In 1970, Birmingham based songwriters and multi-instrumentalists Jeff Lynne and Roy Wood decided to form a new band with drummer Bev Bevan. This new group they christened the Electric Light Orchestra.
At first, the Electric Light Orchestra was regarded as an offshoot of The Move, which Jeff Lynne, Roy Wood and Bev Bevan were all members of. However, over the years The Move's lineup had been fluent.
By the time The Move recorded Message From The Country during 1970 and 1971, this was the fourth lineup of the band. When Message From The Country was released on 8th October 1971, there had been another change to the lineup. Bassist Rick Price deported and was replaced by Richard Tandy. This was his second spell with The Move. The other new addition Bill Hunt, who played horns and woodwind. His addition was a strategic move.
Message From The Country proved to be The Move's swan-song. It was their way of saying goodbye to their fans after five years. By 1972, The Move were no more.
Seamlessly, the fifth and final lineup of The Move became the Electric Light Orchestra. They were joined by violinist Steve Woolam. The first lineup of the Electric Light Orchestra recorded an album that had ben written by Roy Wood and Jeff Lynne.
He wrote 10538 Overture, Nellie Takes Her, Mr. Radio, Manhattan Rumble (49th Street Massacre) and Queen Of The Hours. Roy Wood penned Look At Me Now, The Battle Of Marston Moor (July 2nd 1644), First Movement (Jumping Biz) and Whisper In The Night. These tracks would eventually become Electric Light Orchestra.
Recording of Electric Light Orchestra began in July 1970 at Philips Studios, London, and was completed in June 1971. During that eleven month period, Electric Light Orchestra fused pop, rock, progressive rock, and classical music. Woodwind, strings and horns were favoured instead of guitars. This resulted in a very different,and much more experimental symphonic sounding album from what other bands were doing. Critics remarked upon this.
With Electric Light Orchestra, complete the album was scheduled for release in December 1970. Before that, critics had their say on Electric Light Orchestra. With its experimental and symphonic fusion of pop, rock and classical music, Electric Light Orchestra's innovative Baroque-and-roll sound won the approval of critics.
When Electric Light Orchestra was released on Harvest in December 1971, it reached thirty-two in the UK. 10538 Overture was released as the lead single and reached number nine in the UK. Meanwhile, Electric Light Orchestra reached fifty-four in Australia. However, Electric Light Orchestra wasn't in America until early 1972.
Three months later, Electric Light Orchestra was released in March 1972 America as No Answer. This supposedly came about after someone from United Artists tried to contact Electric Light Orchestra about the album. When they couldn't contact the person, they wrote down "no answer." This was mistaken as the album the title. However, No Answer just reached 196 in the US Billboard 200. While this wasn't a huge success, it was something to build on.
Just two months after the release of No Answer, work began on Electric Light Orchestra's sophomore album ELO 2. However, during the early recording sessions, Roy Wood announced he was leaving Electric Light Orchestra to join Wizard.
This meant that Jeff Lynne became Electric Light Orchestra's leader and songwriter-in-chief. He wrote four of the five tracks. The other track was a cover of Chuck Berry's Roll Over Beethoven. These songs were recorded at AIR Studios, in London.
For the recording sessions, the original members of Electric Light Orchestra, multi-instrumentalist Jeff Lynne, drummer and percussionist Bev Bevan and keyboardist and guitarist Richard Tandy were joined by some new faces. This included bassist Mike de Albuquerque, violinist Wilfred Gibson and cellists Mike Edwards and Colin Walker. Roy Wood had played bass and cello on In Old England Town (Boogie No. 2) and From the Sun to the World (Boogie No. 1). Taking sold charge of production on ELO 2was Jeff Lynne. He oversaw the recording of ELO 2 from May 1972 until late 1972.
Once ELO 2 was complete, Harvest decided to release the album in UK in January 1973. The album would be released in February 1973 as Electric Light Orchestra II. This would be the final time an Electric Light Orchestra would be given a different title on both sides of the Atlantic.
Before the release of ELO 2, critics had their say on the album. Once again, they were won over by the slick, polished progressive and symphonic sound of the Electric Light Orchestra in full flight. They continued to combine elements of rock and pop with progressive rock and classical music. To this, they added the what was being described as symphonic rock. ELO 2 seemed to catch the imagination of critics. Especially, the Electric Light Orchestra's cover of Chuck Berry's Roll Over Beethoven. It was totally transformed and become something Chuck Berry could never have envisaged. Critics too marvelled at Roll Over Beethoven, which part of truly ambitious album.
That was until Roll Over Beethoven was released as the lead single. It reached number six in the UK, fifty-three in Australia and forty-two in the US Billboard 100. Things were looking up for the Electric Light Orchestra in UK.
So much so, that after the Electric Light Orchestra's two album deal with Harvest ran out, they signed to Warner Bros. This was the start of a new chapter in the Electric Light Orchestra story. Part of this story is documented on a recently released box set Electric Light Orchestra The Studio Albums 1973-1977 released by Sony Music Group. It features five albums On the Third Day, Eldorado, Face The Music, A New World Record and Out Of The Blue. However, this new chapter in the Electric Light Orchestra story began with On the Third Day.
Having signed to Warner Bros, the Electric Light Orchestra wanted no time getting to work on their third album On The Third Day. This was the first album that Roy Wood would play no part in. He had played a minor part on ELO 2. However, this time, it was Jeff Lynne who took charge of the Electric Light Orchestra.
Jeff Lynne wrote seven of the eight tracks on On The Third Day. The exception was a cover of Edvard Grieg's In The Hall Of The Mountain King. It was reinvented by Jeff Lynne and became a memorable example of symphonic rock.
Recording of On The Third took place during April and May of 1973 at De Lane Lea Studios, London and AIR Studios, London. Never before had the Electric Light Orchestra recorded an album so quickly. Their first two albums had taken much longer to record.
This time, the Electric Light Orchestra worked quickly. Multi-instrumentalist Jeff Lynne produced On the Third Day. He was joined by a rhythm section drummer and percussionist Bev Bevan, bassist Mike de Albuquerque and guitarist and keyboardist Richard Tandy. They were augmented by cellists Mike Edwards and Colin Walker plus violinists Wilfred Gibson and Mik Kaminski, who was the latest new recruit. Marc Bolan added guitar on Dreaming of 4000 and In The Hall Of The Mountain King. After two months of recording at two separate studios, On The Third Day was complete.
Warner Bros. scheduled the release for November 1973. This left plenty of time to promote On The Third Day. Later, critics received their copies of On The Third Day. Again, the music was a fusion of rock and pop with progressive rock and symphonic rock. What was different, was who the album was structured.
The four songs on side one of On The Third Day became a continuous suite. However, side two featured shorter songs. They had been recorded not long after the ELO 2 sessions. On The Third Day was the original album of two sides. It found the Electric Light Orchestra's music evolving On The Third Day.
Electric Light Orchestra were just the latest group British group that Rolling Stone disliked. Mostly,the reviews were mixed. That was despite tracks of the quality of Bluebird Is Dead, Oh No Not Susan, Ma-Ma-Ma Belle and In The Hall Of The Mountain King. For the Electric Light Orchestra the reviews of On The Third Day were disappointing.
Six months after the completion of On The Third Day, the album was released in the UK in November 1973. Incredibly, the album failed to chart. Eventually though, On The Third Day sold enough copies to be certified silver in the UK. Before that, Ma-Ma-Ma Belle was released as a single, it reached number twenty-two in the UK. However, Daybreaker failed to chart. For the Electric Light Orchestra, the performance of On The Third Day had been disappointing.
Meanwhile, On The Third Day reached number ten in Australia. Across the Atlantic, On The Third Day reached fifty-two in the US Billboard and became the Electric Light Orchestra's most successful album. Things were looking good for the Electric Light Orchestra stateside.
Work began on the Electric Light Orchestra's fourth album, Eldorado in February 1974. Eldorado was the first complete concept album that Electric Light Orchestra would release.
Eldorado was a project that Jeff Lynne had been working on for some time. He came up with the storyline first. It documents a Walter Mitty character whose disillusioned, so travels into fantasy worlds in his daydreams. This allows him to escape from his mundane and boring life. Having come up with the storyline, Jeff Lynne penned ten tracks. They would become Eldorado.
Recording of Eldorado took place at De Lane Lea Studios, in London. Unlike On The Third Day which was recorded in two months, the Electric Light Orchestra took their time recording the album. The recording began in February 1974, with multi-instrumentalist Jeff Lynne producing Eldorado.
Jeff Lynne was joined by a rhythm section of drummer and percussionist Bev Bevan, bassist Mike de Albuquerque and guitarist and keyboardist Richard Tandy. He had just been made a permanent member of the Electric Light Orchestra. However, he had additional responsibilities on Eldorado. This included arranging the backing vocals, orchestral and choral arrangements. Meanwhile, the other members of the band were playing an increasingly important role.
The strings were more prominent on Eldorado. Some of the strings were provided by the Electric Light Orchestra's string players: cellists Mike Edwards and Colin Walker plus violinists Wilfred Gibson and Mik Kaminski. They were augmented by an orchestra.
This came about after Jeff Lynne's father remarked that the Electric Light Orchestra's back-catalogue were tuneless. So rather that over-dubbing strings, Jeff Lynne brought onboard an orchestra to sweeten Eldorado. The strings were arranged by Jeff Lynne and Richard Tandy with Louis Clark. Eventually, after seven months of recording, Eldorado was completed in August 1974.
Just over a month later, Eldorado was released. Before that, critics had their say on Eldorado. It found the Electric Light Orchestra companioning art rock and pop with progressive rock and symphonic rock on what was the band's most melodic album. What many critics were quick to notice, was The Beatles' influence on Eldorado. Especially on Mister Kingdom, which seems to owe a debt of gratitude Across The Universe. Critics hailed Eldorado the Electric Light Orchestra's album. Even the usually contrarian Rolling Stone gave Eldorado a favourable. That was progress.
When Eldorado was released in September 1974, the album failed to chart in the UK. Neither Can't Get It Out of My Head nor Boy Blue charted when released as a single. However, Eldorado fared better elsewhere.
Eldorado reached number four in Holland and thirty in New Zealand. In America, Eldorado reached number sixteen in the US Billboard 200, and was certified gold not long after the album's release. Across the border in Canada Eldorado was certified platinum. However, when Can't Get It Out of My Head was released as a single, it reached number nine in the US Billboard 100. The rise and rise of the Electric Light Orchestra continued in America.
Buoyed by the success of Eldorado in North America, the Electric Light Orchestra headed out to tour the album. It was a lengthy tour, and featured the debut of bassist and cellist Kelly Groucutt. He replaced Mike de Albuquerque who left during the recording of Eldorado. Once the tour was over, the Electric Light Orchestra's thoughts turned to their fifth album.
This would eventually become Face The Music. Just like previous albums, Jeff Lynne penned the eight tracks. He would also produce Face The Music, which found the Electric Light Orchestra heading to Munich, in Germany.
The Electric Light Orchestra's destination was Musicland Studios, which was owned by the Italian musician, songwriter and producer Giorgio Moroder. Musicland Studios was where Deep Purple, Led Zeppelin, the Rolling Stones and Marc Bolan and T Rex had recorded albums. Now the Electric Light Orchestra were about to make the journey to Musicland Studios.
When the Electric Light Orchestra arrived at Musicland Studios, in May 1975, there had been a couple of changes in the band's lineup. Joining multi-instrumentalist and producer Jeff Lynne was a rhythm section of drummer and percussionist Bev Bevan and new bassist and cellist Kelly Groucutt. They were joined by keyboardist Richard Tandy, violinist Mik Kaminski and new cellists Hugh McDowell and Melvyn Gale. The three new additions joined the backing vocals and orchestra which was conducted by Louis Clark. He arranged the orchestral and choral arrangements with Jeff Lynne and Richard Tandy. By June 1975, Face The Music was complete. For the second time in their career, the Electric Light Orchestra had recorded an album in just two months.
Evil Woman and Strange Magic, as they had a commercial, radio friendly sound. Art rock combined with pop and symphonic rock on Face The Music. Evil Woman even a disco influence. This was a first. However, Face The Music won the approval of critics who regarded it as a worthy successor to Eldorado. It surely would enjoy the same success?
Alas, not in the UK, where Face The Music failed to trouble the charts on its release in September 1975. This was disappointing, as Face The Music was the Electric Light Orchestra's debut album for Don Arden's Jet Records. However, the lead single Evil Woman reached number ten in the UK. The followup Nightrider failed to chart, while Strange Magic stalled at a lowly thirty-eight. Elsewhere, Face The Music proved popular.
Face The Music reached thirty in Australia, eleven in Holland and forty-one in Sweden. However, it was in Australia where Face The Music was most popular. It reached number eight in the US Billboard 200. This resulted in Electric Light Orchestra's second gold disc in America and a gold disc in Canada. That however, wasn't the end of the success in America.
Evil Woman reached number ten in the US Billboard 100. The followup Nightrider failed to chart, while Strange Magic reached fourteen in the US Billboard 100. The Electric Light Orchestra's new sound looked as if it was a game-changer.
After the release of Face The Music, the Electric Light Orchestra headed out on another lengthy tour. They had now settled into the routine of recording an album, and then touring it. However, the Face The Music tour was one of the Electric Light Orchestra most important tours.
They had changed direction on Face The Music, and were moving towards what would become known as their classic sound. When Face The Music was released, the new sound had proved popular in three continents. So the Electric Light Orchestra headed out on tour to showcased their new sound. When they returned they were determined to build on the success of Face The Music.
Jeff Lynne, who had settled into the role of songwriter-in-chief and producer wrote the eight tracks that would become A New World Record. Just like Face The Music, A New World Record was recorded at Musicland Studios in Munich.
By late July 1976, A New World Record was complete. Having recorded A New World Record in the space of a month, the album was scheduled for release in September 1976. This was exactly a year after Face The Music. That was what the Electric Light Orchestra were about to do.
Critics had received their promotional copy of A New World Record, and were about to have their say. On A New World Record, the Electric Light Orchestra continued to combine art rock with pop, progressive rock and symphonic rock. Again, the album was slick, polished and melodic. Many of the songs were shorter and sweeter, and didn't lack hooks. Just like Face The Music, they had a much more commercial and radio friendly sound. Especially songs like Telephone Line, Rockaria and Livin' Thing. They had single written all over them. Jeff Lynne was coming into his own as songwriter. He had also produced what many critics called Electric Light Orchestra's finest hour.
Even the forever contrarian and hard to please Rolling Stone magazine gave A New World Record a positive review. So did Robert Christgau, the self-styled dean of American rock critics. This was high praise indeed. Mostly, it was critical acclaim that accompanied the release of A New World Record.
When A New World Record was released in September 1976, it reached number six in the UK and was certified platinum. Belatedly, the Electric Light Orchestra had made a breakthrough in their home country. Elsewhere, A New World Record reached number one in Australia and Sweden. A New World Record reached number nine in Austria and Norway; seven in Germany; two in Holland and four in New Zealand. Across the Atlantic, A New World Record reached number five and was certified platinum. Meanwhile, A New World Record was certified double platinum in Canada and gold in Holland. For the Electric Light Orchestra, A New World Record had transformed their fortunes. However, the success continued.
In October 1976 Livin' Thing was released as a single, reaching four in the UK and thirteen in the US Billboard 100. Rockaria! was released as the followup in February 1977, and released number nine in the UK. Meanwhile, Do Ya was released as a single in America, and reached number thirteen in the US Billboard 100. The final single from A New World Record was Telephone Line. It reached number eight in the UK and seven in the US Billboard 100. For the Electric Light Orchestra, A New World Record had been a game-changer. Their music found an audience in Britain, Europe, Australia, New Zealand and North America. How were they going to surpass A New World Record, which has sold over five-million copies?
The answer to that, was with their seventh studio album Out Of The Blue. This was the most ambitious album of the Electric Light Orchestra's career. It was a seventeen song double album penned by Jeff Lynne. This Jeff Lynne wrote over a three-and-a-half week period he spent in the Swiss Alps. Recording Out Of The Blue took slightly longer.
To record Out Of The Blue, the Electric Light Orchestra returned to Musicland Studios, in Munich for a third time. Between May and August 1977, Electric Light Orchestra recorded the seventeen songs. By then, the band's lineup had changed.
Multi-instrumentalist and producer Jeff Lynne was joined by a rhythm section of drummer and percussionist Bev Bevan and bassist and cellist Kelly Groucutt. They were joined by keyboardist and guitar Richard Tandy and violinist Mik Kaminski.
Cellist Hugh McDowell is credited but didn't appear. Melvyn Gale is also credited, but his only role was a playing the jangling, tack piano on Wild West Hero. Augmenting the Electric Light Orchestra, were an orchestra conducted by Louis Clark. He joined with Jeff Lynne and Richard Tandy to arranged the orchestral and choral arrangements. After two months, Out Of The Blue was completed in August 1977.
When critics heard Out Of The Blue, they hailed the album the Electric Light Orchestra's Magnus Opus. It was a glorious fusion of art rock, pop, progressive rock and symphonic rock. Just like the Electric Light Orchestra two previous albums, the music was slick, polished, melodic and hook-laden. The Electric Light Orchestra seemed to have been inspired by The Beatles and Beach Boys on this critically acclaimed and almost flawless album. Somehow, the Electric Light Orchestra had managed to fill four sides with a major musical faux pas. Songs like Turn Ti Stone, It's Over, Sweet Talkin' Woman, Steppin' Out and Sweet Is The Night were among Out Of The Blue's finest moments. So was side three.
For many critics, side three was captivating. It was subtitled Concerto For A Rainy Day, and was a four track musical suite based on the weather and how it affects people's mood. Jeff Lynne deployed recordings of rain and thunder as the suite moved melodically along from Standin' In The Rain to Big Wheel and Summer and Lightning. However, Electric Light Orchestra's had saved the best to last, the joyous and hook-laden Mr. Blue Sky, which was a single-in-waiting.
Out Of The Blue was released on October 3rd 1977. By then, four million copies had been ordered before the release. When Out Of The Blue was released, it reached number four in the UK and was certified platinum. Elsewhere, Out Of The Blue reached number three in Australia, six in Germany and New Zealand; three in Holland and Norway and two in Sweden. Across the Atlantic, Out Of The Blue reached number five in the US Billboard 200 and was certified gold. Meanwhile, Out Of The Blue was certified platinum in Canada and gold in Germany and Holland. This wasn't the end of the success.
Five singles were released from Out Of The Blue. Turn To Stone was released in October 1977, reaching eighteen in the UK and thirteen in the US Billboard 100. Mr. Blue Sky followed in January 1978, reaching number six in the UK and thirty-five in the US Billboard 100. Sweet Talkin' Woman was then released in February 1978. It reached number six in the UK and seventeen in the US Billboard 100. Wild West Hero followed in May 1978, and also, reached number six. The final single fittingly, was It's Over in October 1978. Alas, it only reached thirty-four in the UK. However, Out Of The Blue had been a the most successful album of Electric Light Orchestra's career.
Eventually, when all the sales were counted, Out Of The Blue had sold over ten million albums worldwide. For the Electric Light Orchestra, Out Of The Blue was by far, their most successful album. Now they were preparing to tour Out Of The Blue.
After the releases Out Of The Blue, the Electric Light Orchestra embarked upon a gruelling ninety-two date world tour. This was very different to previous tours. Electric Light Orchestra's Out Of The Blue tour featured an enormous and spectacular set. It featured lasers, fog machines and a giant replica of the spaceship that featured on the gatefold cover of Out Of The Blue. In the arena shows, it would hover above the stage. Although spectacular is a hugely expensive set. However, it impressed concert goers and industry insiders.
In August 1977, veteran American DJ, Casey Kassem had christened the Electric Light Orchestra: the "World's first touring rock 'n' roll chamber group." The Out Of The Blue tour was hugely successful. Especially when it reached America for The Big Night Tour in 1978.
During The Big Night tour, the Electric Light Orchestra played some of the biggest arenas. This resulted in The Big Night tour becoming the highest-grossing live concert tour in music history. That was no surprise, as American concert goers had witnessed the Electric Light Orchestra at the peak of their powers.
On their return to Britain, the Electric Light Orchestra played eight consecutive sold-out nights at Wembley Stadium. This was another record for The Electric Light Orchestra. However, once the Out Of The Blue tour was over, the Electric Light Orchestra's thoughts could turn to their next album, Discovery.
Following the Out Of The Blue tour, the Electric Light Orchestra's songwriter-in-chief Jeff Lynne, began writing what became Discovery. He wrote eight of the nine tracks. The exception was Little Town Flirt which was written by Maron McKenzie and Den Shannon. These nine tracks would become Discovery, which featured a different lineup of the Electric Light Orchestra.
When the Electric Light Orchestra arrived at Musicland Studios, in Munich, in March 1979, there had been changes to the lineup. The string section of Mik Kaminski, Hugh McDowell and Melvyn Gale didn't feature on Discovery. The Electric Light Orchestra were now a quartet.
Multi-instrumentalist and producer Jeff Lynne was joined by a rhythm section of drummer and percussionist Bev Bevan and bassist and cellist Kelly Groucutt. They were joined by keyboardist and guitar Richard Tandy and bassist Kelly Groucutt. The orchestra was conducted by Louis Clark, who arranged the orchestral parts with Jeff Lynne and Richard Tandy. After two months of recording, Discovery was competed. Critics were in for a surprise.
While Discovery still featured the Electric Light Orchestra's symphonic rock sound, the band moved towards a disco inspired sound. It seemed that the Electric Light Orchestra were keen to cash-in on the popularity of disco. That was ironic, as the disco bubble would burst in July 1979. By then, Discovery had been released to critical acclaim, and was hailed to perfect way to followup their classic album Out Of The Blue.
The Electric Light Orchestra released Discovery in the UK on 31st May 1970. It became the Electric Light Orchestra's first number one album and was certified platinum. In America, Discovery was released in America on 8th, and reached number five. Having sold over two million copies, Discovery was certified double-platinum. Elsewhere, Discovery reached number one in Australia and Norway, and reached the top ten in Austria, Canada, France, Holland, New Zealand, Sweden and West Germany. This resulted in an array of gold and platinum discs. In France, Germany and Holland, Discovery was certified gold. However, in Australia, Discovery was certified double-platinum and triple-platinum in Canada. Incredibly, Discovery had outsold Out Of The Blue. That wasn't the end of the success though.
A total of five singles were released from Discovery. Shine A Little Love reached number six in the UK and number eight in the US Billboard 100. The Diary Of Horace Wimp the reached number eight in the UK. When Don't Bring Me Down then reached number three in the UK and number four in the US Billboard 100, this was their biggest hit in Britain and America. Confusion reached number eight in UK and thirty-seven in the US Billboard 100. The final single from Discovery was Last Train To London, which reached number eight in UK and thirty-nine in the US Billboard 100. This brought to an end what was the most successful period in the Electric Light Orchestra's career.
This lineup of the Electric Light Orchestra released three more albums together, Time in 1981, 1983s Secret Messages and 1986s Balance Of Power. While each album enjoyed some success, they never came close to reaching the same commercial success of the Electric Light Orchestra's Magnus Opus Out Of The Blue nor its followup Discovery.
Only two further albums were released bearing the Electric Light Orchestra name. However, Zoom in 2001 was an Electric Light Orchestra album in name only. Only Richard Tandy joined what was essentially Jeff Lynne and friends. Commercial success eluded the album which was for completists only.
By the time Alone In The Universe was released in 2015, the Electric Light Orchestra were now know as Jeff Lynne's ELO. No other members of the original of Electric Light Orchestra featured on the album. It was essentially a Jeff Lynne solo album that sounded similar to the Electric Light Orchestra. Still, Alone In The Universe managed to sell over 300,000 copes and was certified platinum. This was a far cry from the Electric Light Orchestra in their seventies heyday, when their albums sold by the million.
The seventies were the Electric Light Orchestra's most productive, prolific and successful years. Especially between 1973 and 1979, when everything the Electric Light Orchestra released turned to silver, gold or platinum. This resulted in the Electric Light Orchestra becoming one of true most successful bands in the world.
This success began in November 1973, when the Electric Light Orchestra released Face The Music. From Face The Music through A New World Record to Out Of The Blue, Electric Light Orchestra's classic sound emerged. It was slick, polished, melodic and hook-laden. This was quite different to the first two albums that Electric Light Orchestra released.
Electric Light Orchestra and ELO 2 featured a very different band, whose roots were in progressive rock. This soon changed.The Electric Light Orchestra their next five albums saw their trademark symphonic rock sound developing. It headed in the direction of disco with the release of Discovery in May 1979. This alienated many of their loyal fans, but introduced the Electric Light Orchestra's to a new audience. As the seventies ended, the Electric Light Orchestra were one of the biggest bands in the world.
Four decades later, and the Electric Light Orchestra are belatedly receiving the recognition their music deserves. They were belatedly inducted into the Rock 'N' Roll Hall Of Fame. This honour has been bestowed on Electric Light Orchestra as a group, not just one individual.
The success of the Electric Light Orchestra was a collective effort, where a group of multitalented musicians came together and became one of greatest and most successful British bands of the seventies. That was The Electric Light Orchestra's heyday, and when they were at their creative zenith. Especially between Face The Music in 1973 and 1977s Out Of The Blue which was the Electric Light Orchestra's Magnus Opus.
← BIG STAR-PIONEERS OF POWER POP.
Nice! I just picked up a mint condition "Out of The Blue" on vinyl at a garage sale last weekend, will always be a favorite!


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Rev. Al Sharpton Files for Divorce After 17-Year Separation
by Gina Williams
After 40 years of marriage, Reverend Al Sharpton (66) filed for divorce from his estranged wife Kathy Jordan Sharpton.
On Thursday, the Baptist minister submitted legal documents in the Manhattan Supreme Court to end their marriage. The move only comes 17 years after they separated. Since the 2004 split, Sharpton and Jordan, co-founder and president of the National Action Network, lived in different residences.
The pair met in 1971 while Sharpton was touring with James Brown, and Jordan was Brown's backup singer. The civil rights leaders married Jordan nine years later, in 1980. The couple had two daughters together, Dominique and Ashley, before separating 14 years later.
RELATED | AL SHARPTON REVEALS WHY JAMES BROWN MADE HIM CHANGE HIS HAIR
Since 2013, Sharpton has been linked to girlfriend and fashion designer, Aisha McShaw (42).
ATLANTA, GA – SEPTEMBER 18: Al Sharpton and Aisha McShaw attend 2016 Triumph Awards presented by National Action Network and TV One at The Tabernacle on September 18, 2016 in Atlanta, Georgia. (Photo by Paras Griffin/Getty Images)
The divorce, after a long separation, sparked rumors that the baptist minister plans to wed McShaw. We'll have to wait to see if that's true.
Sharpton's aide, Rachel Noerdlinger, told the Daily News in 2013, "His exact words to me were, 'Rachel, I'm not announcing an engagement or a marriage. Don't I have a right to date when my marriage has been over for a decade?'"
Both Sharpton and Jordan's lawyer refused to comment.
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Director's Statement
Screenings & Awards
Buy The Film
Native New Yorker:
Filmmaker Biographies
Steve Bilich, Director, writer, editor, cinematographer and producer
Steve Bilich graduated from the University of Texas, with a degree in radio-tv-film, and a minor in business & theatre. His theatre acting credits include a few off-Broadway ensemble pieces and some off off Broadway performances, including a few one-man-shows. The films that he has written, directed, and produced have been invited to Sundance, Slamdance, Raindance, Moondance, Berlin, Manheim-Heidelberg, the Smithsonian Museum for the American Indian (Native Works), Woodstock, Wounded Knee, the Brooklyn Museum, SXSW, the Austin film festival, Vancouver, LA Shorts, United Nations Association Film Festival at Stanford, the Academy of Science Mansion in NYC, and The 2006 Tribeca Film Festival.
Terry 'Coyote' Murphy, Lead
Terry 'Coyote' Murphy was born and raised in the Sunshine State. The son to a Gaelic father and a Cherokee mother, he has managed to find a unique balance between both cultures...but prefers the raindance over the riverdance...he is a naturalist, a shaman, a trailscout, and a cartographer. He has performed in a few films that have been shown at Sundance, the Smithsonian Museum for The American Indian, Woodstock, Wounded Knee, The Brooklyn Museum, and SXSW. He has posed for Annie Lebovitz and Vanity Fair magazine, as a part of Jon Stewart's 'Theatre of the Absurd' (Jan '05 issue). He hopes to combine his love for spirituality, nature, & his concerns for the environment in a film that may make a difference now & for tomorrows future. Coyote's blessings to all he touches and reaches.
William Susman, Composer, Producer
William Susman has scored numerous award-winning documentaries that have aired on PBS and the Discovery channel and screened at film festivals worldwide. Most recently Native New Yorker won best documentary short at Moondance and best film score at Park City Film Music Festival. Oil on Ice won the International Documentary Association's Pare Lorentz in addition to best film score at Moondance. International recognition of his orchestral music include numerous awards and commissions by European and US orchestras in addition to ASCAP, BMI and Fromm. His recordings are available at Amazon and www.SusmanMusic.com.
Native New Yorker ©2005-2006 Steve Bilich • contact: nny@nativenewyorkerfilm.com


Maria de Nazare, gave birth by caesarean at a hospital in Anajas, in Brazil's northern Para state, with her newborn weighing 9.9lbs.
Following the birth of her baby, mother Maria, 25, admitted that she had been told she was set to welcome twins.
But following a number of tests, doctors have revealed that the baby has two brains and two spines but shares one heart, lungs, liver and pelvis.
The hospital's director, Claudionor Assis de Vasconcelos, told Brazil's O Povo newspaper that the woman decided to travel to the hospital because she was feeling strong abdominal pains.
The 25-year-old mother, who lives in a rural area of the state, had no ultra-sound scans during her pregnancy and only found out about the abnormality minutes before the baby was born at 1am on Monday morning.
He said: 'When doctors scanned her they realised that the baby had two heads and that a normal birth would be a great risk both for mother and baby. The caesarean took an hour because the baby was sitting down.
Neila Dahas, director of the Santa Casa hospital said: 'If both their brains are functioning, how are we going to choose which head to remove?
He said: 'On the contrary, the baby was received with much happiness by the family.
Remarkably, this is the second time a two-headed baby has been born in Brazil this year. Sueli Ferreira, 27, gave birth to a two-headed baby in Paraiba State, but it died a few hours later because of lack of oxygen to one of the child's heads.
The birth of such twins is extremely rare in south-west Asia and Africa.
In the U.S. Abigail and Brittany Hensel have become media celebrities, appearing on the Oprah Winfrey Show and featuring in television documentaries.


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Makers @ Amherst Media: David Almanzar
Makers @AM: David Almanzar
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In this episode, host Steven Brewer speaks with David Almanzar, a molecular biology research assistant at University of Massachusetts.
Production Date:
The Maker movement is a grassroots effort to democratize technology and innovation: to transform consumers into people who create, produce and, well, Make things. Makers at Amherst Media, a town-gown collaborative, is an effort to provide a physical space where a community of people with an interest in Science, Technology, Engineering, Art and Math (STEAM) can meet up, work on projects, and learn through "Doing It Yourself" or "Doing It Together." It is also a place where Makers of all ages can come together and help and learn from one another.
To stay informed follow us on Twitter, join our Google Group, and see our pictures via Flickr.
Project Twitter Name:
@AmherstMakers
Project Email:
limako@amherstmedia.org
http://amherstmedia.org/makers
Public Contact Information:
Steven D. Brewer
Blender Workshop on April 22, 2018
Want to get started in 3D modeling, but don't know how? Come to our Introductory Blender workshop on Sunday, April 22.
Fall Makers Presentations
At 2:30pm on Monday December 14, 2015, Makers at Amherst Media will hold public presentations of work by Makerspace members during the Fall. Presentations will include UMass Open Science students as well as participants of the weekly open drop-in session. We invite you to join us to see what we've been working on!
Ron Fortunato Speaks to Makers @ Amherst Media
Makers @ Amherst Media recently hosted Ron Fortunato, president of Trillium Learning and a NASA Space Ambassador for the United States, in our studios. He gave a presentation on a teaching program he calls "A World Bridge" where teams of students take on team-based learning, flipped, service learning, problem-centered projects that involve "open science" and "making."
We are currently showing the video on channel 15 and it is available to stream on our website as part of the ongoing Makers @ Amherst Media series.
M@AM at National Makerfaire
Makers @ Amherst Media (M@AM) was invited to help kick off the "National Week of Making" on June 12th and 13th at the National Makerfaire in Washington, D.C., Christine Olson, a doctoral student of communication at UMass, Liz Pongratz, an alumna of UMass' class of 2015, and Jim Lescault, director of Amherst Media, spent Friday and Saturday at the Makerfaire discussing the evolution of M@AM with visitors from throughout the country.
Makers at Hack for Western Mass
Christine Olson represented Makers at Amherst Media at Hack for Western Mass on June 6 and 7. This annual event, a celebration of the National Day of Civic Hacking, brings technologists together with community partners to solve local problems. During the hackathon, people organize into teams and build websites, apps, and other technology projects to support local non-profits. In addition, the hackathon includes a "Youth Hackathon" with demos in Scratch, Minecraft, and our Makerspace.
More News Stories...


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UNDP and Tohoku University launch Global Centre for Disaster Statistics
The UN Development Programme (UNDP) and the International Research Institute of Disaster Science (IRIDeS) at Tohoku University launched the "Global Centre for Disaster Statistics" on 15 March 2015 at the Third UN World Conference for Disaster Risk Reduction (WCDRR) in Sendai, Japan. As a result of a long partnership, the new Centre will help deliver quality, accessible and understandable disaster data to Member States as they endeavor to achieve the goals of the Post-2015 Framework for Disaster Risk Reduction.
Susumu Satomi, President of Tohoku University, announced that the new centre would generate sound evidence and scientific analysis to support the integration of disaster risk reduction information into development planning and support accountability by generating user-friendly data that countries and people can use to monitor and report on progress.
"The messages which UNDP brings to Sendai and the World Conference are that disaster risk reduction is a development process and that development decisions must be risk-informed," Helen Clark, Administrator of UNDP, said. "Having access to good data and analysis about disaster risk is vital. This new Centre, supported by a partnership between Tohoku University and UNDP, will support countries to build up good data bases and evidence on which to base risk-informed decisions."


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Computer Architecture - COMPUTER-ARCHITECTURE
COMPUTER-ARCHITECTURE Index
Computer Architecture - Home
Floating-Point Representation
Decimal Fixed-Point Representation
Other Binary Code
Other Decimal Codes
Other Alphanumeric Codes
Error Detection Codes
Error Detection Codes-2
Register Transfer Language
Register Transfer Language -2
Register Transfer
Register Transfer -2
Bus And Memory Transfers
Bus And Memory Transfers -2
Three-State Bus Buffers
Memory Transfer
Binary Adder
Binary Adder-Subtractor
ENGINEERING-COLLEGES-IN-INDIA - Iit Ropar
ENGINEERING-COLLEGES-IN-INDIA - Iit Bhubaneshwar
ENGINEERING-COLLEGES-IN-INDIA - Iitdm - Indian Institute Of Information Technology Design And Manufacturing
Complements -2
Fixed-Point Representation
List Of Logic Microoperations
Arithmetic Logic Shift Unit
Stored Program Organization
Instruction Set Completeness
And To Ac
System Definition And Concepts | Characteristics And Types Of System
Difference Between Manual And Automated System - Manual System Vs Automated System
Characteristics Of The Database Approach
Anatomy Of A Computer
Common Bus System
Layered Architecture Of Operating System
Shift Micro-Operations - Logical, Circular, Arithmetic Shifts
Types Of Documentation And Their Importance
Operating System Operations- Dual-Mode Operation, Timer
What Is Information Systems Analysis And Design?
Aptitude,reasoning And Puzzles
Analog And Communication
Fundamental Of Computers And Programing In C
Finance And Acounting
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Microprocessor And Architecture
Home > Computer Architecture > Other Binary Code
In previous sections we introduced the most common types of binary-coded data found in digital computers. Other binary codes for decimal numbers and alphanumeric characters are sometimes used. Digital computers also employ other binary codes for special applications. A few additional binary codes encountered in digital computers are presented in this section.
Gray Code: Digital systems can process data in discrete form only. Many physical systems supply continuous output data. The data must be converted into digital form before they can be used by a digital computer. Continuous, or analog, information is converted into digital form by means of an analog-to-digital converter. The reflected binary or Gray code, shown in Table 3-5, is sometimes used for the converted digital data. The advantage of the Gray code over straight binary numbers is that the Gray code changes by only one bit as it sequences from one number to the next. In other words, the change from any number to the next in sequence is recognized by a change of only one bit from 0 to 1 or from 1 to 0. A typical application of the Gray code occurs when the analog data are represented by the continuous change of a shaft position. The shaft is partitioned into segments with each segment assigned a number. If adjacent segments are made to correspond to adjacent Gray code numbers, ambiguity is reduced when the shaft position is in the line that separates any two segments.
Gray code counters are sometimes used to provide the timing sequences that control the operations in a digital system. A Gray code counter is a counter whose flip-flops go through a sequence of states as specified in Table 3-5. Gray code counters remove the ambiguity during the change from one state of the counter to the next because only one bit can change during the state transition.
Ans: A floating-point number is said to be normalized if the most significant digit of the mantissa is nonzero. For example, the decimal number 350 is normalized but 00035 is not. Regardless of where the position of the radix point is assumed to be in the mantissa, the number is normalized only if its leftmost digit is nonzero. view more..
Ans: The floating-point representation of a number has two parts. The first part represents a signed, fixed-point number called the mantissa. The second part designates the position of the decimal (or binary) point and is called the exponent. The fixed-point mantissa may be a fraction or an integer. For exam ple, the decimal number +6132.789 is represented in floating-point with a fraction and an exponent as follows: view more..
Ans: The representation of decimal numbers in registers is a function of the binary code used to represent a decimal digit. A 4-bit decimal code requires four flip-flops for each decimal digit. view more..
Ans: In previous sections we introduced the most common types of binary-coded data found in digital computers. Other binary codes for decimal numbers and alphanumeric characters are sometimes used. Digital computers also employ other binary codes for special applications. A few additional binary codes encountered in digital computers are presented in this section. view more..
Ans: Binary codes for decimal digits require a minimum of four bits. Numerous different codes can be formulated by arranging four or more bits in 10 distinct possible combinations. A few possibilities are shown in Table 3-6. view more..
Ans: The ASCII code (Table 3-4) is the standard code commonly used for the transmission of binary information. Each character is represented by a 7-bit code and usually an eighth bit is inserted for parity (see Sec. 3-6). The code consists of 128 characters. Ninety-five characters represent graphic symbols that include upper- and lowercase letters, numerals zero to nine, punctuation marks, and special symbols view more..
Ans: Binary information transmitted through some form of communication medium is subject to external noise that could change bits from 1 to 0, and vice versa. An error detection code is a binary code that detects digital errors during transmission. The detected errors cannot be corrected but their presence is indicated. The usual procedure is to observe the frequency of errors. If errors occur infrequently at random, the particular erroneous information is transmitted again. If the error occurs too often, the system is checked for malfunction view more..
Ans: Parity generator and checker networl<s are logic circuits constructed with exclusive-OR functions. This is because, as mentioned in Sec. 1·2, the exclusive-OR function of three or more varia.bles is by definition an odd function. An odd function is a logic function whose value is binary 1 if, and only if, an odd function number of variables are equal to 1. According to this definition, the P( even) is the exclusive-OR of x, y, and l because it is equal to 1 when either one or all three of the variables are equal to I (Table 3-7). The P(odd) function is the complement of the P(even) function. view more..
Ans: A digital system Is an interconnection of digital hardware module. that at'ClOinpl.lsh a specific Wormation-proceaslna taslc. Digital systems vary in size and complexi.ty interacting digital &om a few integrated circuits to a complex of interconnected and computers. Digital system design invariably UBeS a modular approach. The modules are constructed &om such digital components as ules registet&, are in decoders, terconnected arithmetic with common elements data and control paths , and control logic. The to fonn various moda digital computer system. view more..
Ans: The symbolic notation used to describe the microoperation transfers among registers is called a register transfer language. The term "register transfer" implies the availability of hardware logic circuits that can perform a stated microoperation and transfer the result of the operation to the same or another register. view more..
Ans: Computer registers are designated by capital letters (sometimes followed by numerals) to denote the function of the register. For example, the register that holds an address for the memory unit is usually called a memory address register and is designated by the name MAR. view more..
Ans: where P is a control signal generated in the control section. It is sometimes convenient to separate the control variables from the register transfer operation by specifying a control function. view more..
Ans: A typical digital computer has many registers, and paths must be provided to transfer information from one register to another. The number of wires will be excessive if separate lines are used between each register and all other registers in the system. view more..
Ans: The two selection lines S1 and S0 are connected to the selection inputs of all four multiplexers. The selection lines choose the four bits of one register and transfer them into the four-line common bus. When S1S0 = 00, the 0 data inputs of all four multiplexers are selected and applied to the outputs that form the bus view more..
Ans: A bus system can be constructed with three-state gates instead of multiplexers. A three-state gate is a digital circuit that exhibits three states. Two of the states are signals equivalent to logic 1 and 0 as in a conventional gate. The third state is a high-impedance state. view more..
Ans: The operation of a memory unit was described in Sec. 2-7. The transfer of information from a memory word to the outside environment is called a read operation. view more..
Ans: To implement the add microoperation with hardware, we need the registers that hold the data and the digital component that performs the arithmetic addition. The digital circuit that forms the arithmetic sum of two bits and a previous carry is called a full-adder . view more..
Ans: The subtraction of binary numbers can be done most conveniently by means of complements as discussed in Sec. 3-2. Remember that the subtraction A - B can be done by taking the 2's complement of B and adding it to A. The 2's complement can be obtained by taking the 1' s complement and adding one to the least significant pair of bits. The 1's complement can be implemented with inverters and a one can be added to the sum through the input carry. view more..
CONVERSION - INTRODUCTION
OCTAL AND HEXADECIMAL NUMBER CONVERSION
OCTAL AND HEXADECIMAL NUMBER CONVERSION -2
Introduction to Decimal Representation
ALPHANUMERIC REPRESENTATION
Subtraction of Unsigned Numbers
Subtraction of Unsigned Numbers-2
Integer Representation
Arithmetic Addition
ARITHMETIC SUBTRACTION
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About the MBA
Producer Members
Vendor & Supporting Members
Facts About Ethanol
Ethanol Statistics
The "Blend Wall"
Food Vs Fuel
Ethanol and Engine Performance
Co-Products
The Renewable Fuel Standard
Production in Minnesota
Biofuel Station Locator
E15 Handbook
Biofuel Station Locator App
Executive Director's Column
Blogging For Biofuels
USGC: Exports of US Feed Grains In All Forms Setting Records
Ethanol Producer Magazine
By U.S. Grains Council
Exports of U.S. feed grains in all forms (GIAF) are up 20 percent year-over-year from September-June to 96.9 million metric tons, according to data from the USDA and analysis by the U.S. Grains Council.
With only two months left in the 2016-'17 marketing year, exports by this measure that is inclusive of feed grains and the products they produce could set a new record high, a result of attractive U.S. prices and diligent work by the Council to maintain long-time trading partners and find new areas of near-term demand.
U.S. ethanol exports have already reached a new all-time high at 1.15 billion gallons this marketing year, according to data collected by the U.S. Census Bureau, surpassing the 1.09 billion gallons exported in 2011-'12. Ethanol exports to Brazil more than quadrupled to 438 million gallons, even though purchases are expected to slow in coming months.
Exports of U.S. ethanol to Canada, a key partner through the North American Free Trade Agreement, also increased to 263 million gallons, a 5 percent growth compared to the same time the year prior. And India set a new record for U.S. ethanol purchases, more than doubling year-over-year to 116 million gallons.
Exports of U.S. corn increased 36 percent year-over-year to 49.9 million tons (1.96 billion bushels), already exceeding export totals for the last five marketing years.
U.S. corn exports to Japan, the traditional top customer of U.S. corn, are up 48 percent compared to the same time the year prior to 11.5 million tons (453 million bushels), surpassing last year's total with two months of sales remaining. U.S. corn sales to several countries have already outpaced historical sales, including a new record set for exports to Saudi Arabia, the highest exports to Taiwan since the 1994/1995 marketing year and the most corn exported to South Korea in the last 10 marketing years.
The Council is also seeing increased demand for U.S. DDGS as a result of price and efforts to promote the product in a diverse set of markets.
Sales of U.S. DDGS dropped significantly from the two largest traditional markets—China and Vietnam. While this void had a substantial impact, it left ample supply for other world buyers to purchase—and USGC programs throughout the world are helping end-users learn how to incorporate U.S. DDGS into their rations. As a result, overall purchases are only just behind last year's export pace at 9.32 million tons. In contrast, exports to Mexico, this year's top market, are up 9 percent year-over-year to 1.69 million tons.
Turkey now ranks as the second largest market for U.S. DDGS with exports that nearly doubled year-over-year to 1.11 million tons, the largest amount since the country started purchasing DDGS in 2004-'05. U.S. DDGS exports to South Korea and the European Union also set new sales records at 847,000 tons and 792,000 tons, respectively.
In contrast, U.S. barley exports are down significantly, driven by a drop in sales to the top traditional customer, Mexico. But, exports to Canada and Japan jumped substantially, both already exceeding their total purchases last marketing year, to 62,700 tons (2.88 million bushels) and 22,900 tons (1.05 million bushels), respectively. In Japan, the Council's market promotion efforts are building demand for barley food-based products, directly benefitting U.S. producers through this increase in sales. Please note the marketing year for barley differs from that of corn and runs June-May.
Export sales of U.S. sorghum also decreased significantly thus far in the marketing year. However, China kept its status as the largest customer with 3.94 million tons in purchases from September-June. Yet U.S. sorghum exports to Japan more than doubled to 182,000 tons, the highest amount in the last five years, while Mexico increased purchases of U.S. sorghum six percent year-over-year to 524,000 tons.
As the 2016-'17 marketing year comes to an end, the Council and members are celebrating a strong export year, while at the same time preparing for a challenging 2017-'18 marketing campaign.
Engagement with both long-standing trading partners and opportunistic buyers combined with attractive prices have allowed U.S. feed grains and coproducts to move into markets old and new. As the current marketing year ends and the new one begins, this work on market access, technical education and trade servicing will become increasingly important to secure U.S. market share and continue the Council's mission of enabling trade, developing markets and improving lives.
Read the original article: USGC: Exports of US Feed Grains In All Forms Setting Records
Minnesota BioFuels Association Dev 2019


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Goals of the March
Follow Up Surveys
2000 – 2008 Survey
Photos, Video & Music
March Songs
From Nat'l Director
From Participants
Long Term Surveys
Alyse Dan
Brody Appotive
Erin Minuk
Dani Palter
Manuscript Projects
Holocaust Task Force
Facebook: March of the Living
2019 March Live
Digital Archive Project
2016 March of the Living Ceremony – Auschwitz-Birkenau – Holocaust Remembrance Day
Posted in MOL 2016 Blog, Program Updates on May 24, 2016
The annual March of the Living program brings thousands of young people from around the world each year on Holocaust Remembrance Day to Auschwitz-Birkenau to honour the memory of the victims of the Holocaust and to pledge to build a better world for all humanity.
Donate to the March of the Living
Donate to a Legacy Fund in honour of a Survivor Educator or Eli Rubenstein
This is Our Legacy Gala Tribute Book: Celebrating 30 Years of the March of the Living
March of the Living Book: Witness: Passing the Torch of Holocaust Memory to New Generations
New critically acclaimed book highlights more than 25 years of the March of the Living. With images, stories and quotes from survivor and student participants. To Order: International, Canada, Ebook. Read the Reviews…: Huffington Post, Canadian Jewish News, Book Verdict, Jerusalem Post Magazine
Museum of the History of Polish Jews
Yad Vashem Name Recovery Project
Since 1955, Yad Vashem has worked to fulfill its mandate to preserve the memory of the six million Jews who were murdered in the Holocaust by collecting their names, the ultimate representation of a person's identity. Millions of victims remain unidentified. Yad Vashem urgently calls upon Jewish communities to recover their names through a worldwide Names Recovery Project. Unless we assume collective responsibility for completing this vital mission, some of them may be lost forever. This is a race against time, before those who remember them are no longer with us. For more information visit Yad Vahem's Remembrance Page.
The March of the Living is sponsored nationally by Jewish Federations of Canada - UIA, and locally by the respective Jewish UJA/CJA Federations. We would like to thank the following individuals, organizations and foundations for their support of the March of the Living program.
Selected Quotes from Past Participants
I remember going to the concentration camps and seeing the scratches on the walls of the gas chambers. I vividly remember the march itself. As well on our way to a site, we saw this one random grave site. It was an unknown site that was not part of the trip. However a local came and told us what had happened, and Jews had been killed in the forest, and this was the site. We sang mourning prayers and it was unexpected that in the middle of the road, on the way to a concentration camp, we would discover another atrocity.
Copyright March of the Living Canada


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Game of Thrones (HBO): Season 8/Episode 3
♣♣♣♣♣/♣♣♣♣♣
Reeling from the loss of half the universe's population after Thanos' genocidal snap, what remains of the Avengers find a new ally in Captain Marvel. Together they draft a plan for vengeance in an effort to undo what has already been done, except that they are caught off-guard by the reality that they might already be too late. As the years pass them by, they all try to move on, albeit with a great deal of difficulty. When a faint glimmer of hope brought about by a crazy idea presents itself, the team reassembles one more time to accomplish one last mission, but not everyone agrees. Some consider taking a chance on the remote possibility of regaining what they have already lost, while some have already made peace with making do of what they already have and are not that receptive to taking the risk. In a post-apocalyptic world unjustly judged by a despotic tyrant with a cause, do you move on, or do you avenge the fallen?
Nah, we're not going to talk about spoilers. I won't do that to you. Instead, let's discuss the impact of the Marvel Cinematic Universe at large on today's ever globalized world. I live in Manila and reserved a seat for the 6 AM screening. It's April 24, this is probably one of the first worldwide screenings for this movie. The cinema was jam-packed. On a Wednesday workday. At 6 AM. Movie theaters here do get filled up like that. But NOT at 6 AM. It is, without a doubt, a big event. A culmination one decade in the making.
Is the movie really three hours long? YES. Do yourself a favor and take a piss before you enter the cinema, for your kidneys' sake and for your own. Since we are in Manila some people decided to observe Filipino time and entered late. They got booed. The film starts right after the trailers WITHOUT warning, which is all the more reason why you should come on time. You will probably not miss that much, but you don't want to be the one to ruin the communal experience. So how does Endgame compare to Infinity War?
IW was shorter, action packed from beginning to end, yet there were moments where it felt a bit dragging and over the top. Endgame has a way longer run-time and considerably less action, but you don't really notice that you've already spent three hours sitting down. The deaths in IW felt like a gut-wrenching punch needing to be nursed even months afterwards. The deaths in Endgame do not seem to be as impactful, maybe because they were already expected, and we just need the confirmation and closure.
The first hour had some indie kind of vibe due to its prevalently solemn and brooding nature, with a smattering of action here and there. Anti-climactic, really. The second hour felt like a heist movie with all the comedy and missions involved, a bit complicated but well-executed. Fun and exciting overall, with a lot of Easter Eggs. The last hour is where most of the action scenes are concentrated, but they pale in comparison to those that you've already seen in IW. IW is the ultimate superhero team-up film of all-time. Endgame is an end-of-an-era kind of thing, a feeling it shares with Game of Thrones' final season.
What about audience impact? IW brought the house down with Captain America's first appearance in Edinburgh and Thor's landing in Wakanda. Both Cap and Odinsson have their own moments in Endgame that make the crowd go wild, for reasons you've probably never imagined. Thor has become a full-fledged comedian; Hemsworth should consider doing a sitcom. Along with that, there are also several scenes that are pure fan service, some previous what-if scenarios perfectly immortalized onscreen. There was no shortage of applause in the cinema. The public was amazed AND amused.
Most material already shown in the teasers are contained within the first 15 minutes of the movie. Do fan theories that floated online add up? Some of them do. Most of them don't. I don't agree that Endgame is a standalone film. It's not. If you are totally clueless about the MCU and this is the first film you stumble upon, you'd have no idea what's going on. And since it also serves as a homage to the original Avengers team, the feeling won't be the same if you haven't really emotionally invested in them in the last 10 years.
There are NO mid and post credits scenes. You can leave as soon as the credits roll.
WRITTEN BY: ihcahieh at 10:34:00 AM
CATEGORY: Film, Hollywood
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Honey Child release cover of Leonard Cohen's "Treaty"
Sept 21 marks the birthday of the great Leonard Cohen. For Honey Child's Claire McKeown, Cohen's music continues to be a huge inspiration. Claire has put together a stellar group of artists for a special birthday celebration at The Echo in Los Angeles on September 22, 2018. In addition, Honey Child recorded their version of Cohen's song, "Treaty" from the 2016 album, "You Want It Darker". The song was released on Sept 7 and is available to stream and download at all the usual digital platforms.


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Q: Java encoding conversion between rest json and properties file I have a Latin 1 character in my properties file:
Privé vervoer

Properties file is stored using UTF-8. This caused problems and é was returned in a garbled way to the UI(separate js application).
I understand why that happened. By default, properties files are treated as ISO-8859-1. So, as commonly recommended, I changed é to its Unicode escaped representation - \u00E9.
Now, everything works like a charm, but I'm still confused. Java will treat this char as a ISO-8859-1 encoded. It's cool. But then when this same String is returned to the UI, it should be UTF-8 encoded, because that is what UI expects(Content-Type: "application/json; charset=utf-8" and charset="utf-8" meta tag).
I'm still not able to understand when the conversion from ISO-8859-1 to UTF-8 happening.
Is it needed at all if the character is Unicode escaped? Maybe escaped characters will always be properly displayed based on the underlying application/OS?
My stack: Mule ESB, Java 8, Spring 4, Angular-based UI and nodejs gateway in the middle.

A: Character encoding consists in transforming characters into sequences of bytes. This is necessary when you write to a file, or to the network.
Similarly, when you read characters from a file or the network, you actually read bytes, and the sequences of bytes are decoded to characters.
The Properties class, when it reads from a file, expects that file to contain ISO_8859_1-encoded characters, i.e. bytes that have been obtained by encoding characters with ISO_8859_1. It thus reads the bytes from the file, decodes them using ISO_8859_1, and stores them as key-value pairs of Strings (which contain characters).
When you write those characters to the network, those characters are then transformed into bytes again, and you're of course not forced to use the same encoding as the one used for the properties file. So you can choose UTF_8 instead, if you prefer.
ISO_8859_1 was a stupid (IMO) choice for properties files, especially considering they're used for resource bundles, containing messages translated in many languages. Indeed, ISO_8859_1 only supports 256 characters (not all printable), and not the entire Unicode set. UTF-8 would have been a much better choice. Your specific character, (é), is supported by ISO_8859_1, so you actually don't have to escape it. But had you stored cyrillic, arabic or other kinds of non-lating characters in the file, then you would have had to escape these into \uxxxx sequences of characters (themselves containing only characters that can be encoded with ISO_8859_1: \, u, and digits)

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Home » Workin' on the Railroad
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Workin' on the Railroad
Amberg Technologies' laser scanning trolley systems and software suite make this New York City subway extension project easier.
The Amberg GRP 5000 trolley system takes track as-built scans prior to the pouring of concrete on the No. 7 rail extension project in New York City. Image courtesy of Maser Consulting
Three-dimensional Autodesk AutoCAD drawing exchange format files of tunnel wall cross-sections with car-body data overlaid onto laser scan data. Image courtesy of Maser Consulting
A sample dynamic clearance cross-section in Amberg Rail software
Three-dimensional Autodesk AutoCAD drawing exchange format files of tunnel wall cross-sections with Metro Transit Authority car-body data overlaid onto laser scan data for the No. 7 subway extension project in New York City.
A screen capture of Amberg Slab Track software showing track adjustment criteria. Images courtesy of Maser Consulting
Jonathan Ricablanca
KEYWORDS AutoCAD / point cloud data
While there are many technologies and services used to acquire critical data associated with railways and their rights-of-ways, some can be cumbersome and require logistical challenges that can increase risk to track workers. Maser Consulting P.A., a multidisciplined engineering and land surveying firm with offices throughout the East Coast and Mid-Atlantic and with projects located nationally, employs Amberg Technologies, a provider of specialized systems for the georeferenced collection and refinement of civil infrastructure information to alleviate that risk.
Maser Consulting used Amberg's GRP 5000 and GRP 1000 trolley systems with 3D laser scanners mounted on them to acquire LiDAR data of continuous railroad geometry and tunnel appurtenances on the No. 7 subway line in New York City recently.
Designed for direct contact with the tracks, Amberg's trolley and software solutions provide comprehensive track geometry and corridor mapping, including gauge, super-elevation, curvature, middle ordinate, clearance and asset inventory. Designed like a three-wheel trolley and weighing 45 pounds, a single operator can exit the tracks with the Amberg GRP 5000 system in seconds. This mobile system increases safety and reduce the duration of track outages and the need for lengthy mobilization times.
"When time is of the essence, the Amberg method is a … profound tool that gives us the ability to provide our clients (with) a comprehensive and accurate solution in an efficient and cost-effective manner," says Ryan Leonard, a Maser Consulting rail and tunnel consultant.
The trolley at its core is a geometric measuring sensor. Positional information is established by a robotic total station located by resection to the local control monuments, which is continuously tracking a prism mounted on the trolley. With the inclusion of a phase-based 3D laser scanner, the Amberg trolley captures continuous LiDAR data perpendicularly about the tracks, reaching as far as 79 meters. The complete dataset is then geographically referenced to the local control using the Amberg Rail software suite.
Utilizing a Leica TS30 for position, a Z+F 5006i laser scanner and a Panasonic Toughbook to run the Amberg software, Maser Consulting's crews can capture comprehensive track geometry and LiDAR information at more than 600 feet per hour. Within tunnel environments, data is gathered at an average speed of 0.5 miles per hour.
One problem that must be overcome is the position of the laser scanner. Due to its position mounted on the trolley, features inside the rails cannot be collected. Static or stationary laser scanning methods can be implemented to gather this information. This technique has been successfully and extensively used on New York City and Washington, D.C., area rail and tunnel projects.
"Different projects require different tools. The same scanner can't be used on every project," said John Ott, Maser Consulting's crew chief. "Due to the level of detail that the client required, especially in subway tunnel construction, accurate track measurements (were) obtained using the Amberg trolley system, not only because of its ability to collect precise rail data in real time, but how quickly we can collect it. … If you want dynamic clearance and track data, Amberg's the one you want. The true benefit is realized when the data we collected is processed using the Amberg Rail suite in the office. Time savings in that aspect is substantial."
Under construction since 2006, the No. 7 subway line, which had terminated at Times Square, is being extended approximately one mile to a new station at 34th Street and 11th Avenue. Upon completion, the $2.4 billion extension will provide access to the entire Hudson Yards Redevelopment area and is vital to the growth of businesses and to residents on the Far West Side of Manhattan.
Hudson Yard currently serves as the Metro Transit Authority's 20-acre western rail yard, where the MTA has leased the rights to developers to create New York City's largest development project in recent years. Proposed development includes a 14-acre park and 16 skyscrapers, containing approximately 13 million square feet of commercial, retail and residential space.
In February 2013, as part of the track and signal contract issued to RailWorks Transit, a division of New York City-based RailWorks Corp., Maser Consulting performed as-builts of approximately 12,000 linear feet of track, including two tangential crossovers and a station platform at 34th Street. RailWorks chose Maser Consulting due to its ability to generate clearance as-builts without the need for a geometry car or plywood cutouts of train body cross-sections.
For existing tracks, resections using a minimum of four points were used to establish the position of the Leica TS30. Once resections were completed, the stationing position of the Amberg trolley was locked in with the prism mounted on top of the Z+F 5006i laser scanner. Scan positions were re-established every 150 to 350 feet, depending on the location within the tunnel and other variables.
In areas where track had not yet been laid, especially around the 34th Street Station platform, at tangential crossovers and entrances to the tunnel shaft, the Amberg TMS positioning method was used. Resections were still needed to establish the position of the total station within the tunnel alignment, but instead of having the Z+F on a trolley, it was mounted onto a tripod and scan positions were re-established every 30 to 40 feet.
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Jonathan Ricablanca is a survey project manager with Maser Consulting. He has 15 years of experience in land surveying, civil engineering and construction management. He has a bachelor's degree in civil engineering from the New Jersey Institute of Technology. For a demonstration of the Amberg GRP 5000 trolley system, access http://tinyurl.com/o4dxfx8.
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Dr. Seuss' The Grinch (PG)
Academy Award(R) nominee Benedict Cumberbatch lends his voice to the infamous Grinch, who lives a solitary life inside a cave on Mt. Crumpet with only his loyal dog, Max, for company. With a cave rigged with inventions and contraptions for his day-to-day needs, the Grinch only sees his neighbors in Who-ville when he runs out of food.
Each year at Christmas they disrupt his tranquil solitude with their increasingly bigger, brighter and louder celebrations. When the Whos declare they are going to make Christmas three times bigger this year, the Grinch realizes there is only one way for him to gain some peace and quiet: he must steal Christmas. To do so, he decides he will pose as Santa Claus on Christmas Eve, even going so far as to trap a lackadaisical misfit reindeer to pull his sleigh.
Meanwhile, down in Who-ville, Cindy-Lou Who--a young girl overflowing with holiday cheer--plots with her gang of friends to trap Santa Claus as he makes his Christmas Eve rounds so that she can thank him for help for her overworked single mother. As Christmas approaches, however, her good-natured scheme threatens to collide with the Grinch's more nefarious one. Will Cindy-Lou achieve her goal of finally meeting Santa Claus? Will the Grinch succeed in silencing the Whos' holiday cheer once and for all?
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At Eternity's Gate (Not Rated)
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Pimped (Not Rated)
Possum (Not Rated)
Winter's Dream (Not Rated)
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William the Conqueror (Not Rated)
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Norm Of The North: Keys To The Kingdom (Not Rated)
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A Star is Born (R)
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Backtrace (R)
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Can You Ever Forgive Me (Not Rated)
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Gosnell: The Trial of America's Biggest Serial Killer (PG-13)
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Ralph Breaks the Internet: Wreck-It Ralph 2 (PG)
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Between Worlds (R)
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Border - + Digital HD (R)
London Fields (Not Rated)
Antidote (Not Rated)
Dispatched by Doctors Without Borders, ANNA and her fiance MANUEL try to save the suffering villagers of a remote community in the heart of the Mexican jungle. The village is plagued by a deadly disease that only seems to affect children and pregnant women. Local legend foretells that these are the signs of the White Witch. Anna does not buy into the superstition, but the myth has attracted the attention of VICTOR a cocky tough-as-nails treasure hunter, and his partner JORGE. Anna also enlists the help of her scientist friend JAMES to help disprove the mystery. They really want to find the truth about what's been transpiring. But the more Anna uncovers, the more her life is in danger. She crosses paths with Victor who saves her from angry old hags, superstitious villagers and gun-toting thugs. While on the run, Anna and Manuel reluctantly join forces with Victor who is seeking access to the long lost city of gold. They soon find out that the plague, the White Witch and the golden city are all viciously interconnected.
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Bernie The Dolphin (Not Rated)
Black 47 (R)
Bullitt County (Not Rated)
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Rampant (Not Rated)
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The Unseen (Not Rated)
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LeadersSep 10th 2015 edition
Gay marriage: the aftermath
Some martyr
Gays, not Christians, are still America's truly embattled minority
JAILING Kim Davis for five nights has made her a misleading martyr to a misguided cause. Ms Davis is a clerk in Kentucky who adamantly refused to dispense marriage licences to same-sex couples. Her offence—to break the law in order to preserve her conscience—was even more wrongheaded than her punishment. Though she is now free again, her supporters, including several Republican presidential candidates who ought to know better, see her brief incarceration as the brutal triumph of secular tyranny. They exaggerate both Ms Davis's nobility and the threat faced by Christian America.
After the Supreme Court in effect legalised same-sex marriage throughout the country in June, several local officials—among them Ms Davis, the clerk of Rowan County, Kentucky—stopped supplying marriage licences to any couples, gay or straight. She was sued; she lost, predictably and repeatedly. When, after a convoluted legal process, she still refused to comply, she was judged to be in contempt of court and locked up. For all the adulation it has garnered, her stance is deeply confused, not least because issuing licences to pairs of men or women who want to get hitched would not imply her moral approval of their unions. It would signify only that the couples had met the legal requirements for marriage. Ms Davis is fully entitled to her horror, but it is irrelevant to her duties.
If that distinction failed her, she should have resigned, as others in her position have (since her post is elected, she cannot easily be sacked). She might even have stayed out of jail by letting her deputies process the offending paperwork in her stead (and might go back inside if she prevents them doing so now). That choice does not amount to a tyrannical imposition on her freedom. It simply means that, as a public official, she is bound to uphold the law. To compare her recalcitrance, as some admirers have, to the refusal of Rosa Parks to give up her seat on a Montgomery bus, or to the 19th-century figures who declined to return runaway slaves, is absurd.
Absurd because, unlike slavery or segregation, gay marriage is almost completely victimless. Therein lies another fallacy of Ms Davis's martyrdom: she makes it seem that Christians have been persecuted by the Supreme Court's ruling, directly and en masse, when, in reality, only a few have been inconvenienced (and many more gay Christians stand to benefit). There is a difficult question about whether the handful of devout bakers and florists who would prefer not to cater to same-sex nuptials should be compelled to. The law must either require shopkeepers to treat everyone alike or condone their intolerance—equality is surely better. Meanwhile, despite much scaremongering to the contrary, those pastors who do not wish to oversee such ceremonies are already exempt. Ms Davis's predicament is not only self-inflicted. It is also wholly unrepresentative.
Victim complex
Still, the furore in Kentucky shows the extent to which some Christian Americans feel besieged by what they perceive as a strangulating godlessness. Given the freshness of the gay-marriage ruling, perhaps that paranoia is understandable. The truth, though, is that Americans' freedom to practise their faiths is robustly defended by both the constitution and federal law (see article). The rights of the godly are actually much more secure than those of gay Americans—who still lack federal protection from prejudice like that granted to other groups by the Civil Rights Act of 1964. In most states of America homophobes can still legally discriminate against homosexuals, married or otherwise. That is a much graver scandal than Ms Davis's theatrical refusal to do her job.
This article appeared in the Leaders section of the print edition under the headline "Some martyr"


In a period of slower GDP growth in Western Europe, the IMF has optimistic expectations for Albania's economic development, according to the Albanian newspaper Gazeta Shqiptare.
The country's projected economic growth, at 6 per cent, puts it only after Montenegro, whose economy is expected to grow by 7.2 per cent by the end of the year. The two countries are followed by Bulgaria and Bosnia and Herzegovina, each with a 5.5 per cent projected economic growth, Romania – 5.4 per cent, Macedonia – 5 per cent, Croatia – 4.2 per cent and Serbia – 4 per cent.
As a whole, the economic growth in the region for 2008 is higher than the previous year. According to the publication, EU membership and the of the regional economies' opening up to globalising market have increased the competition the countries have to face but at the same time given them new opportunities for development.