Smartphones are very popular and have become an important part of our lives and it is especially Android devices that take the crown for being the most used smartphone devices in the world. The ease of operation of the devices based on the Android operating system along with the freedom Android gives the users to tweak in several features has helped this wonderful OS from Google to claim the top spot.
Sometimes, there may be a necessity to reset an Android device to its factory settings. Whether you wish to sell your device to someone else or unlock your device, you will most likely have to do a hard reset. Most Android devices can be reset easily by pressing a combination of volume and power buttons. But to hard reset Android tablet without volume buttons is a different ball game altogether and perhaps a lot more cumbersome. We are here to break that myth for you!
If the Android device is working well, to hard reset Android tablet without volume buttons won't be much of a problem and can be done within just a few taps. But if the device is not functioning, it may pose a problem. That said, there are several methods to hard reset Android tablet without volume buttons. We have been able to list some of the easiest methods and describe them for you in the sections that follow. So read on to learn the methods to hard reset your Android device without using the volume buttons.
Resetting an Android smartphone or a tablet is not very hard, especially, if there is a home button on your device. A combination of few button presses including the home button will be the first step to the factory data resetting process. But if there are no physical volume buttons, the process may be quite different from the normal tablets. Only after booting your Android tablet into recovery mode, you will be able to hard reset Android tablet without volume buttons. To know how to reset Android tablet without volume buttons, follow the steps described below. Remember that this method would only work if your Android device has a home button.
Android device at the same time.
Now, the screen for rebooting into safe mode will appear. Tap on "Yes" to enter the safe mode.
Press and hold the power button as well as the home button of your device simultaneously until a new screen appears. After it appears, release the two buttons and press the power button one more time. Now, press and hold down the home button. With that you will enter into recovery mode and a new set of options will appear on the screen.
Using the home button to navigate, move down to the "Wipe data/factory reset" option. Press the power button to select the option.
You may have to confirm your choice by selecting "Yes".
After the reset is complete, navigate to the "reboot system now" option and select it to reboot your device. At the end of this process, your device will be reset.
There are many reasons for opting to reset an Android smartphone or a tablet. Sometimes, a forgotten password might get your tablet locked. At times, the screen of your smartphone or tablet might get stuck and fail to respond. Or your device might come with a non-removable battery to make matters worse. For all these problems and many others, you might want to reset your device. But if your device does not come with a home button or volume buttons, you might want to use a different method. Generally, such devices come with a reset pinhole on the device which can be used to reset the device. To perform a tablet hard reset without volume button, follow the simple steps described below.
Look for a very small opening on the back panel or the bezels of a smartphone. Usually, such pinholes are marked "Reset" or "Reboot" and are available on the top left side of the back panel. But be careful not to mistake it with the microphone as using it for resetting your gadget may damage the small microphone permanently and lead to other complications.
After locating it, insert a stretched paperclip or a small pin into the hole and press it for a few seconds.
Now all the data in your Android device will be reset. After this, you can continue to use your device normally without any problem.
If your Android tablet or smartphone is functioning normally, your device can be reset to the factory settings using just your device itself. Even if your device does not have a home button or volume control buttons, this method will be applicable and can be used to reset the device. But before using this method to reset your Android device, make sure to back up all the necessary information that you have on your device. You can also sync all the important files to the cloud using your Google account. Also, it is necessary to keep in mind that this procedure will remove all the accounts into which your device is signed in. To know how to reset Android tablet without volume button, read on.
Tap on the Settings app in the app section of your device to open it.
After that, navigate or scroll down until you can find the "Backup and Reset" option. Tap on it to open the folder.
Now swipe down to find the "Factory data reset" option and tap on it. A new screen will appear, requesting you for confirmation to proceed with the process. Tap on "Reset device" to start the process.
At the end of the process, your device will be reset and ready to use after it completes the mandatory reboot.
So these are the methods with which you can do a hard reset without using volume buttons. The difficulty level of the methods depend on the type and brand of the Android device. The last two parts can be performed easily by anyone and that too in a matter of few minutes. However, the first method may pose some difficulty, particularly because manufacturers set different key combinations for rebooting the device into recovery. Nevertheless, once it is figured out, the rest is easy. Hence, it is up to you to decide on the method to be adopted for hard resetting your Android device.
In this article below we will learn to hard reset our Android phone's using two different methods and also backup our data.
This article is for all of those who are facing rebooting or boot loop issues and frozen device issue on their Samsung Galaxy Devices.
Learn how to reset a tablet in four different ways. In this informative tutorial, we have provided stepwise instructions to reset tablet and phone.
Perform factory reset Galaxy S5 in four different ways. We have come up with different tutorials for you to hard reset Samsung S5 in no time.
Think the default data wipe tool on your Android is enough to permanently erase private data? Think again. Here is how to be 100% sure.


text:
Baby carriage auxiliary seat
An auxiliary seat for mounting on a baby carriage is disclosed which includes a seat bench, designed and configured to be mounted on the baby carriage in a substantially horizontal orientation, and including a mechanism for adjusting a length of the seat bench to enable mounting of the seat bench to carriages having a range of widths. The auxiliary seat further includes at least one first seat attachment element disposed at a respective end of the seat bench length adjusting mechanism, each configured to engage at least one respective structural member of the carriage, and at least one second seat attachment element disposed at a respective end of the seat bench length adjusting mechanism. The at least one second seat attachment element further includes a resilient element configured to secure the at least one second attachment element to the respective at least one structural member of the carriage.
Wolstein, Oren (Kfar Saba, IL)
WOLSTEIN OREN
297/250.1
B62B9/28; (IPC1-7): B60N2/26
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GARRETT, ERIKA P
DR. MARK FRIEDMAN LTD. (Upper Marlboro, MD, US)
1. An auxiliary seat for mounting on a carriage, the auxiliary seat comprising: (a) a seat bench designed and configured to be mounted on the carriage in a substantially horizontal orientation; (b) at least one first seat attachment element disposed at a respective end of said seat bench, each said at least one first seat attachment element configured to engage at least one respective structural member of the carriage; and (c) at least one second seat attachment element disposed at a respective end of said seat bench, said at least one second seat attachment element including a resilient element configured to secure said at least one second attachment element to said respective at least one structural member of the carriage.
2. The auxiliary seat of claim 1, wherein each said at least one first seat attachment element includes a bracket designed and configured to engage said respective at least one structural member of the carriage by clamping to said structural member.
3. The auxiliary seat of claim 1, wherein each said at least one first seat attachment element includes a mechanism for adjusting a fore to aft position of said each at least one first seat attachment mechanism relative to said seat bench.
4. The auxiliary seat of claim 1, wherein each said at least one first seat attachment element includes a mechanism for adjusting a vertical position of said each at least one first seat attachment mechanism relative to said seat bench.
5. The auxiliary seat of claim 1, wherein each said at least one second seat attachment element includes a mechanism for adjusting a fore to aft position of said each at least one second seat attachment mechanism relative to said seat bench.
6. The auxiliary seat of claim 1, further comprising (Four) a substantially vertically disposed seat back attached to said seat bench.
7. The auxiliary seat of claim 1, further comprising (d) a mechanism for securing a child to the auxiliary seat.
8. The auxiliary seat of claim 1, wherein said resilient element is selected from the group consisting of Velcro-equipped straps, belts, chains, bands, strings, laces and cords.
9. The auxiliary seat of claim 6, wherein said seat bench and said seat back are constructed as one piece.
10. The auxiliary seat of claim 6, wherein at least one element of a group of elements including said seat bench and said seat back is furnished with padding.
11. An auxiliary seat for mounting on a carriage, the auxiliary seat comprising: (a) a seat bench designed and configured to be mounted on the carriage in a substantially horizontal orientation, said seat bench including a mechanism for adjusting a length of said seat bench to enable mounting of said seat bench to carriages having a range of widths; (b) at least one first seat attachment element disposed at a respective end of said mechanism for adjusting said length of said seat bench, each said at least one first seat attachment element configured to engage at least one respective structural member of the carriage; and (c) at least one second seat attachment element disposed at a respective end of said mechanism for adjusting said length of said seat bench, said at least one second seat attachment element including a resilient element configured to secure said at least one second attachment element to said respective at least one structural member of the carriage.
12. The auxiliary seat of claim 11 wherein said mechanism for adjusting a length of said seat bench includes: (i) at least one extension element slidingly mounted within a channel attached to said seat bench, and (ii) a mechanism for fixing said at least one extension element in place relative to said seat bench.
13. The auxiliary seat of claim 11 wherein said mechanism for fixing said at least one extension element in place includes at least one device mounted in said seat back and engaging said at least one extension element.
14. The auxiliary seat of claim 13 wherein said at least one device is selected from the group consisting of setscrews, bolts, nails, and pegs.
15. The auxiliary seat of claim 12 wherein said at least one extension element includes a mechanism providing at least one mounting surface that is substantially in a common geometric plane with a bottom surface of said channel.
16. The auxiliary seat of claim 11, wherein each said at least one first seat attachment mechanism includes a bracket designed and configured to engage said respective at least one structural member of the carriage by clamping to said structural member.
17. The auxiliary seat of claim 11, wherein each said at least one first seat attachment mechanism includes a mechanism for adjusting a fore to aft position of said each at least one first seat attachment mechanism relative to said seat bench.
18. The auxiliary seat of claim 11, wherein each said at least one first seat attachment element includes a mechanism for adjusting a vertical position of said each at least one first seat attachment mechanism relative to said seat bench.
19. The auxiliary seat of claim 11, wherein each said at least one second seat attachment mechanism includes a mechanism for adjusting a fore to aft position of said each at least one second seat attachment mechanism relative to said seat bench.
20. The auxiliary seat of claim 11, further comprising (d) a substantially vertically disposed seat back attached to said seat bench.
21. The auxiliary seat of claim 11, further comprising (d) a mechanism for securing a child to the auxiliary seat.
22. The auxiliary seat of claim 11, wherein said resilient element is selected from the group consisting of Velcro-equipped straps, belts, chains, bands, strings, laces and cords.
23. The auxiliary seat of claim 20, wherein said seat bench and said seat back are constructed as one piece.
24. The auxiliary seat of claim 20, wherein at least one element, selected from among said seat bench and said seat back, is furnished with padding.
25. A method of adapting a carriage to transport a plurality of children, the method comprising the steps of: (a) providing an auxiliary seat that includes a seat bench including a mechanism for adjusting a length of said seat bench, (b) adjusting said seat bench to fit the carriage; and (c) mounting said auxiliary seat on the carriage with said seat bench in a substantially horizontal orientation.
FIELD AND BACKGROUND OF THE INVENTION
[0001] The present invention relates to seats for baby carriages, and in particular, it concerns a child's auxiliary seat that is attachable to a baby carriage.
[0002] Baby carriages are primarily designed to accommodate one newborn or infant child up to approximately 2-3 years of age. In many cases, an older child accompanies the carriage user, in which case it may be desirable to transport the older child as well. It would be desirable to have a seating device that can be easily attached to the carriage that can accommodate an older child, preferably up to the age of 5-6 years, so as to provide such transport. Such device should be lightweight, safe, able to be attached to virtually any commonly found baby carriage, easy to maintain, and easy to affix and detach from the carriage.
[0003] In the teachings of the prior art, as disclosed in U.S. Pat. No. 1,409,331 and depicted in FIGS. 1A-1D (prior art), an auxiliary seat is provided to accommodate a small child without interference with the normal use of the carriage for small infants. As can be seen in FIGS. 1A-1D, the auxiliary seat is designed specifically for use with a particular type of carriage depicted, being designed and configured to attach to a specific carriage structural member arrangement characteristic of a particular carriage configuration. With reference to the figures, carriage body 10 is supported on wheels 11, with rearwardly extending handlebars 12 attached to carriage body 10. One end of the carriage is cut away to form opening 13. The body of the carriage is reinforced longitudinally and transversely as well as vertically through the medium of metallic bars or reinforcing members 14 arranged in any suitable manner. A supporting member is provided in the form of a pair of rods 15 connected together at their adjacent ends by means of a turnbuckle 16 and having their remote ends connected to the sides of the carriage body or reinforcing members 14 located therein. This bar is located adjacent the cutaway end of the carriage body in order to support the seat which consists of a seat portion 17, a leg rest 18 extending downward therefrom and a foot rest 19. A back and sides 20 may be formed of wicker, reed or any other material desired. Iron bars 21 are provided and are secured to the seat portion and back and are formed with pressed out portions 22 which receive rods 15, thus mounting the seat for swinging movement from the position shown in full lines in FIG. 1B to the dotted position thereof.
[0004] As seen in the figures, the mechanism for mounting and supporting the auxiliary seat is not rigid and leaves the seat and its passenger susceptible to undesired and excessive movements. Further, it is clear from inspection of the figure that the seat design and configuration and location of attachment hardware are suitable for the particular carriage depicted, and is not adjustable for use with a plurality of carriages. Further, the device is not suitable for carriages that are in popular use today, which are provided with a low, substantially rectangular horizontal frame extending towards the user, eliminating the option of hanging an auxiliary seat frontwards from a carriage frame, as taught in the prior art.
[0005] Therefore, it would be desirable to have a child's auxiliary seat to accommodate an older child up to the age of 5-6 years, which is suitable for use with a wide variety of carriages in popular use today, lightweight, safe, adaptable to a plurality of carriages, easy to mount and detach from a carriage, and simple and inexpensive to manufacture.
[0006] According to the present invention, there is provided an auxiliary seat for mounting on a carriage, the auxiliary seat including (a) a seat bench designed and configured to be mounted on the carriage in a substantially horizontal orientation (b) at least one first seat attachment element disposed at a respective end of the seat bench, each first seat attachment element configured to engage at least one respective structural member of the carriage; and (c) at least one second seat attachment element disposed at a respective end of the seat bench, the at least one second seat attachment element including a resilient element configured to secure the at least one second attachment element to the respective at least one structural member of the carriage.
[0007] According to the present invention, there is provided an auxiliary seat for mounting on a carriage, the auxiliary seat including (a) a seat bench designed and configured to be mounted on the carriage in a substantially horizontal orientation, the seat bench including a mechanism for adjusting a length of the seat bench to enable mounting of the seat bench to carriages having a range of widths; (b) at least one first seat attachment element disposed at a respective end of the mechanism for adjusting a length of the seat bench, each the at least one first seat attachment element configured to engage at least one respective structural member of the carriage; and (c) at least one second seat attachment element disposed at a respective end of the mechanism for adjusting a length of the seat bench, the at least one second seat attachment element further comprising a resilient element configured to secure the at least one second attachment element to the respective at least one structural member of the carriage.
[0008] According to the present invention there is provided a method of adapting a carriage to transport a plurality of children, the method including the steps of (a) providing an auxiliary seat that includes a seat bench including a mechanism for adjusting a length of the seat bench, (b) adjusting the seat bench to fit the carriage; and (c) mounting the auxiliary seat on the carriage with the seat bench in a substantially horizontal orientation.
[0009] According to further features of the described preferred embodiments of the invention, the mechanism for adjusting the length of the seat bench includes (i) at least one extension element slidingly mounted within a channel attached to the seat bench, and (ii) a mechanism for fixing the at least one extension element in place relative to the seat bench.
[0010] According to yet further features of the described preferred embodiments of the invention, the mechanism for fixing the at least one extension element in place includes at least one device mounted in the seat back and engaging the at least one extension element.
[0011] According to yet further features of the described preferred embodiments of the invention, the at least one device engaging the at least one extension element is a setscrew, a bolt, a nail, or a peg.
[0012] According to yet further features of the described preferred embodiments of the invention, the at least one extension element includes a mechanism providing at least one mounting surface that is substantially in the same geometric plane as a bottom surface of the channel.
[0013] According to yet further features of the described preferred embodiments of the invention, each the at least one first seat attachment mechanism includes a bracket designed and configured to engage the respective at least one structural member of the carriage by clamping to the structural member.
[0014] According to yet further features of the described preferred embodiments of the invention, each the at least one first seat attachment mechanism includes a mechanism for adjusting a fore to aft position of the each at least one first seat attachment mechanism relative to the seat bench.
[0015] According to yet further features of the described preferred embodiments of the invention, each at least one first seat attachment element includes a mechanism for adjusting a vertical position of each at least one first seat attachment mechanism relative to the seat bench.
[0016] According to yet further features of the described preferred embodiments of the invention, each the at least one second seat attachment mechanism includes a mechanism for adjusting a fore to aft position of the each at least one second seat attachment mechanism relative to the seat bench.
[0017] According to yet further features of the described preferred embodiments of the invention, the auxiliary seat includes a substantially vertically disposed seat back attached to the seat bench.
[0018] According to yet further features of the described preferred embodiments of the invention, the auxiliary seat includes a mechanism for securing a child to the auxiliary seat.
[0019] According to yet further features of the described preferred embodiments of the invention, the resilient element is a Velcro-equipped strap, a belt, a chain, a band, a string, a lace or a cord.
[0020] According to yet further features of the described preferred embodiments of the invention, the seat bench and the seat back are constructed as one piece.
[0021] According to yet further features of the described preferred embodiments of the invention, the seat bench and/or the seat back is furnished with padding.
[0022] The present invention successfully addresses the shortcomings of the existing technologies by providing an auxiliary seat, for mounting on a carriage, that is lightweight, safe to use, adaptable to a plurality of carriages, easy to mount and detach from a carriage, and simple and inexpensive to manufacture, relative to the prior art.
[0023] The invention is herein described, by way of example only, with reference to the accompanying drawings. With specific reference now to the drawings in detail, it is stressed that the particulars shown are by way of example and for purposes of illustrative discussion of the preferred embodiments of the present invention only, and are presented in the cause of providing what is believed to be the most useful and readily understood description of the principles and conceptual aspects of the invention. In this regard, no attempt is made to show structural details of the invention in more detail than is necessary for a fundamental understanding of the invention, the description taken with the drawings making apparent to those skilled in the art how the several forms of the invention may be embodied in practice.
[0024] In the drawings:
[0025] FIGS. 1A, 1B, 1C and 1D (prior art) depict an auxiliary seat according to the teachings of U.S. Pat. No. 1,409,331.
[0026] FIG. 2A depicts a front view of an auxiliary seat for a baby carriage according to one embodiment of the invention, in which the seat bench length is not adjustable;
[0027] FIG. 2B provides a side view of the device shown in FIG. 2A;
[0028] FIG. 2C provides a top view of the device of FIG. 2A;
[0029] FIG. 2D provides a perspective view of the device shown in FIG. 2A;
[0030] FIG. 3A illustrates an example of an auxiliary seat mounted on a baby carriage according to the teachings of the invention depicted in FIGS. 2A-2D;
[0031] FIG. 3B illustrates a close-up perspective view of resilient element fastening details for mounting a fixed-length auxiliary seat on a carriage;
[0032] FIG. 4A depicts a front view of an auxiliary baby carriage seat according to another preferred embodiment of the invention, in which a seat bench is furnished with extension elements for adjusting a seat bench length;
[0036] FIG. 5 illustrates a bottom view of the device shown in FIG. 4A;
[0037] FIG. 6 illustrates a rear view of the device shown in FIG. 4A;
[0038] FIG. 7 illustrates an example of an auxiliary seat mounted on a baby carriage according to the teachings of the invention depicted in FIG. 4A; and
[0039] FIG. 8 illustrates a close-up perspective view of resilient element fastening details for mounting an adjustable-length auxiliary seat on a carriage.
DESCRIPTION OF THE PREFERRED EMBODIMENTS
[0040] The present invention is an auxiliary seat for mounting on a baby carriage to enable simultaneous transport of a small child in addition to a baby.
[0041] The principles and operation of the auxiliary seat according to the present invention may be better understood with reference to the drawings and the accompanying description.
[0042] Before explaining at least one embodiment of the invention in detail, it is to be understood that the invention is not limited in its application to the details of construction and the arrangement of the components set forth in the following description or illustrated in the drawing. The invention is capable of other embodiments or of being practiced or carried out in various ways. Also, it is to be understood that the phraseology and terminology employed herein is for the purpose of description and should not be regarded as limiting
[0043] Referring now to the drawings, FIGS. 2A-2D, FIG. 3A and FIG. 3B illustrate one form of the apparatus constructed in accordance with the present invention. In a preferred embodiment of the invention, as illustrated in FIGS. 2A, 2B, 2C and 2D, a child's auxiliary seat consists of a seat bench 1 for mounting on a baby carriage in a substantially horizontal orientation, a seat back 2 is rigidly attached to seat bench 1 in a substantially vertical orientation. Attachment of seat back 2 to seat bench 1 is preferably accomplished using suitable fastening hardware (not shown) that are capable of rigidly attaching seat back 2 to seat bench 1, for example, screws, bolts, nails or other suitable devices. Alternatively, seat back 2 and seat bench 1 preferably are constructed as a single unit, preferably from a thermoplastic material or other suitable material such as metal or wood, thereby eliminating the need for fastening hardware.
[0044] Right seat belt 3R and left seat belt 3L are attached to seat back 2 and middle seat belt 3M is attached to seat bench 1, as shown in the figures, with the aid of loops in the belts which are engaged to seat bench 1 and seat back 2 through slots in the surfaces of seat bench 1 and seat back 2.
[0045] In a preferred embodiment of the invention, seat bench 1 and/or seat back 2 are preferably padded or upholstered to provide comfortable passenger support.
[0046] A right front mounting bracket 4R and a left front mounting bracket 4L are slidingly mounted onto each end of seat bench 1 using suitable fastening hardware, such as wing nuts 7 screwed onto bolts having heads slidingly mounted within rails 6R and 6L. Rails 6R and 6L are equipped at each end with rubber, plastic, metal or wooden stops 8 to prevent disengagement of fastening nuts 7 by limiting the fore to aft range of motion of fastening nuts 7. This arrangement enables a user to adjust a fore to aft position of right front bracket 4R and left front bracket 4L to enable accommodation of a wide variety of carriage designs. In addition, vertical slots 7A are provided in right front bracket 4R and in left front bracket 4L to accommodate fastening nuts 7 while enabling adjustment of the vertical disposition of front attachment brackets 4R and 4L. Front attachment bracket vertical disposition adjustability allows a user to position front brackets 4R and 4L for a variety of carriage designs such that front brackets 4R and 4L are locked in place with respect to the seat, while being in firm contact with a bottom-facing surface of carriage handle bar 110, as illustrated in FIG. 3B. This positioning of front attachment brackets 4R and 4L prevents the seat from tilting backwards in the event that an occupant of the seat leans backwards with respect to the seat, since an upward movement of front brackets 4R and 4L, which would necessarily occur if the seat were to tilt backwards, is limited by handle bar 110. Right rear bracket 5R and left rear bracket 5L are similarly slidingly attached to seat bench 1. Rear brackets 5R and 5L are furnished with resilient elements 9R and 9L, respectively, for engaging carriage structural members. Front and rear brackets 4R, 4L, 5R and 5L are preferably constructed of a rigid material such as wood, metal or plastic.
[0047] Adjustment by a user of fore to aft positions of brackets 4R, 4L, 5R and 5L is necessary to firmly mount the apparatus on a baby carriage. Fore to aft position adjustability allows a user to mount a seat onto a plurality of baby carriages of various designs, despite differences in spatial disposition of structural members, to ensure that the auxiliary seat is securely mounted to a baby carriage for its safe use. However, the preferred embodiment of the invention is limited in applicability to carriages having a width virtually equal to a distance between inward facing surfaces of brackets 4R and 4L, and between 5R and 5L.
[0048] FIG. 3A illustrates an auxiliary seat mounted on a carriage according to the teachings of a preferred embodiment of the invention. As depicted in FIG. 3A, mounting of the device on a carriage is accomplished by placing an auxiliary seat on a baby carriage such that seat bench 1 is disposed substantially horizontally and is supported by carriage structural elements 101 and 102. At this point, front brackets 4R and 4L are clamped down by a user upon structural elements 101 and 102, respectively, while positioned in front (towards the user) of carriage handle bar 110. Rear brackets 5R and 5L are positioned to the rear of handle bar 110 (away from a user). Front brackets 4R and 4L, which are slidingly mounted in rails 6R and 6L (illustrated to better advantage in FIGS. 2A-2D), are then pushed toward the back of a carriage (away from the user) and adjusted vertically until front brackets 4R and 4L are in contact with a bottom-facing surface of carriage handle bar 110. Since carriage handle bar 110 will generally be disposed in a diagonal orientation, the respective areas of contact of front brackets 4R and 4L with carriage handle bar 110 will generally be limited to the seat rear-facing upper comers of front brackets 4R and 4L. Front attachment brackets 4R and 4L are then secured in place relative to seat bench 1 by tightening fastening nuts 7.
[0049] Rear attachment brackets 5R and 5L are then positioned at any convenient fore to aft location in back of carriage handle bar 110, within a range of motion defined by handle bar 110 and a rubber or plastic stop 8 disposed at each end of mounting rails 6R and 6L. Fastening nuts 7 disposed on brackets 5R and 5L are then tightened, fixing brackets 5R and 5L in place. An auxiliary seat is then further secured to a carriage by fastening resilient elements 9R and 9L to a lower extension of carriage handle bar 110 at points below carriage structural elements 101 and 102. In a preferred embodiment of the invention depicted in FIGS. 3A and 3B, resilient elements 9R and 9L are preferably Velcro-equipped straps secured to a lower extension of carriage handle bar 110 by pressing together mating Velcro surfaces disposed at an end and at a suitable location along the length of each strap. In other preferred embodiments of the invention, resilient elements 9R and 9L are belts, chains, bands, strings, laces or cords, and are furnished with a fastening mechanisms such as hooks, catch buckles, snap-in buckles, or various knots. After fastening resilient elements 9R and 9L to handle bar 110, upward movement of resilient elements 9R and 9L is limited by the presence of carriage handle bar pivot adjusting knobs 111R and 111L.
[0050] A small child is secured to an auxiliary seat by placing the child on the seat and extending right seat belt 3R and left seat belt 3L over the child's shoulders. Middle seat belt 3M is brought up from seat bench 1 between the child's legs and secured to right seat belt 3R and left seat belt 3L by inserting male buckles disposed at an end of right seat belt 3R and at an end of left seat belt 3L into respective receptacles of a female buckle disposed at an end of middle seat belt 3M.
[0051] Removal of the child is effected by releasing buckles at ends of seat belts 3R and 3L from middle seat belt 3M. The auxiliary seat is removed from the carriage by first releasing belts 9R and 9L to disengage the auxiliary seat from the lower extension of carriage handle bar 110, loosening nuts 7 to release brackets 4R, 4L, 5R and 5L, then lifting the auxiliary seat up and forward (towards the user) away from the mounting position of the auxiliary seat on the carriage.
[0052] In a preferred embodiment of the invention described heretofore, a seat bench 1 of an auxiliary seat according to the teachings of the invention has a fixed width, which is designed to be compatible with a baby carriage of similar width. Since ends of seat bench 1 must reach structural elements 101 and 102 of a carriage, yet must not be longer than a length defined by a distance between inward facing surfaces of handlebar 110, a device according to this preferred embodiment of the invention is thus limited in applicability to essentially one baby carriage width.
[0053] In another preferred embodiment of the invention illustrated in FIGS. 4A-4D, 5, 6, 7 and 8, a length of a seat bench is essentially variable, allowing a user to adjust a length of an auxiliary seat to accommodate carriages of various widths. As shown in the figures, a child's auxiliary seat according to the teachings of this preferred embodiment of the invention consists of a seat bench 200 for mounting on a baby carriage in a substantially horizontal orientation, having a seat back 2 attached to it as described above in a substantially vertical orientation. A bottom surface of seat bench 200 is furnished with channel 290, also shown to better advantage in FIG. 5, to provide a mechanism for slidable mounting of extension elements 201 and 202 to a bottom surface of seat bench 200. Extension elements 201 and 202 are furnished with mounting bars 250 and 260, attached to bottom surfaces of extension elements 201 and 202, respectively. The bottom surfaces of mounting bars 250 and 260 are substantially disposed in the same geometric plane as the bottom surfaces of channel 290. When mounting a seat on a carriage, a user places mounting bars 250 and 260 on carriage side frame members 101 and 102. The use of mounting bars 250 and 260 enables level mounting of the seat with respect to the carriage frame, in case the seat is positioned by a user towards the user-facing end of the carriage, such that channel 290 is mounted on a front facing-carriage frame member. Other mechanisms for accommodating extension elements are preferably applicable to enable adjustment of an effective length of seat bench 1. Extension elements are preferably constructed of a material such as wood, plastic or metal.
[0054] Prior to mounting an auxiliary seat onto a baby carriage, extension elements 201 and 202 are positioned by a user of the device such that an overall length of seat bench 2, including lengths of extended portions of extension elements 201 and 202, is suitable to a width of a carriage. Extension elements 201 and 202 are fixed in position relative to seat bench 200 and seat back 2 by adjusting set screws 210, shown to better advantage in FIG. 6, which are inserted through a threaded cross section of seat back 2. Set screws 210 are tightened until they press against a back surface of each extension board, thereby fixing extension boards 201 and 202 in place relative to seat bench 200. Set screws 210 may preferably be engaged in holes furnished at predetermined positions in extension boards 201 and 202, thereby defining specific discrete effective seat bench lengths for standard carriage widths. In addition to threaded screws, fixing extension elements 201 and 202 in place is preferably accomplished using nails, bolts, pins, pegs or other suitable hardware.
[0055] Once a desired seat bench length has been fixed, the seat is mounted by placing mounting bars 250 and 260 on carriage structural members 101 and 102, respectively. Further procedures for mounting of an auxiliary seat according to this embodiment of the invention, placing a child in the seat, removing the child from the seat, and removing the auxiliary seat from the carriage are performed as described previously for an auxiliary seat having a fixed length.
[0056] Although the invention has been described in a context of application to a baby carriage, it is evident that the specific embodiments can be applied to other devices having similar structural configurations such as shopping carts, wagons, strollers and other vehicles.
[0057] It will be appreciated that the above descriptions are intended only to serve as examples, and that many other embodiments are possible within the spirit and the scope of the present invention.
[0058] Although the invention has been described in conjunction with specific embodiments thereof, it is evident that many alternatives, modifications and variations will be apparent to those skilled in the art. Accordingly, it is intended to embrace all such alternatives, modifications and variations that fall within the spirit and broad scope of the appended claims. All publications, patents and patent applications mentioned in this specification are herein incorporated in their entirety by reference into the specification, to the same extent as if each individual publication, patent or patent application was specifically and individually indicated to be incorporated herein by reference. In addition, citation or identification of any reference in this application shall not be construed as an admission that such reference is available as prior art to the present invention.
[0059] Those skilled in the art will readily appreciate that various modifications and changes can be applied to various embodiments of the invention as hereinbefore exemplified without departing from its scope defined in and by the appended claims.
Previous Patent: Vehicle seat
Next Patent: Child automotive safety seat with integral seat belt tensioner

redpajama_set_name: RedPajamaCommonCrawl


Tourist operators who use MOTOR BUSES with twelve (12) OR MORE SEATS shall be EXEMPT from the payment of Excise Tax. These vehicles must however NOT exceed four years (4) old.
These vehicles must be used EXCLUSIVELY for the transportation of tourists anywhere in Guyana, and the owner/operator must be registered and licensed as a tourism operator with the Guyana Tourism Authority (GTA). Operators must also satisfy the registration and licensing conditions with the GTA for five years subsequent to receiving any exemptions.
This new provision took effect January 1, 2019 in accordance with the Excise Tax (Amendment) Regulations 2018. All such vehicles will have painted stripes similar to the zoning for minibuses.


Too many brands put together a plan to sponsor influencers (pay them cash or give them freebies) with large followings on Twitter, Instagram, or YouTube. They want them to use their products, review their services, or even just throw out a few tweets about their latest app.
There are a few reputation risks with this approach.
You could pay money to someone with an artificial follower count, you may pick an influencer who has a reputation that doesn't align with yours, or you could even just be called out by others.
Build a product or service that is so amazing, key influencers will want to share and recommend it.
Cultivate a natural connection with influencers. Follow them, share them, praise them, and thank them any time they say something great about you.
Setting aside a budget that only sponsors influencers is akin to only relying on paid search ads or boosted social posts. You get a quick hit, but you'll have to keep spending. Instead, follow a similar path to organic search or social follower growth–build it slowly, invest in something of quality, and then wait for the long-term influencer praise.
Share the post "Avoid relying on sponsorships for your influencer marketing, instead follow these two important strategies"


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text:
  Jenkins a la capacité d'envoyer des emails aux destinaires spécifiés
  lorsque certains évènements importants ont eu lieu.

Chaque build en échec provoque l'envoi d'un mail.

Un build qui passe avec succès après un build en échec
    provoque l'envoi d'un mail, ce qui permet de savoir qu'une situation
    de crise est résolue.

Un build instable après un build avec succès provoque l'envoi
    d'un mail, indiquant ainsi qu'il y a eu une régression.

Sauf configuration contraire, chaque build instable
    provoque l'envoi d'un mail, indiquant ainsi qu'une régression est
    toujours d'actualité.

  Pour les projets qui ne suivent pas les bonnes pratiques et
  où les builds instables sont la norme, décochez la case
  "Envoyer un email à chaque build instable".

redpajama_set_name: RedPajamaGithub


text:
WikiLeaks: Fallout is more dribble than storm, say Vatican officialsRead Time 4 min
By The Catholic Herald|2010-12-06T15:21:30-06:00Dec 6, 2010|Nation and World|
Miguel Diaz, U.S. ambassador to the Vatican, left, walks with a Vatican usher as he arrives for a Mass with new cardinals celebrated by Pope Benedict XVI in St. Peter's Basilica at the Vatican Nov. 21. Diaz said the release of alleged diplomatic correspondence by Wikileaks was "reprehensible." (CNS photo/Paul Haring)VATICAN CITY –– WikiLeaks' release of classified U.S. documents is unlikely to ever develop into a flood capable of eroding decades of U.S. diplomatic efforts, some Vatican officials and watchers said.
The content of the communications between the U.S. government and its diplomatic missions abroad does "not seem capable of substantially changing relations between the United States" and its 274 embassies around the world, said the Vatican newspaper, L'Osservatore Romano, the day after the WikiLeaks website launched "Cablegate" Nov. 28.
Among the quarter of a million alleged diplomatic cables WikiLeaks said it would release over the coming months, sources in Rome said 850 documents concern communications between the U.S. State Department and the U.S. Embassy to the Vatican.
While U.S. government employees would not comment on any of the content that is being released, the Vatican seemed to be downplaying the perceived crisis and showed a heavy dose of skepticism.
For one thing, the Vatican has made no plans to make any preemptive statements, according to one Vatican source, especially since the authenticity of the leaked documents cannot be verified.
A longtime Vatican diplomat, Cardinal Giovanni Cheli, told Catholic News Service Dec. 2, "First it's necessary to see if these documents are authentic. What proof is there?"
On the other hand, the storm already seemed to be dying down just a few days after the start of the leaks, he said.
"After the early alarm, people aren't taking much notice anymore, at least not in the countries that have already been mentioned in some revelation," he said.
When the clouds lift, he said, "I think, in the end, nothing will have happened."
Miguel Diaz, the U.S. ambassador to the Vatican, told CNS in an e-mail response to questions, "Regardless of the release of alleged reports, we will continue to work with the Vatican to advance shared interests such as international peace and security, human rights, religious freedom, global health and many other priorities."
The WikiLeaks' site said one of the many reasons it wanted to make the classified government documents public was to show citizens what is going on behind closed doors.
Cablegate, in fact, reopened an ethical dilemma: What is the proper balance between guaranteeing the public's right-to-know and protecting the common good, privacy and national security?
Diaz said, "Diplomats, like journalists, doctors, attorneys and many other professions rely on confidential communications in order to do their job. Confidentiality is not unique to diplomacy, and it does not necessarily conflict with the public interest."
"We believe our friends and allies understand the need for frank, internal discussions and share our view that the release of these documents is reprehensible," the U.S. ambassador wrote, adding that the U.S. government had already improved on securing sensitive information and remains committed to guaranteeing confidentiality.
Cardinal Cheli, who served as a Vatican diplomat for 36 years, working in Guatemala, Spain, Italy and at the United Nations, said there should be transparency in everything that is of public concern as long as the information would not have negative effects on the public good.
"However, some government documents could have bad consequences if published. That is why there are state secrets in every government in the world," Cardinal Cheli said.
Another Vatican diplomat, who asked that his name not be used, told CNS that people need to consider what the real role of diplomacy is.
"Is it to complicate things" by never allowing people to speak in confidentiality or have frank honest discussions, "or is it to really try to push the right things across the board" by basing negotiations on a solid and well-research understanding of reality on the ground? he asked.
Massimo Franco, author of a respected book on U.S.-Vatican relations, "Parallel Empires," told CNS that the balance is tipping decidedly away from secrecy and heavily toward the public's right-to-know, even at the cost of privacy rights and national security.
The WikiLeaks phenomenon "could be very useful because it forces every serious institution to prepare a legal framework for this new phenomenon of lawlessness," he said.
"The problem is nobody tends to consider (the leaked material) a secret" that should be protected, he said.
Franco likened WikiLeaks' extensive information grab to the California Gold Rush in the mid-1880s where "there were no boundaries and the first to occupy the land could keep it." Slowly, laws aimed at bringing order and justice to the chaos were enacted, he said.
"It's the same for WikiLeaks, there are no boundaries" on the Internet and people are laying claim to things that don't necessarily belong to them, he said.
"The right of the public to know is very important, but is this news really something that will enrich public knowledge or will it cause more damage to the institutions?" And who decides? Is it done on an international level or country by country? he asked.
While the actual content of the WikiLeaks' dossier concerning the Vatican had not yet been released as of Dec. 3, the Italian newspaper, La Stampa, got 18 documents from the U.S. Department of State by making a request through the Freedom of Information Act. Some of the correspondence concerned an assessment by the U.S. Embassy to the Vatican about the conclave and election of Pope Benedict XVI in 2005.
The content didn't reveal much more than what people already knew: that many Americans had placed their papal bets on a cardinal from Latin America and that the election of the 78-year-old German Cardinal Joseph Ratzinger was "a surprise for many."
Franco said a more fascinating find would be the correspondence pertaining to the United States and the Vatican establishing formal relations in 1984.
"It would be interesting from a political and historical point of view to know when exactly and how it was decided to have full diplomatic relations," he said.


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Home > Big Impact > Weather & Global Warming
Selma, Ala. Tornado Results in Several Locals Missing and Dead
By Lizzy Rosenberg
Jan. 13 2023, Published 11:50 a.m. ET
Thursday, Jan. 12 was a devastating day for the residents of iconic southern city, Selma, Ala. A tornado struck, resulting in down power lines, school closings, damaged architecture, and unfortunately, several fatalities. The local government implemented a curfew on Thursday, as crews continued cleaning up the damage. And although they got an immediate start, it will likely take a while to clean up the destruction from the Selma, Ala. tornado.
"If you don't need to be out, don't go out," Selma Mayor James Perkins Jr. stated, as per Selma Times Journa. "What the probate judge (Jimmy Nunn) has said is true. We have a lot of downed power lines, there's a lot of danger on the streets, and we need to make sure that you remain safe. So far, we have had no fatalities. People have been injured, but there are no fatalities."
"We are very diligent, very deliberate about how we're approaching this. We're asking you, the public, to stay at home this evening [and] allow these emergency responders to get the work done," he continued. "They will be convening to declare an emergency here in Selma... We're also collaborating with our state partners and the folks out of Montgomery to help us try to get an aerial view of what has taken place here so we can get a good assessment of the damages as we move forward."
Video of earlier storm rolling through at our Patrol Division in Hartselle near Hwy 36 and I-65. @BradTravisWAFF @spann @whnt @WAAYTV @hartselleenq pic.twitter.com/rUjMSZZjAS
— Morgan County Sheriff's Office (Alabama) (@morgan_sheriff) January 12, 2023
The Selma, Ala. tornado is one of the worst on-record.
Cleanup crews are on day two of searching for innocent Selma residents, who have been trapped or went missing amid the fatal storm system that swept across the deep southern city. At least eight have been reported dead as of publication, according to AP News, and at least 12 were severely injured, as a result of the tornado. Crews are also looking out for more missing victims.
As Selma is one of Alabama's poorest and most diverse cities, per Alabama News, this will be incredibly hard to recover from.
Much of the historic city also sustained serious damage — two rural communities were affected, before the tornado hit parts of Georgia and Selma. Upwards of 40 homes were destroyed, including numerous mobile homes. It's estimated that 14 Alabama counties and five Georgia counties have been devastated in total.
The damages are still in the process of being evaluated, though a more precise estimation will most likely be released sometime today, on Friday, Jan. 13.
The tornado cut through Selma's downtown, an area filled with history from the civil rights movement. Dr. Martin Luther King Jr. marched from Montgomery to Selma in 1965, in a non-violent demonstration for Black equality and voting rights.
Right now, charities are offering boxed meals, shelters are open to those who need them, and schools are closed. Hopefully, the government will do everything they can to help the city's 18,000 residents.
Another view from the Selma tornado… video from Caleb LeGrone pic.twitter.com/KMKpTt9Hhy
— James Spann (@spann) January 12, 2023
How to help the residents of Selma:
Luckily, AL.com has provided a number of ways to help the victims of Selma's tornado.
The Black Belt Community Foundation is currently asking for monetary donations, which will go towards helping victims of the storm — whether that means paying off medical bills or making home repairs. The Central Alabama Community Foundation and United Way of Central Alabama are two others that specifically help storm victims with financial aid.
As usual, the Red Cross is helping out, too. Disaster responders are currently working to provide aid to the community by opening shelters, provide counseling, and more. To donate, you can the Red Cross website, call 1-800 RED CROSS, or text "REDCROSS" to 90999 to donate $10.
If you're local, you can also sign up to volunteer for the organization — every bit of help counts.
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Latest Weather & Global Warming News and Updates


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Drinkware & Housewares, Eco-Friendly
Starbucks to Phase Out Plastic Straws as Seattle Pushes Plastics Legislation
The fight against single-use plastics is gaining momentum, as more and more countries, cities and businesses are phasing them out in favor of more eco-friendly options.
The latest news comes from Starbucks, which announced that it plans to phase out plastic straws at all of its locations by 2020.
Rather than go the route of paper straws, as some environmentally-focused companies have done, Starbucks is adopting what some people have called an "adult sippy cup"—a plastic, straw-less lid.
It's not too different from plastic lids you'd currently get on a single-use cup, really. However, NPR reported that the lids are part of Starbucks' $10 million investment to create recyclable and compostable cups.
A new flat plastic lid that does not need a straw is shown on a cup of Starbucks iced tea on July 9, 2018 in Sausalito, California. Starbucks announced that it plans on phasing out all plastic straws from its 28,000 stores worldwide by 2020. Some of its drink cups will be fitted with special flat plastic lids that can be used without straws. | Credit: Getty Images by Justin Sullivan
"For our partners and customers, this is a significant milestone to achieve our global aspirations of sustainable coffee, served to our customers in more sustainable ways," Starbucks president and CEO Kevin Johnson said, according to NPR.
It's convenient timing for Starbucks, too, considering its home city of Seattle just passed legislation to ban single-use straws in restaurants. That rule went into effect July 1.
Seattle's legislation isn't quite as hardcore as in Mumbai, which has dispatched authorities to fine citizens and businesses for using single-use plastic bags in the Indian state of Maharashtra. If caught, people and businesses face large fines and, potentially, jail time.
Despite the idea of limiting waste being good on paper, large multinational companies like Amazon, Pepsi and H&M are lobbying to soften Mumbai's strict rules.
"Our demand to the government is: Give the industry seven years to come up with alternatives," Neemit Punamiya, general secretary of the Plastic Bags Manufacturers Association of India, said at a meeting with Maharashtra government officials, per Reuters. "It cannot happen overnight—we've got investments, we've got loans to pay and people to manage."
Maharashtra's environment minister replied by saying that the government would relax laws for neighborhood grocery store, allowing them to put items like rice in plastic, but would make it mandatory for customers to return the packaging for recycling.
Another senior official told Reuters that the government could allow some online retailers to use plastics, or at least give them a grace period, but nothing has been made official yet.
What is clear is the wave of environmental consciousness in the form of limiting plastic waste is growing, and with good reason. Studies have shown the immediate benefits of limiting single-use plastics. If these efforts continue—and it appears they will—that could mean more selling opportunities for promotional products companies able to provide sustainable alternatives to single-use products.


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Jazz Rock Fusion Guitar
Larry Coryell - 1975 [2018] "The Restful Mind"
The Restful Mind is an album by jazz guitarist Larry Coryell. The album was released in 1975 by Vanguard with Ralph Towner on guitar, Glen Moore on bass, and Collin Walcott on percussion. The album was produced by Daniel Weiss and engineered by David Baker. The album reached number 35 on the jazz albums chart.
Guitarist Larry Coryell recorded several sessions for the Vanguard label during the '70s with varying results. He did manage two classics, Spaces, and this one, The Restful Mind. It is no small coincidence that the better the personnel he surrounded himself with, the better he played. On Spaces, the presence of John McLaughlin and Chick Corea raised his playing to another level. Here, with the backing of the group Oregon (with the exception of Paul McCandless), who were also signed to Vanguard at this time), bring out a more reflective and relaxed Coryell. His tendency to fall back on his chops was always a weak spot in his playing, but it is thankfully absent here. Both of the "Improvisation" pieces are highlights in Coryell's career, which along with the other beaufitul selections, make this one of his best, and certainly most overlooked, recordings.
I had gotten into Larry Coryell through John McLaughlin and the first Coryell CD I bought was the fusion classic, "Spaces". This album is still known as Coryell's best, simply because of the musicians that played with him on the album - McLaughlin, Billy Cobham, Miroslav Vitous, Chick Corea (one track only) - each one a fusion giant. But it is "Restful Mind" that I find myself playing constantly, over and over again.
This album is more of an acoustic setting and features the great group Oregon - Collin Walcott, Ralph Towner, and Glen Moore (no Paul McCandless though)as Larry's backing musicians. They are a jazz band but with more of a world music flavor to them. Their playing along with Coryell's is exquisite to say the least.
All the tracks are excellent but it is "Ann Arbor" and "Song for Jim Webb" that really stand out. The album is very short at only 36 minutes but it is 36 minutes that will keep you enthralled.
I have read that Coryell has done many mediocre and forgettable stuff in his career, but when he was placed with talented musicians like John McLaughlin or the guys in Oregon, he always raised his playing to another level. This album is a perfect example of this statement.
If you like jazz whether acoustic or fusion (or both like me) or just great guitar, you will fall in love with this album like I did.
Larry Coryell's "Resful Mind" is a classic of the mid-70s that has recently been reissued on CD. I've returned to the recording at this point becuase it really exemplifies a new, broader, notion of fusion, almost exclusively ACOUSTIC. Larry is joined here by Oregon (Ralph Towner, Colin Walcott, and Glenn Moore). The music draws on everything from Classical to Country. Perhaps the most famous track to emerge from these sessions is "Julie La Belle" with its groovy stomp and rude twang. The coda to this tune as well as the concluding solo piece "Restful Mind" are mesmerizing. I'd also add that "The Restful Mind" has a coherence and SPIRIT that breathes throughout the record and that gives it a special identity. "Ann Arbor" and "Song for Jim Webb" are outstanding examples of Coryell's artistry.
I have waited years for the CD version of this old album. Now wonderfully remasterd, the playing is magical: incredibly soft passages followed by fire. Technically precise, but full of emotion. My favorite is perhaps Ravel's "Pavane for a Dead Princess," but all the numbers are terrific. And, despite its title, this CD rocks. For Coryell fans, a "must-have." For me, a desert-island disc. Really, really superb!
https://jazz-rock-fusion-guitar.blogspot.com/search?q=Larry+Coryell
Tracks Listing:
1. Improvisation On Robert De Visee's Menuet II (8:13)
2. Ann Arbor (5:01)
3. Pavane For A Dead Princess (5:40)
4. Improvisation On Robert De Visee's Sarabande (5:20)
5. Song For Jim Webb (3:15)
6. Julie La Belle (4:07)
7. Restful Mind (3:12)
Larry Coryell – acoustic guitar, electric guitar
Ralph Towner – guitar
Glen Moore – double bass
Collin Walcott – congas, tabla
Posted by Crimhead420 at 7:32 PM 13 comments:
Thelonious Monk and Sonny Rollins - 1954 [1992] "Thelonious Monk and Sonny Rollins"
The album is culled from the results of three recording sessions over a span of close to twelve months featuring different personnel. Although Rollins is credited as a co-leader on the album cover, he appears on only three of the album's five tracks. It was the final Monk release on the label before he moved to a contract with Riverside Records.
The track "Friday the 13th" was recorded in November 1953 with a quintet of Monk, Rollins, Julius Watkins, Percy Heath, and Willie Jones; the September 1954 recordings are of a trio with Monk, Heath, and Art Blakey; and the October 1954 session Monk and Rollins again with bassist Tommy Potter and drummer Art Taylor. Of the three Monk originals, "Friday the 13th" was written in the studio during the recording session, released as a ten-minute jam to fill out the album's running time. Monk would return to "Nutty" again and again through his career, but this was his only recording of the composition "Work."
This disc contains an all-star cast headed up by Thelonious Monk (piano) and includes some collaborative efforts with Sonny Rollins (tenor sax) that go beyond simply inspired and into a realm of musical telepathy.
The five tunes included on Work are derived from three separate sessions held between November of 1953 and September of the following year. As is often the case, this likewise means that there are three distinct groups of musicians featured. Whether by design or happenstance, the tracks compiled for this EP present Monk in the favorable confines and settings of smaller combos, ranging from the intimacy of the Percy Heath (bass) and Art Blakey (drums) trio on "Nutty" as well as the equally grooving title track. Both utilize Monk's uncanny and distinct sense of melody and are conspicuous for Blakey's rollicking percussive contributions -- which, at times, become thrust between Monk's disjointed chord work.
The larger quartet and quintet settings are equally as inventive, retaining the highly inventive atmosphere. However, the undeniable highlight is the interaction between Monk and Rollins. Leading off the disc is a definitive and freewheeling reading of the pop standard "The Way You Look Tonight." Equally as scintillating is "I Want to Be Happy," both of which are also highlighted by Art Taylor (drums) and Tommy Potter (bass). They provide a supple and unencumbered framework for the soloists to weave their inimitable and often contrasting contributions.
The final track is the beautifully dissonant and extended "Friday the Thirteenth," which is ironically the first fortuitous collaboration between the two co-leads. Rollins is able to entwine a sinuous lead throughout Monk's contrasting chord counterpoint. Enthusiasts seeking additional tracks from these and the remainder of Monk's sessions during his brief residency with Prestige should consider the suitably titled four-CD Complete Prestige Recordings compilation.
To begin with, the title is deceptive. Rollins and Monk play together on three of the five tracks on the album, which comprises three separate sessions recorded between November 1953 and September 1954. On the opening "Way You Look Tonight Monk's solo is a mere half chorus—played in a fairly conventional bebop style. This leaves but two tunes, "I Want to Be Happy and "Friday the 13th, on which the two strong musical personalities seek to negotiate a happy result.
The individualist/pianist solos for three choruses, each discretely original in conception and execution. After a chorus of connected, seamless lines played in the middle register, he leaps to the upper register for the second chorus, jabbing dissonant chord clusters at irregular intervals in the unfilled space. The third chorus finds him relinquishing his left hand to its independent devices while maintaining an elliptical melody in the right. Always an authoritative solo voice, Rollins seems emboldened by Monk's example, playing with unmistakable conviction, especially compared to his work on an earlier session like Miles Davis' Diggin' (Prestige, 1951), where the tenorist clearly was aiming to make an impression.
Still, after hearing the Monk/Coltrane concert this encounter is inescapably anticlimactic. Rollins, whose playing anticipates some of the melodic/rhythmic characteristics of his successor Charlie Rouse, lacks the light articulations and responsive quickness of the less-renowned player. Compared to Rouse's sportive playfulness, the tenor colossus sounds somewhat heavy and ponderous in Monk country. On the other hand, Coltrane's intensity meshes with Monk's whimsy because the piano "grounds the rapturous, altissimo flights of the tenor saxophone, as though Monk's insistent harmonies and unyielding time are the falconer around which the falcon's gyres are free to expend themselves without spiraling out of control.
All compositions by Thelonious Monk except where noted.
1. "The Way You Look Tonight" (Dorothy Fields, Jerome Kern) – 5:13
2. "I Want to Be Happy" (Irving Caesar, Vincent Youmans) – 7:43
3. "Work" – 5:18
4. "Nutty" – 5:16
5. "Friday the 13th" – 10:32
Thelonious Monk – piano trio on "Work" and "Nutty"
Sonny Rollins – tenor saxophone on "The Way You Look Tonight," "I Want to Be Happy," and "Friday the 13th"
Julius Watkins – french horn on "Friday the 13th"
Percy Heath – bass on "Work," "Nutty," and "Friday the 13th"
Tommy Potter – bass on "The Way You Look Tonight" and "I Want to Be Happy
Art Taylor – drums on "The Way You Look Tonight" and "I Want to Be Happy"
Art Blakey – drums on "Work" and "Nutty"
Willie Jones – drums on "Friday the 13th"
Posted by Crimhead420 at 8:57 PM 6 comments:
The Tonight Show Big Band with Doc Severinsen - 1987 "Volume II"
Doc and his gang (featuring Tommy Newsom; Snooky Young and Conte Candoli) revisit 12 more big band favorites on the 1987 album, including In the Mood; Airmail Special; Stardust; Jumpin' at the Woodside; The Jersey Bounce and more.
The second of two long-overdue recordings by the Tonight Show Band has its moments, but its reliance on swing-era warhorses and the generally predictable arrangements (Bill Holman's reworkings of "The World Is Waiting for the Sunrise," "Take the 'A' Train," and "Serenade in Blue" are exceptions) are disappointments. However, there is some excellent solo space for trumpeters Doc Severinsen, Snooky Young, and Conte Candoli; tenors Pete Christlieb and Ernie Watts; and pianist Ross Tompkins. Since this legendary big band recorded so little (just three albums for Amherst), all are worth picking up.
Like so many people, I was greatly saddened to hear of the passing of the great Johnny Carson. In college, I bought the first Tonight Show Band album (well, I like all kinds of music, including jazz!! :)) and I was blown away by how great the band was. Wow. I never knew a follow-up album was released within a year.
Like the first album, this is swing music. However, for those that don't remember the Tonight Show, the band was made up of accomplished studio players who can really suuuuwwwwiiinnngggg. The band was a counterpoint in a way for the jazz generation, as was the NBC Orchestra of the 30's and 40's was for classical music. In fact, the point of the Tonight Show Orchestra was meant to be, I believe, an ironic comment on the sounds of the WWII generation.
At any rate, the Band on this show was very tight and the musicianship evident here and on the first album is outstanding.
The arrangements here are for the most part very good. Stand out tracks?...well, I believe the whole darn album is excellent. However, "In the Mood,' 'Georgia on My Mind,' 'April in Paris' 'Stardust' and 'Jumpin at the Woodside' are all great. Frankly, if you enjoy swing music and/jazz these albums are a great choice. Doc is one hell of a great trumpeter. Wow, he can cook. What else can you want? Great music and these musicians adds up to one great album.
In listening to this album, it isn't much of a stretch to say that the bands now such as the Late Show Orchestra with Paul Shaffer (GREAT rock studio musicians) and the current Tonight Show (actually, I don't really believe this band(and the current show) is all that great) are not as good. However, the TSO was just a great swing band at the height of their abilities. WOW. The Tonight Show was on TV with Carson for a reason - because the parts were better than we thought. Johnny (Sis-BOOM-Bah), Ed (Hi-oh) and Doc (I love these threads) we MISS you so much!
This was the best (creme de la creme) big band performing at the time. Doc was at his peak
and the band members were some of the top musicians in US. The jazz arrangements were innovative and today still sound fresh. This is one of my all-time favorite albums. It was a very special time for musicians and I miss this band. Doc's trumpet sound will always be an inspiration to trumpet players worldwide. If you are a big band 'afficionado', this is a must buy - you won't be disappointed!
01 In The Mood 3:34
02 The Jersey Bounce 4:09
03 Georgia On My Mind 3:57
04 The World Is Waiting For Sunrise 2:56
05 Airmail Special 2:36
06 April In Paris 3:30
07 Stardust 5:19
08 Take The "A" Train 3:07
09 Do Nothing 'Till You Hear From Me 2:45
10 Serenade In Blue 2:38
11 Hamp's Boogie Woogie 3:38
12 Jumpin' At The Woodside 3:41
Alto Saxophone [Lead], Flute, Clarinet – Tommy Newsom
Alto Saxophone, Flute, Clarinet – Bill Perkins, John Bambridge
Baritone Saxophone, Soprano Saxophone, Flute, Clarinet – Don Ashworth
Bass – Joel DiBartolo
Bass Trombone – Ernie Tack
Drums – Ed Shaughnessy
Guitar – Bob Bain, Peter Woodford
Piano – Ross Tompkins
Tenor Saxophone, Flute, Clarinet – Ernie Watts, Pete Christlieb
Trombone – Bruce Paulson
Trombone [Lead] – Gil Falco
Trumpet [Lead], Flugelhorn – John Audino
Trumpet, Flugelhorn – Allen Vizzutti, Conte Candoli, Snooky Young*, Maurey Harris
Trumpet, Flugelhorn, Conductor – Doc Severinsen
Wynton Marsalis - 1997 "Blood On The Fields" [3 CD Set]
Blood on the Fields is a two-and-a-half-hour jazz oratorio, by Wynton Marsalis. It was commissioned by Lincoln Center and concerns a couple moving from slavery to freedom.
It received the 1997 Pulitzer Prize for Music. However, Marsalis's victory was controversial because according to the Pulitzer guidelines, his work was not eligible. Although a winning work was supposed to have had its first performance during that year, Marsalis' piece premiered on April 1, 1994 and its recording, released on Columbia Records, was dated 1995. Yet, the piece won the 1997 prize. Marsalis' management had submitted a "revised version" of "Blood on the Fields" which was "premiered" at Yale University after the composer made seven small changes. When asked what would make a revised work eligible, the chairman of that year's music jury, Robert Ward, said: "Not a cut here and there...or a slight revision," but rather something that changed "the whole conception of the piece." After being read the list of revisions that were made to the piece, Ward acknowledged that the minor changes should not have qualified it as eligible, but he said that "the list you had here was not available to us, and we did not discuss it."
Risk exposing your ears to the first notes of BLOOD ON THE FIELDS, hear the Lincoln Center Jazz Orchestra wail through "Calling the Indians Out," the opening invocation to the spirit of the first people whose blood soaked American soil in the long, painful birth of the American republic, and you'll sit spellbound to the echo of the last note of Wynton Marsalis's epic oratorio on slavery and freedom. Telling the story of two slaves, Jesse and Leona, it carries us along on their difficult journey to freedom, a journey in which they, and by implication all of us, must move beyond a preoccupation with personal power and learn that true freedom is, and must be, shared. BLOOD ON THE FIELDS premiered on April 1, 1994 in Lincoln Center's Alice Tully Hall; in 1997 it became the first jazz composition to receive the Pulitzer Prize in Music.
The music on this three-CD set (released in 1997) won a Pulitzer Prize, but it's not without its faults. Trumpeter Wynton Marsalis tells the story of two Africans (singers Miles Griffith and Cassandra Wilson) who are captured, brought to the United States and sold as slaves. Because the male had formerly been a prince while the female had been a commoner, he considers himself to be her superior. He asks for but then ignores the advice of a wise man (Jon Hendricks), gets caught trying to escape, discovers what "soul" is, finally accepts the female as his equal and eventually escapes with her to freedom. Marsalis wrote a dramatic, episodic and generally thought-provoking three-hour work, utilizing the three singers plus 15 other musicians (all of whom have significant musical parts to play) in a massive 27-part suite. Hendricks is delightful (and the star of the catchiest piece, "Juba and a O'Brown Squaw"), Wilson has rarely sounded better, and Griffith keeps up with the better-known singers, while the musicians (particularly trombonist Wycliffe Gordon, baritonist James Carter, pianist Eric Reed and, near the work's conclusion, violinist Michael Ward in addition to Marsalis) are quite superb. It should, however, be mentioned that the use of group narration to tell parts of the story does not work that well, the music could have used a stronger and more complicated story (the last hour has very little action), and few of the themes are at all memorable; Marsalis in the mid-'90s was a more talented arranger than composer (despite Stanley Crouch's absurd raving in the liner notes). But as is true of all of Wynton Marsalis' recordings, this one deserves several close listenings.
Calling the Indians Out
You Don't Hear No Drums
Plantation Coffle March
Work Song (Blood on the Fields)
Lady's Lament
Oh We Have a Friend in Jesus
God Don't Like Ugly
Juba and a O'Brown Squaw
Follow the Drinking Gourd
My Soul Fell Down
Forty Lashes
What a Fool I've Been
I Hold Out My Hand
Look and See
The Sun Is Gonna Shine
Will the Sun Come Out?
Chant to Call the Indians Out
Freedom Is in the Trying
Wynton Marsalis – trumpet, oratory vocal
Jon Hendricks – vocal
Cassandra Wilson – vocal
Miles Griffith – vocal
Roger Ingram – lead trumpet, oratory vocal
Marcus Printup – second trumpet, oratory vocal
Russell Gunn – third trumpet, oratory vocal
Ron Westray – lead trombone, oratory vocal
Wayne Goodman – second trombone, oratory vocal
Wycliffe Gordon – trombone and tuba, oratory vocal
Walter Blanding – soprano saxophone, oratory vocal
Wes Anderson – lead alto saxophone, oratory vocal
Robert Stewart – lead tenor saxophone, oratory vocal
Victor Goines – tenor, soprano saxophones, clarinet and bass clarinet, oratory vocal
James Carter – baritone saxophone, clarinet and bass clarinet, oratory vocal
Regina Carter – violin, oratory vcal
Michael Ward – violin, oratory vocal
Eric Reed – piano, oratory vocal
Reginald Veal – bass, oratory vocal
Herlin Riley – drums, tambourine, oratory vocal
Charles Mingus - 1963 [1995] "Black Saint & the Sinner Lady"
The Black Saint and the Sinner Lady is a studio album by American jazz musician Charles Mingus, released on Impulse! Records in 1963. The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six movements.
The album was recorded on January 20, 1963 by an eleven-piece band. Mingus has called the album's orchestral style "ethnic folk-dance music". Mingus's perfectionism led to extensive use of studio overdubbing techniques. The album features liner notes written by Mingus and his then-psychotherapist, Edmund Pollock. The Black Saint and the Sinner Lady is often characterized by jazz and music critics as one of Mingus's two major masterworks (the other being Mingus Ah Um) and has frequently ranked highly on lists of the best albums of all time.
Bob Hammer was co-orchestrator and arranger for the album. In the book The Penguin Jazz Guide: The History of the Music in the 1000 Best Albums, Sue Mingus says: "In some fashion, Charles absorbed Bob Hammer's rehearsal band for a six-weeks gig he had at the Village Vanguard in 1963, which provided a unique opportunity to work out, night after night, one of his greatest compositions, The Black Saint and The Sinner Lady". In the book Mingus Speaks, arranger Sy Johnson recollects: "Bob Hammer was very successful at that. He's a piano player, who was around here, in 1962 or something like that, when he did Mingus's masterpiece, as far as I concerned, a brilliant piece of orchestration and brilliant performance of The Black Saint and The Sinner Lady".
The Black Saint and the Sinner Lady is one of the greatest achievements in orchestration by any composer in jazz history. Charles Mingus consciously designed the six-part ballet as his magnum opus, and -- implied in his famous inclusion of liner notes by his psychologist -- it's as much an examination of his own tortured psyche as it is a conceptual piece about love and struggle. It veers between so many emotions that it defies easy encapsulation; for that matter, it can be difficult just to assimilate in the first place. Yet the work soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter's attention to detail.
There are a few stylistic reference points -- Ellington, the contemporary avant-garde, several flamenco guitar breaks -- but the totality is quite unlike what came before it. Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he'd ever attempted.
Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation -- one needn't be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the '60s and arguably Mingus' most brilliant moment.
Arizona-born Mingus was one of jazz's greatest composers, a double-bass virtuoso, a challenger of racism inside and outside the white-run music business of his time, and a volatile individual with an incendiary temper. But though he creatively adapted the techniques of such 20th-century composers as Schoenberg, Bartók and Stravinsky, Mingus infused everything he wrote with the blues and gospel music of his childhood.
The Black Saint and the Sinner Lady (1963) is one of his most enthralling works. The album (with liner notes shared between Mingus and his psychiatrist) modifies the traditional blues and folk materials of jazz by bold, rhythmic variations, stark contrasts between dense, low-end harmonies and Charlie Mariano's soaring alto sax, collective improvisation, and dissonances swept up into soulful resolutions.
This 1963 recording occupies a special place in Mingus's work, his most brilliantly realized extended composition. The six-part suite is a broad canvas for the bassist's tumultuous passions, ranging from islands of serenity for solo guitar and piano to waves of contrapuntal conflict and accelerating rhythms that pull the listener into the musical psychodrama. It seems to mingle and transform both the heights and clichés of jazz orchestration, from Mingus's master, Duke Ellington, to film noir soundtracks. The result is a masterpiece of sounds and textures, from the astonishing vocal effects of the plunger-muted trumpets and trombone (seeming to speak messages just beyond the range of understanding) to the soaring romantic alto of Charlie Mariano. Boiling beneath it all are the teeming, congested rhythms of Mingus and drummer Dannie Richmond and the deep morass of tuba and baritone saxophone. This is one of the greatest works in jazz composition, and it's remarkable that Mingus dredged this much emotional power from a group of just 11 musicians.
1 Solo Dancer 6:20
2 Duet Solo Dancers 6:25
3 Group Dancers 7:00
4 Trio And Group Dancers / Single Solos And Group Dance / Group And Solo Dance 17:52
Charles Mingus – double bass, piano, composer
Jerome Richardson – soprano and baritone saxophone, flute
Charlie Mariano – alto saxophone
Dick Hafer – tenor saxophone, flute
Rolf Ericson – trumpet
Richard Williams – trumpet
Quentin Jackson – trombone
Don Butterfield – tuba, contrabass trombone
Jaki Byard – piano
Jay Berliner – Classical guitar
Dannie Richmond – drums
Posted by Crimhead420 at 8:33 AM 1 comment:
Jan Hammer - 1976 [2018] "Oh, Yeah?"
Oh Yeah? is an album recorded by jazz fusion musician Jan Hammer in 1976. This is an album of fusion at its best. "Magical Dog" and "Red & Orange" are definitive statements. This was the first exposure for violinist Steve Kindler. David Earle Johnson is on congas.
Mahavishnu Orchestra's first (and arguably most prolific) incarnation came to a painful end in 1973, as a sudden rise in popularity and a series of calamitous recording failures suddenly turned the great Mahavishnu into less of what they originally were into more or less the John McLaughlin Group. The band's original lineup, however, was so bursting-at-the-seams with talent and skill that it's members couldn't help but go on to form formidable solo careers -- Billy Cobham would traverse the jazz fusion path himself with Spectrum in 1973, and Jan Hammer, after collaborating with fellow musician Jerry Goodman, debuted his own solo material with The First Seven Days in 1975. The album was well-received, and showcased the excellent skill Hammer obviously had. He continued on with the jazz- fusion shtick until the 80's, where he found himself composing film and television scores for such programs as Miami Vice. For the time being however Hammer really got in the swing of things and, not but a year later, delivered the facetiously titled Oh, Yeah? in 1976.
It's common for musicians to take an album or two to really get going, and get going Hammer did. Oh, Yeah? is a romp through some of the most thought-provoking and challenging sides of the jazz rock genre, whether it be the thumping bass/timbale combination of 'Bambu Forest', the eclectic and insane callbacks to Mahavishnu on 'Twenty One', or the driving openers and closers, 'Magical Dog' and 'Red and Orange', respectively. Almost every single song has something different to say in their own right, such as the throwing in of drummer Tony Smith's soulful vocals on 'One To One'. Jan Hammer and his band utilize an almost proto-80s synth culture to design Oh, Yeah? to be a sort of generational bridge that sits on neither side of the waters. A culture clash it may be, but it's a good one. Jan Hammer himself is the main pioneer in this regard, and with his effective use of a gamut of different synthesizing and keyboard effects it's easy to see why his more progressive electronic leanings make a greater impact than the likes of new age artists like Jean Michel Jarre did.
Towering and powerful, Oh, Yeah? is a can't-miss album, not only of the jazz fusion genre but of 70's music in general. It is the definition of a passion-project and is justly the penultimate release of Hammer's career.
1. "Magical Dog" - (Hammer) (6:43)
2. "One to One" - (Hammer, Tony Smith) (3:32)
3. "Evolove" - (Rick Laird) (4:45)
4. "Oh, Yeah?" - (Hammer, Fernando Saunders) (4:31)
5. "Bambu Forest" - (Hammer, David Earle Johnson) (5:25)
6. "Twenty One" - (Jerry Goodman, Hammer) (5:06)
7. "Let the Children Grow" - (Hammer, Tony Smith) (4:50)
8. "Red and Orange" - (Hammer) (6:43)
- Jerry Goodman - Composer
- Jan Hammer / electric piano, Moog, Polymoog, Oberheim & Oberheim Voice synths, timbales, vocals,
- Steven Kindler / acoustic & electric violins, rhythm guitar
- Fernando Saunders / bass, piccolo bass, vocals
- Tony Smith / drums, lead vocals
- David Earle Johnson / congas & percussion (1-5,8)
Thelonious Monk and Sonny Rollins - 1954 [1992] "T...
The Tonight Show Big Band with Doc Severinsen - 19...
Wynton Marsalis - 1997 "Blood On The Fields" [3 CD...
Charles Mingus - 1963 [1995] "Black Saint & the Si...
Live Visitor


text:
Krasnovolea (în ) este o comună în raionul Manevîci, regiunea Volînia, Ucraina, formată din satele Krasnovolea (reședința), Mateikî, Niciohivka, Pohuleanka și Telci.

Demografie

Conform recensământului din 2001, majoritatea populației satului Krasnovolea era vorbitoare de ucraineană (%), existând în minoritate și vorbitori de alte limbi.

Note

Krasnovolea, Manevîci, Volîn
Krasnovolea, Manevîci, Volîn
Krasnovolea, Manevîci, Volîn

redpajama_set_name: RedPajamaWikipedia


text:
const Playlist = require('../models/playlist').model
const User = require('../models/user').model
const Track = require('../models/track').model
const _ = require('underscore')

exports.createPlaylist = async function(req, res) {
  try {
    const user = await User.findById(req.user.id)
    const playlist = new Playlist({
      name: req.body.name,
      owner: user.toJSON()
    })
    await playlist.save()
    res.status(201).send(playlist)
  } catch (err) {
    console.error(err)
    res.status(500)
  }
}

// Unsecure (Will be removed after release 2)
exports.createPlaylistUnsecure = async function(req, res) {
  if (!req.body.owner || !req.body.name) {
    res(400).send({
      errorCode: 'BAD_REQUEST',
      message:
        'Missing parameters. See documentation: https://github.com/GLO3102/UBeat/wiki/2.8-Playlists#post-playlists'
    })
  }
  try {
    const user = await User.findOne({ email: req.body.owner })
    if (user) {
      const playlist = new Playlist({
        name: req.body.name,
        owner: user.toJSON()
      })
      await playlist.save()
      res.status(201).send(playlist)
    } else {
      res.status(404).send({
        errorCode: 'USER_NOT_FOUND',
        message: `User with email "${req.body.owner}" does not exist.`
      })
    }
  } catch (err) {
    console.error(err)
    res.status(500)
  }
}

exports.addTrackToPlaylist = async function(req, res) {
  try {
    const playlist = await Playlist.findById(req.params.id)
    if (playlist) {
      if (req.body) {
        const track = new Track(req.body)
        playlist.tracks.push(track.toJSON())
        playlist.save()
        res.status(200).send(playlist)
      } else {
        res.status(412).send({
          errorCode: 'REQUEST_BODY_REQUIRED',
          message: 'Request body is missing'
        })
      }
    } else {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    }
  } catch (err) {
    console.error(err)
    if (err.name === 'CastError') {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    } else {
      res.status(500).send(err)
    }
  }
}

exports.removeTrackFromPlaylist = async function(req, res) {
  try {
    const playlist = await Playlist.findById(req.params.playlistId)
    if (playlist) {
      const trackToRemove = playlist.tracks
        .filter(function(track) {
          return track.trackId == req.params.trackId
        })
        .pop()

      if (trackToRemove) {
        trackToRemove.remove()
        playlist.save()
        res.status(200).send(playlist)
      } else {
        res.status(404).send({
          errorCode: 'TRACK_NOT_FOUND',
          message: 'Track ' + req.params.trackId + ' was not found'
        })
      }
    } else {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.playlistId + ' was not found'
      })
    }
  } catch (err) {
    console.error(err)
    if (err.name === 'CastError') {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.playlistId + ' was not found'
      })
    } else {
      res.status(500).send(err)
    }
  }
}

exports.updatePlaylist = async function(req, res) {
  try {
    const playlist = await Playlist.findById(req.params.id)
    if (playlist) {
      playlist.name = req.body.name
      playlist.tracks = req.body.tracks
      playlist.save()
      res.status(200).send(playlist)
    } else {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    }
  } catch (err) {
    console.error(err)
    if (err.name === 'CastError') {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    } else {
      res.status(500).send(err)
    }
  }
}

exports.removePlaylist = async function(req, res) {
  try {
    const playlist = await Playlist.findById(req.params.id)
    if (playlist) {
      if (playlist.owner.id == req.user.id) {
        playlist.remove()
        res.status(200).send({
          message: 'Playlist ' + req.params.id + ' deleted successfully'
        })
      } else {
        res.status(412).send({
          errorCode: 'NOT_PLAYLIST_OWNER',
          message: 'Playlist can only be deleted by their owner'
        })
      }
    } else {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    }
  } catch (err) {
    console.error(err)
    if (err.name === 'CastError') {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    } else {
      res.status(500).send(err)
    }
  }
}

// Unsecure (Will be removed after release 2)
exports.removePlaylistUnsecure = async function(req, res) {
  try {
    const playlist = await Playlist.findById(req.params.id)
    if (playlist) {
      playlist.remove()
      res.status(200).send({
        message: 'Playlist ' + req.params.id + ' deleted successfully'
      })
    } else {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    }
  } catch (err) {
    console.error(err)
    if (err.name === 'CastError') {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    } else {
      res.status(500).send(err)
    }
  }
}

exports.getPlaylists = async function(req, res) {
  try {
    const playlists = await Playlist.find({})
    res.status(200).send(playlists || [])
  } catch (err) {
    console.log(err)
    res.status(500).send(err)
  }
}

exports.findPlaylistById = async function(req, res) {
  try {
    const playlist = await Playlist.findById(req.params.id)
    if (playlist) {
      res.status(200).send(playlist)
    } else {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    }
  } catch (err) {
    console.error(err)
    if (err.name === 'CastError') {
      res.status(404).send({
        errorCode: 'PLAYLIST_NOT_FOUND',
        message: 'Playlist ' + req.params.id + ' was not found'
      })
    } else {
      res.status(500).send(err)
    }
  }
}


text:
10 Asian Beauty Experts Worth Knowing
https://womanlylive.com/10-asian-beauty-experts-worth-knowing/
The beauty industry is a vast arena, with professionals reigning from all parts of the world. However, if you're obsessed with finding out the much-coveted secret tips and tricks to ace your beauty routine, perhaps it's time to take advice from Asian beauty bloggers.
With a global pandemic hovering over our heads, our beauty and skincare routines have become disrupted. But never before have we experienced the genuine comfort and joy of experimenting with makeup products at home, watching expert tutorials, and discovering beauty hacks.
In the wake of growing Asian hate, especially amidst surging COVID-19 cases worldwide, embracing inclusivity and supporting deserving communities has become imperative. Here are the ten Asian Beauty Experts worth knowing and following.
1. Daniel Martin
Daniel Martin is a renowned Makeup Artist and the Global Director at the top-rated skincare and beauty brand, Tatcha. Martin has worked with many Hollywood celebrities and even supported Markle after the controversial revelations from the heated Oprah interview.
2. Kara Yoshimoto Bua
Kara Yoshimoto Bua is the Chanel Celebrity Makeup Artist, having worked with A-listers like Lily Collins and Emma Roberts. Bua grew up being close to nature and art, with her mother and auntie inspiring her to pursue her passion of becoming a beauty expert.
3. Mai Quynh
Mai Quynh is a phenomenal makeup expert and a strong supporter of the #StopAsianHate movement. She has worked as a makeup artist and collaborator for the cult-favorite brand Giorgio Armani.
4. Hung Vanngo
Vanngo is a top-notch celeb makeup professional based in NYC with a whopping following of 2.2 million on Instagram. He has used his beauty expertise on shining Hollywood stars like Selena Gomez, Jennifer Lopez, Kim Kardashian, and Bella Hadid.
5. Guy Tang
Guy Tang is a multi-talented man. He's a musician, reality television star, hairstylist, and brand founder. Tang's passion for hairstyling goes all the way to his early teenage years, and he also stars on the hit Netflix series Bling Empire.
6. Lan Nguyen-Grealis
Lan Nguyen-Grealis is an Irish Makeup Artist and has organized and designed key shows at London Fashion Week. Grealis is also a writer, a podcast host, and the creator of an award-winning eyeshadow palette.
7. Patrick Ta
Patrick Ta is a Vietnamese makeup expert with an established name in the beauty arcade. His clients include high-profile celebs like Rihanna, Gigi Hadid, and Ariana Grande. Ta also has his makeup line, Patrick Ta Beauty, which he launched in 2019.
8. Tina Craig
Tina Craig is many things, including an entrepreneur, avid blogger, and skincare expert. She launched BagSnob in 2005, one of the first-ever fashion and lifestyle blogs. Craig is also the founder of the cult-favorite skincare brand U Beauty.
9. Sarah Lee
Sarah Lee is the co-founder of the famed skincare label Glow Recipe. The famous skincare brand was launched in 2014, bringing Korean beauty to US consumers. At present, Glow Recipe's dewy and hydrating product lineup is loved by people worldwide.
10. Michelle Phan
Michelle Phan is a Vietnamese-American entrepreneur who emerged as one of the first beauty vloggers in 2008. She gained sheer popularity because of her Lady Gaga makeup tutorials, many of which went viral and skyrocketed her career.
9 Chic Small Box Braid Styles That Are Worth Trying