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text:
Dr. No (1962)
4 suggested corrections
Directed by: Terence Young
Starring: Bernard Lee, Jack Lord, Joseph Wiseman, Lois Maxwell, Sean Connery, Ursula Andress
Genres: Action, Adventure, Bond, Thriller
Suggested correctionsAdd a plot summarySignificant datesTitles starting with D
Trivia: Sean Connery started going bald when he was 21. In 'Dr. No' (he was 32 then) and any subsequent movies in which he has hair, he was actually wearing a hair-piece.
Suggested correction: Contrary to popular belief, Sir Sean Connery was not wearing a hairpiece in his first two outings as James Bond. Although he was already balding by the time Dr. No was in production, he still had a decent amount of hair and the filmmakers used varying techniques to make the most of what was left. By the time of Goldfinger (1964), Connery's hair was too thin and so various toupees were used for his last Bond outings.
Factual error: When Professor Dent tries to shoot Bond at Miss Taro's and Bond is waiting for him in the darkened room, the 'Walther PPK' that Bond is busily screwing the silencer onto, at the beginning of the scene, does not have an external hammer, and is therefore not a Walther at all. It's a Browning 1910 .32 calibre. (00:55:10 - 00:56:35)
Suggested correction: Correct to say it's not a PPK, but it's not a Browning either - in a close up one can see the Beretta logo on the grip.
First off, it is certainly not a Beretta. That's not the Beretta logo (3 arrows), but it's the Fabrique Nationale logo (stylized FN). Plus the Beretta has an external hammer and the gun in question does not. It is indeed a Browning 1910 (which is manufactured by Fabrique Nationale. Finally, it is not necessary to submit a correction for mistakes that are accurate but have one or two words wrong (not that this mistake had any words wrong).
Continuity mistake: When Bond leaves the hotel to go to Governor's House he has no pocket square. At Governor's House he has his pocket square. Then in the next scene at professor Dent's, the pocket square is gone again. (00:25:30)
Suggested correction: There is a considerable amount of time between these scenes. Enough time to add or remove the pocket square.
Ssiscool
Revealing mistake: Bond, Quarrel, and Honey are supposed to be walking through a saltwater river and yet none of them seem to react when coming out of the water with their eyes open so obviously it's fresh water used in the river. (01:15:10)
jbrbbt
Suggested correction: Freshwater... river.
More for Dr. No
Revealing mistake: When James Bond has a spider on his arm, one can see he's under a glass plate, and the spider on top of the plate. (00:41:55)
More mistakes in Dr. No
James Bond: Good evening, sir.
M: It happens to be 3 a.m. When do you sleep, 007?
James Bond: Never on the Crown's time, sir.
More quotes from Dr. No
More trivia for Dr. No
Question: Bond is very picky about having a martinti, shaken not stirred. If he drank a martini that was stirred, not shaken, would he be able to tell the difference?
Answer: Actually, yes, he would. The key to a vodka martini, Bond's preferred tipple, is that it should be served ice-cold. By shaking the drink, the ice cubes have a better chance to swish around the whole drink than they would if it was only stirred. It apparently also has the effect of dispersing the ingredients better, giving a different taste to the drink. In the spirit of scientific experimentation, some friends and I tried the drink both ways in a blind taste test a while back - it makes a surprising difference.
If you shake it, it turns cloudy.
Answer: Shaking also causes more melting of the ice resulting in a milder, if watered down, taste suited to Bond's sophisticated palate.
Answer: We tried that as well on several times and on many various evenings. There is a serious difference.
More questions & answers from Dr. No
Mistake & trivia booksMost popular pagesBest movie mistakesBest mistake picturesBest comedy movie quotesMovies with the most mistakesNew this monthFriends mistakesMax Payne trailerAce Ventura: When Nature Calls mistakesRob Lowe movies & TV showsAce Ventura: When Nature Calls quotes10 Things I Hate About You plotThe Addams Family endingA.I. Artificial Intelligence questionsAbout Last Night... triviaAlien mistake pictureMore for Dr. No
When Bond is involved in a high-speed chase on the way to Miss Taro's house, his wheels are squealing like crazy, but he's on a dirt road.
Because Dr No's lair is underwater, you can see fish swimming through the windows. However, an error was made when using footage of fish so they look larger than they should. In order to get around this, they added in dialogue where Dr No explains how the window works like a magnifying glass.

redpajama_set_name: RedPajamaCommonCrawl


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After a couple of dope releases already in 2019, Alchemist is not letting off the pedal as temperatures flare. Judging by social media posts, it's about to be an ALC summer. The Los Angeles, California-based veteran has one of his coveted "Craft Single 45s" on the way. This installment of the... Read more
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Home > District Highlights > "Moral Courage" as Lens for Holocaust, WWII Studies
"Moral Courage" as Lens for Holocaust, WWII Studies
by SOCSD Communications | Mar 14, 2022 | District Highlights
"The Holocaust teaches us about the worst of humanity and also humanity at its finest. We learn from history," explained Holocaust Museum & Center for Tolerance and Education educator Linda Suss to Jennifer Grennan's fourth-grade class this morning.
Suss, along with fellow HMCTE educators Dina Daniels and Sally Kagan, met with Cottage Lane Elementary School's fourth grade classes today as part of their current ELA unit. Over the past week, students have read picture books "The Yellow Star: The Legend of King Christian X of Denmark" by Carmen Agra Deedy and "The Whispering Town" by Jennifer Elvgren and have begun a study of Lois Lowry's Newbury Medal-winning novel, "Number the Stars."
HMCTE educators introduced the concept of "moral courage"–"when you take a risk you do not have to take"–and asked students to reflect on the books they have read, which are set during the Holocaust. The educators noted that those who had demonstrated moral courage and risked their lives are called "the Righteous Among Nations."
Fourth-graders were highly engaged in the discussion and eager to point out their observations:
"In 'The Whispering Town,' the whole town came together to help Jews escape."
"People in the town had to trust each other to save people's lives."
"They were willing to risk their lives because they knew that even if they died, they had helped as much as they could."
Through a series of interactive exercises, students were encouraged to reflect on moral courage in a variety of scenarios. "This visit is really important because the additional insight and information from experts on this topic mirror what we are teaching in the classroom and magnify the importance of this time period," Grennan noted. "It extends learning beyond history so that students can take their thinking about moral courage and apply it to their own lives today."
HMCTE educators met with CLE teachers last week in preparation for today's lesson, as a follow-up to the District's Social Studies Leadership Team meeting visit to the HMCTE in December. "The Leadership Team meeting provided an opportunity to develop a partnership with HMCTE and connect our fourth-grade ELA unit with moral courage and character education and make it relevant for our students," said Principal Karen Ramirez.
Today's lesson at CLE was the first in a series of curriculum-aligned events planned for this year. South Orangetown Middle School eighth-graders and Tappan Zee High School tenth-graders will travel to the museum this spring to enrich multidisciplinary studies of the Holocaust and World War II.
"Eighth-grade social studies will cover the Holocaust during our World War II unit. We use primary sources such as an excerpt from Elie Wiesel's 'Night,' as well as accounts of the Warsaw Ghetto uprising and many other primary sources. ELA classes focus on the Holocaust by reading 'The Diary of Anne Frank.' The museum will help bring the topic to life for the students," SOMS Eighth Grade Social Studies Chair Ron Scherer reported. "It also has a huge impact on our character education program. The themes and concepts covered in this trip such as moral courage, responsibility, and tolerance are constantly reinforced here at SOMS. The experience from this trip will transcend all subject areas and help to bring new understanding of the importance of creating and maintaining a positive and inclusive learning environment where all students feel safe, welcomed and accepted."
"As part of the tenth-grade World History curriculum, students analyze the events of the Holocaust as well as the actions and inactions that led to the horrific events. In addition, we examine the implications in the aftermath as we are constantly looking to make connections to other events. The visit is even more timely given the tragedy currently unfolding in Ukraine," said TZHS Social Studies Team Leader Scott Silver.
Pictured: HMCTE educators with CLE students in Jennifer Grennan's and Christopher Viola and Camille Viola's fourth-grade classes.


Design, documentation, project management and contract administration of civil and structural projects (commercial buildings, light industrial structures, civil engineering services).
Assessment of structural design and founding conditions for housing projects in a parastatal environment. Research into quality assessment systems for housing.
Design, documentation and construction supervision of civil engineering services to townships.


We present the first determination of the galaxy luminosity function (LF) at z ~ 4, 5, 6, and 7, in the rest-frame optical at λ_(res) ~ 900 nm (z' band). The rest-frame optical light traces the content in low-mass evolved stars (~stellar mass—M*), minimizing potential measurement biases for M*. Moreover, it is less affected by nebular line emission contamination and dust attenuation, is independent of stellar population models, and can be probed up to z ~ 8 through Spitzer/IRAC. Our analysis leverages the unique full-depth Spitzer/IRAC 3.6–8.0 μm data over the CANDELS/GOODS-N, CANDELS/GOODS-S, and COSMOS/UltraVISTA fields. We find that, at absolute magnitudes where M_z' is fainter than ≳-23 mag, M_z' linearly correlates with M_(UV, 1600). At brighter M_z', M_(UV, 1600) presents a turnover, suggesting that the stellar mass-to-light ratio M*/L_(UV, 1600) could be characterized by a very broad range of values at high stellar masses. Median-stacking analyses recover an M*/L_z' roughly independent on M_z' for M_z' ≳ -23 mag, but exponentially increasing at brighter magnitudes. We find that the evolution of the LF marginally prefers a pure luminosity evolution over a pure density evolution, with the characteristic luminosity decreasing by a factor of _5x between z ~ 4 and z ~ 7. Direct application of the recovered M*/L_z' generates stellar mass functions consistent with average measurements from the literature. Measurements of the stellar-to-halo mass ratio at fixed cumulative number density show that it is roughly constant with redshift for M_h ≳ 10^(12) M⊙. This is also supported by the fact that the evolution of the LF at 4 ≾ z ≾ 7 can be accounted for by a rigid displacement in luminosity, corresponding to the evolution of the halo mass from abundance matching.
© 2017 The American Astronomical Society. Received 2016 November 24; revised 2017 March 26; accepted 2017 May 10; published 2017 June 28. We are appreciative to Adriano Fontana for a very helpful referee report that greatly improved this paper. M.S. would like to thank Adriano Fontana for constructive discussions. M.S. and R.B. are grateful to Karina Caputi, Yuichi Harikane, Michele Trenti, and Stuart Wyithe for helpful feedback on an advanced draft of this manuscript. This work is based on data products from observations made with ESO Telescopes at the La Silla Paranal Observatory, under ESO programme ID 179.A-2005, and on data products produced by TERAPIX and the Cambridge Astronomy Survey Unit on behalf of the UltraVISTA consortium. This work is based on observations taken by the CANDELS Multi-Cycle Treasury Program with the NASA/ESA HST, which is operated by the Association of Universities for Research in Astronomy, Inc., under NASA contract NAS5-26555. This work is based on observations taken by the 3D-HST Treasury Program (GO 12177 and 12328) with the NASA/ESA HST, which is operated by the Association of Universities for Research in Astronomy, Inc., under NASA contract NAS5-26555.


CC always come on upon start up!?
B8 avant roof spoiler on B5?
1.8t post cat oxygen sensor replacement tips..
KW Coilover up to $200* Factory Mail In Rebate & SUPER SALE!!!! - JULY 2013 only!!!
dual in tank fuel pump setup. anyone done it?
USP Motorsports presents | 1.8T Ignition Service Kit SALE!!!
BBS LM 18x8.5 et40 all around, what size spacers do i need?
Help needed! Sun roof malfunction and am stumped.
Anyone here still fixing LCD screens??
Safest Way To Permanently keep A4 off of the ground?
need a new key, what are my options?
Putting new engine in, I have questions!
Worth keeping the S4 brakes or sell them and do a simple a8 rotors + tt carriers?
USP Motorsports | KW Coilover Sale for your B5 A4 with Free Shipping!
2.8 30V - Cut open bottom of muffler? Does it sound good?
:: ECS Tuning :: B5 A4/S4 Heavy Duty Tie Rod Ends by Meyle.
710n Diverter valve on stock car?
2000 Audi a4 Avant 1.8t - Need help please.
Audi A4 Avant 1.8t Gas Mileage.
podi - "Scratch & Ding" sale starts July 8 and save $40.00 off a pod or package!
Oil and coolant mixed. How to clean the systems?
ID This Radio and how to remove it???
:: ECS Tuning :: B5 Seat Guide Repair Kits!
Will '99 sedan fenders fit a 1998 Avant??
***The DD BT build*** When life smacks you in the face!
Can I reset Drive Cycle by just driving?
1998 Audi A4 2.8 quattro A/C Problem!
Air Conditioning Compressor High pressure relief valve BLEW!!!!
VMR Wheels | V713 Split 5-Spoke Wheels IN STOCK!
Can a coolant mixture of 40/60 make the car over heat?
1.8T Frankenturbo w/ supporting mods > 2.0T Transverse FWD Stage 2+ ?
1.8 ATW 200k. Rebuild or Replace?
Need help with this connector!!!
2.8 30V Automatic Pulled: What Engines Will Fit Back In?
Will Followers/Lifters in Rebuilt Engine "Pump Up"?
2.8 30V Clutch Kit - does this kit look like the right one?
Running an external cooler on a tiptronic?
GIAC software specials on site at Waterfest 2013 through Forge Motorsport!
Who sells stock length and extended lug bolts that do not have chrome plated threads?
Broken part, no idea what it is.
ICM 4A0 905 351... dumb question?
2001 A4- speaker acting up.
My first Audi need advice from other knowledgeable owners please!
Got burnt on our recent purchase. Now what to do?
Oxygen Sensor Replacement (front) - How?
Unknown sensor hanging from engine.
Best timing belt kit from ecstuning?
podi - Waterfest 19 this July 20/21 and find our friends for free swag!
:: ECS Tuning :: Alzor Style 621 for Your Audi - 57.1 Fitment!!
Need opinions on possible future car.
V6 Overheating issues. Advice needed!
newbie question sorry in advance!!
"Brake Pads Worn" Indicator came on- how much time do I have?
USP Motorsports | Waterfest 19 - Get Wet Sale!!
OEMplus: APR Summer Sale in effect!
p0118 Code Coolant Temperature Signal Too high???
misfires and no throttle response.
Don't even know, no gas going through?
Noise...possibly brake or axle related?
Will s4 bummer fit a4 ?
A4 1.8T B5, Going through hell!
2001 A4 1.8t Quattro manual swap!
Anybody out there with chip exhaust test and downpipe?
Can anyone tell me where I can find the factory key ring?
:: ECS Tuning :: B5 A4 1.8T RA4 Conversion Clutch Kits!!
Something is missing! Can anyone help me?
What to look for when buying a B5????


Auto Trader Your business? Error?
Creative Crafts Publishing Your business? Error?
Cross Stitch Gallery Your business? Error?
Herne Bay Gazette Your business? Error?
In The Buff Magazine Your business? Error?
Kent & Sussex Courier Your business? Error?
Kent Connexions Your business? Error?
Kent Regional Newspapers Ltd Your business? Error?
Kentish Ways Magazine Your business? Error?
Machinery Classified Your business? Error?
Newspaper publishers in Kent towns.


text:
Q: Using Raspberry Pi3 as Lora gateway I'm trying to use Pi3 as my LoRa gateway with sx1276 LoRa modules.
The module with sx1276 chip and single channel connect via SPI interface.
Test with Arduino are work great. Both send and receive are success.
But there's some problem when I was trying to connect Raspberry Pi3.
The source code [node-sx127x][1] is from Gitub, it is a install by npm and node.js.
So far seems good and the sender.js run great on my Pi3, the data will be received by Arduino code.
But the receive.js could not receive any data from any nodes!
The register process seems good, because the Pi will print "open success" after it catch the SPI and Lora module!
I've been tested the frequency and bandwith from sx127x.js, it is available when I change the value.
And both of sender.js and receive.js are using the default value from sx127x.js.
So I'm not sure what's the problem.
The modules I used are sx1276. I've tried two modules but the result are the same.
enter image description here
enter image description here

A: I would recommend you to take a second RaspberryPi to ensure your problem isn't in the Arduino. If the Pi-Pi connection works you have to look into the arduino script. Otherwise your pi is not working.
You could also try Arduino-Arduino connection.
could you post your Arduino send script

redpajama_set_name: RedPajamaStackExchange


text:
REVIEW: Judas Priest – Turbo 30 (2017 deluxe 3 CD set)
JUDAS PRIEST – Turbo 30 (2017 Sony Legacy 3 CD set)
It is sheer delight to see Judas Priest's once maligned Turbo to finally see some vindication. There was a time this album was shied away from completely. They played no tracks from it on the 1990-91 Painkiller tour. In 1990, Priest finally pulled themselves out of a slide into dangerously commercial territory. For a long time, Turbo was considered a musical detour that did more harm than good. However the frost thawed quickly and Priest began to put the title track back into the set around 2001 for their Demolition tour with Tim "Ripper" Owens. Today there is no longer any shame in cranking Turbo while hoisting a tall cool one.
The 30th anniversary edition of Turbo contains a freshly remastered edition and two live discs. The sound is greatly improved from the 2001 version from the Priest Re-masters series. As you can see by the waveform below, the 2001 version at bottom was a victim of the "loudness wars", and much of the dynamic range was lost by pushing it to overdrive. The 2017 version at top has more peaks and valleys. The new version wins for overall for having more warmth.
What the 2017 version does not have are the two bonus tracks included on the Priest Re-masters version. They were a live version of "Locked In" (which would be somewhat redundant here) and an unreleased studio track called "All Fired Up" which sounds like a Ram It Down outtake. For a complete review of Turbo and these bonus tracks, please refer to our review of the Turbo 2001 CD edition. The rest of this review will focus on the two live CDs inside Turbo 30.
The Fuel For Life tour that followed Turbo was one of Priest's biggest. Their stage featured a riser that "transformed" from a race car to a robot that would lift Glenn Tipton and KK Downing in the air with its claws. It was commemorated by an album (Priest…Live!) and a separate home video from a concert in Dallas, Texas. This new double live comes from a show in Kansas on May 22 1986. It is 100% superior to Priest…Live! by every measure and could supplant that 30 year old album in your collection.
The set list varies a little from Priest…Live! but hits the same key tracks. The ballsy synth ballad "Out of the Cold" still opens the set, a brave move even in 1986. It is certainly the most unexpected of all Priest's openers, so bravo. "Locked In" is restored to its spot in the set; it was not on Priest…Live! A version from an unknown concert (the liner notes are vague) was on the prior edition of Turbo as a bonus track. "Locked In" isn't a major track but still important due to its place as part of the "Turbo Lover" music video duology. This live version is the best yet, loaded heavy with plenty of guitar thrills not present on the studio original. From there it's on to "Heading Out to the Highway", nicely in the pocket. Rob Halford's screams are ferocious. Next is the march of the "Metal Gods", another version far more lively than the one on Priest…Live! Seems there is much less mucking around with the recordings this time.
"Breaking the what? Breaking the what? Breaking the what?" It's that silly yet tried and true song intro. Post-British Steel, you just can't have a Priest live concert without "Breaking the Law". But always remember, that in the dead of night, "Love Bites". From 1984's Defenders of the Faith, "Love Bites" was very different for Priest but still a set highlight. (Incidentally, British Steel and Defenders of the Faith are the other Priest albums that had recent triple disc deluxe editions with live albums.) Then more from Defenders: Two killers in a row, "Some Heads are Gonna Roll" and "The Sentinel". Two songs that fans never tire of, and some credit must be given to the mighty guitar duo of Tipton and Downing. Their trade-offs are sublime, and Halford curdles the blood.
Back into new material, "Private Property" was one of Priest's more obvious grasps for a hit. It's far from a must-have, but better at least than the version on Priest…Live! A mere five minutes later you will be transported to the "Desert Plains", a Point of Entry deep cut that was excluded from Priest…Live! It is far faster live and stay tuned for a long voice-shredding breakdown by Halford. (Rob was clean at this point in his life. Rob Halford recommends vocal rest between shows, menthol eucalyptus gum, and herbal tea to maintain a strong voice.) A frantic "Rock You All Around the World" from Turbo ends the first disc with a filler track that is again better here than on the prior live album.
Screaming for Vengeance brings the fury for disc two, "The Hellion" (taped intro) and "Electric Eye" bring the focus clearly back to heavy metal, just in time to go for a spin with "Turbo Lover". This song is now a beloved classic, finally appreciated for its sharp songwriting and adventurous production. Downing and Tipton pushed synths into heavy metal in a big way, but with integrity and ingenuity. Better run for cover indeed, and fast…for next is "Freewheel Burning", a natural for keeping with the theme of turbos and the like.
As the disc roars to its close, we are treated to some serious historic Priest. The oldest track is "Victim of Changes", from the immortal Sad Wings of Destiny (1976). This most dramatic of Priest compositions is always welcome in the set, yet was not on Priest…Live! probably to avoid overlap with 1979's Unleashed in the East live album. This one boasts a blazing hot guitar solo and some of Rob's most impassioned wailing. This stretches out for nearly nine minutes of pure metal brilliance at its most vintage. But the vintage metal gift-giving is not over, because "The Green Manalishi" (1979's Hell Bent for Leather, via Peter Green's Fleetwood Mac) delivers the greatest of all riffs.
It's nothing but the hits from there: "Living After Midnight", "You've Got Another Thing Coming", and "Hell Bent for Leather", the standards that everyone knows. "Another Thing Coming" is stretched out with Rob's annoying back-and-forth with the crowd, but it is what it is. "Heavy metal communication", he calls it. Nobody is buying this CD for another version of that song anyway.
"You don't know what it's like!" So get this package, the triple CD set, and you will!
For Superdeke's amazing review including some tidbits about who the drummer(s) on this live album really is (are), check it out: superdekes.wordpress.com/2017/02/06/judas-priestlive-in-kansas-city1986
Posted in Reviews and tagged deluxe edition, glenn tipton, hard rock, heavy metal, ian hill, Jonathon Valen, judas priest, kk downing, remaster, rob halford, Sony, Tom Allom, turbo, Turbo 39 on March 27, 2017 by mikeladano. 29 Comments
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REVIEW: Judas Priest – Ram It Down (Remastered) →
Cory Melancon says:
Excellent review
Thank you Cory!
Heavy Metal Overload says:
Really want this. I listened to some of the live set online and it sounded great. Just want it to come down in price a little…
When it comes down, then make it your own Private Property!
Although it's too bad you can't really sell your old copy to raise the funds.
Wouldn't want to anyway. It'd leave a gap in the box set!
Ah true that. Same reason I kept Screaming for Vengeance.
Great writeup and thanks for the link Mikey! Its a fantastic release! Tons of Judas!
It's Plenty o' Priest!!
Yes your reveal about the drummer situation was too important to exclude! I'm not surprised at all, but it is weird that Priest still won't talk about it even though Holland has been gone for 27 years.
Totally wierd! Wonder if the hidden drummer is going to hunt after some kind of royalty since his Drumming is on the live portion of the deluxe!
Great review Mike. I've always loved this album – their Eliminator.
Well put. That's as close as they come to Turbo, though Priest were obviously doing it with metal rather than blues.
Weirwolfe says:
It's never been a favorite but this edition of Turbo is really good. The packaging is superb and the live stuff is spot on. I seem to remember an interview with Priest in Kerrang bemoaning the fact that bands like Twisted Sister and Bon Jovi were getting gold records and they weren't. Hence the shift towards Metal Lite. I always loved Reckless though.
You're right, I recall interviews like that with similar content. I guess they didn't see Twisted's huge commercial decline coming…
I'm all for more warmth. Lovely looking set!
It really is! I miss the original album art. One more reason to keep the original.
For sure. I have an original LP of this one…
I don't think I have it on vinyl though I do have just about all the other 80s albums!
Great work and these guys look pretty cool in that top shot.
I wanted Halford's jacket. I may even have written proof of me wanting that jacket.
We can all dream of having such a jacket.
Excellent review, Mike. As I mentioned over at Deke's, the album itself didn't appeal to me, but the live stuff sounds pretty brilliant and worth picking this up for. Like HMO, I'd likely nab it when the price comes down.
The album itself is a nostalgia thing, I think that's pretty hard to shake. Hard to listen to it with new ears when you've loved it 30 years.
The live portion is indeed fantastic, it makes you wonder why they went and put out Priest Live when they had better stuff on tape!
I have a few albums like that. It's near impossible to take it in as if it's all new (remastered or not).
I'd imagine most bands have all their shows taped. Or most of them… keep them for the pension fund!
And why not, it's so easy today. No "tape" required. I'm sure most bands also have someone recording video every night. I would…
Dillon says:
Ouch, those remasters look hot. Look at the original DADC CD press I have from 1986.
http://dr.loudness-war.info/album/view/90724
The 2001,
http://dr.loudness-war.info/album/view/131874
And the 2017,
This is why I keep the super quiet originals.
This album gets too much grief. Strong songwriting, they kept all the good ones for this album which is probably why Ram It Down is so hobbled. Turbo's got the melodic goods. Dave Holland looks totally out of his element in all that '80s leather though. RIP.
Hey Dillon! Thanks for the awesome comment. You're right that both remasters are rather hot, the 2001 especially so.
Do you tend to keep doubles of albums in cases like this?
I have always said Turbo is special and unique. I cannot think of another album that sounds like it.
I'm kind of a weirdo, I really don't like buying the same album twice. I spring for the originals if they're not too expensive, and I've got some rare discs because of that. I was tempted with this set though because the bonus disc is a live show from Kansas City at Kemper Arena (which is in Missouri), where they recorded The Ultimate Ozzy, and pretty close to where I grew up. So that's why I bought this one, because of how close to home that show was. I didn't get to see it in '86 though. Didn't have the dough, was young and broke.
I do audio mixing as a hobby, and I've read up quite a bit on the recording process and always enjoyed reading about how the records were made. I found the sound on many albums to be as interesting to me as the actual music. Mike Shipley was an early hero. I've got auditory synesthesia that produces visual results, and I've found that being able to visualize music in that way has always helped me in my mixing decisions. So as far as remasters go, I'm pretty sensitive about the tweaking.
A pen pal of mine is Barry Diament, he's a mastering engineer that worked for Atlantic Records and mastered some really cool original CD pressings. He was a huge inspiration to me, and has plenty of enlightening stories and is very generous with his time and information. He mastered the quite a few of the original CD pressings of albums by Led Zeppelin, Guns N' Roses, AC/DC, Yes, Genesis, the Tuff Gong Bob Marley discs, U2, Tesla Yes, etc.
Here's a compiled list of his discography the guys at Steve Hoffman's forum whipped up.
http://forums.stevehoffman.tv/threads/essential-barry-diament-masterings-part-2.220334/page-14
Anyway, he told me interesting stories about his days working as the first dedicated CD mastering engineer at Atlantic (there were a few before him, but none specialized in CDs), starting in 1983 and leaving in 1987 to form his own company. He told me Atlantic used to supply him with production copy tapes. Meaning when they used to produce vinyl before the days of digital, they'd create these safety copies of the master tapes to use for mass production so that they didn't screw up the original tapes. These tapes were altered by vinyl mastering engineers who did things to the signal to make it easier to cut the lacquer, but did not have a positive effect on sonic quality. Processes like compression, EQ'ing out the tip top of high end, and the lowest low end, and folding the bass frequencies into mono. The last one is sorta confusing, but just imagine them processing the signal so that everything under say, 100Hz, is being presented in mono instead of stereo. Many people say that humans are bad at telling which direction bass frequencies are coming from, so the making these frequencies mono would be unnoticeable, but I disagree. So does Barry. I can hear a difference. I think it mucks up the center of the sound, and obviously decreases the stereo field.
Anyway, when CD's were invented they no longer needed to worry about creating production copies. All you would theoretically have to do is transfer the original master tapes over to a digital format for mastering, therefore no quality loss and the original tapes aren't damaged. Back then, masters for CD's were stored for production on digital 3/4-inch u-matic video tapes. However, the label out of wanting to create a product that sounded "more like the record" instead of taking advantage of the potential of this new format, they supplied him with these safety tapes that had already been worn down for mass production of the vinyl, and already processed with these methods that decreased fidelity to make it easier to cut the lacquer on vinyl. I assume that most labels did something similar, which is why original pressing CDs are sometimes described as thin. There are notable exceptions where Barry had the original tapes, and some of those are noted on the Hoffman site. Phil Collins debut album Face Value was issued on CD using copy tapes by some dude before Barry. This would have been around 1983, because I have a Japanese pressing with this mastering. In 1984, the disc was secretly remastered. These remasters were surprsingly common back then. The catalog wasn't changed, the bar code was the same, the only difference was in matrix numbers in the inner circle of the disc. They gave Barry Diament the original master tapes to remaster Face Value on the down low. The results were so jarring to Phil, that he said the difference was "night and day".
Despite some claims to the contrary, compression is not necessary in mastering. Barry never used compression, and still doesn't to this day. He will not squash a record. In fact, he bypassed listening through a console out of concern that it would color the sound, distorting what he heard. He wanted to be completely neutral, so he brought his own cables into Atlantic Studios and brought the studio monitors out into the middle of the room so there would be no frequency buildup having them against the wall. EQ would be the only adjustments that he'd make.
After he formed his own company, he demanded the original tapes, leading to such great sounding discs as Appetite for Destruction and Tesla's The Great Radio Controversy.
Anyway, the point of that long winded post was to say that even though I'm not fond of remasters, CD's have rarely lived up to their full potential in the past. I have the original Columbia/CBS pressings of all the Priest albums up to and including Painkiller, the Repetoire Records Rocka Rolla, and the RCA Sad Wings. I've been meaning to get a better Sad Wings, there doesn't seem to be a great CD version. The RCA is not compressed, so that's why I picked it, but the EQ is kinda wonky. I went in there and tampered with it myself though.
If you have any fidelity questions, I'm not sure if you can see my email, but hit me up if you can. If not I'll give it to ya. Love your reviews, Mike. Hope I can be of some service around this place!
aitor says:
Drummer is Dave Holland… don't get people confused… thing is there was supposedly a drummer backstage playing in certain parts on an electronic drum kit to enhance the sound.
Not supposedly. They did have a second drummer. See Deke's web site for all the details.


text:
Raducanu pocketed $2.5 million for winning the U S Open
Raducanu is Great Britain's first female major champion in more than 40 years, and she has potential global appeal, as she holds Canadian citizenship, speaks Mandarin and has parents from Romania and China. She already has an apparel contract with Nike and a racquet contract with Wilson, and she can be sure that more brands will be calling.
The 2021 U.S. Open women's draw routinely showcased the sport's biggest stars, as 12 matches were played between Top 20 players, the most in a major since 2012. In the end, though, it was the sport's next star, unseeded 18-year-old Emma Raducanu, who stole the spotlight from all of them.
Raducanu became the first qualifier to ever make a Grand Slam final, much less win the trophy. She did so without losing a set, gaining more than 1.24 million Instagram followers in the process.
Raducanu came to New York City with roughly 400,000 followers on the platform, helped by her breakthrough performance at Wimbledon earlier this year when she advanced to the fourth round before retiring due to breathing difficulty. She more than quadrupled her total in just 14 days, amassing more new followers than all players who made the fourth round of the men's and women's draws combined.
The best way to accumulate followers at the U.S. Open is to win, and Raducanu proved just that. She dwarfed runner-up Leylah Fernandez's impressive gain of roughly a quarter million, who in turn more than doubled the next-highest player. Despite entering the tournament with just 16,000 followers, the 19-year-old Fernandez now has 273,000, not far from the counts of the top two ranked players in the world, Aryna Sabalenka (289,000) and Ashleigh Barty (371,000).
Last year, Osaka was the highest-grossing female athlete in the world by earning $50 million in endorsements, more than all active athletes other than Roger Federer, Tiger Woods and LeBron James. Raducanu will hope to achieve similar, sustained success on the court as Osaka, who has racked up four major titles in the past four years, in order to match her financial success off the court.
Raducanu pocketed $2.5 million for winning the U.S. Open, increasing her career prize money winnings nearly tenfold. Even though she has yet to win a WTA match outside of Grand Slams, one talent manager suggested that she could earn $100 million next year from sponsorships.
Novak Djokovic Sends Wishes to Raducanu and Medvedev Following Their US Open Triumphs
Serena Williams takes a horse drawn carriage around New York City with husband


text:
Jojo Rabbit's Humanism Lifts Parody of Nazi Germany
By Samuel R. Staley
Some critics dismissed the Oscar-nominated dark comedy Jojo Rabbit for making light of the evil embedded in Nazi Germany when the movie was released in October 2019. Hitler and National Socialism were, after all, existential threats to freedom and liberty throughout Europe, much of North Africa, and the Middle East until they were finally vanquished in May 1945. But New Zealand director Taiki Waititi's (Hunt for the Wilderpeople, What We Do in the Shadows, Thor: Ragnarok) irreverent parody of one of the most perilous times in modern world history is worthy of its six Academy Award nominations, including those for Best Picture, Best Adapted Screenplay, and Best Supporting Actress.
Indeed, comedian and satirist Waititi should be credited for his faith in his audience's ability to understand the deeper humanism that anchors the story. Waititi has, largely successfully, provided a different window from which to view the brutality of National Socialism. Rather than take an adult perspective, he uses the lens of a young boy, Johannes "Jojo" Betzler (Roman Griffin Davis).
Jojo is struggling to find his own heroic self in a dystopian time. All he has known is totalitarianism, racism, and state myth-making. At just 10 years old, he has been completely taken in by the myth-creating propaganda of the Nazi regime. Jojo fantasizes about being the model German citizen and warrior. Jojo even has an imaginary friend in the persona of Adolph Hitler (played by Taika Waititi) who encourages and coaches him along. Jojo's single mother Rosie (Scarlett Johansson, Marriage Story, Iron Man 2, Lucy) let's him indulge in his heroic aspirations. Although she knows the brutality of National Socialism, she also realizes that their lives would be in jeopardy if anyone suspected anti-Nazi sympathies.
When an accident at his Hitler Youth camp leaves Jojo maimed and disabled, he is forced to forego further training as a soldier and do the bidding of the German army officer in charge of his town, Captain Klenzendorf (Sam Rockwell, Richard Jewell, Three Billboards Outside Ebbing, Missouri, Vice). Dismayed but undaunted, he continues to commit himself to the cause. When Jojo discovers Elsa (Thomasin McKenzie, Leave No Trace), a Jewish girl hiding in his home, his worldview and his fantasies must confront sobering realities.
Importantly, Jojo's imaginary Hitler is no goose-stepping dictator who projects his authority through the cool precision and determined leadership depicted in Nazi propaganda films. Rather, Jojo's Hitler mirrors what he imagines his own father would be if he were at home with his loving mother rather than fighting in the war: understanding, supportive, and encouraging.
As Jojo experiences more life, confronts the challenges to his worldview created by Elsa, and bears witness to Nazi brutality, he must also confront Hitler and Nazi ideology if he wants to break free and become the man he aspires to be. Indeed, the changing nature of Jojo's relationship with Hitler (and by extension Nazism) is a central part of the story. To miss this evolution is to miss the heart and soul of the movie.
Jojo Rabbit authentically attempts to grapple with the horror of totalitarianism by combining comedy with a coming of age story. Jojo Rabbit earns its place at the Oscar table. While it faces stiff competition from other excellent films released in 2019—most notably Parasite, The Irishman, Joker, and 1917 – Waitiki's parody holds its own because the story is anchored in a universal humanism that ultimately undermines Nazism and similar authoritarian regimes.
2020 Oscar nominations for JoJo Rabbit:
Best Supporting Actress (Scarlett Johansson)
Samuel R. Staley is a Research Fellow at the Independent Institute and Managing Director of the DeVoe L. Moore Center in the College of Social Sciences at Florida State University. The above originally appeared at the Independent Institute.
Shegottawideload February 4, 2020 at 9:15 PM
You cant be more wrong. This was a hackneyed attempt at putting a childs face on the events of the German downfall and make light of the boys misguided loyalty that was either driven by his clueless comprehension of the situation or his blind crush on a Jewish girl at his mercy. At best its deplorable and insulting like much of directors films.
Only Joker was a bigger steaming pile of crap than this mess!


Earthpaste began because we couldn't find a natural toothpaste we loved for our families. We wanted a toothpaste that was as natural as possible, so we started with hydrated Redmond Clay and added Xylitol, essential oils, and Real Salt. And that's it. Earthpaste is amazingly natural toothpaste. Earthpaste's list of ingredients is unique, but the things we left out are just as important. Most brands of toothpaste contain foaming agents like SLS (sodium lauryl sulfate), and chemicals like titanium dioxide to make the paste bright white. Not Earthpaste. It isn't just safe to swallow -- each ingredient in Earthpaste has been used to support healthy systems.


One of the things that fascinates me about the heritage of the Coca-Cola Company is all the unexpected stories about our Company and brand. For years, we had an item in the Archives listed as "Airplane Wallpaper." I knew the general story that the wallpaper was hand painted by noted Georgia artist, Athos Menaboni, but I recently ran across this article in one of our internal magazines about the award winning plane and crew. Download The Wind Ship article from Coca-Cola Refresher.
There are a few other bits of trivia from this story. Athos Menaboni was selected to paint the wallpaper because Robert W. Woodruff was a huge fan of his work. Woodruff used a Menaboni bird painting for his Christmas card every year for decades. The second is that the plane's name, "The Wind Ship" was a clever play on Robert Woodruff's middle name, Winship. Finally, we had a section of the wallpaper framed and it is on display at the Aviation Services office for the Company.


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The World's Most Expensive Liquors
If you happened to come into a lot of money or are you just plain rich, what better way to spend it then on drinks that only a few can buy. maybe a shot of tequila for $3.5 million? yeah, million!
1: Armand de Brignac Midas: $200,000
Owned by hip hop artist Jay-z, this massive 30-liter bottle will get any party started
2: Bombay Sapphire Revelation: $200,000
This Gin is unbelievable good, but the bottle is the real star here, there are five unique designs to this liquor featuring baccarat crystal and adorned with diamonds and sapphires
3: The Dalmore 62: $215,000
This is the most expensive whisky in the world, this liquor spends 62 years in a cask before it was bottled, that's how rare it is
4: Royal Salute Tribute To Honour: $215,000
The bottle is again the thing to notice here, over 400 white and black diamonds cover this bottle, and oh yeah, the whisk is damn good too after being aged for 45 years
5: The Macallan 64 Year Old in Lalique: Cire Perdue: $460,000
One of the most iconic scotch brands in the world, this specific liquor is in a one of a kind bottle and the whisky is also aged for 64 years making it one of the rarest whisky's around
6: DIVA vodka: $1 million
Vodka for $1 million ? are you crazy? Well, it is made with natural spring water, triple distilled and filter through charcoal before being filtered through sand that was made from diamonds(what?!) also the center of the bottle is closed and full of colorful diamonds
7: Henri IV Dudognon Heritage Cognac Grande Champagne: $2 Million
One of the rarest Cognac in the world, this "drink" was aged for 100 years! The bottle is equally impressive with over 6,000 diamonds and 24 carat gold cover
8: Pasión Azteca, Platinum Liquor Bottle by Tequila Ley: $3.5 Million
The most expensive tequila in the world, this " drink" is mainly expensive for its bottle, with over 6,400 diamonds to boost up its price and a 4-year-old Tequila inside
(2015, June 26). The World's Most Expensive Liquors. The Awesome Daily. Retrieved from http://theawesomedaily.com/the-worlds-most-expensive-liquors/


Hope everybody had a good weekend and everyone celebrating Thanksgiving had a good long weekend. We had a quiet Thanksgiving dinner at home and had family come over and stay with us on Friday and Saturday. Sunday was as usual, scrambling to get everything together before the week starts; shopping, laundry, mopping, cleaning etc.
This quick Chinese lunch came together in matter of minutes as we came home late from our shopping trip with grumbling tummies on Sunday. I didn't use a lot of soy sauce or other seasonings and the final dishes tasted mild, so if you want some kick to the dish, add seasonings as per your taste.
These dishes go to this month's IVAW: Chinese going on at Vaishali's site Holy Cow.
Heat 2tbsp oil in a sauté pan or wok; add ginger & garlic and sauté for 30 seconds.
Next add all the veggies and stir fry on medium-high flame until crisp tender, about 6-8 minutes. In the meantime prepare the noodles according to package directions.
Once the veggies are tender, add soy sauce, chili sauce, salt & pepper. Finally add the noodles and toss them together. Serve hot.
I served the noodles with Sautéed eggplant in Black bean sauce. I had an eggplant dish from a Chinese take out in a mall and I absolutely loved it. Eggplant was creamy inside and the sauce was sooo yummy, I was thinking the whole I ate how to make it at home. I couldn't figure it out and couldn't find any recipes online, so if any of know how to make take-out style Eggplant dish, please leave a comment, I'd (or my tummy) really appreciate it. Coming to this recipe, it's very simple with sautéed eggplants in store bought black bean & garlic sauce base.
Heat 1tbsp oil in a wok or sauté pan; add ginger & garlic until fragrant.
Next add onions and sauté until translucent.
Now add eggplant and stir fry on medium flame until eggplant is tender.
Add the black bean sauce, sugar, chili sauce, salt & pepper along with ½ cup of water. Le t the sauce come to a boil and simmer for 3 minutes.
Mix 2tsp water in cornstarch in a separate bowl and add it to the pan. Simmer for 2 minutes and serve hot with noodles or fried rice.
Delicious dishes together, gorgeous vegetable noodles PAvani..
Beautiful pics. And i would love those noodles.
Oh, noodles and stir-fried eggplant, that is culinary heaven as far as I am concerned! I was thinking that the take-out spicy taste comes from a black bean and garlic sauce but then you have already used that in your recipe.
I don't know which one I would want to eat first– those delicious-looking noodles or that yummy eggplant. Two perfectly lovely dishes. Thanks, Pavani!
delicious combination.. the eggplant itself can be a meal!
Looks delectable Pavani! Wish I can have that bowl of noodles right now!And I love your serving bowls too!


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Fashion Contrast
Stylized Minimalist Woman's Fashion Painting, 'Fashion Contrast'
With head high and shoulders back, two women walk proudly down the street. Copper wire becomes hoop earrings in this bold composition by Gordon Amponsah. "Contrasting colors, well blended, are seen as color blocking in fashion," the Ghanaian artist says.
He presents the painting in a Manila board mat.
Made in Ghana
Acrylic and copper wire on chipboard
Arrives unframed
Mat included
Matting: 38.5 cm W x 50.5 cm H
Matting: 15.25" W x 20" H
Painting: 30 cm W x 43 cm H
Painting: 11.75" W x 17" H
Paintings People and Portraits Paintings Cubist Paintings Paintings Acrylic Paint Paintings Blue Paintings Multicolor Paintings Primary or Jewel Colors Paintings Yellow Paintings
Artfully crafted by Gordon Amponsah from West Africa.
Gordon Amponsah
"I believe that art serves as a means of individual expression and a potential visual expression of the African continent."
"At any given time, it has been difficult and challenging to tell what is under the long system of African art and culture.
"I was born on the 23rd of December, 1980 at Accra, in the Greater Accra Region of Ghana. Indeed art has been part of my life, not merely a desperate move to find alternative means to supplement my income and generally improve my finances. My interest in art came naturally after I graduated from the Bishop's Mixed Junior Secondary School in 1996. At the time I decided to pursue a career in art simply as an act of improving my financial situation. As a former student of Ghanatta College of Art, I have always painted in searing colors that communicate the heart of the African Diaspora. I paint with simple shapes that accumulate weight through repetition, thereby creating dynamic images. I am currently an art researcher, an art diplomat at the Ghanatta College of Art, and a member at the Loom Limited and Artist Alliance. My works can be found in public and private collections, in Africa, Europe, and other places.
"When I paint I try to capture the essence of the subject rather than the image itself. This can be noticed in the figurative painting of my market scenes, durbar, and various collections. I believe that art serves as a means of individual expression and a potential visual expression of the African continent."
This item was handmade in West Africa. At a UNICEF-supported school in Chad, children fleeing conflict are able to get an education.


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Rome Program
Visualization 1
Interview with Deborah Saunt
Deborah Saunt, founder of London-based DSDHA, is the Saarinen Visiting Professor at Yale this Fall semester. She will give a lecture on November 9th.
Nina Rappaport How did you come to work for Colin St John (Sandy) Wilson on the decades-long British Library project and then for MJ Long, as she was starting her own practice?
Deborah Saunt When I finished my postgraduate degree at Cambridge, there was a tradition of Sandy hiring a few graduates, so I started to work on the British Library, which had been conceived before I was. It was one of the few major public buildings being constructed at the time, and there I discovered this amazing person called MJ, who was instrumental in the library's design. Many of us want to correct the history books to refer to it as Sandy Wilson and MJ Long's collaboration. She was working at a time when the boys got the recognition. I was MJ's first hire when she started her practice and was traveling to Yale regularly to teach. I enjoyed that culture of a practice spanning between academia and professional projects; I just assumed that is what all architects did, and I followed in her footsteps.
NR How did you decide to start your own studio with your life partner, David Hills?
DS David and I studied at Cambridge and worked with MJ and Sandy at different times, so we shared that lineage. In between I worked with Tony Fretton, who talked about politics, poetry, society, and public life as well as building. This experience helped me determine where I wanted the practice to go, and David shared these aims. While I was a student I produced my own projects, which made me understand that the preoccupations you have in your earliest period will probably remain abiding themes: the architecture you choose to engage with is an amplification of your understanding of your own place in the world.
NR You were lucky to have women as mentors: how did that affect the way you see yourself as an entrepreneur and practitioner?
DS I had always worked with female architects; I had a mother who worked and a grandmother who built, so I never thought of it as anything other than a calling. The gender issue didn't really surface until I got into the workplace and was disappointed to find that architecture was, and still is, very pale and male. I have manifested my interest in addressing diversity by helping to establish a prize in the name of Jane Drew, now run by the Architecture Review, and later cofounding the London School of Architecture, which aims to redress underrepresentation in architectural design and city making.
NR With its focus on working almost solely on London, DSDHA has gained a deep understanding of the city. How have your projects been guided by the context of the periphery and the shape of London's streets and open spaces? In turn, how do your buildings and urban projects influence the context as a giveand- take between building and urban environment?
DS That is a really good question. Initially our projects were very disparate and spread across the country, and only later became increasingly urban and focused on complex settings. Early on we were fortunate enough to win competitions for education buildings, which over five years led us from kindergartens to a Cambridge University building—all pavilions. For my PhD in practice a few years ago at RMIT, I analyzed how pavilions in remote areas and dense urban buildings are based on similar design principles, addressing relationships between site, context, and people. This has influenced the way we describe our role as spatial strategists and not just architects or urban designers, with a more nuanced understanding of physical networks based on dedicated research. We deploy the same methodology, analysis, and grounded research irrespective of physical context, whether looking at a nursery school on the outskirts of a poorer area in the North of England or a project in London's Mayfair district. We look at the site, environment, histories, sociopolitical and economic conditions, and then we make our proposition.
NR Scale plays an important part in your practice, from the smaller scale of a house, studio, or school to larger spatial strategies at the infrastructural scale of sidewalks, transit, and public spaces. How do these all come together for you now as urban designers?
DS We have a studio motto: The city is our client. We include people who are part of a larger constituency and put their needs in that context. We predicate all of our projects on the notion of exchange to make sure that everybody benefits from development. Through research we uncover hidden needs, and we use our projects as leverage to make improvements and as an opportunity to address environmental issues. Another motto is: If you draw it, it can happen. So we draw the greening of streets, the closure of roads, new bridges and infrastructure, and we believe in the agency of architects as a way to push an urban design agenda.
NR In which public projects did you engage the community with that kind of agency, and what was your method of outreach to the residents?
DS One method is to hold "100 conversations" with passersby near the site before starting a project. It is a huge investment, but it is an effective way to uncover the unwritten brief of an area and critically challenge our own preconceptions. We won a competition to relocate the school of Christ's College on a very large site and noticed that somebody had snipped through the fence along a playing field to make a short cut. We realized that there was a large social housing development nearby and the only route to amenities from there was through the school grounds. Through our agency as architects we won approval to put a road through the site and constituted the school around it to assist the flow of people. It was amazing to see this happen, and they even put a cycle route through it to integrate the whole district. Breaching the boundaries as we made this new public building enabled more public amenities.
NR That certainly illustrates the impact of a single building on its broader context. How did the Tottenham Court Road project address the local community's needs and gain traction as a larger economic project?
DS We won the competition to do a one-mile-long project that would radically transform Camden's West End, an area that was underperforming economically, socially, and environmentally. Our proposal was to string five amazing public spaces through the city and to detune many roads. We discovered, through the 100 conversations, that a major hospital on the site wasn't mentioned in the formal brief, and we identified a constituency of health-care workers and patients who had not been heard. As a result we closed more roads than anticipated and created some healthy streets and back routes for doctors, nurses, patients, families, and visitors to leave the confines of the big hospital machine and get outside, which now is more important than ever. We also discovered that there were huge universities cheek by jowl with big business, but there was very little conversation between the different institutions. So we mapped all of the educational institutions in central London and showed it to the businesses, and there was a palpable intake of breath. We said, "Do you realize you have the equivalent of Oxford and Cambridge on your doorstep?" That was the beginning of what is now called the Knowledge Quarter, a knowledge-based economic zone where universities, the British Library, and innovation-focused businesses all form a branded cluster.
NR After many months of living with the social world at a physical distance, what have you been thinking about in terms of the impact of COVID-19 on the city and the role of architects in the "new normal"?
DS We hope all architects can be embedded in their local communities. We do a lot of pro bono work through our studio's Spatial Intelligence Group. We have been working with the local authority on initiatives for low-traffic neighborhoods to encourage cycling and walking in young, diverse communities that are typically absent in formal consultations. We held a summer program for teenagers to design interventions using Minecraft as a drawing tool. Our team works with these teens to build timber projects, providing them with design and engineering skills that will allow them to shape their own environments.
NR The breadth of work in your studio is so wide, with new projects at the high end of the spectrum in terms of visibility and cost, such as Piccadilly for the Crown Estate, alongside local projects. How do you manage to go back and forth between clients with different economic levels and strategies?
DS We are kind of Robin Hood architects, alternating between not only different scales but also economic extremes. We work in the wealthy city center and on the periphery, where we are codesigning the Modernist housing Tustin Estate, in South London, as an urban revitalization project. Other architects entered the competition with finished designs; we went in with just an open ear to listen to the residents and learn how we could design with them.
NR What are you focusing on in your Yale studio this fall? How are you approaching teaching in the time of COVID-19?
DS We are very interested in the condition of dispersed learning in public and in public space. We are looking at how learning has taken place in the past and the form it might take in the future, addressing particularly what is happening now in terms of architecture and the environment. We will use spatial strategies to look at the networks between us and the new civic movement that uses the street and its publicness as a site of protest and information exchange. We are starting with Rudolph Hall in terms of how it functions as a hub for networks between the personal, the urban, and the virtual. The studio is running in parallel with DSDHA's ongoing project for the British Library's public realm in terms of the role of public space, access to knowledge, and architecture. We have come back to Sandy and MJ as we open up that building for locals, passersby, and other diverse constituents of public spaces.
DSDHA, West End Public Realm proposal, London, © DSDHA
DSDHA, Alex Monroe Studio, London, photograph by © Dennis Gilbert.
DSDHA, Christ's College exterior, photograph by © Helene Binet
DSDHA, St Anne's SureStart Centre, photograph by © Edmund Sumner
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