats per minute until you can play along with the eighty beats per minute setting. your hand is going to naturally recoil a little bit and come back towards the place where you started. have the flesh of your thumb come to rest against the fifth. and then pluck the fifth again just as you've been doing.your thumb like you just did. So I've added some slower settings on the metronome playlist which you can access here. and then work to faster speeds as you get comfortable with it.1 clawhammerbanjo. your hand is basically doing the exact same thing.net 18 . I'm playing one stroke per click of the metronome. So regardless of whether you decide to sound the fifth string or not after the thumb rest. AN ADDED BONUS One of the neat things that happens here is that after you pluck the fifth. In essence. which in tab looks like this: Exercise 1. As always. try it with the strum. we've been playing one stroke per two clicks. we'll play a hammer stroke. SET ONE In this first set of exercises. I'd recommend that you start on a very slow metronome setting. In the previous videos. and then follow that with a hammer + thumb stroke. After practicing plucking the fifth string after the hammer stroke for a bit. It should almost feel as if you're squeezing the fifth string towards your palm as you pluck it. THE EXERCISES In the exercises in this video as demonstrated. however.
then the third string.1 Once again. as shown below: Exercise 2. repeat this same pattern on the second string. then the fourth string. and then follow that with a strum + thumb stroke. then the fourth string.Now. as shown below: Exercise 1. as shown below: Exercise 2.3 Exercise 1.net 19 .2 clawhammerbanjo.4 SET TWO For the next set of exercises we're going to again play a hammer on the first string. repeat that same pattern on the second string.2 Exercise 1. then the third string.
we're going to be using the same pattern we did in the second exercise. and again take that pattern and move it from the first string. to the second string. just like we did in the last exercise. fourth string. move to the second string. the hammer followed by a strum thumb. So we're gonna start on the first string. Here's what it looks like in tab: clawhammerbanjo. Here's what it looks like in tab: Exercise 3 SET FOUR In the fourth exercise.net 20 .4 SET THREE For the next exercise. play the hammer and hammer + thumb pattern four times. but then we'll move it sequentially up the strings.Exercise 2. then the third string. then the fourth string. we're going to use the same pattern that we did in the first set of exercises. third string.3 Exercise 2.
3 Exercise 5.2 Exercise 5. like this: Exercise 5. Here's what it looks like in tab: Exercise 5. the third string. and the fourth string.Exercise 4 SET FIVE For the last exercise what we're going to do is follow every hammer stroke with a thumb. and we're gonna start by doing that on the first string.1 Once again just like in the first two sets of exercises. I'd recommend you do that same pattern on the second string.4 clawhammerbanjo.net 21 .
if you're able to make it through those exercises then you've mastered the fundamentals of the clawhammer stroke.net 22 . so we're gonna start making some really good music in a hurry. and now possess a tool that you can use to make incredible sounding music. clawhammerbanjo. As I said earlier. and I'll see you in lesson five.THE SKY IS THE LIMIT Congratulations. from here on out most of our exercises are gonna be either parts of tunes or entire tunes. So practice up.
THE HAMMER ON When we execute a hammer on with our fretting hand. Then play the open first. Then try playing the open 2nd. And in the next two videos. As I mentioned in lesson five. Specifically. Try playing the open 4th and then.net 29 . and then hammer onto the 1st fret with your index finger. we'll be covering the two primary techniques for doing so. In this lesson. And there are a couple of ways of executing the hammer on. The first is to hammer onto a string that we've just struck with our picking hand. Hopefully. and then hammer onto the 4th string at the second fret with the middle finger of my fretting hand. we produce a new note. the fretting hand in clawhammer banjo is oftentimes called upon to do more than it is on perhaps your average stringed instrument. there are many circumstances where. then you're probably familiar with the technique of hammering onto a string you've just struck.play it open and then hammer onto the 2nd fret with your middle finger. if I strike the open 4th string with my picking finger. In doing so. you've made your way through the exercises from the last video and are comfortable with the basics of fretting a note. and then fretting it while it's still moving. So go ahead and give that a try on each of the strings. I've used my fretting finger to change that note from a D to an E. fret the string at the 2nd fret with the middle finger of your fretting hand. we'll be picking up where we left off in our last video by continuing our work on fretting techniques. For example. we'll instead use one of the fingers of our fretting hand to do so. while the string is still sounding that note. Hammering on the Same String If you've played other stringed instruments. Practice those hammer ons for a bit until you've gotten the basic idea of it. The one we'll be covering in this video is the hammer on. or if you've played fingerstyle banjo. instead of sounding a note with our picking finger. Hammering onto a Different String (alternate string hammer ons) clawhammerbanjo. what we're essentially doing is taking a string that's already vibrating (and sounding a note we can hear). hammering on again at the 2nd fret with your middle finger.Lesson 6: Hammering On Welcome to the sixth installment in the 8 essential steps to clawhammer banjo video series. Then try doing the same on the 3rd string .
4=pinky). 3=ring. An alternate string hammer on. 1=index. Once you're comfortable with that. which refers to the finger of my fretting hand I usually use to execute the hammer on. In tablature. a hammer on onto a string you've just struck is typically represented with an arc joining the two notes together. with a capital "H" over the top (standing for "hammer"). on the other hand. and then hammer onto the 4th string second fret.a my middle finger. Try striking the open 2nd string. So now give this try. Exercise Two clawhammerbanjo. in the fourth measure of the example below there's a "2" underneath the tab. and then hammer onto a different string with your fretting hand. Then strike the open 3rd. For example. I'm striking the open 2nd string with my picking finger.k. For example. we're going to use a little picking pattern to practice these two hammer on techniques. This is often referred to as an "alternate string hammer on". 2=middle. is to strike a note with your picking finger. I can strike the open 2nd string with my picking finger and then hammer onto the 3rd string at the second fret. then hammer onto the 3rd string second fret. the string I'm hammering onto with my fretting hand is different than the one I just struck with my picking hand (though the technique is the same). which works particularly well on the banjo. Once again. we'll move on to a couple of exercises.net 30 . Exercise One In this first exercise.One of the cool things you can do with hammer ons. Here. and then hammering onto the 3rd string (at the 2nd fret) with my 2nd finger (a. is represented by a number underneath the tablature.
And. If you're practicing it along with the metronome (click here for the metronome playlist). See you in lesson 7! clawhammerbanjo. It's supposed to. if you have questions or comments about this lesson. we'll be playing the A part of the tune "Turkey in the Straw. most importantly.In this last exercise. please leave them in the comments section of the video.net 31 . I'd suggest starting with perhaps the 40 bpm setting and then slowly working your way up from there. have fun with it! As always. don't worry if this one feels challenging at first. Here's the tab: Now. and I've chosen it because it's one of those tunes where the use of hammer ons allows us to play more melody notes than we would be able to if we were just to use the picking finger of our picking hand. So this exercise gives a nice illustration of what this technique allows you to do." It's a very "notey" tune.
Plucking Off on the Same String Now. just as we did with the hammer on. Try to do it so you get a clear note that rings out. and then pull off the string after I've struck it. second fret with your middle finger. if I fret the first string at the second fret with my middle finger.or plucking . And lastly. I think this could've been largely avoided if we could just go back and rename this a "pluck off". THE PULL OFF The pull off is one of those techniques where it can be easy for folks to get into a bad habit. we'll be continuing to work on those fretting hand techniques that allow us to steal extran notes from the banjo without breaking the clawhammer motion. In this lesson. What you're really doing here is plucking the string with your fretting finger . second fret with your middle finger. usually because they've gotten the wrong idea about what they should be doing with their fretting hand/finger to execute the technique. the first thing we're going to learn is pulling off on a string we've just struck with our picking finger.net 32 . this time…the pull off. Then try that same thing using your middle and ring finger.instead of your picking finger .to play a note. Do this until you feel like you've got the basic idea of it. Then try a pull off on the third string. Last time it was the hammer on. try pulling off the fourth string. So. before you go any further. then move on.off the 1st string at the 2nd fret with your middle finger after you strike it with your picking finger. For example. go ahead and just try plucking the first string with the index finger of your fretting hand. clawhammerbanjo. then strike that string with my fretting hand.Lesson 7: Pluck Off Welcome to the seventh installment in the 8 essential steps to clawhammer banjo video series. because in my mind that's the best way to think about it. what I've done here is used my fretting hand to change the note from an E to a D. Then try the same thing at the first fret of the second string using your index for the pull off. So now go ahead and practice pulling .
Pulling Off onto a Different String (alternate string pull offs) Just as was the case with the hammer on. Strike the second string open with your picking finger. And what this allows us to do is play another note without having to break the clawhammer motion. clawhammerbanjo. one of the cool things we can do with this technique is pull off a string other than the one we've just struck with our picking finger. Regardless of whether you pull off up towards the peghead or way down by the banjo head. and might become your "go to" finger for this technique in the future. So go ahead and give that a try.the only difference being we're doing this on a string other than the one we just struck with our picking finger. One more important thing to note here is that it actually doesn't matter where on the fretboard you pluck off the string.net 33 . The technique here is the same as pulling off the same string in that we're just plucking a string with a fretting finger . You may ultimately find one finger feels more comfortable for these pull offs. Give this pull off a try with your middle and ring finger as well. the note you play will be the same. then pull off the first string with your index after doing so.
and you can use the metronome playlist I've created if needed. indicating that I'm pulling of the first string in each of those spots using my 2nd. I'd encourage you to practice these exercises along with the metronome. we're going to use a little picking pattern to work on these two pull off techniques. So you'll see there's a "2" underneath the tab in measures 3 and 4. You'll note here in the tab that. similar to the hammer on. Alternate string pull offs are denoted by a number underneath the tab.Exercise One In this first exercise. Once again. clawhammerbanjo. Start out at the slowest setting and only move to faster speeds once you can comfortably play along with the one you're on. finger. or middle. And though the exercise itself is just eight measures long. with the letters "PO" over it to signify a pull off.net 34 . The tuning for this exercise is standard G (gDGBD). which refers to the fretting hand finger I typically use to execute the pull off. a pull off is represented by an arc joining the string you strike with your picking finger to the note you pull off to with your fretting finger. I'd encourage you to keep looping through it over and over as you practice it (I'd encourage doing this with all of the exercises).
congratulations. Naturally. go pluck off! clawhammerbanjo. Once again. and you do so while laying your index finger of your fretting hand across the strings at the fifth fret (so that you're simultaneously fretting all 3 strings and the 5th fret). cause you're developing all the fundamentals you need for a lifetime of great music. And if you've made it to this point. You'll note in this tab in measures 3 and 4 that there are spots where the number "5" is on strings 1. Here. This is referred to as a "bar" position for the fretting hand (the finger is functioning as a "bar" over the strings). which. I thought it fitting we conclude this video with the B part. the pull offs here allow us to get melody notes in this tune that we wouldn't have otherwise been able to get without breaking our clawhammer motion. Just Pluck It Okay. Just use it as motivation to push yourself to get better.Exercise Two So in last week's second exercise. we played the A part of the tune "Turkey in the Straw".net 35 . 2. we have only one lesson left in our 8 essential steps video series. Just like the hammer ons did for the A part. and that's perfectly fine. you may find this a little challenging right now. as it turns out. and your hard work and focus will ultimately pay off in a big way. and 3. also provides a good workout for our pull offs. So. if my mathematical skills serve me right. until next time. you're executing a brush stroke.
as with those other two. move to the new note. we'll cover the last of what I consider the fundamental fretting hand techniques. you're once again using your fretting hand to produce a new note. You'll note here in the tab that slides are represented in the tab with a line joining the note you start the slide on with the note you end on. trying sliding on the 4th string from the 4th to the 5th fret. again fretting with your middle finger. So. In the case of the slide. then. you're changing a note that was struck by your picking hand to a new note.and final . the slide allows you to better mimic what we oftentimes do with our voice when we move from one note to the next. and they're not too difficult to learn! Slides are also sound great on fretless banjos . while still holding the string down with your fretting finger. try sliding on the 2nd string from the 2nd fret to the 3rd fret. In my opinion. but rather we tend to "slide" up from the first note to the second. Once you've gotten a little comfortable with these.. Start by fretting it with your middle finger at the 2nd fret. I'll cover this again in a bit. as with the hammer on and pull off. In this lesson. The slide is a common device used by clawhammer banjoists. We don't typically move discreetly. Try doing this first on the 3rd string.net 36 . Exercise One In this first exercise. clawhammerbanjo. with the letters "Sl" over it. we're again going to use a little picking pattern to work on these slides we just reviewed. As you'll discover. slide your fretting finger from the 2nd fret to the 4th fret (holding the string down with your fretting finger the entire time)..Lesson 8: Sliding into Home Welcome to the eighth . then strike the string with your picking finger. however. it's another great tool for adding another layer of interest to your music. in this case.. lastly. and after you've struck it. it's no suprise that slides do too.and since fretless banjos have played a big part in the clawhammer tradition. to execute the slide. And.the slide. Then strike the middle string with your middle finger. This slide on the 3rd string from the 2nd to 4th fret is probably by far the one used most in clawhammer banjo. After getting comfortable with that slide.installment in the 8 essential steps to clawhammer banjo video series. you're also sounding all the notes in between on your way there. let's try them in an exercise. your start with the fretting finger on the starting note. THE TECHNIQUE With the slide.
I'd encourage you to practice these exercises along with the metronome. and you can use the metronome playlist I've created if needed. Start out at the slowest setting and only move to faster speeds once you can comfortably play along with the one you're on.net 37 . I'd encourage you to keep looping through it over and over as you practice it (I'd encourage doing this with all of the exercises). And though the exercise itself is just eight measures long. Once again.The tuning for this exercise is standard G (gDGBD). clawhammerbanjo.
net 38 .com clawhammerbanjo. But this isn't quite goodbye. just like that. as I'll be coming back with a few follow up installments where we'll work on learning some tunes. If you've made through all the lessons this far. congratulations! Thanks to all your hard work. Au Revoir…or not! And. specifically the A part of the song "Bile Dem Cabbage Down".Exercise Two Now we're gonna work on slides in the context of a tune. we've reach the end of our 8th and final lesson. Wanna take your playing even further? Learn more at breakthroughbanjo. you now possess all the fundamental technical building blocks needed to make a lifetime of great music. Here. and in doing so demonstrate how these fundamental technical elements you've just learned can be combined in virtually infinite number of ways to create all manner of wonderful music. you'll note that the slide on the 3rd string helps us to better capture how we'd sing this song with our voice.
copyright 2014 Brainjo Productions clawhammerbanjo.net 39 .


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In search of strategies to disrupt viral docking
Insights into how two viruses initiate the infection of host cells could guide development of countermeasures.
©2017 NATURE COMMUNICATIONS, CC.BY 4.0
Most coronaviruses (CoV) preferentially target animals, but the recent emergence of pathogens from this family that cause potentially fatal disease in humans is the subject of much investigation. No medical treatments are available for severe acute respiratory syndrome (SARS) or Middle East respiratory syndrome (MERS), but new findings from George Gao and colleagues at the Chinese Academy of Sciences have revealed vulnerabilities in these viruses.
The SARS-CoV and MERSCoV viruses rely on a molecule called the S protein to penetrate host cells. In previous work, Gao's team used X-ray crystallography to obtain a 'snapshot' of how a segment of this protein binds to its target receptor on cell surfaces. "This work elucidated the mechanism of MERS-CoV attachment to its host cell receptor, which is the first step of virus entry," explains Yi Shi, a researcher on Gao's team. "However, the subsequent steps — viral particle trafficking and membrane fusion — were poorly understood."
Although crystallography worked well for studying the S protein's receptor binding domain (RBD) in isolation, the full protein proved too floppy and dynamic to study with this technique. As an alternative, the researchers used a method called cryo-electron microscopy, which enabled them to study the MERS- and SARSCoV S proteins in a way that captures their structural diversity. They focused specifically on the 'pre-fusion' form of the protein, which assembles into complexes of three molecules and mediates the earliest stages of virus-host interaction.
"We noticed that both [MERS- and SARS-CoV S] proteins can be classified into several classes with different RBD conformations," says Shi. In particular, they noticed two distinct RBD arrangements they termed 'standing' and 'lying' to reflect their orientation relative to the remainder of the S protein. By combining these data with their structural analysis of the interaction between RBD and host cell receptor proteins, they formulated a model for viruscell binding. Their data suggest that only 'standing' RBDs can bind to cellular receptors, an interaction that facilitates subsequent virus-cell fusion steps.
This analysis offers valuable starting points for fully reconstructing the process of viral entry, and could help researchers fight future outbreaks.
Because the standing RBD is highly exposed prior to receptor binding, it's a promising drug target. "We are trying to develop neutralizing antibodies that target S protein for the treatment of emerging coronavirus infections," says Shi. "Aided by structural analysis and functional characterization, we can identify the molecular basis of this neutralizing activity and improve their efficacy through molecular engineering."
Yuan, Y., Cao, D., Zhang, Y., Ma, J., Qi, J. et al. Cryo-EM structures of MERS-CoV and SARS-CoV spike glycoproteins reveal the dynamic receptor binding domains. Nat Commun. 8, 15092 (2017). | article
MERS remains prevalent in camels in Saudi Arabia
A survey of slaughterhouses in Riyadh reveals continued risk of zoonotic transmission
Testing the spread of MERS in camels
A natural infection model provides insights into how MERS spreads among camels and could be valuable in future vaccine trials.
Reducing MERS mortality
Clinicians have tested a combination drug regimen that reduces the number of deaths from Middle East Respiratory Syndrome by a third.


text:
Ellen DeGeneres, biography, news, photos
Name: Ellen DeGeneres
Real name: Ellen Lee DeGeneres
Birth date: 26 of January 1958 (62 y.o.)
Place of birth: Metairie, Louisiana, U.S.
Height: 5'7 ft
Birth Sign: Aquarius
Chinese zodiac: Dog
Career: Actors 363th
TV career
Ellen DeGeneres's personal life
Ellen DeGeneres now
Do you like Ellen DeGeneres?
Ellen DeGeneres's biography
Ellen DeGeneres is an American TV host, comedian, actress, writer, producer and LGBT-activist. She's been hosting her own talk show, The Ellen DeGeneres Show, since 2003.
In the photo: Ellen DeGeneres
Ellen Lee DeGeneres was born on the 26th of January 1958 in Metairie, Louisiana. Her mother, Elizabeth Jane (nee Pfeffer, born in 1930) was a speech therapist and her father, - Elliott Everett DeGeneres (1925-2018) was an insurance agent. Ellen has a brother named Vance, who also works on television and is a pretty talented musician.
Ellen DeGeneres in her childhood
Ellen's of French, English, German and Irish descent. Among her relatives there are royalties as well: in 2011, Ellen found out that her distant cousin is no other than Kate Middleton, Duchess of Cambridge.
Her parents divorced when she was 15 years old. Soon enough, her mother got remarried to salesman Roy Gruessendorf and they all moved to Atlanta, Texas. Vance stayed with his father.
Young Ellen DeGeneres
In Atlanta, DeGeneres graduated from middle school, and then she came back to Louisiana where she attended the University of New Orleans, majoring in communication studies. Actually, her studies didn't last more than a year – Ellen abandoned her university studies and went to do clerical work at a law firm with her cousin. Moreover, young Ellen got to work as a waitress, sales assistant, house painter, hostess and barman.
Her substantial life experience, excellent sense of humor and oratorical abilities brought Ellen DeGeneres on stage: at the end of the 1970s, she started doing stand-up comedy in small clubs and coffee shops, influenced by the work of Woody Allen and Steve Martin.
Ellen DeGeneres in her youth
Towards 1981, she had already become a host at a comedy club and had been doing tours all around the country. In 1984, Ellen was a celebrity all around the US and the channel Showtime named her America's funniest person.
Ellen DeGeneres was named America's funniest person
In between the 80s and 90s, DeGeneres was playing a role in the comedy series Coneheads, alongside Dan Aykroyd, Jane Curtin and Adam Sandler. She then got a bigger role in the series of the same period called Open House and in a bunch of other series, but her real fame surfaced after the successful released of the sitcom Ellen, which was broadcast on ABC from 1994 to 1998. The plot revolved around a middle-aged bookshop owner (Ellen DeGeneres) and her friends.
Ellen rose to fame in the April of 1997, when she came out admitting to being a lesbian on the show of Oprah Winfrey.
Her character from the sitcom made a similar confession during a therapy session, played by Oprah Winfrey. The episode named The Puppy Episode, was one of the highest-rated episodes of the series, even though, in time, the show lost its popularity. Some people believe that during that time, The Walt Disney Company, owner of ABC channel, felt uncomfortable investing in a show with a lesbian as a leading character. Finally, the show was cancelled and Ellen returned to comedy.
Ellen DeGeneres and Oprah Winfrey in the sitcom Ellen
In September 2003, DeGeneres released her talk show The Ellen DeGeneres Show. One of the first guests on the show were the music manager Sharon Osbourne and comedian Rita Rudner, and that was only the beginning. The ratings kept on growing, earning the show 11 Emmy award only for its first season and some 14 more for the next two. The viewers loved Ellen for her easy-going way of talking to her guests, for her dancing and singing with the viewers, and for the cool prizes from sponsors.
Towards the mid-2000s, Ellen became America's symbol, with every person dreaming to be featured on her show. She was remarkable for her absolute spontaneity. For instance, in 2006, Ellen made a secret appearance at the opening of the Tulane University in New Orleans and came up to the tribune after the speech of George Bush, Sr. and Bill Clinton, wearing a bath robe and slippers. Both the students and the professors loved her entrance.
American TV host Ellen DeGeneres
Nothing could ever stop DeGeneres: in 2007, she had a torn ligament on her back, but she went on with the show from her hospital bed, with her guests being on similar beds too.
A truly remarkable moment in Ellen's career was the 79th Oscars Award, which took place on the 25th of February 2007. DeGeneres was the event's first LGBT host. During the event, she said:
What a spectacular night, such a diversity among the audience – and in the year where there has been a lot of negativity going on about race, religion and sexual orientation. So, I just want to say this: if there were no black people, no Jews and no gays, there wouldn't have been any Oscars either, or nobody with the name of Oscar, if you think about it.
Another Oscars event became outstanding thanks to a selfie. During the 86th award ceremony in the March of 2014, Ellen took a selfie that became the second most popular Instagram post in history. DeGeneres declared that she would like to pay her respect to Meryl Streep's 17 Oscars nominations, and invited actors – Bradley Cooper, Julia Roberts, Brad Pitt, Kevin Spacey, Jennifer Lawrence, Channing Tatum and others – to join her group photo. The selfie was subject to many parodies and became a sort of trademark of the modern Oscars.
Ellen DeGeneres's star selfie
On May 1, 2009, DeGeneres celebrated the release of her show's 1000th episodes, inviting Oprah Winfrey, Justin Timberlake, Paris Hilton and other famous people on her show.
Ellen DeGeneres on her talk show The Ellen DeGeneres Show
The following year, Ellen replaced Paula Abdul and became a judge on the 9th season of the show American Idol. Even though Ellen signed a contract for five seasons, she's only been on one, saying that the show isn't exactly her thing. Further on she confessed that taking part in American Idol was one of the worst decisions in her career.
Ellen DeGeneres's rules of success
From 2017, Ellen has been hosting the game show Ellen's Game of Games on NBC. The show is based on the fun games from her talk show.
Ellen DeGeneres's coming-out in 1997 was a huge subject of interest for American tabloids and it shook her mother, taking her quite the long time to come to terms with the fact. Her father, on the contrary, accepted it wholeheartedly. He was never judgmental about it, - Ellen recalls.
Ellen DeGeneres and Anne Heche
The same year, DeGeneres got into a relationship with actress Anne Heche, their affair going on for about three years. During the first half of the 2000s, Ellen was dating producer and photographer Alexandra Hedison. The couple even made an appearance on the cover of the LGBT-magazine The Advocate – however, it was after they split.
Ellen DeGeneres and Alexandra Hedison
From 2004, Ellen has been in a serious relationship with Australian-American actress Portia De Rossi (born in 1973). Before that, Portia was married to producer Mel Metcalfe. According to the actress, their marriage was fake: she needed a Greencard. Portia herself came out to her parents at the age of 16.
Honest interview with Ellen DeGeneres
In 2008, after the ban on same-sex marriage was lifted in California, DeGeneres and De Rossi had a got married and had a modest wedding reception at their house in Beverly Hills, where they both live with four dogs and three cats. In 2010, Portia took her wife's last name.
Both Ellen and her wife are vegan and huge animal lovers. DeGeneres launched a site advertising veganism (Going Vegan With Ellen), and she also planned on opening a vegan tapas-bar in Los Angeles, but her intention failed, for some reason. Moreover, Ellen is a member of the PETA organization (People for the Ethical Treatment of Animals) and an activist of the Wildlife Trust. In order to support the activity of the latter, DeGeneres put up T-shirts with the same name on sale.
Ellen DeGeneres and Portia De Rossi
In January 2018, on her wife's 60th anniversary, Portia gave Ellen a gorilla reserve in Rwanda as a present, opened from the host's name for the local fund. Today, the fund is called The Ellen DeGeneres Wildlife Fund.
The woman continues to host her TV show, which has remained popular among the American audience for many years. In 2020, the TV program was involved in a scandal. The reason for this was the dismissal of many program employees and the delay in salaries during the quarantine. As a result, the problem was resolved, and the program, bypassing the scandal, continues to exist.
Also, Ellen DeGeneres became the producer of the American animated series Green Eggs & Ham. The series is based on Doctor Seuss's children's book from 1960. Thirteen episodes, half an hour each, were released on Netflix in 2019.
Ellen DeGeneres loves animals
Ellen is also the co-producer of Katt Shea's mystery movie Nancy Drew and the Hidden Staircase, based on the novel with the same name from 1930. Sophia Lillis, Sam Trammell, Laura Slade Wiggins, and others starred in the movie. The film premiered in 2019.
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