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Hey Record Labels, stop being idiots
So I had a bit of a splurge today and bought a couple of cds from various record labels.
I love buying music direct from the artist or the label; it gives me a sense of enormous well-being. It feels like fair-trade or something. I get stuff cheaper, they get more money. Everybody's happy, except rough trade who keep having to find new reasons to exist (cafe, bike racks, guitar strings, a one-day-a-week gourmet synthesiser shop; literally every time i go in, there's a new stupid, desperate thing in that shop).
But this particular shopping trip has given me a bad taste in my mouth.
I've recently got more into vinyl. I needed a good record player, so I bought one, so I thought I might as well make the change to 12" as my main listening avenue (other than mp3, obviously). So I've started looking for the vinyl option more.
But both Monotreme and Probe Plus records have thwarted me, by 'giving away' the cd with the vinyl. I don't want two copies of most albums (a couple i've bought in both formats... stupid, i know). I can buy the cd without the vinyl; I can't buy the vinyl without the cd.
Just give me the vinyl and the mp3s (or flacs). That covers all my bases - the lounge for the vinyl, everywhere else for the mp3s. What do I need the cd for as well? It sounds just the same as the soft copy, but takes up space. The vinyl copy sounds different and better (I actually think this now, after comparing analogue and digital versions of Cephalic Carnage's 'Anomalies'). How ever much I can save by not including the cd in the package, I'd like to save that money please. It must be an actual number, cds can't be so cheap as to be free.
So because of the lack of a pure vinyl (plus mp3) option, I've resorted to buying the cd version of two albums. It seems really wrong, but I just don't want two of every album. Vinyls are big enough as it is, without me having to store the cd as well.
Or am I looking a gift horse in the mouth? Is the cd version really really free?
Posted by Unknown at 10/11/2011 07:20:00 pm 3 comments: Links to this post
Robert Webb BBC3 Filler Fan Fiction
Famous Movie Title Inconsistancies, starring robert webb
episode 1: the Final Destination series
"hi, i'm tv's robert webb. you might remember me from 'robert's webb' and 'great movie mistakes', as well as 'britain's top 100 dance crazes'.
The final destination series has one of the most inconsistent naming formulae in recent cinema history. The first three were fine, aside from the awfulness of having sequels to something that started off as supposedly 'final', with the aptly named 'final destination', 'final destination 2', and 'final destination 3'.
It all started to unravel with the fourth film in the series, 'THE final destination'. This reboot-style gambit would have paid off, if the next film had not been called 'final destination 5'. Surely, 'THE final destination 2' would have been a more apt title, or simply 'final destination 4'. Their choice of title totally undermines the logic so far, unless at some point they decide to release a different film as 'final destination 4' in the future. People like me wait, earnestly, to see how the film titles will resolve themselves."
jesus, grilly, wasn't plinkett fan fiction enough?
originally posted as a comment on cawreigh's facebook update of "We're waging a fierce war of incompatible computer OS security settings and missing ports...all this, just to watch Final Destination"
Posted by Unknown at 10/10/2011 10:03:00 pm No comments: Links to this post
The Page You Made
The Page You Made: Remixes, 2005 - 2010 by DJ Gallowslutt
Today is the 9th of the 10th of the 11th, and it's been a year since I've added anything to the 'ongoing remix project' that is DJ Gallowslutt's 'The Page You Made'. So, in accordance with my mantra 'if you don't use something for a year, get rid of it', I announce the project closed, completed, and retired.
I might still rework tracks, but I think I'm done with the dj gallow slutt persona, and this era of recording. I guess in times of austerity, you gotta makes some cuts. Enjoy the album, and kudos to the grist.
Things I learnt from SUPERUNKNOWN
Soundgarden's 'Superunknown' was one of the first rock albums I fell in love with. I was 12 when it came out, in 1994, and I remember 'Black Hole Sun' being on the radio, and it being about the same time as Primal Scream's 'Rocks', which I think I knew was a fraudulent pastiche even then.
I gave it a listen yesterday, and noticed a huge amount of pointers in the record I've just stolen whole heartedly. I was writing about covers in a previous post, and how SFA and Bravecaptain influenced me to incorporate the remix into the song (my song 'tofu' on the forthcoming album has elements of this now); but listening back to superunknown, there's a whole slew of themes that I've been casually using that I didn't even realise went straight back to this record.
1. Odd Timings Are Cool
You can hardly call Soundgarden 'mathcore'. They're don't play that way. But it's an album where 4/4 can hardly be called the norm; it opens and closes the album*, but only features in about half the tracks. My first impressions of the album were that it was self-indulgent, but the odd timings here aren't that odd in general. There's lots of dropped beats; Notice in the similarity in the rhythm of 'The Day I Tried To Live' and my song 'Tofu', both have a jaunty (7+8)/4 (I use this to mean alternating bars of 7/4 and 8/4). But even the predominantly common-time songs have dropped beats all over the shop - like 'Mailman' - or some fantastically perverse ways of arranging 4/4 time. 'Fresh Tendrils' has some awkward back beat, likewise, 'Head Down' manages to make 4/4 sound like a chaotic eruption.
I wonder now if the reason I'm fascinated by odd timings is that i suffer from dysrhythmia; Moby's 'honey' sounds completely wrong to me. I just can't resolve the beat on it. I had a lot of trouble with e1m9 on doom, too; I've literally only got the rhythm right in my head for it in the last year, 19 years after it was released. Maybe these songs sound normal to other people. Anyway, if it hadn't have been for superunknown, I might never have become interested in anything outside 4/4.
2. Odd Tunings Are Cool
You wouldn't know from listening to the record that the band are playing in anything other than in drop-d and standard tuning. When I looked up, and printed off, the transcriptions on the internet, I was amazed by the plethora of unusual tunings (also, it was a clear indication they'd been ripped off the official songbook). A bunch of songs are in tunings that you could only play that one song in - 'My Wave', for instance with its ludicrous E-E-B-B-B-B tuning, 'Like Suicide' with its D-G-D-G-B-C tuning (for non-musicians, let me explain: you'd never normally tune a guitar so that two strings are only a semi-tone apart. This is a very specific tuning to make one particular riff sound 'just so').
I was a fairly inexperienced guitarist at the time, and this completely opened my mind not just to drop-d tuning, but also the whole idea that a guitar should be tuned for the performer. Often, since then, I would find a melody or riff, and decide that the guitar could be set up better to play it. Maybe it would be easier if it were in drop-d, or open G, or open D, or even something entirely new. Or maybe I would start with an odd tuning, and play around, see what comes out. It's a great way to break out of old habits and freshen up the fingers.
As I started playing live with a band, I went back to playing with a standard tuning more often. We weren't soundgarden, with roadies, budget, and hundreds of guitars waiting in the wings to be brought on, ready for the exact next song we were going to play. But in solo shows, I love the opportunity to have a moment of retuning, offer some jokes, some anecdotes, and be more intimate with the audience; the different feeling from different tunings is more pronounced when there's just one instrument on stage. Nick Drake was a great re-tuner as well, but reputedly froze up on stage with no banter, the poor thing.
3. Fretwanking is ok, as long as it's not centre-stage
Bill Bailey look-a-like Kim Thayil is a great guitarist, that's not up for debate; 100th best guitarist of all time, according to rolling stone. I find him a mysterious figure on the record; his lead guitar lines don't cut through the whole song, and he just seems to contribute when necessary. When he's not beefing up the main riff, it's not usually melodic, but improvised, flailing guitar; and then sometimes, he just had some nice simple harmonies. The best example of this is during 'Fell on Black Days'. But when he's fretwanking, it's never the point of the song; many prog-rock and metal bands would have virtuoso instrumental performances as the entire raison d'etre of the band. Here, it's just a touch, it's in it's place, and it's a part of the whole mix. We're not meant to hear it and go 'wow, he's such a good guitarist!', it's not mixed to the foreground, with a sign next to it saying 'listen to me go'. It's expressive, but it's not dictatorial. Maybe this is simply in keeping with the times, the shift away from extended guitar solos; maybe the success of Superunknown helped form that shift. Either way, it taught me that there was a point to guitar soloing, and many of my tracks leave room for an improvised section, usually around particular key notes and phrases. That self-indulgence is ok, as long as it's not the point, as long as you're not force-feeding people your 'genius', but letting it float on the mix instead.
4. Can't Make Your Mind up which take to keep in the mix? Use both
There's lots of double-tracked rhythm guitar on the record; that's usual. It gives more depth and longer-lasting appeal. But what I remember from the record is not just Cornell's vocal range, his variety of styles that he could draw on and switch between - the rock wail, the harmonious voice, and his barely-singing murmer - but how he would use them together, in ways you could only do with overdubs. For instance, 4th of July; a droney-stoner rock song, with the rock vocal lower down in the mix than the soft vocal. The contrast and balance is fantastic; either take would have been good but by putting them both in, we've achieved both simultaneously, plus the contrast.
For the same reason, I love 'Crossing Over' by Cult of Luna, a track that has wonderful doubled vocals. I love the stacked vocals in TV On The Radio songs. In my own recordings, I've usually tried a couple of different takes, then decided the track sounds best with both. This isn't a comment on multitracking itself, but how the interplay of different interpretations is highlighted when they're mixed together. Maybe a more subtle approach would be to do one style one verse, another style the next; that's fine too.
5. Keep The Tracklisting and Instrumentation Varied
Superunknown is a pretty pessimistic album. Opening with 'Let Me Drown' and closing with 'Like Suicide' - a song written after Cornell had to kill a bird that flew into his window, the hook lyric being "love's like suicide" (prefiguring, probably co-incidentally, the similar line in Smashing Pumpkins' 'Bodies') - the lyrical themes are of desolation, apocalypse, despression, and on 'The Day I Tried To Live', the perils of trying to get up and dressed. Meanwhile, the music is as varied a collection of rock songs as you could find outside a Blur album. You could broadly describe it all as grunge, but that doesn't capture the variety of styles in the album. It 'runs the gamut' of rock, from sludgey doom to punk and riffy rock, with a few more things too; actually, thinking about it, this is quite usual for grunge bands. And while the lineup is fairly constant through the record, most tracks have some extra instrumentation that piques the ear a little, such as melotron, extra puercussion, spoons, or simply very bizzarre-sounding guitar. The variety of harmonies, scales, instruments, timings, effects, all add interest and psychedelia to what could have been a very rough, dull, monotonous album. kind of like 'badmotorfinger'.
So yeah. It's a great record, but unlike other great records, I can see so much of what I love about music, and so much of what I love about the music I make started here. I reccomend it to anyone.
*I'm excluding 'she likes surprises' as the official last track since it's a bonus track, but I will include it while talking about the record.
Posted by Unknown at 10/08/2011 10:17:00 am No comments: Links to this post


Bartow, FL—A state court jury Tuesday awarded $4.9 million for the medical negligence it found cost a Florida man his lower leg.Gray v. Iakovidis, 2015CA003137.
Bartow, FL— Attorneys debated Tuesday whether an unreasonable delay in appropriate treatment cost a hospice worker his lower leg, as trial began against the vascular surgeon who treated him. Gray v. Iakovidis, 2015CA003137.


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Le Destet est un hameau qui se situe dans le massif des Alpilles, dans l'Ouest du département des Bouches-du-Rhône, sur la commune de Mouriès.

Situation et accès
Le Destet est situé à l'intersection de la route départementale RD24, reliant Mouriès à Eygalières via le Col du Destet et  de la route départementale RD78, vers Maussane-les-Alpilles.

Géologie
À proximité du hameau du Destet se trouve une barre rocheuse principalement formée de calcaires blancs et présentant des affleurements datant du Crétacé supérieur.

Hydrographie
La gaudre du Destet, cours d'eau de , prend sa source près du Destet.

Activités et tourisme

Culture et patrimoine
Le poète de Paradou Charloun Rieu fait du Destet le cadre de sa comédie dramatique Margarido dou Destet (« Marguerite du Destet »), publiée en 1966.

Notes et références

Hameau ou lieu-dit dans les Bouches-du-Rhône
Mouriès

redpajama_set_name: RedPajamaWikipedia


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Factors Contributing to the Decline of Traditional Practices in Communities from the Gwallek–Kedar Area, Kailash Sacred Landscape, Nepal
Atreya, K.; Pyakurel, D.; Thagunna, K. S.; Bhatta, L. D.; Uprety, Y.; Chaudhary, R. P.; Oli, B. N.; Rimal, S. K.
Traditional knowledge and practices are increasingly recognized in the resource conservation and management practices, however are declining in many parts of the world including Nepal . Studies on the inventory of traditional knowledge are available, albeit limited, and empirical analysis of factors contributing to the decline of traditional knowledge are negligible in Nepal. We thus initiated this study in the Nepal part of the Kailash Sacred Landscape to (i) document traditional knowledge and practices on agriculture, forest-based herbal remedy, and genetic resource conservation; and (ii) identify factors contributing to the decline of traditional practices in the communities. Data was collected during September–December 2015 through key informant interviews, focus group discussions, and households survey. The household survey data was used in binary logistic regression analysis to identify factors contributing to the decline of six key traditional practices. The study documented 56 types of traditional practices. The regressions showed that the age of the respondent, distance to the nearest forest, distance to the nearest motorable road, family members' ill health, and seasonal migration of the household members for jobs significantly influencing to the decline of the particular traditional practices, however, their effects vary within a practice and among the practices. The use of modern medicine, increasing road linkages, decreasing trend of plant resource availability, and agriculture intensification are responsible for the decline of the particular traditional practices. We recommend to recognize their significance in the governing socio-ecological systems and to link the traditional and scientific knowledge systems through policy formulations
Traditional Agricultural and Medicinal Practices in the Kailash Sacred Landscape, Nepal : ICIMOD Working Paper 2017/12
Atreya, K.; Pyakurel, D.; Thagunna, K. S.; Bhatta, L. D.; Uprety, Y.; Kotru, R.; Oli, B. N.; Rimal, S.; Chaudhary, R. P.
Traditional knowledge (TK) is very important for sustainable development . However, it faces the risk of loss in many parts of the world, including Nepal. There are only a few studies on the determinants of the use and erosion of TK and practices in the Kailash Sacred Landscape. The present study documents traditional practices and the factors determining its erosion in the Gwallek-Kedar Area of Baitadi district, Far Western Nepal. The Gwallek-Kedar Area, which spreads across eight Village Development Committees, is rich in biodiversity and cultural diversity. People who live in the vicinity of Gwallek-Kedar use the resources for medication, livelihood support, and livestock feed. The study documents traditional practices in the area, especially on agriculture and forest-based herbal remedy, and empirically determines the factors behind the erosion of such traditional practices
Traditional Practice and Knowledge of Indigenous and Local Communities in Kailash Sacred Landscape, Nepal : ICIMOD Working Paper 2017/1
Chaudhary, R. P.; Bhattarai, S. H.; Basnet, G.; Bhatta, K. P.; Uprety, Y.; Bhatta, L. D.; Kotru, R.; Oli, B. N.; Sharma, L. N.; Khanal, S.; Sharma, U. R.
The Kailash Sacred Landscape (KSL) is a transboundary landscape (area: 31,252 sq .km) around Mount Kailash. KSL is exceptionally rich in cultural and ecological diversity and has its own traditional systems of resource use and management. KSL Nepal comprises approximately 42.5% of the total landscape area, and covers Baitadi, Darchula, Bajhang and Humla districts. This study was conducted in different representative villages of four districts of KSL Nepal with the aim of documenting the traditional practice and knowledge of the indigenous and local communities regarding natural resource use and management.
Resources like agriculture, forest, pastureland and non-timber forest products (NTFPs) have been managed by indigenous and local communities since time immemorial. People have been growing various crops depending on the location, climate and culture. Similarly, they decide the breed and number of livestock to be raised based on their access to pastureland, purpose, religious belief and location. Pasturelands are managed in two ways in KSL Nepal, either as open access or controlled access. Social institutions/communities decide the timing, duration, and area of grazing communally. Management structure of highland pasture is better regulated than that of lowland pasture. Forests in KSL Nepal are managed as government-managed forest, religious forest, community forest and leasehold forest. Local people develop rules and regulations to conserve the forest as a community forest and local authorities decide the time for collecting firewood and punish people involved in violating the rules. In some areas of KSL Nepal, forests are conserved as sacred forest where grazing and collection of timber, fodder, NTFPs, etc. are restricted. NTFPs have become major economic products in the region. The production of NTFPs is gradually decreasing due to unsustainable harvesting practices
Sustainable Utilization and Conservation of Non-timber Forest Products: Major Species of Kailash Sacred Landscape Nepal
Uprety, Y.; Poudel, R. C.; Chaudhary, R. P.; Oli, B. N.; Bhatta, L. D.; Baral, S. P.
This book highlights 25 highly commercial and high-value NTFPs, their traditional knowledge and use, trade, cultivation and value addition, and government policy on collection and trade .
Carbon status in forests of Nepal: An overview
Oli, B. N.; Shrestha, K.
An estimation of tree species diversity in rural farmland of Nepal
Oli, B. N.; Kharal, D. K.
Biodiversity is an important consideration in maintaining natural environmental balance in a particular habitat . This becomes particularly important in areas, where due to the encroachment of natural forests, biodiversity is depleting causing a potential loss in the natural habitat. In such a situation, biodiversity in the farmland becomes an important consideration. Biodiversity is measured and analysed using various indices. In this study, the authors present the result of their study through a field work in a rural village in Nepal. The study was conducted through direct field observation and survey of sampled households. The status of tree biodiversity using species biodiversity index and species richness index for the case study are presented. The study has also identified the relationship between the tree species diversity and major socioeconomic factors. Their analysis shows that tree species biodiversity in the rural farmland of study area are lower in comparison to the similar areas of countries like India, Bangladesh and Sri Lanka. The lower biodiversity status is mainly due to the wide distribution of two dominating tree species of Dalbergia sissoo and Melia azederach. Similarly, tree species biodiversity in the farm land has been found affected by the socioeconomic situation of the area. Further study is suggested by involving more socioeconomic factors and covering a large sample size and time of study
An assessment of tree species dynamics in rural farmland of Nepal
Dynamics of species distribution, species composition and species number are very important areas to be understood for sustainable management of forest and tree resources . The paper endeavours to solicit information on dynamics of tree species in terms of their composition and number, and also assesses the relationship between socio-economic factors and tree species dynamics. The study was conducted through survey of 98 sampled households, focus group discussion and direct field observation. Species composition and species number of tree resources of the study area are identified for different time period. The study found out that proportion of tree species loss on farmland was higher than that of species introduction. Similarly, 20 species were found with very limited distribution in the study area while two of them are already under the threatened category at the national level. The reasons for species change in the farmland are also identified. Farmers are now attracted to grow fast growing, multipurpose and easily available tree species. Economic return is the major concern for them. Such a situation may lead to further loss of tree species from the farmland. Some species such as Shorea robusta and Phyllanthus emblica, which were among the widely distributed in the beginning, are now about to be lost because of easy availability in nearby forest, slow growth rate and limited uses
Biomass estimation of Bambusa nutans subspecies cupulata grown at Eastern Terai, Nepal
Oli, B. N.; Kandel, C. M.
With a view to prepare a biomass table of Bambusa nutans subspecies cupulata grown at Belbari, Morang district of Eastern Terai, a total of 150 samples were selected from ninety-eight clumps . Measurements of 15cm diameter at the base (D15), the vertical height of the culm and green weight of the culm, branches and foliage were recorded in the field. The sampled green weight was oven dried in Kathmandu.
Wood products marketing in Nepal: through public agency or private agency?
Oli, B. N.
Voir aussi: noms d'auteurs similaires
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1 Oli, B. R.
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redpajama_set_name: RedPajamaCommonCrawl


For more info please contact or WhatsAppFred: 0B2 3o8 o578Martin: o76 875 43llFor a dealer with a difference come and see us at Active Auto our branches based in Vanderbijlpark and in Vereeniging. Nationwide delivery available. We also offer a buy back guarantee, free valets and road worthy warranty, including our own RMi approved workshop at your service. Applications can be done telephonically and feedback given within 30min. Terms and conditions apply.
Estimated monthly payment is R 8 240 over 60 months with a 10% deposit of R 40 000 at a rate of 13.25% (PRIME + 3%) - Recalculate?


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Mullen Group lays off 1,000 as 'wants' economy disappears
by James Menzies April 23, 2020 @JamesMenzies
OKOTOKS, Alta. – As the "wants" economy has evaporated due to the Covid-19 pandemic, Mullen Group has taken drastic measures, including laying off 1,000 employees.
While reporting its Q1 earnings, Mullen Group indicated all was going well until mid-March.
"Until mid-March our business was performing ahead of last year and basically on target to meet our expectations," said Murray Mullen, chairman and CEO of Mullen group. "However, once the full extent of the virus started to become evident, demand deteriorated in many sectors of the economy directly impacting several of our business units."
The company also suspended the payment of its dividend for three months, and instead used the money to create a $5-million Family Assistance Plan. The funds will be used to help employees who are under financial duress before government support kicks in.
"I just found it, as a CEO, very difficult to say I'm going to lay off 1,000 people but I'm still going to pay shareholders," Mullen said on a conference call with analysts April 23. "If our associates get into trouble before the government arrives with their help, we said 'We're going to have a backstop here for people, so don't worry, everything will be okay. Let us work on getting you back to work as soon as possible, but if you and your family get into trouble, we've got you covered.'"
Executive salary cuts have also been implemented. Trucks are still moving to support the "needs" economy, Mullen said. But he couldn't anticipate when the other side of the economy will return. He's not expecting the usual second- and third-quarter LTL ramp-up to stockpile goods for a seasonal uptick to occur this year.
"We may be in the early innings of what is a dramatic shift in the economy."
Murray Mullen, Mullen Group
"I don't see that happening until the economy opens up," he reasoned. "We won't have a seasonal bounce-back this year. I don't see that right now."
What began as a health crisis, Covid-19 has morphed into an economic crisis, Mullen said.
"We may be in the early innings of what is a dramatic shift in the economy," he predicted, adding no guidance can be issued at this time and previous outlooks can be trashed.
"The 2020 business plan and expectations are totally altered due to the outbreak of Covid-19 here in North America."
Mullen was quick to act as the virus took hold, formalizing an initial action plan as early as March 2.
"I don't want to even guess on how our business can or will perform over the next couple of months," he admitted. "I think in the short-term, the next two to three months, I really expect business to be challenging."
Further out, Mullen wonders how the newly opened economy will look. Will consumers spend money? Will they spend it on things, or services?
Moves made by Mullen were intended to protect the balance sheet, and to that end, any potential acquisitions are on hold. Mullen acknowledged supply chains are under pressure, which could lead to "choppy" demand for LTL freight services. But Mullen is well-positioned, as it serves as a lifeline to communities served by its broad network across Western Canada.
As for its speciality equipment, Mullen quipped he may offer up his parked tankers for crude storage, with capacity nearly full.
"I might be storing some oil in those tankers and not hauling it," he said, adding Mullen will park equipment rather than operate at a loss. "I'm not going to work and not get paid. That's not going to happen around here."
As for the first quarter, Mullen generated revenue of $318.2 million, down 0.4% year-over-year. The LTL segment was up 3.5%, specialized and industrial services grew 1.5%, but logistics and warehousing fell 5.4%. Net income fell by $6.9 million to $4.7 million, reflecting a $2.3 million increase in finance costs and a $3.9 million negative variance in foreign exchange.
by James Menzies @JamesMenzies
James Menzies is editor of Today's Trucking. He has been covering the Canadian trucking industry for more than 18 years and holds a CDL. Reach him at james@newcom.ca or follow him on Twitter at @JamesMenzies.
Robert Allard says:
This is what I call a good company kudo for the owner and all workers there.
donald faiers says:
Mr. Mullen is the type of owner /executive that makes the industry and our country proud.
Don Faiers
Adam Kos says:
Mullen is the most reputable company I ever dealt with.
Jim Fulton J & S Fulton Ent. Inc. says:
If more people and Companies would adhere to this line of thought the transportation world would be a great place. This also works for owner operators and small trucking companies. Just because your small your costs are still the same or more ,"DON'T WORK CHEAP" & get paid for what you do.
Quote " Mullen will park equipment rather than operate at a loss. "I'm not going to work and not get paid. That's not going to happen around here."
This is the reason this company is so successful.
Pinpointing the factors that determine if a driver is unhappy
Volvo looks to bring its success in Canada to Mexican market
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Unifor picketers accused of vandalizing, delaying trucks at Regina refinery


Twitter has launched a new ad Campaign 'See whats happening' because it feels that people still do not understand Twitter! It(the campaign) is to get people to know why they should actually use twitter.
A few months ago, twitter went out to understand more deeply the perceptions of Twitter around the world. As they dove into this research, some interesting trends emerged.
First, ninety percent of people globally recognize the Twitter brand. Ninety percent! That's a testament to all the people, companies, news outlets and public figures who use Twitter and make it as powerful and far-reaching as it is today.
It was clearly visible that who use Twitter do so because they know exactly what Twitter is for and why it's important in their lives. The majority of people who use Twitter find it the best and fastest way to see what's happening.
But what about the people who know the brand but don't use Twitter?
First, most don't know or simply misunderstand what Twitter is for – many think of Twitter primarily as a social network, a place to find and connect with friends and family members. Second, they think that if they have to use Twitter, they are "supposed to Tweet every day" and don't think they would have that much to say.
This drove twitter to realise that they had some explaining and clarifying to do!
So twitter is deliberately taking steps to express what they are for and what they have always been.
Twitter are actually introducing a new look and feel in their marketing that reflects the people around the world who make Twitter what it is, highlighting the diversity and expressiveness in all its color and vibrancy. Everything that happens on Twitter is about people, and how they interact with each other.
01:25 05.01.2019Become a Fullstack Web Developer in 2019!
01:59 02.11.2018What if your Brain was hacked?
23:47 01.09.2018Android.Banker.L : Mobile's Latest Malware Threat !


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Haemosexual
LGBT Community
Von Willebrand Disease
LGBT Care
Support / Advice
Sexual Activities
World Gay Pride Events
Booklet PDF
About Haemosexual
WFH – World Federation of Hemophilia
EHC – European Haemophilia Consortium
EAHAD – The European Association for Haemophilia and Allied Disorders
LGBT UKRAINE
9th April 2022 Mark Ward
Russia invaded Ukraine on 24 February 2022. Internationally considered an act of aggression, the invasion has triggered Europe's largest refugee crisis since World War II, with more than 4.3 million Ukrainians leaving the country and a quarter of the population displaced. LGBT Ukraine News War Lord Responsible For Chechnyan "Gay Purge" Killed While Assisting Russian Forces In Ukraine […]
GLOBAL ANTI-LGBT HEADLINES – 2022
GLOBAL ANTI-LGBT HEADLINES https://www.theguardian.com/world/2022/mar/08/dont-say-gay-bill-florida-senate-lgbtq Kuwait Court Overturns Anti-trans Law But Homosexualtiy Remains Illegal LGBTQ+ Characters & Storylines Disappear From 'Friends' In China Iran Executes Two Men After Being Convicted Of Homosexuality
Erasure – Nerves of Steel
12th August 2020 Mark Ward
Erasure Is Back With 'Nerves of Steel' Featuring Drag Race Stars, More Fitting for current virtual times, the pioneering synth-pop group Erasure's upcoming album The Neon is "a place that lives in the imagination," according to press notes. And the video for the track "Nerves of Steel" that dropped this week features 20 LGBTQ+ luminaries who've got plenty of artistry and imagination, including several […]
DIRECTOR CONFIRMS 'THE MATRIX' TRILOGY HAD A HIDDEN TRANSGENDER STORY
9th August 2020 Mark Ward
Formula One – We Race As One
22nd June 2020 Mark Ward
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Tooshly – Press Release
12th March 2019 Mark Ward
Press Release "TOOSHLY" – THE CONTROVERSIAL NEW RANGE OF LGBT EMPOWERMENT TEES! "This T-shirt company is aiming to destroy gay derogatory terms!" TheGayUK Magazine (full article: tinyurl.com/y69t5cpb) The Tooshly vision is simple: disarm LGBT bullying terms (Poo Jabber, Butt Pirate, Knob Jockey, Muff Diver, Pussy Puncher, Turd Burglar, etc) by finally letting the LGBT community reclaim them: wear them proud! The Tooshly range […]
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3rd November 2017 Mark Ward
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21st August 2017 Mark Ward
Hepatitis E Fact sheet Updated July 201 Key facts Hepatitis E is a liver disease caused by infection with a virus known as hepatitis E virus (HEV). Every year, there are an estimated 20 million HEV infections worldwide, leading to an estimated 3.3 million symptomatic cases of hepatitis E (1). WHO estimates that hepatitis E caused approximately 44 […]
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If you believe you or someone you know needs urgent assistance, immediately contact the emergency services by dialling 999


During the whole project, permanent contact has been maintained with Marco Fritz - policy officer within the EC DG Environment's Biodiversity unit, responsible for shaping the EC strategy on Green Infrastructure.
Marco Fritz was invited as a speaker in the following project and local meetings. He also came to the technical visits to see in place examples of Green Infrastructure in Sevilla and Vitoria-Gasteiz.
2nd Project meeting in Sevilla 2010: The role of natural periurban areas (PNA) in urban and territorial management models.
Several partners of Periurban Parks and from FEDENATUR have completed surveys required by Marco Fritz.
Through the EHF- European Habitats Forum, FEDENATUR has also given input to DGENV in order to take into consideration periurban areas (periurban semi-natural agro-ecological parks, green city parks, periurban re-naturalised parks) as core elements of the future Green Infrastructure strategy.


text:
Format '13, Derby, UK
We used to have a film festival here in Taos. It took place in early April each year. Everybody in town would get excited, as there were opportunities to see films to which residents would otherwise not have access. (Pre-Netflix, obviously.) The locals loved it, and the film-makers did too. I got to meet James Coburn, so that was cool.
I worked for the festival in 1997, as an overly confident twenty-two year old. All bluster and little experience, I was hired as the Volunteer Co-ordinator, meant to boss around dozens of older folks who were working for free. I was hired last minute, as the original VC was poorly-equipped for the position, and subsequently fired.
I was told to do whatever I saw fit with the volunteers, so my first act was to handpick an assistant. Why not make my job easier, I thought. I went through the list, and chose a middle-aged female attorney who'd recently moved to Taos. She seemed sharp, and ended up helping immeasurably.
Within a year, she'd been elevated to Executive Director of the organization. A few years later, the festival was defunct. (Not that I'm blaming her, mind you.) There was some debt accrued at the beginning that could never be dealt with properly, and the best of intentions are not always enough. Competence, across a broad swath of areas, is required to run a successful event over time.
So I was displeased, if not completely surprised, at my experience with the Format Festival in England over the last six months. It gives me no pleasure to write this article, and I've certainly given some consideration to why there used to be boundaries between artists and journalists. Ethically, the tale that follows seem important to share, as I know our readers look to us for helpful information about what goes on inside the industry. But I've spent many a moment wondering whether this will damage the "artist" portion of my career.
Here's the breakdown.
I met the Artistic Director of the festival at FotoFest last year. She seemed nice, and I was glad when she wrote a few months later to say the submission process to Format '13 was about to open. Cool, I thought. If she took the time to reach out, I assumed they must be interested in my work.
Like the many competitions that exist around the world, there was a fee involved in submitting work for consideration. Nothing huge, but still, it cost something. When I didn't hear back a month beyond the original deadline for replies, I knew things were not efficient as one might hope. Still, I wanted it to work out, and was thrilled when my work was accepted. Having an international exhibition on my resumé seemed like a great career move, and I'm enamoured of the British photo community.
Foolishly, I chose to overlook the fact that the exhibition to which I was applying, "EXPOSURE," required me to pay all the production costs for my work, as well as shipping fees in each direction. (I don't believe that's the case with every exhibition they put on.) The forms also claimed there would be a stipend offered, but that was the last I heard of it until I arrived in England. My inquiries into how much funding I might receive were not answered. (Nor were most of the emails I sent looking for information.)
As the festival approached, I was asked to submit a proposal for my exhibition design. I worked on it for weeks, scratching sketches and fiddling in Photoshop. Surely, I thought, someone will be impressed. They will wonder at the power of my creativity and the brilliance of my art. (They didn't. I shipped the box off and hoped for the best.)
So by the time I headed to Derby last month, I was pretty put out by the whole thing. I'd spent almost $600, and was beginning to regret it. (Not including travel costs, or return shipping, which I also need to arrange on my own. They won't schedule the DHL pickup, apparently.) I'm sure they're all nice people, with so much to organize. I get that there is a lot of responsibility. I do.
At last, though, on a Saturday in early March, I caught the train North from London with my friend Hin Chua. He told me he'd participated in the 2011 version of Format, and had encountered some problems too. He chalked it up to biting off more work than they could chew, rather than malicious intent, and said that most of the people he'd spoken to had some issues as well.
Before I got to Derby, I'd been warned several times that it was a less-than-enthralling place. Basically, people laughed when I said I was showing work there, and confidently described the place grim. I assumed it was just the famous British wit, pushing my buttons and dampening my expectations. Surely, they're exaggerating, I thought. (Alas…)
The city was bleak and gray; the air freezing cold and moist, sucking the joy from my soul. (What little was left, that is.) I'm not trying to denigrate this Post-Industrial city, which has obviously fallen on hard times, but it is what it is. Folks were surly and suspicious, and the ramifications of decline were rampant. (I saw two businesses closing down on High Street.) As we got off the train, the first two people we saw outside the station were muscle-head teenagers in rolled up T-shirts. Genius.
After that, we stopped in at the Quad theater to see the Erik Kessels exhibition. I know he's trendy at the moment, and I loved and reviewed one of his books recently, but this exhibit was surprisingly limp. Appropriated family album photographs were everywhere, though most were not-very-interesting. They were blown up into graphics that covered the walls, and were also presented on foam core, in racks, meant to be flipped through like items at a poster shop. (Points for trying to break out of the box, I guess.) I queried some fellow visitors who were equally disappointed, and one described the show as "graphic design" and "cotton candy."
Next was a brief visit to the "Photo Market," a few photo related stalls mingled amongst the cheesemongers of the local indoor market. The air was stale, the mood depressing. I got to see a few cool photo books, as there were several major publishers in attendance. It was pretty quiet, though, and one participating photographer told me there was a public opening the night before, and ten people came.
From there, we headed into an industrial neighborhood to the "Chocolate Factory," to see the exhibition in which my work was included. It was the hub of the festival, in that portfolio reviews were being held there that day. I knew of several friends who'd be in attendance, and was excited to finally have some fun. We walked in, and noticed the entryway was open to the elements. No doors at all.
Immediately, I bumped into a colleague, who asked if I'd seen my work yet. His voice trailed off at the end of the sentence, so I knew something was awry. "No," I said, "I've just arrived. Is there a problem?" He paused. "Well, the pictures are in the back. Better you see for yourself."
We headed in that direction, and I quickly stuffed my hands in my pockets. It was even colder in the Chocolate Factory that it was outside: barely above freezing. The place had been abandoned, and reclaimed by Format as an exhibition space. It was filthy, and reminded me of something out of a former Soviet republic. Given that the festival theme was "Factory," I should add that the choice wasn't pointless. It makes sense in theory, but was poorly executed. (If the festival took place in Summer, it would have been an entirely different story.)
My pictures were at the very far end of the venue, by the toilets. While the location would normally be considered unappealing, on that day, at least, I knew my work would be seen. People kept heading to the loo to use the electric hand dryer to warm up, because the entire venue had no heat whatsoever.
Photographers were shivering, jumping up and down to stay warm. (Except for one of the festival sponsors, who was dressed in a burly Swedish mackinaw and fur hat. He was toasty, and suggested I not take my treatment personally. They didn't reply to his emails either, he said, because they're always so busy.)
I was told that the reviewers were provided with hot water bottles, those rubber things that evoke the 19th Century, and hot coffee as well. The photographers, on the other side of the table, were not. One American photographer told me she hadn't even bothered to go see her exhibition, elsewhere in town, because she was too worn down by the travel, the elements, and the expensive cab fares.
Another photographer, a friend who was also attending the reviews, ranted about it perfectly: "I'm a f-cking chump. I just spent £200 to sit in a f-cking warehouse freezing my ass off all day. Even people who work in warehouses get minimum wage." He wrote to me thereafter to stress that he did have some very good experiences in the review meetings, so it balanced out.
Just as I was about to lose my mind and head back to the station to grab the next train South, I saw a friend from Italy, Michele Palazzi. Michele and I, along with his wingman Raphaele, started to crack each other up almost immediately. (Telling jokes about Berlusconi, arguing about who made a better spaghetti carbonara.)Then, Barry Hughes, the publisher of the excellent online magazine Super Massive Black Hole, turned the corner. We'd corresponded on social media, but had not yet met in person. Format brought us all together.
We stood there, the four of us, laughing, beginning to see the humor in the situation. The seratonin flooded back into my brain. This, I thought, is why I really came here. Nothing beats the camaraderie of hanging out with cool people from around the world. Sometimes, a little temporary suffering brings everyone closer together.
From there, too cold to go searching for more exhibitions to see, we headed up the street to the pub. My mood improved, and the strong dark beer helped me get back to myself. For hours, we laughed, talked about photography, and shared stories about our respective communities. If not for the festival, our motley crew would have been spread back around the planet.
To be clear, I'm sure the Format does good things for Derby, providing opportunities for locals to see art and and expand their understanding of the world. Its residents must benefit greatly. In a parallel universe, I had a great day in Derby, visiting the many exhibitions spread all over the city, and came away impressed by what I saw. Just the other day, a colleague wrote on Facebook that he saw lots of great work at Format, and called the city "cool."
There are many festivals around the world, and countless opportunities to show one's work. Frankly, I submitted to Format without having done any research, and relied upon some specious assumptions. That's on me. If you're reading this in the US, though, I'd probably recommend you start somewhere else on your quest for world domination.
Shoot, Rinse and Repeat Over And Over Again
The Daily Edit Field&Stream: Art Streiber
Big ego meets small photofestival. No winners here…
Ha ha, indeed Sam – over inflated ego and humble/honest brit festival will never go well together. I especialy like the complaint about businesses out of business and muscle head teenagers, it really is unacceptable for international artists to have to see this sort of thing – why did the organizers not put more neon up and ban anyone not wearing a neckerchief?
Brian Griffin
Dear Jonathan
Firstly I would like to say that I thoroughly enjoyed seeing your work in Format which I personally found most inspiring and in fact voted for its inclusion.
This Format is an exciting festival and now undoubtably the foremost UK photo festival, against the backdrop of the UK being an environment less than easy to generate enthusiasm towards "Art" photography, but what an admirable job has been done by its small festival team. They have created a platform with limited funds but with great commitment that has to be applauded, they have taken this festival onto an even higher plane with the introduction of the Chocolate Factory. Yes you can pick faults and of course the weather has not been ideal, but through enthusiasm and hard work any limitations both climatic and financial have mostly been overcome.
Being a photographer is a fairly lonely pursuit, with Format you have a festival that prides itself on being about people and for people, delivering untold possibilities to socialise and connect, which you in your critique you rightly recognise.
We hope you will visit us once more in two years time, and I personally look forward to the photographs that you produce in the meantime.
Beeg.
Ben Spiller
Jonathan Blaustein says:
"I'd probably recommend you start somewhere else on your quest for world domination."
In response, I say:
"Agreed. FORMAT International Photography Festival isn't about world domination; it's about the world meeting up to share, learn and get excited about photography. Long may it continue in that spirit."


text:
Q: finding the max element in the columns while also being the min in the lines in a matrix Write a program to enter integers in a matrix of size L*C (L: row and C: column) then determine and display the value as well as the position (i,j) of all the elements which are both a minimum on their line and a maximum on their column. If no Min-Max does not exist, we display the following message "The matrix does not contain any Min-Max.".
Example 1:
1 2 3
4 5 6
7 8 9
13 15 16
Tab[4,1]=13
Example 2:
17 11 3
4  5  6
7  8  9
15 10 16
The matrix contains no Min-Max.
i tried this code and it didnt work

 int L , C , i , j ,maxc,minl ;
    int Tab[20][20];
printf("Introduire le nombre des lignes du matrice (MAX 20): ");
        scanf("%d",&L);
        printf("Introduire le nombre des colonnes du matrice (MAX 20): ");
        scanf("%d",&C);
        for(i=0; i<L; i++)
        {
            for(j=0; j<C; j++)
            {
            printf("Donner l'element (%d,%d): ",i+1,j+1);
            scanf("%d", &Tab[i][j]);
            }
        }

        for(j=0 ;j<C;j++)
        {
            maxc=Tab[0][j];
            for(i=0;i<L;i++)
            {
                minl=Tab[i][0];
               if(Tab[i][j]>maxc && Tab[i][j]<minl )
               {
                 printf("Tab[%d,%d]=%d ",i+1,j+1,Tab[i][j]);
               }
               else
               {
                   printf("La matrice ne contient aucun Min-Max.");
               }
            }
        }

    return 0;
}

A: I'm not sure why are you creating a matrix of size 20x20 when you only need L rows and C columns? You can just declare it as
int Tab[L][C];

just after you have the value of L and C variables returned from scanf.
As for the algorithm, it does not work because when using maxc=Tab[0][j], you are fixing the row index to zero (first row): for every column you are updating maxc to the corresponding row items value stored in the first row.
The same for minl=Tab[i][0]: for every column, and for every row, you update maxc to the items of row index i which are stored in the first column.
In other words maxc can assume only values of the first row, and minl can assume only values of the first column.
Then, when doing if(Tab[i][j]>maxc && Tab[i][j]<minl), maxc and minl can't match: as for example at the first iteration (j=0) maxc is stuck to the item [0,0], while minl goes in the positions [0,0], [1,0], [2,0], [3,0]; then, when j=0 and i=3 (last step of first iteration of the inner cycle), you have maxc=[0,0], minl=[3,0], and Tab[i][j]=[3][0].
Instead you have to compare the maximum and minimum values against the other values in the rows and columns, before updating maxc and minl: otherwise, they could just randomly match, depending on the matrix structure itself, and it won't even match when they contains the real minimum and maximum values.
Also, you should reset minl and maxc every time you exit from the inner cycle, in order to avoid dealing with minimum and maximum values of the previous row.
As for the following code it should work as expected, I just did the inverse, by searching the minimum value for every row and saving its index in the a variable (because you will lose the index if the minimum value is not the latest one); then, when you have the minimum value for a specific row, you iterate that column with the index a and search if it exist an element which is bigger: in case it exists, it updates maxc.
I would also suggest to avoid inverting i and j indexes in order to avoid confusion (in your code you was using j for columns and i for rows, but during the insertion of the values in the matrix you used i for columns and j for rows).
int L, C, min, max;

    printf("Introduire le nombre des lignes du matrice:\n");
    scanf("%d", &L);
    printf("Introduire le nombre des colonnes du matrice:\n");
    scanf("%d", &C);

    int Tab[L][C]; //Declare it here with the right size
    int i; //Index for iterating over rows
    int j; //Index for iterating over columns
    int a; //Index of the column with the minimum value (for each row)
    int k; //Index for iterating the column that contains the min row value.
    bool found = false;

    for(i=0; i<L; i++){
        for(j=0; j<C; j++){
            printf("Donner l'element (%d, %d): ", i, j);
            scanf("%d", &Tab[i][j]);

            if(j==0){
                min = max = Tab[i][j];
            } else {
                //Store the minimum and max values while user input them
                if(Tab[i][j]<min) min = Tab[i][j];
                if(Tab[i][j]>max) max = Tab[i][j];
            }
        }
    }

    for(i=0; i<L; i++){
        //You need to reset 'maxc' and 'minl' for every row, otherwise you will compare it with the minimum and maximum values of the previous rows
        int maxc = min-1;
        int minl = max+1;
        for(j=0; j<C; j++){
            if(Tab[i][j]<minl){
                minl = Tab[i][j];
                a = j;
            }
            if(j==C-1){ //Here 'a' contains the row index of the minimum element of the row 'i'
                for(k=0; k<L; k++){ //Iterating the column with 'a' index: we search for the maximum value in that column
                    if(Tab[k][a]>maxc) maxc = Tab[k][a];
                    if(k==L-1){ // Here 'a' contains the row index of the minimum element of the row 'i' (minl variable), and also here the maxc variable contains the maximum element of the row 'i'.
                        if(minl == maxc){
                            printf("Tab[%d,%d]=%d ", i, a, Tab[i][a]);
                            found = true;
                        }
                    }
                }
            }
        }
    }
    if(!found) printf("La matrice ne contient aucun Min-Max.");

redpajama_set_name: RedPajamaStackExchange


text:
Q: Android Sharedpreferences Updating Only After App Restart Good Day,
I have read almost all posts in regards with Sharedpreferences on Stackoverflow but none of them seems to answer my question.
I store a Token code in Sharedpreferences after getting it from JSON, when I toast the values all is correct, then I save the string value to Sharedpreferences with the below code:
private String mypreference = "AppData.xml";
private String KeySave = "KeySave";

sharedpreferences = getSharedPreferences(mypreference, Context.MODE_PRIVATE);
String Token = json.optString("TokenFomJSON");
SharedPreferences.Editor editor = sharedpreferences.edit();
                        editor.putString(KeySave, Token);
                        editor.commit();

When I look at the XML I can see the saved value, the problem is when I convert the Sharedpreferences again back to String to be used with the below code:
String KeyCaptured = sharedpreferences.getString(KeySave, "");

Then it returns the previous saved key and not the updated one from JSON.
When I restart the application, then the correct key is displayed.
What I have done testing this far.
Changing .commit() to .apply()
I 1st call the JSON via the code below:
GetKey();

private void GetKey() {
JsonObjectRequest jsonObjReq = new JsonObjectRequest(
            Request.Method.POST, url, js,
            new Response.Listener<JSONObject>() {
                @Override
                public void onResponse(JSONObject response) {
                    Log.d("Token", response.toString());
                    try {
                        JSONObject json = new JSONObject(response.toString());

                        String Token = json.optString("TokenFomJSON");

                        SharedPreferences.Editor editor = sharedpreferences.edit();
                        editor.putString(KeySave , Token);
                        editor.commit();
                      //  Toast.makeText(LoginActivity.this, Token, Toast.LENGTH_SHORT).show();

                    } catch (JSONException e) {
                        e.printStackTrace();
                    }

                }
            }, new Response.ErrorListener() {
        @Override
        public void onErrorResponse(VolleyError error) {
            VolleyLog.d("Token", "Error: " + error.getMessage());
        }
    })

}
Then I call it with the below code:
String KeyCaptured = sharedpreferences.getString(KeySave, "");

Other than the above that I have tested, there is not many other suggestions to try, anyone else got some suggestions I could try?
Thank You,
Kind Regards

A: I have figured it out, I needed to give a delay of 2 sec between the JSON and the request. All working now