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Read more about CSU+ and OneSearch.
If an item is not available through CSU+, use Interlibrary Loan. This service is free to Cal Poly students, staff, faculty, and emeritus. Delivery times may vary.
Affiliated and Community users may purchase Interlibrary Loan services at the rate of $50.00 for up to 10 transactions. See Frequently Asked Questions below for more information.
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Interlibrary Loan allows you to borrow materials from another library. This service is free for Cal Poly students, staff, faculty, and emeritus. Affiliated and community users may purchase Interlibrary Loan services at the rate of $50.00 for up to 10 transactions.
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Hooray, Wednesday! It's 12:54am right now.


text:
A Debate on America's Role—25 Years Late
When the U.S.S.R. fell, elites envisioned a new U.S.-led order. Voters were skeptical.
Air Force One landing in Tel Aviv, May 22.
Photo: European Pressphoto Agency
By Walter Russell Mead
May 22, 2017 6:43 pm ET
Watching Donald Trump on the world stage must be surreal for the academics, politicians, diplomats and soldiers of the foreign-policy establishment. They haven't been this alarmed since the Senate failed to ratify the Treaty of Versailles. Yet Mr. Trump is merely a symptom of America's greatest problem in international affairs, and the crisis in foreign policy will not disappear when he leaves office.
The roots of the problem go back to the late 1940s, when the U.S. set out to build a global order in the aftermath of World War II. America helped create a long period of integration and growth by rebuilding Europe, promoting development in the decolonizing Third World, encouraging free trade, and providing safe passage for global commerce across the seas.
When the Soviet Union collapsed in 1991, the bipartisan foreign-policy establishment was united in seeing a historic opportunity to deepen the liberal order and extend it into the rest of the world. Yet the public had always been skeptical about this project. Jacksonians in particular believed that American global policy was a response to the Soviet threat, and that once the threat had disappeared, the U.S. should retrench.
After World War I, and again at the start of the Cold War, Americans had held great debates over whether and how to engage with the world. But that debate didn't happen after the Soviet collapse. Elites felt confident that the end of history had arrived, that expanding the world order would be so easy and cheap it could be done without much public support. Washington thus embarked on a series of consequential foreign-policy endeavors: enlarging the North Atlantic Treaty Organization to include much of Central and Eastern Europe, establishing the World Trade Organization in the mid-'90s, promoting a global democracy agenda whenever possible.
American voters have never shared the establishment's enthusiasm for a foreign policy aimed at transforming the post-Cold War world. When given the choice at the ballot box, they consistently dismiss experienced foreign-policy hands who call for deep global engagement. Instead they install untried outsiders who want increased focus on issues at home. Thus Clinton over Bush in 1992, Bush over Gore in 2000, Obama over McCain in 2008, and Trump over Clinton in 2016.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Converting Java code to model view controller architecture pattern I have written some code in java to give the some of the numbers 1 to 10 and then also display the average. I would like to change this to the model view controller method(thats what the tutor wants). We only had one lesson on it and i dont really understand how do change it. If someone could go through this and show me how(as if they were trying to teach a 5 year old) that would be great.
//JAVA CODE
public class Ex4 {

    public static void main(String[] args) {
        int sum = 0;
        int average = 0;
        for (int i=1; i < 10; i++){

            sum = sum + i;
            average = sum/i;

        }
        System.out.println("The sum is " + sum);
        System.out.println("The average is " + average);

    }
}

A: MVC is a basic pattern where you separate the model (data), view (display), and controller (logic) into different files and directories.
Here is an illustration of this model:

Here is an example of how that might look with your current code:
Controller Class (with main method included):
public class Ex4Controller {
    //You could create a second controller,
    //and put the main method there,
    //then create a controller object.
    public static void main(String[] args) {

        //Initialize model
        Ex4Model number = new Ex4Model(0,0.0);

        //Execute business logic
        Ex4Controller.getSumAndAverage(number);

        //Set view
        Ex4View.printSum(number.sum, number.average);
    }

    //Logic method
    private static void getSumAndAverage(Ex4Model numbers){

        for (int i=1; i < 10; i++){
            //Here the controller interfaces with
            //the model
            numbers.sum = numbers.sum + i;
            numbers.average = numbers.sum/i;

        }
    }

}

The controller class interfaces with both the model and the view. This class is where you do all the processes, and update the model or view. Any logic done, is going to be done in this class. If you wanted to get the mean of the numbers, you would write a method called getmean() in this class. Data manipulation is ONLY done here.
This is the Model class:
public class Ex4Model {

    public int sum = 0;
    public double average = 0;

    //Custom constructor to set values
    public Ex4Model(int sum, double average){
        this.sum = sum;
        this.average = average;
    }

}

This class is used to hold the data. No logic is done here. This is a basic data structure that you use to house the data. This class does not interface with the view.
This is your view class:
public class Ex4View {

    public static void printSum(int sum, double average){
         System.out.println("The sum is " + sum);
           System.out.println("The average is " + average);
    }
}

This isn't a true view, but it's the best demonstration considering the circumstances. With Java, you would put your swing files here. The job of these files is to display the data. You'll notice that the controller passes all the data to this class, rather than accessing the data from the model.
This will output to the console:

The sum is 45
The average is 5.0

Something to keep in mind with MVC, is that you can have multiple controllers, models, and views. This is a very simple example. By using MVC, developers & programmers are able to better organize the data. They know where everything is being done, rather than having views manipulate data in some area's, and not in others.
I hope this makes sense.

A: As a (very) rough guideline:
Model: Stores the data.  In this case, the sum and the average.
View: Displays the data.  In this case, writing the data out with System.out.  When the model changes, update the display (write the new values out).
Controller:  Manipulates the data.  In this case, taking an array of ints, computing sum and average, and giving the results to the model.
So overall, Controller computes sum & average, gives those values to Model.  View is notified that Model changed.  View displays Model's values.

A: Create 3 classes:
Let say Ex4Model, which just has 2 member variables in it called sum and average, and the corresponding get and set methods for each. This will hold your data.
We can then create the view, lets say Ex4View, which has a method say called render(Ex4Model model) which outputs the stuff you want from the model, in your case the sum and average.
Then you can create the controller, Ex4Controller, which has a method calculate(). Inside it it performs the calculations and feeds them to the model (in this simple example you can just create a new instance of it) and then calls render() on the view.
The rest is for you to join together, this is your homework.

redpajama_set_name: RedPajamaStackExchange


Do you find yourself picking up those small brushes too soon? Do you wish you could see more and different colors in your images? Do some colors scare you? Do you just want to spend time splashing watercolors around with a big brush? This is the class for you.
Kathy Durdin, BBA College of William and Mary, 1977.
Kathy's art education included numerous art history courses in college, as well as basic design, one community college course in watercolor in the early 1980s and a number of workshops recently.
Signature Memberships include: Texas Watercolor Society, Georgia Watercolor Society, Watercolor Society of Alabama, Tallahassee Watercolor Society and Florida Suncoast Watercolor Society.
Click on flyer to print or view.
Predraw an image on whatever watercolor paper you use, no bigger than a half sheet. Arches or another paper that stands up to some abuse preferable.The image needs to have large shapes. Blow up your reference image to 8 1/2'" x 11". If your image has a detail, blow up that detail. Image should have a good composition, and lots of contrast if a face. If the photo when you blow up has started to pixilate, that is a plus. That is where I get a lot of my inspiration on colors.
If you want to preserve whites, make sure that you have applied your masking fluid in advance.
If you need an image, please let me know.
You may want to bring an extra piece of scrap paper to test color or strokes if you are going to be using brushes or colors you are unfamiliar with.
Others you might want to consider. Don't worry if you don't have them – you can try mine to see if you like them.
Opera (holbein) – this is the one color that is critical. I mix it with everything.
Greens are hard. We will be mixing most of ours. Here are some you might want to use.


WHAT DOES R.A.M. MEAN IN ENGLISH?
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The term «r.a.m.» is very widely used and occupies the 3.248 position in our list of most widely used terms in the English dictionary.
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Discover the use of r.a.m. in the following bibliographical selection. Books relating to r.a.m. and brief extracts from same to provide context of its use in English literature.
Ramayana and Mahabharata are the two great epics of India. These two epics have shaped the thoughts and characters of the people of India for centuries.
Full description of a unique find, the bronze ram of a 5th century BC Greek warship off the Israeli coast.
Praise for The Leadership Pipeline "Management Development 101—but only if you have read the book and understood and acted on the processes so clearly articulated. While these are first principles, it is very useful to have them set out.
The Club CSI: kids team up to solve a crime of school spirit gone wrong.
This introductory text covers the basics of polymer chemistry and engineering, as well as structure-property relationships in plastics.
How Can I Help? reminds us just how much we have to give and how doing so can lead to some of the most joyous moments of our lives. From the Trade Paperback edition.
« EDUCALINGO. R.a.m. [online]. Available <https://educalingo.com/en/dic-en/ram>. Apr 2019 ».


Be one of millions calling for climate change action now!
Be one of millions of voices worldwide calling for Action Now on Climate Change.
We're getting urgent action postcards signed for the Prime Minister to deliver in the run-up to the Paris Climate Summit in December.


text:
Feel the Manouche
Manouche is a term derived from the Romany gypsies of Europe, what we in Australia call gypsy jazz.
This fine band has been put together by it's individual members as an exercise in small group swing.
Feel the Manouche has a 'world music' feel. Through it's use of double bass, guitar, accordion & fiddle, the band
achieves a strong melodic groove that can take on gypsy waltzes, swing jazz, choro and many other flavours of music from
our diverse planet. We invite you to sit back and 'Feel the Manouche'.
The return to Colbourne Ave of George Washingmachine on violin, ukelele & vocal, with Arthur Washington on guitar, Clare O'Meara on acccordion, violin & vocal, and Stan Valacos on double bass.
Clare O'Meara
John Harkins / Brendan Clarke
John and Brendan, both steeped in the jazz tradition, great improvisers who have worked together for years, will perform this very rare duet show. 2 sets of Jazz and Bebop compositions, mixed with Standards from the Great American Songbook.
Spike Mason / Matt McMahon
Spike Mason on sax, Matt McMahon on piano. Two great musicians with a long history of playing together and a deep love of improvised music. Matt and Spike can both draw from a huge catalogue of standards and each has a long list of original compositions. It is an important day for me, and I know it will be a perfect night of music.
Judy Bailey Trio
Possibly Australia's most influential living jazz musican, Judy has taught and performed with generations of performers, helping to create the sound and culture of Sydney's jazz scene. It's more than two years since they last played for us, and the ABC has just released a 4CD box set of Judy's recording projects. She will play for us with her long-time trio : Craig Scott on bass and Tim Firth on drums.
STOP PRESS! Tim Firth has injured his arm, so it's another duet!
"Steven Barry, a young New Zealander, has brought his dazzling skills as a pianist and composer to Sydney. He shrugged aside cliche, deployed scintillating articulation, and gave his colleagues such ingenious raw material as the Bartok-inspired Clusters. Boneham's solos were a lesson in how vigour may be harnessed to sensitivity, while Firth layered rhythmic puzzles into the grooves without rendering them academic, and soloed with panache..." John Shand, Sydney Morning Herald
Steve Barry crossed the ditch in early 2009 and has quickly become one of Sydney's most sought-after pianists, having worked with many prominent Australasian and international artists including John Hollenbeck (USA), Theo Bleckmann (USA), George Coleman Jr. (USA), Arun Luthra (USA), Tricia Evy (FRA) and the Jazzgroove Mothership Orchestra.
Joined by the heavyweight rhythm section of Alex Boneham on bass and the incredibly sympathetic Cam Reid on drums, the Steve Barry Trio focuses on lyrical melodies, deep grooves and group interaction, and demonstrates a unique collective rapport.
Steve Barry (piano) Alex Boneham (bass) Cameron Reid (drums)
Fritz Hauser with Synergy
Fritz Hauser is a German improvising drummer - solo drumming, theatre shows, compositions for orchestras and ensembles, architectural projects, dance and film. To get an idea of his scope, you can watch a fantastic concert he performed with 22 percussionists and a massive scaffold : youtube.com/watch?v=iBiEw-5VdDQ. Hauser's music is equally at home in intricate compositions and spectacular improvisations. His work is thought provoking, subtle and highly distinctive, so it's no surprise that synergy has been collaborating with him since 1998.
this concert will feature the sydney premiere of 'second thought', hauser's new marimba trio written for synergy in 2011 as well as some hard-hitting improvisation.
"Fritz Hauser is simply one of the greatest drummers alive" New York Times
synergypercussion.com
fritzhauser.ch
Fritz Hauser
Timothy Constable
Alison Pratt
Steve Barry / Eamon Dilworth
One of those perfect, rare duets that work so well in the Cafe Church space and are almost impossible anywhere else. Following on from Spike and Matt's sax/piano duet, this piano /trumpet duet will provide the perfect environment for these two best mates to bring everything they have to the music. Original, improvised, new Sydney jazz.
Craig Scott and Brendan Clarke
Double-bassists. Double double bass. The gentlemen of the F clef.
It's the last in our explorations of improvising duets, and we're finishing on a low note. Expect the resonant deep tones and sit back and enjoy the vibrations.
You heard it right folks, it's a duo of double bass.
The Magical Mystery Group with Mike Nock
A very exciting one-off performance which we have been hoping to confirm for months:
A Magical Mystery Group with Mike Nock and two unnamed guests ( both recently recorded duo CDs with Mike )
( Clues from Mike )....... Think the legendary Jazz Co-op - Think Monk Pies - Jazz Studies course 1973-76 .......
http://mikenock.com/
Howie Smith
A Friday night gig
Even if you don't know who Hugh Wilson is - you've definitely heard him... his powerful voice has been one of the most used sounds on Australian television - from tv commercials to aussie dramas. He first grabbed the attention of the media with his win of the StarSearch contest ( similar to Australian Idol ) in the early 1990s. He now lives in New York, and when he's not producing albums, he's writing and recording jingles for Sprite and Microsoft, or touring with Lenny Kravitz and AeroSmith.
This concert will be a one time opportunity to hear Hugh in an acoustic and intimate setting - playing his own songs - with long time friends Andrew Massey on drums and Spike Mason on bass. Expect some special guests to sit in too...
http://www.hughwilson.com/
More sculptural than musical,
more conceptual than actual.
It's the Rolling Stones and Stormy Monday,
it's Hot Gossip and the Bad Seeds,
It's Adjective Noun, the free improvising quartet born from a decade of the event known as Free For All. So free that the quartet may have two or four or six members, and may even include the audience. So free that the only rule is that there must not be any rules. A performance directed by an open ritual, developed over years of rehearsals in collaboration with hundreds of musicians and onlookers, refined to create a jazz music unrestricted by the rules of jazz...
Guy Strazz Eastern Blues CD Launch
Guy Strazz: acoustic & electric guitars
Aaron Flower: electric guitar
Hugh Fraser: bass
Toby Hall: drums
Innovative master guitarist & composer, Guy Strazz, is in fine company for the launch of his new CD, Eastern Blues, with players such as Aaron, Hugh and Toby. This synergetic band will present a type of cross-cultural art-music improvisation and composition derived from Latin jazz, funk and Indian music; influences that are integral musical expression of the Strazz World Jazz sound.
Currently completing a PhD on improvisation, his stellar career has seen him perform at national and international jazz festivals and receive APRA, AIR and IAP nominations and an APRA award as well as the Australia Council Music Fellowships. Read more at guystrazz.com, or check the great story while you listen at myspace.com/guystrazzmusic.
Performance time: one set only, followed by CD signing party afterwards
(BYO) anything you like - dinner, snacks, beverages, friends (glasses provided).
We hope that you can join us to celebrate this special occasion.
Spike's Farewell Gig
This will be Spike's last Sydney gig before he moves with his family to Tasmania.
Spike will be joined by long time musical friends Barney Wakeford on piano, Aris Kartsonas on guitar, and Gabe Hons on percussion.
They will be playing their favourite jazz standards, a few original tunes, and completely improvised pieces.
Come along and hang with Spike as he does what he does best, and listen to some great music and a few stories too.
If you're a muso, bring an instrument and sit in with the band. If you're not a muso, I'm sure we'll be able to find a tambourine for you if you like...
Aris Kartsonas
Gabe Hons
Stormgrass
Jedda O'Conner
Matt Poulopoulos
Another great night from John Harkins, the Chicago-born piano player who inhabits the time when Jazz and the Blues weren't different yet. He'll bring us the same swinging vibe he carries wherever he goes, but with all new material and arrangements.
This fine band has been put together by it's individual members as an exercise in small group swing. Feel the Manouche has a 'world music' feel. Through it's use of double bass, guitar, accordion & fiddle, the band achieves a strong melodic groove that can take on gypsy waltzes, swing jazz, choro and many other flavours of music from our diverse planet. We invite you to sit back and 'Feel the Manouche'.
Last week, as i rode my pushie home through the glistening streets, i was thinking about this thing that we create together every thursday night.
A generous community, a warm aesthetic, a space which invites an active engagement with a [ free/sophisticated/intuitive/embodied ] music. A vibe which perfectly marries a beautiful space, an energised audience, and excellent musicians.
Barney and Andrew (that's me) do this without material reward, because Cafe Church allows us to use their space without strings attached, and to attach our own strings might break the magic. It's a lot of work, choosing next week's musicians from the hundreds of great players we know, and letting all of you know about them. But every Thursday night it's worth it.
And as i thought these things, riding up the Annandale rise, i realised that i hadn't written anything for Gavin next week, and that he (like George last week, and Dave MacC who photographed this band the last time they played) is a perfect example of everything we have tried to do. So without further ado, ladies and gentlement, Gavin Ahearn and his incredible trio.
John Blenkhorn trio
John Blenkhorn returns to colbourne ave to do a final trio show before jetting off to Ascona switzerland to play at the jazz festival there with an all australian band featuring emma pask and bob henderson.
John is one of Sydneys finest guitarist and has performed and recorded with the likes of George Washingmachine and US trumpet giant and Harry Connick Jnr band member, Leroy Jones.
Tonight John will perform with Barney Wakeford (piano) and Tom Wade (bass), playing original arrangements of repetoire by Wes Montgomery, Antonio Carlos Jobim, and Kenny Burrell.
Peter Locke Trio
Peter grew up listening to early swing recordings, and by the time he was ten he fell in love with Bunny Berigan's trumpet. He grew up to become a piano player, and there are few musicians today who can move so seamlessly from interpretations of the works of Bix Beiderbecke and Duke Ellington to Be-Bop and beyond.
Yellow Daze Trio (Susan Gai, Carl Dewhurst, Bernie McGann)
this is what i wrote last year, and i can't think of anything better...
Have a look at a video and some photos from their last show here.
And if you still aren't sure... here's an invitation from Susan Gai herself!
Shand's comment is unwittingly correct, given that Bruce Reid's birthplace is the eastern maritime provinces of Canada, the birthplace of Arcadian music. Despite many years in Australia, the influences are still evident. The slide guitarist is The Field's founder and main writer, as well as being a member of Sydney's renowned jazz group The Catholics. He is also guitarist with Oz rock legends, Dragon and worked in that capacity with singer Wendy Matthews for over a decade.
Guitarist John Stuart is an accomplished jazz guitarist, a respected composer and arranger and also a fine steel guitarist (See the Snaketown Rattlers). John is also a fine percussionist and was a member of the great Jackie Orszaczky Band during their historic 6 year residency at the Rose of Australia in Sydney. He is a producer and engineer (Pugsley Buzzard, Kate Rowe) and his studio, Sound Heaven, situated in John's hometown of Wentworth Falls in the Blue Mountains, is one of the busiest in the region.
The Field have two critically acclaimed albums out, a self titled first CD and the second, News From Home, both out on Sydney's prestigious jazz label, Rufus Records. They have just recorded their third release entitled Merle Takes a Holiday - they are not officially launching it until August so this will be a preview of the new songs.
Listen to a few songs here : facebook.com/pages/The-Field/140177029388749
Originally from Indonesia (in 2005, she led her quartet in the Jakarta International Java Jazz Festival) and currently based in Sydney, Pianist Francesca Prihasti is studying under Mike Nock at the Sydney Conservatorium of Music, and comes to Colbourne Ave having recently played with Dale Barlow in his Sidewoman project. Her six piece band featuring drumming dynamo Nic Cecire, Bassist David Groves and guitarist Nic Vardanega, will be playing original compositions and arrangements of standards, imbued with Prihasti's poise and crystaline focus.
Barney Wakeford is a truly innovative pianist and improviser. Catch his trio in the intimate surrounds of Colbourne Ave. Expect the unexpected.
Invenio
Formed by the gifted singer/composer, Gian Slater in 2010, Invenio is large ensemble of improvising and contemporary singers who experiment and extend upon the typical vocal group or choral environment through conceptual composition, extended vocal technique, fluid improvising, choreographed movement and inventive performance. Their debut CD, Gone, without saying, was comissioned by the Melbourne Fringe Jazz Festival. It is a remarkable large-ensemble work. Since then, they have premiered Gian's second large work 'Us and Others', with Speak Percussion (2011).
Invenio have featured in performances with singer/songwriter, Lior and the with the Black Arm Band, Ricki Lee Jones, Mavis Staples, Archie Roach and Joss Stone. In 2011, they performed and recorded for NY pianist/composer, Barney McAll's Graft project.
gianslater.com/invenio-singers/
Gian Slater
Ultrafox
ULTRAFOX EAST COAST TOUR AUGUST 2012
From the musical melting pot of Melbourne comes ULTRAFOX, a three piece combination of musicians that draw their inspiration from the music of Django Reinhardt , among others, and present their music with the spirit , knowledge and experience that is the touchstone of its creation.
Formed over 3 years ago, ULTRAFOX features the sparkling acoustic guitar playing of Peter Baylor and Jon Delaney ,underpinned by the solid swing of Kane Borlase on double bass. The Band presents tunes and songs that have been overlooked by the standard performance repertoire and add their own twist to arrangements of familiar tunes as well as a host of originals. They deliver all this with the driving, muscular acoustic guitar technique of the gypsy swing style .Listeners to the band will be treated to an exciting musical journey with a very swinging dynamic sound.
Well known to Australian and international audiences for his playingand singing in a wide variety of styles such as Western swing, Rockabilly and various jazz styles, Peter Baylor has played professionally since 1980. Some of the bands he has played in include The Dancehall Racketeers,Blue Drag, The Baylor Brothers, Mic Conways Whoopee band, Sweet Atmosphere, The Stringbusters, The Starliners , Doug Parkinson to name but a few in his long career. He has toured overseas to Japan, The United States and Europe on several occasions and has shared the stage and supported international acts such as Bob Dylan, The Stray cats, Robert Plant, Dale Watson, Ronnie Dawson, Mike Compton,Lulo Reinhardt, Wayne Hancock, Deke Dickerson, Flaco Jimenez , Dan Crary and Rosie Flores.
Jon Delany is fast emerging as one of the more gifted and robust guitar players on the Australian scene. A VCA graduate Jon has taken to the gypsy style of playing like he was born for it. He has played extensively throughout Europe and Canada , and in 2011 undertook studies with the great gypsy jazz stylist Fapy Lefertin. His guitar work can also be heard in contemporyjazz combo's in Melbourne as well as "La mavaise Reputation"that plays French chanson as well as gypsy swing among other contempory jazz .
Kane Borlase is in demand for his swinging bass playing and has has a strong track record with some of Melbourne's best jazz and roots based bands such as Duck musique, Ken Shroeder trio and The Brunswick blue shooters.
The band have a new cd out " Chasing Shadows" recorded with some of Australia's finest jazz Musicians including Michael Mcquaid on saxophone and Clarinet, Peter's brother Andy Baylor on violin, and Julie O'Hara on Vocals. It will be available at the gigs. " Beautifully crafted….Unless some other band comes up with something really out of the box this would be my choice for the winning Australian jazz record of 2012" Jane La scala jazz lines www.jazzramble.com
For more information please visit www.ultrafoxswing.com or www.peterbaylor.com or contact Peter at This email address is being protected from spambots. You need JavaScript enabled to view it. or 0430 484 373.
Ultrafox play Colbourne avenue Church café Glebe with special guest Daniel Weltlinger on violin.
Peter Baylor
Jon Delaney
Kane Borlase
Nic Jeffries Quartet
Come farewell everyone's favourite beaming drummer Cam Reid before he heads overseas, and cheer him on with the NIC JEFFERRIES QUARTET, with Jono Brown on bass and Tim Fisher on Piano.
"... this guys KNOWS WHERE IT'S AT!" Kurt Elling, Grammy Award winning Jazz Vocalist
"Nic has that natural groove that draws the audience into a song, to hear Nic is to feel good!" James Morrison, 2012
"... one of a select few who's path to serious recognition throughout Australia as a highly respected Artist is ASSURED!" Peter March, FM99.3
Nic Jeffries
John Maddox with Nadyas 101 candle orchestra
John Maddox, the bass/kazoo player of a hundred bands. He's played a dozen times at Colbourne Ave, he must have spent hundreds of hours busking on King St, and he's played all over Sydney, Australia and the world with Mr Bamboo, Bellyache Ben, Charlie and the Maddox Factory, Djangoholix, Glitch Jukebox, and so many more. But until now he has never recorded under his own name. Come and hear the genius, the inspiration, the amazing, the brilliant, the eccentric, the maestro [i found those words by searching the web for john maddox bass] John Maddox.
yumyumtree.com.au/john-maddox
... and ...
joining him will be one of his most long-term bands, Nadya's 101 Candles Orchestra. Nadya Golski has led this unique gypsy/jazz/pacific/klezmer band to success throughout Australia and Europe. Regularly filling the fabulous room at Qirkz, this will be their first appearance at Colbourne Ave.
nadya.com.au
ps check out this Eastside playlist for a few of John's influences
Nadya Golski
The League of Rosebud
Forged in the searing desert sands of the Persian Gulf, The League of Rosebud has groovy restraint yet bluesy swing - picture Ahmed Jamal, Ray Brown, and Paul Motion in an oasis in Abu Dhabi.
Barney Wakeford on keys, Steve Lee on drums Nick Hoorweg on bass.
and special guest, Con Campbell on sax for the second set.
Con Campbell
Steve Lee
Jimmy The Fish
"I went to the Jimmy The Fish Troubadour concert at this year's National Folk Festival on the strength of Frencham's reputation alone. What I discovered was lovely laidback show showcasing some beautiful bluegrass-tinged folk songs. Liz Frencham is joined in Jimmy The Fish by Robbie Long (Mic Conway, The Lawnmowers) and Pete Fidler (Bluestone Junction, The Somervilles, Bill Jackson) but rather than it being just a folk-festival-supergroup, the band have created a sound that will appeal to fans both new and established.
Fidler's slide guitar is by far the most distinguishing feature of Jimmy The Fish, giving the band their bluegrass/country feel. Add to this Robbie Long's expert guitar skills and Liz Frencham's smooth voice and bass and the group really comes together."
~Timber & Steel folk music blog 2011
Pete Fidler
Mike Nock / Laurenz Pike 'Kindred' album launch
On the piano: a jazz legend, a man who has been at the coalface of Australian improvised music for decades. On the drums: his former student, and a recording artist for one of the world's most prestigious electronic labels alongside the likes of Aphex Twin, Flying Lotus, Autechre and Grizzly Bear.
Two generations of Australian music come together in the music of Mike Nock and Laurenz Pike. It's a musical conversation across the years, united by a commitment to storytelling through improvisation and the tradition of music as a spiritual, emotional, communicative art form.
Come and join these two distinct musicians celebrate the release of this special album in a debut live performance in the round, in the intimate and relaxed space of Glebe's Colbourne Ave.
Janet Seidel "I LOVE A PIANO"
IT'S A WEDNESDAY!
Popular Australian singer and pianist, Janet Seidel has a new and unique Australian tour coming up starting in September. The tour will see her trio perform at venues, large or small, country or city, as long as they have a real piano - that valuable instrument that seems to be joining the list of endangered species. In the not so distant past, musicians plied their trade in venerable community establishments like Town Halls, theatres or Schools of Arts. Often with wooden interiors, suitable for purely acoustic music of any genre, and always possessing a piano, the music could be simply presented, whatever the style.
Having just returned from the best part of 2011-2012 working in the UK and Europe, Janet noticed that an even longer tradition in England seems often to be falling below par, due to the same cause – a common lack of real pianos as they seem to disappear from venues that used to maintain one. So, as a positive show of appreciation Janet's well travelled trio will travel far and wide to showcase the pianos kept with love, by venues with the good taste to keep them on.
Though she is happy to acknowledge the description bestowed by Penguin's Guide to Jazz on CD (UK) as "Australia's first lady of jazz singing", Janet's trio in fact presents quite a variety of the music they love, a happy circumstance, which seems to help reach new fans every time they perform.
Harry Sutherland Trio
Harry Sutherland is one of Australia's most promising young jazz pianists. In 2010 he won the James Morrison Scholarship at the Generations in Jazz festival in Mount Gambier. He recorded a set of music for ABC Jazz digital radio and had a track played on Jazztrack with Mal Stanley. He plays with Geoff Bull and the Finer Cuts, Mike Rivett, Matilda Abraham and A.C.R.O.N.Y.M. Orchestra among many others.
This newly formed ensemble will mainly play Harry's original compositions. It features Thomas Botting on double bass and James Waples on drums
here he is at the ABC with another trio : abcjazz.net.au/features/abc-jazz-recording-harry-sutherland-trio
Ken Allars Trio
Ken Allars is one of Australia's most in demand young jazz trumpeters, performing regularly throughout Sydney with many of the finest musicians in the country. Winner of the 2011 Generations in Jazz Scholarship, Ken has recently returned from a semester on exchange at the Jazz Institute Berlin and is in his final year of study at the Sydney Conservatorium. Last year Ken recorded an album with the Mike Nock Trio Plus, entitled 'Hear and Know'.
Mike Nock has uncovered a formidable talent; a young trumpeter who thinks unique melodic thoughts."
He's playing with Mike at 505 on Wednesday night, and on Thursday you can hear his new trio featuring two of the country's most outstanding young improvising musicians, Tom Wade on the double bass and Finn Ryan on the drums, this trio creates a unique blend of colours and textures through their distinctive compositions and thrilling improvisations.
3+2=5 quintet : Spike Mason
"I only get to visit the mainland every so often, and I really wanted to play some new music with some old friends in my favourite venue. So I called some musos that I like playing with and asked them to come and play. Each person in the group will be writing and arranging new music just for this night so they'll be many beautiful new melodies and harmonies. It'll be a unique and special gig, and I hope you'll enjoy all the sounds as much as I will... Spike"
Mike Kenny - trumpet, flugalhorn
Matt Greubner - double bass
Richard Maegraith - tenor saxophone, bass clarinet
Barney Wakeford - piano,rhodes
Spike Mason - alto and soprano saxophones
The Monday Club + What It Is
Two ensembles from the home of Sandy Evans and Tony Gorman - and it's Tony's birthday!
The amazing improvising ensemble convened by Tony every Monday. The topic of choice is free improvisation and happily the participants like listening as much as playing. The pieces are open fields on which ideas gently intertwine into fascinating sound worlds.
Tony Gorman : alto clarinet
Mary Rapp : cello
Stephen Morley : horn
Boyd : contrabass clarinet
mondayclub.com.au
Three friends with a passion for creative dialogue through music
Neville Whitehead - SASE Bass.
Neville has played with Charlie Munro, Jean Luc Ponty and Sugarcane Harris, Keith Tippett, Gary Burton, Dusty Springfeild, Shirley Bassey, Tony Bennett, Nucleus, Sun Tredder, Caparius and Soft Machine. He has played before the Queen, Spike Milligan and Peter Ustinov to drop but a few names.
www.nevillewhitehead.com
Greg Johns - Drums.
A diverse experience over a quarter century has given Greg a broad palette for his musical expression. From Jazz, African, Latin, Rock and commercial environments Greg's stints within these genre's and beyond perfectly suit the open improvisational expression of What It Is.
Sandy is well known for her work with the Sandy Evans Trio and Sextet, The catholics, the Australian Art Orchestra, MARA! Ten Part Invention, Bobby Singh, austraLYSIS, SNAP, Waratah, GEST8 and Kim Sanders. Sandy has won many Awards including an OAM, AIR Best Independent Jazz Record 2011, Australian Jazz Musician of The Year 2003, and 3 ARIAs.
sandyevans.com.au
Neville Whitehead
Greg Johns
TJ Eckleberg returns from Berlin to Sydney for an intimate solo set showcasing songs spanning his career and work from recently released West & Lime.
A journey spanning twenty years and five independent albums, TJ Eckleberg fuses soulful vocals, jagged guitars and urban grooves with holler blues, poetry and a willingness to push boundaries in independent soul and alternative rock.
In 2012's West & Lime '70s glam collides with cascading tremolo; tape echo bounces from buzz-saw bass and velvet overdrive; raucous organs grind like lovers in the backseat. It's only the end of the world you know, only the end of the world... The guitar trembles and spits between fuzz and uncertainty – is it the end of the world? Or the world we once knew?
West & Lime is available as a free download from http://www.tjeckleberg.bandcamp.com
His recording career spans five independent releases: jazz-tinged Waiting Room (1997); the bright eyed pop of SUPERHYDRATED (2000); tone poem illumineon (2003); soulful When you get down to it (2008); and dirty rock trio West & Lime (2012).
TJ's solo sets are rare, his music is always surprising.
Rory Toomey
It's Good Charlotte and Bad Religion,
it's Crooked Fiddle and the Stiff Gins,
It's Einstürzende Neubauten and the Dirty Three,
read a discussion on our name on Steve Albini's forum
we've got nothing
This Thursday, Barney and AnneMarie and Andrew all have other things to do.
so the doors will be closed, and colbourne ave will be silent.
we encourage you to see the beautiful 1920s Gregory Page (with Liz Frencham) at The Vanguard,
or the very funky Colours Tribute Band at 505
or the gypsy jazz Chasing The Moon at Camelot
or New Orleans piano legend Jon Cleary at the Basement
or hear Kelly Joe Phelps play the blues at Blue Beat
or see what's on at the Kinema (they haven't published their November program yet)
I asked Gavin about the music. He said it'll be more Jackson Pollock than Ken Done.
these guys are heavy.
Floor van der Holst : 1st Floor album launch
This is an exciting event. The first ever performance of new songs from Floor van der Holst upcoming release of her debut album "1st Floor", produced by Philip South.
Floors musical background is an exciting mix of classical singing and piano (The Netherlands), jazz singing (Spain) and Musicology (University of Amsterdam). To describe Floors music is simple. Harmonically the music is driven by vocals. Stylistically the music is driven by the story. Atmospherically the music is percussion driven. Metaphorically the music faces various characters.
Remarkably, it still makes sense.
"1st Floor" travels through many different musical styles. Jazz, Pop, R&B, Western Classical, Latin, Folk, Drum 'n Bass and French Chanson are mapped out, whilst improvisation is the link to making all the styles come together to form Floors style. One could call it Social music, NuJazz, M-Base - if you like TJ Eckleberg you'll like Floor.
www.floorvanderholst.com
Floor van der Holst
Kate Wadey
Meklit Kebrit
Steve Crain album launch
The long awaited album launch of the long awaited debut album from guitarist Steve Crain, featuring
Darren Heinrich (organ/keys),
Richard MaeGraith (sax),
Pete Kohlhoff (bass)
Andrew Massey (drums)
Steve's compositions reflect his love of the Blue Note era, combining catchy melodies, sophisticated harmonies and infectious grooves. Music for your head, hips and heart!
Colbourne Ave Christmas party
We'll drink. We'll play. We'll talk schemes and hatch plans and tell stories of great music that there was and great music to come.
open piano
and i have a bottle of rye whiskey from John C Riley's rider which he has generously donated to our party.
come on down and put your feet up.
Six incredible musicians playing complex yet beautiful compositions influenced by recent developments in improvised music. Blending acoustic and electronic sounds, the band's repertoire is all new pieces written by Daryl especially for these outstanding musicians. Daryl Pratt has been Chair of the Percussion Unit at The Sydney Conservatorium of Music since 1991, and for decades he has worked at the forefront of Australia's new jazz as a memer of AtmaSphere, Synergy, and the Australian Art Orchestra.
Richard Maegraith - saxophones
Daryl Pratt - vibraphone
Listen here : http://www.myspace.com/thedarylprattsextet


Balibu is a simple but challenging game. Play just for fun.
Keep the bird moving through the stick and protect the egg by destroying all flying spikes. Reach your best score and unlock all hidden birds.
Fireworks : Destroy many spikes at same time.
Ice cream : Stop the spikes movement for a while.
Click and hold to stretch out the stick.


A host of new laws changing significant aspects of employment law went into effect this year in California. Of particular importance are amendments made to the laws regarding mandatory paid sick leave, joint liability for independent contractors, and sexual harassment training provided to supervisors.
One of the new laws creates new requirements for employers regarding sick leave. The statute requires employers to provide mandatory paid sick leave to any employee who works for a minimum of 30 days a year. It applies across the board to full-time, part-time, temporary, and seasonal employees.
In particular, employers are directed to allow employees to accrue paid sick leave at a rate of at least one hour for every 30 hours of work. However, employers are permitted to limit their employees' use of paid sick leave to 24 hours, or three days, during the year of employment. Employers can also allow sick leave to carry over to the following year, or can choose to pay any accrued sick leave with an annual lump sum.
If an employer has a total workforce of 25 or fewer employees, including its own workers as well as independent contractors, then the law does not apply. Further, unless the independent contractor supplies the employer with at least six workers, the law does not apply.
Sabotage of a person's work performance.
A single act is not considered abusive conduct unless it was especially severe. The abuse and harassment training must be provided within six months of an employee becoming a supervisor, and must be renewed every two years.
If you are an employer or an employee and want to know how the new employment laws will affect your rights, please contact us or call 408-779-4700 for a free 20-minute consultation with a skilled Morgan Hill business law attorney at The Law Offices of Steven E. Springer, in Morgan Hill, San Jose or Fremont.


"Virginia Penny's New Economic Womanhood." Society for the Study of American Women Writers (SSAWW) Conference. Denver, CO, 9 November 2018.
"Reproductive Professionalism during the Century of Silence." American Studies Association (ASA) Conference. Atlanta, GA, 11 November 2018.
Going Public. Modern Languages Association (MLA) Convention. Chicago, IL, 3 January 2019. (Panel organizer & chair).


 Y. Brenier : Reformulations of some inviscid hydrostatic models, preprint, 1997.
 B. Desjardins, E. Grenier : Derivation of quasigeostrophic equations, to appear in Adv Diff Equ.
 B. Desjardins, E. Grenier : Reynolds.n, a package to compute critical Reynolds number, preprint et http://www.dmi.ens.fr/~grenier.
 E. Grenier : On the stability of boundary layers of Euler equations, preprint, 1998.
 L. Landau, E. Lifchitz : Mécanique des fluides, Mir, 1959.


text:
How to speak up for yourself
Feb 17, 2017 / Adam Galinsky
Yes, it's possible to ask for what you want without coming across as a jerk, says social psychologist Adam Galinsky.
Speaking up is hard to do. I understood the true meaning of this phrase last year, when my wife and I became new parents. After we took our child home from the hospital, we were unsure whether our baby was getting enough nutrients from breastfeeding. We wanted to call our pediatrician, but we also didn't want to make a bad first impression or come across as crazy, neurotic parents. So we worried and waited. When we took him for a checkup the next day, the doctor said our son was pretty dehydrated and she immediately gave him formula. She also assured us that we could always contact her. But when my wife and I were worrying at home, I should've spoken up but I didn't.
Of course, there are times we speak up when we shouldn't. I learned that over 10 years ago when I let my twin brother down. He is a documentary filmmaker, and he received an offer for one of his films from a distribution company. He was excited and inclined to accept it. But as a negotiations researcher, I insisted he make a counteroffer, and I helped him craft the perfect one. And it was perfect — perfectly insulting. The company was so offended, they withdrew the offer, and my brother was left with nothing.
In my work, I've asked people all over the world how they handle the dilemma of speaking up: when do they feel they can assert themselves, when can they push their interests, when can they express an opinion, when can they make an ambitious ask. Through their anecdotes, I've seen that each of us has what's called a range of acceptable behavior. Sometimes we may come across too strong; we push ourselves too much. That's what happened with my brother — making a counteroffer was outside his range of acceptable behavior. When we step outside our range, we usually get punished in a variety of ways. We get dismissed, demeaned, even ostracized. Or we lose that raise, promotion or deal we were asking for.
You can start by asking yourself: "What is my range?" The key thing is, our range isn't fixed. It's dynamic, expanding or narrowing based on the context you're in. However, one thing determines your range more than anything else: your power. Power comes in many forms. In negotiations, it comes in the form of alternatives. My brother had no alternatives, so he lacked power. At the same time, the distribution company had lots of alternatives, so they had power. When we have lots of power, our range is very wide and we have a lot of leeway in how to behave. But when we lack power, our range narrows and we have little leeway. The problem is, when our range narrows, it produces something called the low-power double bind: if we don't speak up, we go unnoticed, but if we do speak up, we get punished.
In order to feel comfortable speaking up and to get what we want, we need ways to expand our range of power. In our work, my colleagues and I have found two things that really matter: 1) You feel powerful in your own eyes; 2) You feel powerful in the eyes of others. When you feel powerful, you feel confident and not fearful, and you can expand your own range. When other people see you as powerful, they grant you a wider range. So we should find and use tools that help expand our range of acceptable behavior.
The first tool — which is sometimes called "the mama bear effect" — was discovered in negotiations through an important finding. On average, at the bargaining table women make less ambitious offers and get worse outcomes than men. However, negotiation researchers Hannah Riley Bowles and Emily Amanatullah both discovered there is one situation where women receive the same outcomes as men and are just as ambitious — when they advocate for others. When they do, they expand their range in their own minds and become more assertive. Like a mama bear defending her cubs, when we advocate for others, we can discover our own voice.
Often, though, we need to be able to advocate for ourselves. In that case, one of the most important tools we have is called perspective-taking. It's really simple — just look at the world through the eyes of another person — and it's one of the most important tools we have to expand our range. When I take your perspective and think about what you really want, you are more likely to give me what I want.
Here's a true story that exemplifies this approach. A man walked into a bank in Watsonville, California. He said, "Give me $2,000, or I'm blowing the whole bank up with a bomb." The bank manager didn't just hand him the money. Instead, she took his perspective and noticed something really important — he'd asked for a specific amount of money. She said, "Why did you ask for $2,000?" He answered, "My friend is going to be evicted unless I get him $2,000." She replied, "Oh! You don't want to rob the bank. You want to take out a loan. Why don't you come back to my office, and we can have you fill out the paperwork?" Her quick perspective-taking defused a volatile situation. Taking someone's perspective allows us to be ambitious and assertive, but still be likable.
There's another way to be assertive and still be likable: signal your flexibility. Imagine that you work at a car dealership, and you want to sell someone a car. You're more likely to make the sale if you give your customer two options; let's say option A is a price of $24,000 and a five-year warranty, and option B is a $23,000 price and a three-year warranty. My research shows when you give people a choice of options, it lowers their defenses, and they're more likely to accept your offer.
This doesn't only work for salespeople — it can work for parents. When my niece was four, she resisted getting dressed and rejected the outfits her mother pulled out for her. But then my sister-in-law had a brilliant idea: What if she gave her daughter a choice of shirts, pants or dresses? It worked brilliantly — my niece made her choice and then got dressed quickly and without resistance.
I've asked people around the world "When do you feel comfortable speaking up?" The number one answer has been "when I have social support." So it helps us to get allies on our side. One way to do that is to be a mama bear. Another way to earn strong allies, especially in high places, is to ask for advice. When we ask for input, people like us because we're flattering them and expressing humility. What's more, it solves another double bind. Known as the self-promotion double bind, it's where if we don't advertise our accomplishments, no one notices; and if we do, we're not likable.
But when we ask for advice in reference to one of our accomplishments, we're seen as competent in other people's eyes — and also likable. This strategy is so powerful it works even when you see it coming. Multiple times in my life, I've been forewarned that a low-power person has been instructed to ask me for advice. Each time, I took their perspective, I became more invested in their cause, and I became more committed to them because they asked me for advice.
Another time we feel more confident speaking up is when we have expertise. Expertise gives us credibility. When we have high power, we already have credibility — we only need good evidence. But when we lack power, we don't have credibility — and we need excellent evidence. We can come across as an expert by tapping into a passion. When we tap into our passion, we give ourselves the courage in our own eyes to speak up, and we get permission from others to speak up, too. Tapping into our passion works when we come across as too weak. Both men and women are frequently punished in the workplace when they shed tears. But researcher Elizabeth Baily Wolf has shown that when we're able to frame our strong emotions as passion, the condemnation of crying disappears for both men and women.
While all of us have been assigned ranges and roles in this world, these roles and ranges are constantly expanding and evolving. So depending on the scenario, be a ferocious mama bear or a humble advice seeker. Have excellent evidence and strong allies. Be a passionate perspective taker. When you use these tools — and anyone can use them — you'll expand your range of acceptable behavior, and you'll always be able to speak up.
Adam Galinsky is the chair of the management division at Columbia Business School. He co-authored the critically acclaimed and best-selling book, Friend & Foe, which distills his two decades of research on leadership, negotiations, diversity, decision-making and ethics.
adam galinsky
How a great conversation is like a game of catch
What a difference a word can make: How a single word can change your conversation
Why we need creative confidence
The secrets to a truly restorative vacation


Lead a healthy lifestyle: Living a healthy lifestyle is not just good for yourself but also for your loved ones. Plus, do you want to spend money on antibiotics or take little care of yourself from now on? The body as they say is the temple where we reside. To stay healthy and fit, we have to work towards a better body and mind.
We don't realize but a lot of times we are dehydrated. In fact, a lot of times we gain weight because we are dehydrated. Our eating and drinking senses are closely related. Sometimes when we are hungry, we are actually thirsty. This is why we overeat, when we should, actually hydrate. Water is also about 60% of your body's makeup. You need fluids to help you steer clear of diseases and flu. So don't ignore water and make sure you drink plenty of it.
Drink enough and sleep enough should be your mantra every day. We all know what happens when you don't sleep enough. You feel tired, you feel weak and then you doze off at your work place. That should not happen. Sleeping will actually get rid of your problems – if that is what is keeping you awake. Many a times people have confessed that they found the solution right after waking up. This could be true because sleep gives you brain some rest. It assorts the "files" you work with everyday, keeping you mental health intact. Don't ignore sleep. Make it a priority.
The effects of meditation are very powerful. Why will you not want to give your mind enough food? Staying peaceful inside and practicing "Zen" all day could lead to harmony in your life. When you have a harmonious life you stress and anxiety will automatically disappear. More and more successful people are meditating nowadays to stay healthy. Meditation literally grows more brain cells. Who knows you might not even need your "to do" list anymore? No matter what your problems, you should meditate to find the answer. Find YouTube meditation videos and do quick 5 minute test to see the difference.
Remember the air you put inside your body is the air that will get stored there. Just a few breaths of fresh air can make your day energetic and jovial. Plus, the free radicals present in the air we breathe tend to get stored in our system. So don't breathe in polluted air. It is most likely to come back and give you some hard time. Many people who live in polluted areas suffer from lung problems. Also you need ample vitamin D to improve your bone structure. But caution is required here because the sun contains harmful UV rays that cause skin cancer. So you need to take in natural air and sunlight – but make sure that your safety is intact.
Most of us don't eat a balanced diet and then we take supplements later. Many of our diseases are caused because we don't take enough nutrients. Take whole foods and vegetables to get the most out of your diet and also to remain healthy and slim. Try to cut loose on processed food and food that are loaded with sugar. Eat more of Vitamin C and anti oxidants such as it. Omega 3 fatty acids are excellent to cut down weight and maintain health. Try to include these as much as possible. Eat meat, dairy products, vegetables and whole foods.
Even if you start off with 3 to 5 times a week, do it. You will get immense benefits from it in the long run. The more you work out, the better your mood remains. You also get blood amply circulated in your body. This reduces the chances of diseases and removes toxins from your system. So you see, exercising is not just for losing weight – it is for remaining fit. You can do this.
Serial No. Tips to remain healthy Why?
1 Drink enough water Water is also about 60% of your body's makeup. You need fluids to help you steer clear of diseases and flu. So don't ignore water and make sure you drink plenty of it.
2 Sleep enough You feel tired, you feel weak and then you doze off at your work place. That should not happen.
4 Breath Fresh Air Just a few breaths of fresh air can make your day energetic and jovial.
5 Eat a balanced diet Many of our diseases are caused because we don't take enough nutrients. Take whole foods and vegetables to get the most out of your diet and also to remain healthy and slim.
6 Workout regularly The more you work out, the better your mood remains. You also get blood amply circulated in your body. This reduces the chances of diseases and removes toxins from your system.


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we're hosting an exclusive Google event on May 13th, and you're invited to join us.
It's a great opportunity to learn from Google experts about how to grow your business.
We'll provide refreshments; all we need is your company.
We'd love for you to come learn with us.
Fred will examine how businesses can navigate online advertising and expand their online presence through smarter insights—leading to greater customer engagement with digital ads.
Matt will discuss the "micro-moments" that guide a customer's decision journey, and how businesses can use online marketing to reach potential customers during the moments that matter most.


Wedding stationery may seem like a minor wedding detail, but it is actually an important part of your overall event concept. Wedding stationery is a couple's first opportunity to delve into the "personal branding" of their big day. Sounds overly serious and corporate? It isn't. Personal branding just means that the engaged couple is closely planning the overall look and concept of their wedding day, and that they are making sure that every aspect of the day is appropriate and recognizable.
Generally speaking, the "save the date" cards are a wedding guest's first glimpse into the style and personal branding of the engaged couple. These are traditionally sent out very early (well before the invitations), making it critical for the bride and groom to develop their personal branding well in advance. For example, if a bride and groom are planning a lush, tropical-themed wedding featuring hot pink and orange flowers and exotic palm trees, the save the date cards should reflect this look. In this instance, sending out sleek black and white save the date cards will not help to build the excitement surrounding the event like theme/color–based ones could.
Color scheme: Be sure the wedding stationery reflects the exact color scheme of your event. Everything should tie together flawlessly.
Font: Be choosy about your font. Fonts have the power to create a mood and a style. Some are fun and whimsical, others are elegant and simple.
Formality: Your stationery should give guests a clue about your event. A beach wedding should have beachy wedding stationery. An elegant black tie affair should have traditional, classically beautiful stationery.
Texture/fabrics: Many couples are now using wedding stationery with a bit of texture, whether it be upscale fabrics, or eco-friendly recycled papers.
Personalized touches: A popular trend is to incorporate personal photographs into the wedding stationery. Use a fun engagement picture on the save the date cards; for thank you cards, pose on the day of the wedding holding signs that say "Thank" and "you!" for an adorably stylish and thoughtful touch.


The Forty Years War: The Rise and Fall of the Neocons, from Nixon to Obama by Len Colodny and Tom Shachtman – just arrived in my mailbox yesterday. Flipped through it today and scanned the index; it looks like a book that would appeal to both "political" bloggers, including Nixon aficianados and the security-defense-foreign policy types who compose a large segment of the readership here.
This year I decided to keep track of all the books I read and see what conclusions I could draw from that experience. I learned a number of interesting things.
First, I did not read nearly as many books cover to cover that I thought I would, though in fairness some of them were a) large and b) 'hard". Those I had to read for a grad program were also tedious in the sense of often being composed in the worst kind of academic jargon being overused to convey relatively simple arguments. That said, I could probably have read more than I did. Partly, the problem was a tight schedule and partly it was a case of my reading time being taken consumed more by blogs, PDFs, email, listservs, e-zines and news. All useful but not the same thing as deep reading provided by books.
Secondly, the variety of reading material was not as diverse as I'd have liked, though that is unfortunately the nature of formal programs of study. By definition they are narrow and drill down. I need to add more science and more literature to my repetoire.
The Anabasis of Cyrus by Xenophon ( Wayne Ambler, trans.).
Charles Cameron has been guest blogging here in a series on radical Islamism and terrorism and is now branching out in to more general posts that touch upon apocalyptic or esoteric religious movements.. A former researcher with the Center for Millennial Studies at Boston University, his most recent essay, an analysis of the powerpoint presentation of Ft. Hood shooter Nidal Malik Hasan, appeared in the Small Wars Journal.
A major writing his thesis for the MMAS degree at SAMS / Fort Leavenworth a couple of years back took for his topic "Strategic Implications of American Millennialism". He wrote about the impact that (eg) the expectation of Christ's soon return to Jerusalem implying that the Israelis should rebuild the Temple on Temple Mount (and thus arguably displace the al-Aqsa Mosque and Dome of the Rock which currently stand there) might have on peace talks in the ME. And he thought that thinking of this kind was a poor foundation on which to build US foreign policy. I imagine he got the degree, since his monograph has been available on the web along with 2,500 others.
This … is an United States Army report about the literal believers of the Bible and how they affect American foreign policy. It is the most dangerous document to believers that I have ever read in my entire life. After reading this document, it is easy to see the next step would be to eliminate our Constitutional rights and herd us into concentration camps.
So a grad student's monograph is being taken for something with the authority of a Field Manual, and thousands of Christians are concerned enough that their government is about to intern them that they read the monograph as strong evidence of that theory.
I don't think we should read the sudden interest in concentration camps for evangelicals as pointing inexorably to some terrifying outcome, but it is becoming part of the scenery. What its impact on military personnel who regard people like McTernan as prophetic voices will be is hard to estimate — but Maj. Stuckert who as far as I can tell is currently deployed to Kabul, is in for a shock when he finds out that a paper he wrote now has him figuring as a principal spokesman for the US Army's preparations to serve the Antichrist. And the same is presumably true for Col. Stefan J. Banach, the Director of SAMS, who is named as "Responsible Person" on the monograph's "Report Documentation Page" — who has already fielded at least one irate phone-call on the subject, and is suggested as a target for such calls by McTernan.
One thing that might really help ease the situation would be for DOD or the School of Advanced Military Studies to post a note attached to Maj. Stuckert's monograph, stating unequivocally that it does not represent Army policy but is one of 2,500 similar theses explored by students in the course of obtaining a degree, and as such presents one student officer's views only.
….Take the example of a single book, Plato's Republic. The book was written in something like the 4th century BCE. Until the discovery of the Nag Hammadi library in Egypt in the 1945 the very earliest manuscript of The Republic that was known to exist was from around 895 CE. The version of The Republic in the Nag Hammadi library dates from something like 325 CE. Assuming that the text that came down to the Founding Fathers was derived from the 895 manuscript (a very bad assumption-it wasn't), the book had been preserved for a half millennium by Christian scribes for Christian purposes.This would be a good point for a digression-within-a-digression about the Arab copyists who preserved many works of classical antiquity but that would be too big a digression. Suffice it to say that these copyists took copies that had been preserved by Christians and preserved them themselves for their own, presumably Muslim, reasons.So The Republic has a history something like this. We don't have a single copy of the work from Plato's time. For six or seven hundred years it was copied by Greek and Roman scribes for reasons we can only guess at. It was then copied for between a half and a full millennium by Christian, Jewish, and Arab scribes for Christian, Jewish, and Muslim reasons.That is the history of every single work from classical antiquity that survived until the time of the founding of our republic. We have, essentially, no idea of the entire body of work produced by the ancients. What was known of classical antiquity at the time of the founding our republic consisted of the buildings that still survived that they had built (often highly modified for Christian use), works of art and other artifacts, classical writings that had been preserved by Christian, Jewish, and Muslim scribes for their own purposes and that, presumably, furthered their agenda, and accounts of classical antiquity from Christian and Jewish writers.That's it.
History is an empirical profession based on standards of evidence – in part. It is also an art of crafting a narrative that can effectively communicate the meaning of the evidence of an event that is known to exist. Leopold von Ranke, one of the founders of the modern historical method, admonished his students that history should explain "wie es eigentlich gewesen ist" ( "Tell it how it really was" or "how it actually has been") and eschew grand theories in seeking causation. These are difficult objectives to balance.
Historians are prisoners of their primary sources. Without them they are theorists or mere speculators. Too few, as with ancient history, and the historian is engaged in the same sort of guesswork as archaeologists and paleontologists or they are reduced to ideological theorizing, something historians are supposed to hold as suspect and as fit only for political scientists.
Too many sources, as with any modern presidential administration, and the sheer number makes it difficult to find critical evidence or draw upon a defensibly representative sample. Ronald Reagan supposedly signed one million documents in his eight years in the White House. True or not, the figure would represent a fraction of what his administration generated. Many documents of great importance are nonetheless not important enough at the time to cross the desk of the President of the United States.
The need to craft a narrative, imposes other restraints. There is no "history" unless the results of a historian's work are disseminated and understood, challenged and defended. Narrative works require the formating of historical events as a story and while this is reasonable in most instances, some periods of crisis are products of chance or a series of small acts that while unrelated, happen to intersect. Imposing a strong narrative frame on these situations is misleading but without the "story" there is no hook attractive enough to secure the attention of the general audience.
This is not to say, as Henry Ford did, that "history is bunk" but rather we need to be aware of the practical limitations under which historians labor. While history is not sociology or philosophy, it is not to be confused with physics.
….Reconciling these competing forces is America's great challenge in the decades ahead, but will be made far more difficult by the growing bifurcation of American society. Of course, this is not a new dilemma: It has actually undergirded most of the key political-economy debates of the past 30 years. But a dysfunctional political dynamic has prevented the nation from addressing it well, and has instead given us the worst of both worlds: a ballooning welfare state that threatens future growth, along with growing socioeconomic disparities.
Both major political parties have internal factions that sit on each side of the divide between innovation and cohesion. But broadly speaking, Republicans since Ronald Reagan have been the party of innovation, and Democrats have been the party of cohesion.
Conservatives have correctly viewed the policy agenda of the left as an attempt to undo the economic reforms of the 1980s. They have therefore, as a rhetorical and political strategy, downplayed the problems of cohesion – problems like inequality, wage stagnation, worker displacement, and disparities in educational performance – to emphasize the importance of innovation and growth. Liberals, meanwhile, have correctly identified the problem of cohesion, but have generally proposed antediluvian solutions and downplayed the necessity of innovation in a competitive world. They have noted that America's economy in the immediate wake of World War II was in many ways simultaneously more regulated, more successful, and more equitable than today's economy, but mistakenly assume that by restoring greater regulation we could re-create both the equity and prosperity of that era.
The conservative view fails to acknowledge the social costs of unrestrained economic innovation – costs that have made themselves powerfully apparent in American politics throughout our history. The liberal view, meanwhile, betrays a misunderstanding of the global economic environment.
…. The level of family disruption in America is enormous compared to almost every other country in the developed world. Of course, out-of-wedlock births are as common in many European countries as they are in the United States. But the estimated percentage of 15-year-olds living with both of their biological parents is far lower in the United States than in Western Europe, because unmarried European parents are much more likely to raise children together. It is hard to exaggerate the chaotic conditions under which something like a third of American children are being raised – or to overstate the negative impact this disorder has on their academic achievement, social skills, and character formation. There are certainly heroic exceptions, but the sad fact is that most of these children could not possibly compete with their foreign counterparts.As the lower classes in America experience these alarming regressions, wealthier and better-educated Americans have managed to re-create a great deal of the lifestyle of the old WASP ascendancy – if with different justifications for it. Political correctness serves the same basic function for this cohort that "good manners" did for an earlier elite; environmentalism increasingly stands in for the ethic of controlling impulses so as to live within limits; and an expensive, competitive school culture – from pre-K play groups up through graduate school – socializes the new elite for constructive competition among peers. These Americans have even re-created the old WASP aesthetic preference for the antique, authentic, and pseudo-utilitarian at the expense of vulgar displays of wealth. In many cases, they live in literally the same homes as the previous upper class.
Because strategic performance must involve the ability to decide, to command, and to lead, as well as the capacity to understand, there are practical limits to what is feasible and useful by way of formal education in strategy. The soldier who best comprehends what Sun-tzu, Clausewitz, and Thucydides intended to say, is not necessarily the soldier best fitted to strategic high command. It is important to distinguish between intellect and character/personality. The superior strategist is ever uniquely a product of nature/biology, personality/psychology, and experience/opportunity. Nonetheless, formal education has its place.
Strategic genius is rare, strategic talent is more common, though still unusual. The latter can be improved by formal education, the former most probably cannot. However, there is merit in the educational aspiration to help educate instinct for a better performance.
That is not to say that the Marine Corps hasn't produced brilliantly intellectual officers. Pete Ellis, the eccentric but brilliant mastermind who not only predicted war with Japan 20 years before it was fought but had the foresight to provide the operational plans to win it, is one Marine who comes to mind. Victor "Brute" Krulak, an enormously influential Marine whose book, First to Fight, is required reading by every Marine, is another. More recently, the intellectual talents of LtGen P.K. Van Riper and Gen James N. Mattis have had enormous impacts on the Marine Corps. We have brilliance within our ranks; that is inarguable. What we do not have, however, is a systemic way to develop and educate officers to a level consistent with our Army, Navy, Air Force, and coalition counterparts.
Lesson 2: We are overly sanguine about how close our information and intelligence sources approximate reality.
The second lesson from the global financial crisis is that economists thought their limited data accurately reflected reality. Famously, many of the financial houses in New York quantified their risk positions using algorithms that "assumed away" the very conditions that led to the crisis. In addition, as blogger and CNBC commentator Barry Ritholtz has noted, many of the actions that precipitated the crisis were hidden even to the most careful observers; what was in essence a "run" on the world's largest financial institutions didn't occur in the physical world-it happened as people pulled the virtual plug on their investments in the privacy of their own homes.
In AD 998, two young men living nearly 200 miles apart, in present-day Uzbekistan and Turkmenistan, entered into a correspondence. With verbal jousting that would not sound out of place in a 21st-century laboratory, they debated 18 questions, several of which resonate strongly even today.
Are there other solar systems out among the stars, they asked, or are we alone in the universe? In Europe, this question was to remain open for another 500 years, but to these two men it seemed clear that we are not alone. They also asked if the earth had been created whole and complete, or if it had evolved over time. Time, they agreed, is a continuum with no beginning or end. In other words, they rejected creationism and anticipated evolutionary geology and even Darwinism by nearly a millennium. This was all as heretical to the Muslim faith they professed as it was to medieval Christianity.
Few exchanges in the history of science have so boldly leapt into the future as this one, which occurred a thousand years ago in a region now regarded as a backwater. We know of it because a few copies of it survived in manuscript and were published almost a millennium later. Twenty-six-year-old Abu al-Rayhan al-Biruni, or al-Biruni (973-1048), hailed from near the Aral Sea and went on to distinguish himself in geography, mathematics, trigonometry, comparative religion, astronomy, physics, geology, psychology, mineralogy, and pharmacology. His counterpart, Abu Ali Sina, or Ibn Sina (ca. 980-1037), was from the stately city of Bukhara, the great seat of learning in what is now Uzbekistan. He made his mark in medicine, philosophy, physics, chemistry, astronomy, theology, clinical pharmacology, physiology, ethics, and even music. When eventually Ibn Sina's great Canon of Medicine was translated into Latin, it triggered the start of modern medicine in the West. Together, the two are regarded as among the greatest scientific minds between antiquity and the Renaissance.
Before sending them to war, the Corps puts units through a pre-deployment exercise called "Mojave Viper" at Twentynine Palms, Calif. The simulated battle gives marines a chance to test their cognitive decision-making skills against live actors who role-play tribal leaders, civilians and insurgents. With the digital trainer, "we can better prepare the unit or leader for that live exercise through some of these other tools, and give them an opportunity to rehearse and remediate through numerous repetitions," said Lt. Col. Dave Lucas, program manager of Combat Hunter.
….The interactive program walks students through a number of scenarios in which they are asked to interpret what is going on and to look for clues that can tip them off to potential threats. For example, if troops are arriving in an area for the first time, they can look at the townspeople's body language to learn about their attitudes. Details such as whether they are standing in an open or closed posture, exposing the soles of their feet – an insult in many Middle Eastern cultures – or making eye contact are subtle but crucial signs of friendliness or hostility.
Rosalio Reta, also known as "Bart," worked for Miguel Treviño, the second in command of Los Zetas, one of Mexico's most powerful criminal organizations. Based in Nuevo Laredo, Triveño oversaw the movement of drugs through his city into the Texan city of Laredo and destinations beyond, across the eastern half of the US.
Reta likely never met Treviño, but did spend enough time in the bars of Nuevo Laredo to meet one of Treviño's recruiters, someone on the lookout for young American kids interested in earning a little money on the side. Reta, however, was not hired to work as a mule, the most common job for new recruits. He was hired to kill; and as court documents revealed, he killed for the first time when he was 13, in 2000 or 2001.
As he grew into his assassin role, eliminating targets for Treviño on both sides of the border, Reta began earning between $5,000 and $50,000 a hit. He sometimes received a bonus – a kilo or two of pure cocaine – and at the very least received a $500 weekly retainer fee just so he was available when his Mexican handlers called.


text:
Q: Why can't add file handler with the form of self.fh in the init method? os and python info:
uname -a
Linux debian 5.10.0-8-amd64 #1 SMP Debian 5.10.46-4 (2021-08-03) x86_64 GNU/Linux
python3 --version
Python 3.9.2

Here is a simple class which can start multiprocessing.
from multiprocessing.pool import Pool

class my_mp(object):
    def __init__(self):
        self.process_num = 3
        fh = open('test.txt', 'w')
    def run_task(self,i):
        print('process {} start'.format(str(i)))
        time.sleep(2)
        print('process {} end'.format(str(i)))
    def run(self):
        pool = Pool(processes = self.process_num)
        for i in range(self.process_num):
            pool.apply_async(self.run_task,args = (i,))
        pool.close()
        pool.join()

Initialize the my_mp class,then start multiprocess.
ins = my_mp()
ins.run()
process 0 start
process 1 start
process 2 start
process 0 end
process 2 end
process 1 end

Now replace fh = open('test.txt', 'w') with self.fh = open('test.txt', 'w') in my_mp class and try again.
ins = my_mp()
ins.run()

No output!Why no process start?
>>> from multiprocessing.pool import Pool
>>>
>>> class my_mp(object):
...     def __init__(self):
...         self.process_num = 3
...         fh = open('test.txt', 'w')
...     def run_task(self,i):
...         print('process {} start'.format(str(i)))
...         time.sleep(2)
...         print('process {} end'.format(str(i)))
...     def run(self):
...         pool = Pool(processes = self.process_num)
...         for i in range(self.process_num):
...             pool.apply_async(self.run_task,args = (i,))
...         pool.close()
...         pool.join()
...
>>> x = my_mp()
>>> x.run()
process 0 start
process 1 start
process 2 start
process 2 end
process 0 end
process 1 end
>>> class my_mp(object):
...     def __init__(self):
...         self.process_num = 3
...         self.fh = open('test.txt', 'w')
...     def run_task(self,i):
...         print('process {} start'.format(str(i)))
...         time.sleep(2)
...         print('process {} end'.format(str(i)))
...     def run(self):
...         pool = Pool(processes = self.process_num)
...         for i in range(self.process_num):
...             pool.apply_async(self.run_task,args = (i,))
...         pool.close()
...         pool.join()
...
>>> x = my_mp()
>>> x.run()
>>> x.run()
>>> x = my_mp()
>>> class my_mp(object):
...     def __init__(self):
...         self.process_num = 3
...         fh = open('test.txt', 'w')
...         self.fh = fh
...     def run_task(self,i):
...         print('process {} start'.format(str(i)))
...         time.sleep(2)
...         print('process {} end'.format(str(i)))
...     def run(self):
...         pool = Pool(processes = self.process_num)
...         for i in range(self.process_num):
...             pool.apply_async(self.run_task,args = (i,))
...         pool.close()
...         pool.join()
...
>>> x = my_mp()
>>> x.run()
>>>

Why can't add file handler with the form of self.fh in the __init__ method?I have never called the file handler defined in __init__ in any process.

A: The problem:
Stdlib multiprocessing uses pickle to serialize objects. Anything which needs to be sent across the process boundary needs to be picklable.
Custom class instances are generally picklable, as long as all their attributes are picklable - it works by importing the type within the subprocess and unpickling the attributes.
The issue is that the object returned by open() is not picklable.
>>> class A:
...     pass
...
>>> import pickle
>>> pickle.dumps(A())
b'\x80\x04\x95\x15\x00\x00\x00\x00\x00\x00\x00\x8c\x08__main__\x94\x8c\x01A\x94\x93\x94)\x81\x94.'
>>> class A:
...     def __init__(self):
...         self.fh = open("test.txt", "w")
...
>>> pickle.dumps(A())
TypeError: cannot pickle '_io.TextIOWrapper' object

In the first case, the multiprocessing pool still works because fh is just a local variable and it's deleted as soon as it's out of scope, i.e. when the __init__ method returns. But as soon as you save this handle into the instance's namespace with self.fh = open(...), there will remain a reference and it will need to be sent over the process boundary.
You might think that since you've only scheduled the method self.run_task to execute in the pool, that the state set from __init__ doesn't matter, but that's not the case. There is still a reference:
>>> ins = my_mp()
>>> ins.run_task.__self__.__dict__
{'process_num': 3,
 'fh': <_io.TextIOWrapper name='test.txt' mode='w' encoding='UTF-8'>}

Note that calling ins = my_mp() runs the __init__ method in the main process, and ins.run_task is the object which gets sent over the process boundary.
Solution:
There is a third-party library which provides a drop-in replacement for the stdlib multiprocessing Pool - pip install pathos and replace the multiprocessing import with:
from pathos.multiprocessing import Pool

pathos uses dill, a more powerful serialization library than pickle, so it is able to serialize the objects returned by open(). Your code should work again without any other changes. However, you should beware that each worker process will not know about other processes writing bytes to self.fh, so whichever worker writes last may overwrite data written earlier from some other process.

A: I did some investigation, but it does not fully answer the question. I am going to post the results here in case if they help somebody else.
First, if the subprocess fails, there is no traceback. So I added the additional line to display the output of subprocesses. It should be None if no errors occur. The new code:
        for i in range(3):
            res = pool.apply_async(self.run_task, args=(i,))
            print(res.get())

The output
Traceback (most recent call last):
  File "C:/temp/LeetCode-solutions/multithreading.py", line 43, in <module>
    mp.run()
  File "C:/temp/LeetCode-solutions/multithreading.py", line 19, in run
    self.multiprocessing()
  File "C:/temp/LeetCode-solutions/multithreading.py", line 30, in multiprocessing
    print(res.get())
  File "C:\Program Files\WindowsApps\PythonSoftwareFoundation.Python.3.8_3.8.2800.0_x64__qbz5n2kfra8p0\lib\multiprocessing\pool.py", line 771, in get
    raise self._value
  File "C:\Program Files\WindowsApps\PythonSoftwareFoundation.Python.3.8_3.8.2800.0_x64__qbz5n2kfra8p0\lib\multiprocessing\pool.py", line 537, in _handle_tasks
    put(task)
  File "C:\Program Files\WindowsApps\PythonSoftwareFoundation.Python.3.8_3.8.2800.0_x64__qbz5n2kfra8p0\lib\multiprocessing\connection.py", line 206, in send
    self._send_bytes(_ForkingPickler.dumps(obj))
  File "C:\Program Files\WindowsApps\PythonSoftwareFoundation.Python.3.8_3.8.2800.0_x64__qbz5n2kfra8p0\lib\multiprocessing\reduction.py", line 51, in dumps
    cls(buf, protocol).dump(obj)
TypeError: cannot pickle '_io.TextIOWrapper' object

It seems that the program gets the file object as part of the argument to self.run_task. The error has a long history on StackOverflow, but the best explanation IMO is here:
https://discuss.python.org/t/use-multiprocessing-module-to-handle-a-large-file-in-python/6604
I didn't find why having an attribute that is file object makes all the attributes of the class file objects, but I hope that unveils some mystery.
Final test: the following code works as expected
from multiprocessing.pool import Pool
import time

class MyMP(object):
    def __init__(self):
        self.process_num = 3

    def run(self):
        self.fh = open('test.txt', 'w')
        pool = Pool(processes=3)
        for i in range(3):
            res = pool.apply_async(run_task, args=(i,))
            print(res.get())
        pool.close()
        pool.join()
        self.fh.close()

def run_task(i):
    print('process {} start'.format(str(i)))
    time.sleep(2)
    print('process {} end'.format(str(i)))


text:
Net Neutrality - How a Verizon Lawyer Gave Away the Internet To Verizon and Jammed Up Your Porn Hobby - Episode 13
In this episode Matt and Tony dive deep into the insanity of Net Neutrality in light of the latest change in regulations.
Under the theme of "Neutered Neutrality" Matt delves into the history of monopolies with phone companies as a precedent and touch on all the players, including the impact of reversing the law.
Holiday Laws - The War on Christmas and other Holiday Laws - Episode 12
Learn what holiday law is all about
•Learn how the Jewish culture celebrates holidays.
Explore the things people consider putting up during office holiday celebrations
On this week's episode, Matt and Tony deep dive into some of the craziest and darkest parts of the legal history of the United States....
Animal Cruelty - We Used to Put Them on Trial! - Episode 11
Learn what animal cruelty law is all about
•Learn ALDF's landmark cases
Discover what the Animal Welfare Act of 1966 entails
On this week's episode, Matt and Tony deep dive into some of the craziest and darkest parts of the legal history of the United States. Matt is a recovering Big Law...
Divorce Law - Reno - Divorcetown, USA - Episode 10
On this week's episode, Matt and Tony deep dive into some of the craziest and darkest parts of the legal history of the United States. Matt is a recovering Big Law attorneyturnedcomedian with a passion for legal history, while Tony has no legal background whatsoever – except for a few minor brushes with the...


text:
José Ignacio Gutiérrez Cataluña, nacido el 1 de diciembre de 1977 en Valencia, fue un ciclista español que fue profesional de 2000 a 2007. Es hermano de los  también ciclistas profesionales  José Enrique Gutiérrez y de David Gutiérrez.

Palmarés
2004 (como amateur)
 1 etapa de la Vuelta a Extremadura
 1 etapa del Circuito Montañés

Resultados en Grandes Vueltas y Campeonato del Mundo
Durante su carrera deportiva ha conseguido los siguientes puestos en las Grandes Vueltas y en los Campeonatos del Mundo en carretera:

-: no participa
Ab.: abandono

Equipos
 L.A. Aluminios-Pecol (2000-2001)
 Kelme-Costa Blanca (2002-2003)
 Phonak Hearing Systems (2005-2006)
 LPR (2007)

Referencias

Enlaces externos
 Ficha de José Ignacio Gutiérrez Cataluña en sitiodeciclismo.net

Ciclistas de España
Hermanos ciclistas
Deportistas de la provincia de Valencia
Nacidos en Valencia

redpajama_set_name: RedPajamaWikipedia