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Annals of Celebrity
Paisley Park, Prince's Lonely Palace
Six months after Prince's death, his estate opened to the public. But without its owner it feels like a husk.
By Amanda Petrusich
The Prince museum aims at intimacy with a star who was profoundly distant.Illustration by George Wylesol; photograph by Michael Montfort / Michael Ochs Archives / Getty
In 1984, Prince recorded a song called "Paisley Park," for his seventh record, "Around the World in a Day." Its lyrics imagine a kind of utopia:
There is a park that is known
For the face it attracts
Colorful people whose hair
On one side is swept back
The smile on their faces
It speaks of profound inner peace
Ask where they're going
They'll tell you nowhere
They've taken a lifetime lease
On Paisley Park
Prince wrote often and eagerly about the idea of sanctuary—places where his spiritual anxieties were assuaged. Back then, Paisley Park was merely an imagined paradise. "Paisley Park is in your heart," he sings on the chorus.
Three years later, it was real: in 1987, Prince built a sixty-five-thousand-square-foot, ten-million-dollar recording complex in Chanhassen, Minnesota, and called it Paisley Park. It was intended to be a commercial facility—Madonna, R.E.M., and Stevie Wonder all recorded there—but by the end of the nineteen-nineties it had stopped accepting outside clients. Eventually—no one can quite say when—Prince began living there. He wanted to establish a self-contained dominion, insulated from interference or judgment, where he enjoyed total control, and his life could bleed easily into his work.
On April 21, 2016, Prince collapsed and died in an elevator at Paisley Park. He had overdosed on the opioid fentanyl, which he'd been taking for chronic hip pain. He was fifty-seven, had sold around a hundred million albums, and did not leave a will. Shortly after hearing the news, Joel Weinshanker, a managing partner of Graceland Holdings (which runs Elvis Presley's Graceland mansion, in Memphis), approached Bremer Trust, the bank tasked by a Minnesota court with administering Prince's estate while his heirs were determined. Weinshanker wanted to make sure that Prince's things were cared for. The bank agreed to let him visit. "The air-conditioning and the heating system weren't working," he told me. "There were leaks in places where you wouldn't want leaks."
Prince's sister, Tyka Nelson, and his five half siblings were eventually named his heirs. With the family's blessing, Graceland Holdings took over management of the property. Because Paisley Park is expensive to maintain, and because the estate was facing a considerable tax bill, the family made one decision quickly: Prince's sanctuary would become a museum. Six months after Prince's death, on October 28, 2016, Paisley Park opened to the public.
From the road, Paisley Park looks industrial, utilitarian, and cheerless, like a big-box store that has recently gone out of business. The exterior is covered in white aluminum panels. Inside, fleecy clouds have been painted on pale-blue walls. Sunlight comes through a glass pyramid over the lobby, but there are very few windows, which makes roaming through the complex disorienting, like spending all day inside a casino. Prince didn't like cameras or cell phones, and visitors are asked to turn these off and place them in pouches at the front desk. (When I left, my pouch was unsealed by a stone-faced security guard whose sole duty appeared to be unsealing pouches.)
On my first visit, I took the V.I.P. tour, which costs a hundred dollars (there is an additional fee for parking), and takes about an hour and forty minutes. Tickets must be purchased online in advance, and buyers are instructed not to show up more than twenty minutes before the tour begins. The staff is strict about these rules; when I arrived for my 1 P.M. tour a little after twelve-thirty, I was turned away, and nervously circled a Target parking lot. My group included a couple celebrating their thirtieth wedding anniversary who had driven eighteen hours from Richmond, Virginia; two punk musicians from Asheville, North Carolina; and a young man who had travelled alone from Colorado.
The tour begins in the atrium. A pair of caged white doves coo peaceably on an upstairs balcony. (Divinity and Majesty, doves Prince kept as pets, received an "ambient singing" credit on his album "One Nite . . . ," from 2002. Divinity still lives at Paisley Park, though Majesty died in 2017.) Prince's ashes are mounted fifteen feet above the white marble floor, in an urn designed to resemble Paisley Park—it, too, looks like a big-box store, in miniature. The placement feels deliberate, as if guests were required to check in with Prince before proceeding deeper into his home. It's expected that visitors, some of whom are still putting away their car keys, will pause here to enact grave-site rituals—genuflect, sob, pray, bow, or whatever it is a person does to convey homage. My fellow tour-goers clutched one another. Anyone uncomfortable with sudden public displays of bereavement might simply shift anxiously from one foot to the other, uncertain of where to focus her eyes.
Before I arrived, I found the property's purpose somewhat oblique: was it a shrine, a historic site, a mausoleum, a business? In the atrium, I discovered that Paisley Park provides an immediate target for a very particular kind of grief. (The museum's curator, Angie Marchese, described it to me simply as "a place to go.") Most of Prince's fans didn't know him personally, yet his work was essential to their lives. When he died, where could they mourn? An ungenerous reading might be that Americans are so ill equipped to manage death that we are forced to mediate it through tourism. We soothe our pain by buying a plane ticket, booking a hotel room, buying a key chain: expressing gratitude via a series of payments. It works, to an extent.
The Paisley Park tour charges on from the atrium, through exhibit rooms filled with displays—costumes, instruments, notebooks, gold records—that are linked to albums, films, or specific periods in Prince's career. It snakes into his office and his editing bay, and through three studio spaces. These feel clean, modern, and expensive. One of the highlights of the tour is a chance to play Ping-Pong at Prince's own table, where he often beat his guests—including Michael Jackson, who visited Paisley Park in 1986, while Prince was working on the film "Under the Cherry Moon," the follow-up to "Purple Rain." Prince mercilessly taunted the hapless Jackson, who had never played Ping-Pong before. When Jackson dropped his paddle, in defeat or clumsiness, Prince joyfully walloped a ball into his crotch. (The gift shop now sells canary-yellow Ping-Pong balls branded with Prince's purple symbol; I bought a set of two for twelve dollars.) Prince was a more gracious basketball player, though no less formidable. "I don't foul guests," he told the writer Touré when they played a two-on-two game at Paisley Park, in 1998. The incongruousness of the hobby, and his skill at it, was immortalized in a "Chappelle's Show" skit from 2004, in which Prince, who was barely five feet three, drifts gently down from the basket after a winning dunk. The bit reiterated a thought many of us had already had: that the laws of the physical world simply did not apply to Prince.
Prince's office and the so-called little kitchen—a small room just off the atrium, which contains a microwave, a gold-colored French press, a coffee table, and a couch where he watched Minnesota Timberwolves games—are mostly unchanged. It's fun to imagine Prince doing ordinary things here, like unwrapping a microwave pizza, waiting impatiently for it to cook, and then getting molten cheese plastered to the roof of his mouth. (The tour, I should note, does not suggest any such goings on.) At this point, visitors are briefly free to wander alone through the exhibit rooms. Some of my tour-mates saw me taking notes in a small notebook and pulled out their own pads and pens. We were all hungry for information. The screen saver on the desktop computer in the editing bay features a scene of Egyptian pyramids. At the time of my visit, there were framed posters of Fritz Lang's "Metropolis" and Clint Eastwood's "Bird," a film about the life of Charlie Parker, and scented candles had been placed in almost every room. In the office, I noted a stack of books—including a rhyming dictionary, the Bible, several volumes about ancient Egypt, and "In Praise of Black Women."
Many of Prince's elaborate stage costumes are on display here. His outfits were often custom-made, and the craftsmanship and whimsy involved in their construction is staggering. I spent a good ten minutes sizing up a pair of sparkling flared pants, suède-heeled boots, and a generously ruffled shirt, all in the same immodest shade of cherry red—an outfit too bold and spectacular to imagine anyone else wearing. (On Prince, it was majestic.) There are several costumes of historical significance—the long purple coat from the "Purple Rain" movie, that aqua suit he wore for his Super Bowl performance, in 2007—but it's hard to discern what they reveal about Prince, beyond his waist size (in the "Purple Rain" era, a mere twenty-two and a half inches). They're relics of his professional, public life—proof of a groundbreaking career.
Fans tend to shell out staggering amounts of money for memorabilia or other ephemera, because owning such things allows them to feel closer to an artist whose work has deeply moved them (which is to say, it makes real an intimacy that was previously imagined), or because they believe they can learn something private, and heretofore unknown, from it. It's possible to cherish music without worrying about where it came from, or what sort of life its creator led, but true love—and what else powers fandom?—makes us want to know a person in some fundamental and complete way. Stuff becomes a conduit for understanding, and for making more sense of the wild, alchemical rush that fuels both fandom and the art itself. How did Prince come to make so many nonpareil recordings? What allowed for it? What clues now lurk in his silverware drawer, or under his pillow, or in the back of his makeup case?
Prince was born Prince Rogers Nelson, in 1958, in Minneapolis. He was named—in a way—for his father, John Nelson, a pianist who performed as Prince Rogers. His relationship with his mother, Mattie Shaw, was strained, and his early life was isolated. His parents divorced, in 1966, and he was taken in by a neighbor. From a young age, Prince was confident of his exceptional talent and its worth to the rest of the world. In an interview with his high-school newspaper, in 1976, about a band he had formed, he blamed its lack of fame on geography. "I really feel that if we would have lived in Los Angeles or New York or some other big city, we would have gotten over by now," he said. On his most thrilling songs, such as "Let's Go Crazy," from 1984, or "Sign o' the Times," from 1987, he sounds preternaturally relaxed, as if his musicianship was as innate to him as breathing.
In 1992, Warner Bros. offered Prince a six-record deal worth a hundred million dollars—then the largest recording-and-publishing contract in history. Yet, by 1996, he had begun publicly condemning the music industry. He changed his name to an unpronounceable symbol—Warner Bros. controlled the trademark for the name Prince—and scrawled the word "Slave" on his cheek. His distrust of Warner Bros. has made the contents of his private vault at Paisley Park, which is rumored to contain thousands of unreleased recordings, especially tantalizing. "I didn't always give the record companies the best song," he told Rolling Stone, in 2014.
"I don't think the guy with the business-card cannon has ever been to an actual networking event."
As a pop star, he was unprecedented and occasionally unfathomable. Tiny and hypersexual, he wore heeled boots and black eyeliner, and purposefully eschewed easy categorization. Unlike Michael Jackson, Prince did not appear to be in conflict with himself. Tommy Barbarella, who played keyboards in the New Power Generation, Prince's backing band in the nineteen-nineties, described that self-assurance as essential to Prince's success. "He touched something, especially in those people who were outcasts, or who felt different," Barbarella said. "He made it O.K. to be different."
Details about Prince's personal life remain scant, and there have been surprisingly few posthumous revelations. There is tenderness and lust in his songs, but it's harder to find those things in the stories told about his life. This makes autobiographical readings of his work difficult. In 1996, he married Mayte Garcia, a twenty-two-year-old belly dancer. She had toured with him since she was seventeen, when her parents appointed Prince her legal guardian. Garcia gave birth to a son, Amiir, in October of that year. He died in the hospital at six days old, of a rare genetic condition. Prince refused to publicly acknowledge his son's death. Oprah Winfrey arrived at Paisley Park just a few weeks afterward, and filmed an interview with the couple. She gently asked Prince about Amiir. "It's all good," he replied. "Never mind what you hear."
Garcia's memoir, "The Most Beautiful: My Life with Prince," was published in April of 2017. It's one of the only first-person accounts of life at Paisley Park, and the book's disclosures are sometimes troubling. Under the tutelage of Larry Graham, the bassist for Sly and the Family Stone, Prince became a devout Jehovah's Witness, and because of his new faith, he discouraged Garcia from seeking medical attention after a miscarriage. He was often demanding and proprietary of other people's bodies. If his female backing dancers gained weight, Garcia writes, he docked or withheld their pay.
By many accounts, Prince was an inscrutable and paranoid boss. "An enigma to the end," Barbarella said. "He didn't have close friends." Alan Leeds, who was Prince's tour manager for much of the nineteen-eighties, and briefly ran Paisley Park Records, said that it was Prince's need for total control that drove him to build Paisley Park. Leeds, who now manages the R. & B. singer D'Angelo, cut ties with Prince in 1992. When D'Angelo visited Paisley Park, in 2000, Prince cautioned him to keep an eye on his tapes when Leeds was around. He worried that Leeds—or someone else—had been leaking stolen recordings. (Leeds denies the accusation.) "When D. came back, he called me from the car," Leeds told me. "He said, 'Man, you won't believe it. He's out of his mind.' "
Prince's work ethic was notorious. He often played all or most of the instruments on his albums himself, a tendency that, in an interview with Rolling Stone, in 1985, he described as a product of his vigor: "The reason I didn't use musicians a lot of the time had to do with the hours that I worked. I swear to God it's not out of boldness when I say this, but there's not a person around who can stay awake as long as I can," he said. "Music is what keeps me awake."
That he was so fluent at such varied tasks is now part of his legend; we hold it up as further evidence of his brilliance. On "For You," his first album, which he released when he was twenty, Prince is credited with playing twenty-seven different instruments. One track contains forty-seven stacked and layered vocal lines.
Prince's virtuosity was uncontestable, and perhaps nobody else could have played those parts in the same way. But collaboration, even when it's difficult, can sometimes yield a richer, stranger document; work generated and realized in perfect solitude often feels airless. Even though most of his songs are about sex or dancing or some other kind of interpersonal communion, Prince almost never let anyone else into his art. In 2004, when he and George Harrison were inducted into the Rock and Roll Hall of Fame, Tom Petty, Jeff Lynne, Steve Winwood, and others performed the Beatles' "While My Guitar Gently Weeps." Prince appears onscreen about halfway through, as if he'd just been teleported in from some much cooler event. (Rewatching, you can see that he was, in fact, there the whole time, curtly bobbing his head from the far side of the stage.) What he does next, on his solo, is wild and stirring. His shirt is unbuttoned, and there's a rose pinned to his lapel. At first, his eyes stay closed. After a while, his guitar seems to disappear entirely, and it's as if the solo is simply coming from Prince himself—beaming out of his chest. Yet he is never quite of the band. Toward the end, a gleeful and mischievous expression seizes his face. This might be Prince most purely himself—locked into some unreal groove, alternately ignoring or showing everyone else up. Before he strolls offstage, he launches his guitar toward the heavens. It never comes back down.
At Paisley Park, he was able to write, rehearse, and record as much as he wanted, without compromise, and on his own schedule. "He didn't see music as work," Leeds told me. "It's just what he did. If you called it work, you were a cynic." In "The Most Beautiful," Garcia includes a note that Prince sent her early in the couple's relationship: "A secret—when I have a disagreement with someone—it's usually only one. Then they're gone."
Visitors do not have access to the living quarters at Paisley Park. The tour deals with this largely by misdirection, pointing guests toward details that might seem revealing—like the elegant slope of Prince's handwriting—but nonetheless require additional extrapolation to feel meaningful. That interpretive work is generally left to the individual. When the guide pointed out a little circle of spilled wax on the carpet—Prince himself had spilled that wax!—I gazed at it longingly, hoping that something significant might be revealed.
Mostly, the tour made me feel lonesome. Absent its owner, Paisley Park is a husk. In 2004, when Prince briefly rented a mansion in Los Angeles from the basketball player Carlos Boozer, he redesigned the place, putting his logo on the front gate, painting pillars purple, installing all-black carpet, and adding a night club. (Boozer threatened to sue, but Prince restored the house before he moved out.) Yet Paisley Park feels anonymous. His studios are beautiful, but unremarkable. There are many photos of him, and his symbol is omnipresent, but I was hoping for evidence of his outsized quirks and affectations—clues to some bigger truth. I found little that seemed especially personal. Paisley Park presents Prince only as a visionary—not as a father, a husband, a friend, or a son.
It seems likely that Prince himself insured this. ("There's not much I want them to know about me, other than the music," Prince told Details in 1991, when asked about his fans.) Although he left no will, he'd carefully prepared his home for visitors prior to his death. Art work or exhibits that seem as if they were surely erected posthumously—a painting of Prince's eyes that overlooks the building's entryway, a mural that depicts both his personal influences (Joni Mitchell, Miles Davis, Carlos Santana) and the artists he believes he has influenced (Sheila E., members of the New Power Generation), an exhibit that showcases the customized Hondamatic motorcycle he rode in "Purple Rain"—have been there for years.
This part, at least, felt extraordinary to me. Genius does not always come linked to this sort of self-possession. Prince built monuments to himself in his own home, during his lifetime! He had even tested out the museum concept, periodically opening Paisley Park for guided tours. In 2000, he charged fifteen dollars for a regular tour and seventy dollars for a V.I.P. version, which included a visit to the underground parking garage where he shot the "Sexy MF" video, in 1992. Like many celebrities, he was attempting to wrest control of his own legend and contain it.
In the nineteen-eighties and nineties, Prince's critics often characterized him as despotic, self-righteous, vain, and arrogant, but, later on, the narrative shifted. Perhaps there was a sense that not very many people could or would make music like his anymore—that we had reached the end of some line. His work began to feel increasingly inimitable and precious. The year he died, he sold more albums than any living artist.
Although Prince's estate has disregarded some of his preferences—his discography is now available on Spotify, a platform he pulled his music from in 2015, in part because he believed that the company didn't compensate artists properly—there's something profound about how Paisley Park insists on maintaining Prince's privacy. It does not need to modernize him (which feels unnecessary), or even to humanize him (which feels impossible). In 2016, the most common response to Prince's death was disbelief. His self-presentation was so carefully controlled that he never once betrayed his own mortality. He'd done nothing to make us think he was like us. During parties, Prince sometimes stood in a dark corner of the balcony and watched other people dance. Visiting Paisley Park now evokes a similar sensation—of being near Prince, but never quite with him. ♦
An earlier version of this piece misstated how Prince acquired the opioid fentanyl, which killed him.
Published in the print edition of the June 25, 2018, issue, with the headline "Prince's Lonely Palace."
Amanda Petrusich is a staff writer at The New Yorker and the author of "Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World's Rarest 78rpm Records."
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AL steht als Abkürzung für:

 Abteilungsleiter (oder AbtL), die Führungskraft einer Organisationseinheit, der Abteilung
 Abschnittsleiter, ein Teileinheitsführer an Bord von Schiffen der Deutschen Marine
 Ad Legendum, juristische Zeitschrift
 Administration des chemins de fer d'Alsace et de Lorraine, französische Nachfolgeorganisation für die Reichseisenbahnen in Elsaß-Lothringen
 Ahnenliste, die Darstellung der Ahnen eines Probanden in Listenform und damit eine wichtige Ergebnisform der Genealogie
 Chemin de fer Aigle–Leysin, eine meterspurige Zahnradbahn in der Westschweiz mit dem System Abt
 Aileu (Gemeinde), eine Gemeinde von Osttimor, Hauptstadt der Gemeinde ist das gleichnamige Aileu im als urban klassifizierten Suco Malere
 AL (Programmiersprache)
 Alabama, US-amerikanischer Bundesstaat, als postalische Abkürzung
 Alagoas, ein brasilianischer Bundesstaat
 Albanien, nach ISO 3166-1 und als Kfz-Kennzeichen
 Réseau ferroviaire d'Alsace-Lorraine, französische Staatsbahn im Elsass, in Lothringen und in Luxemburg zwischen 1919 und 1938
 Alte Leipziger – Hallesche, ein deutscher Versicherungsverein
 Alternative Linke, eine Schweizer Partei
 Alternative Liste (Schweiz), Schweizerische Parteien in Zürich und Schaffhausen, national engagiert bei der Alternativen Linken
 Alternative Liste für Demokratie und Umweltschutz, eine West-Berliner Partei
 Chemin de fer Apples–L'Isle, eine meterspurige Eisenbahn in der Westschweiz
 American League, eine der beiden Major Leagues im nordamerikanischen Profibaseball
 Anhängeleiter bei der Feuerwehr
 Arabische Liga, ein wirtschaftlicher Zusammenschluss arabischer Staaten
 Armia Ludowa, eine Untergrundorganisation in Polen
 artificial life, siehe Künstliches Leben
 Aussagenlogik
 Automotive Lighting, deutsches Automobilzulieferunternehmen
 Awami-Liga, politische Partei in Bangladesch
 Brennabor Typ AL, ein Pkw der Oberklasse
 Lübeck Hauptbahnhof nach DS 100
 Skyway Airlines, amerikanische Fluggesellschaft nach dem IATA-Code
 die postcode area St Albans (als Anfangsbuchstaben einer Postleitzahl aus dem Vereinigten Königreich)

AL als Unterscheidungszeichen auf Kfz-Kennzeichen:
 Deutschland: Landkreis Altena (auslaufend)
 Großbritannien: Peterborough
 Italien: Provinz Alessandria
 Niederlande: Oldtimer-Pkw vor 1973 (schwarze Schilder mit weißer Schrift)
 Norwegen: Mysen in der Provinz Østfold
 Schweden: Diplomatenkennzeichen für Österreich
 Serbien: Aleksinac
 Spanien: Provinz Almería (auslaufend)

ÅL als Unterscheidungszeichen auf Kfz-Kennzeichen:
 Finnland: Ålandinseln

A.L. steht als Abkürzung für:
 Anno Lucis, eine Jahreszählweise der Freimaurer

Kreise und Qarks in Albanien nach ISO 3166-2:
 AL-01, Berat
 AL-02, Durrës
 AL-03, Elbasan
 AL-04, Fier
 AL-05, Gjirokastra
 AL-06, Korça
 AL-07, Kukës
 AL-08, Lezha
 AL-09, Dibra
 AL-10, Shkodra
 AL-11, Tirana
 AL-12, Vlora

 AL-BR, Kreis Berat
 AL-BU, Kreis Bulqiza
 AL-DI, Kreis Dibra
 AL-DL, Kreis Delvina
 AL-DR, Kreis Durrës
 AL-DV, Kreis Devoll
 AL-EL, Kreis Elbasan
 AL-ER, Kreis Kolonja, abgeleitet von albanisch: Rrethi i Kolonjës
 AL-FR, Kreis Fier
 AL-GJ, Kreis Gjirokastra
 AL-GR, Kreis Gramsh
 AL-HA, Kreis Has
 AL-KA, Kreis Kavaja
 AL-KB, Kreis Kurbin
 AL-KC, Kreis Kuçova
 AL-KO, Kreis Korça
 AL-KR, Kreis Kruja
 AL-KU, Kreis Kukës
 AL-LB, Kreis Librazhd
 AL-LE, Kreis Lezha
 AL-LU, Kreis Lushnja
 AL-MK, Kreis Mallakastra
 AL-MM, Kreis Malësia e Madhe
 AL-MR, Kreis Mirdita
 AL-MT, Kreis Mat
 AL-PG, Kreis Pogradec
 AL-PQ, Kreis Peqin
 AL-PR, Kreis Përmet
 AL-PU, Kreis Puka
 AL-SH, Kreis Shkodra
 AL-SK, Kreis Skrapar
 AL-SR, Kreis Saranda
 AL-TE, Kreis Tepelena
 AL-TP, Kreis Tropoja
 AL-TR, Kreis Tirana
 AL-VL, Kreis Vlora

AL steht für:
 ein Formelzeichen für Kernfaktor in der Spuleninduktivität, siehe Induktivität #Bestimmung der Induktivität mittels AL-Wert

Al steht für:
 Al (Vorname), männlicher Vorname
 Aluminium, als chemisches Zeichen

Al ist der Familienname folgender Personen:
 Cengiz Al (* 1997), norwegischer Schauspieler
 Ekrem Al (* 1955), türkischer Fußballtrainer
 Hasan Al (* 1972), dänischer Boxer
 Mehmet Al (* 1983), türkischer Fußballspieler
 Thijs Al (* 1980), niederländischer Radrennfahrer

al steht für:
 bestimmter Artikel im Arabischen, siehe Arabische Sprache #Grammatik

Al- steht für:
 ال, vom arabischen bestimmten Artikel abgeleiteter Bestandteil vieler arabischer Familiennamen, auch transkribiert als El- oder Il-

Ål steht für:
 Ål, Stadt in Norwegen
 Kfz-Kennzeichen für Åland, eine autonome Region Finnlands

Āl steht für:
 Āl, eine Gruppe von Dämonen im Südkaukasus und Iran, Kindbettgespenster

.al steht als Abkürzung für:
 .al, die Top-Level-Domain von Albanien

Siehe auch:
 All

Abkürzung

redpajama_set_name: RedPajamaWikipedia


Thanks for the file Brett, good tips.
I've disabled Superfetch. After a few weeks of playing... not a single pop. That seems to have been the culprit.
If you had previously disabled the Windows page file (which was recommended for Hauptwerk 2 and earlier versions) or had adjusted Windows virtual memory settings in any other way, please make sure the page file is re-enabled and set specifically back to its default of 'system managed size'. Having it disabled or set to an inappropriate size can cause stability problems, performance problems, or other severe problems with Hauptwerk, other applications, or Windows itself, especially if 4 GB or more of memory is installed. On Windows XP use Start | Settings | Control Panel | System, then click on the Performance | Settings button on the Advanced tab. Select Adjust for best performance, then click the Advanced tab. Leave Processor scheduling and Memory usage both set to favor Programs. Click Virtual memory: Change and select System managed size for the hard-disk you want Windows to use for its virtual memory, then click Set. Finally click OK on all of the windows and re-boot the computer if you changed any settings.
Does this apply as a general rule for V3+, or is it only worth considering re-enabling the page file if we experience audio glitches? I have my page file disabled, but don't experience any problems.
It's up to you, but my recommendation would be to re-enable the page file, and to keep it enabled unless you specifically find any performance issues as a result.
Apart from unpredictable driver-specific 64-bit performance or stability issues (especially with more than 4 GB of physical memory), having the page file disabled might prevent applications that might need to use more memory than your computer has from working properly, for example the RAR extractor that Hauptwerk uses during sample set installation.
I am running WIN7/64 on a four core PC; dual core just didn't cut the mustard.
8 gigs of RAM and I have not pruned anything and the organ is playable without any glitches. I normally run Neil Jensen's 3/35 and that takes up a lot of resources.
The system will need a pagefile to operate properly; trying to run HW3 on anything with less power than a 4 core CPU will just cause trouble; that has been my experience since purchasing HW1 some years ago.
ASUS boards are somewhat troublesome , the organ PC has a P5KC MOBO, which will be changed to a gigabyte MOBO; maybe a H55-USB3 unit.
I have just installed one of these in my internet PC, goes like gang-busters; it replaced a ConroeXfire-SATAII, which eventually became a pain in the neck.
The Audio consists of 4 Echo AudioFire 12s; they have proved to be the best so far in the past 10 years.
trying to run HW3 on anything with less power than a 4 core CPU will just cause trouble; that has been my experience since purchasing HW1 some years ago.
Just a quick note: we'd certainly recommend 4 or more CPU cores for people wanting to use large organs, such as the large theatre organs you use, but Hauptwerk is designed very carefully to be able to perform very well on even single-core systems with smaller sample sets, e.g. with the St. Anne's sample set that's included with it. All Hauptwerk releases get tested thoroughly for performance on my old 2.8 GHz Pentium 4 PC to make sure that remains the case (and on other older single-core PCs by other testers).
I have just installed a new Motherboard Gigabyte 4 core 8 thread CPU with 16 Gigs of RAM.
No more shut down problems as with the previous system. Loading is a lot quicker.
Aten 6 Port Firewire Hub with Power Adapter.
550W Antec TruePower ATX Power Supply.
O/S: WIN 7 64 BIT HOME PREMIUM.
I'm posting this here because of the recent difficulties posted by members in getting Windows to play nice with some pro audio hardware.
I've noticed a couple of recommendations that contradict some optimization steps on the HW support page. Most notably the optimize for programs or background ops checkbox.
The suggestions for Windows tweaks in our own document ( http://www.hauptwerk.com/clientuploads/documentation/Tutorials/WindowsOptimizationsAndDiagnostics.pdf ) reflect what I've found to work best specifically for Hauptwerk on my own computers, and based on feedback from Hauptwerk users. They aren't necessarily definitive, and you'll inevitably find different, and probably occasionally contradicting, recommendations elsewhere around the Internet. Each PC is potentially different (often a unique combination of many hardware and software components, all made by different companies), and people use PCs for different things, and in different ways. Also bear in mind that there might sometimes be differences between what could benefit Hauptwerk use most, and what could benefit general 'pro audio' recording studio use (D.A.W.s -- Cubase/Logic/Pro Tools/Sonar/Reaper/etc.) most.
For example, being able to stream large amounts of audio data to/from disks/SSDs reliably in real-time at low latencies would normally be important for very D.A.W. use, but it doesn't matter at all for Hauptwerk use. Likewise D.A.W.s usually need to run lots of small separate plug-ins simultaneously, rather than devoting as much of the available computing resources as possible to a single intensive task (Hauptwerk).
By all means feel free to experiment with different Windows tweaks, but do bear in mind that whilst some might improve performances in some cases for some uses, they might have the opposite effect in other cases and for other uses, so my advice would be to try each one, carefully testing relevant aspects of performance before and after making the change, and keep notes on what you've changed (in case you need to undo changes later).
With regard specifically to whether to set Windows' processor scheduling to favour 'Programs' or 'Background tasks', my understanding is that the former makes Windows give more priority (effectively more CPU time, but in smaller slices) to the foreground application (which would usually be Hauptwerk), whereas the latter makes it give more priority to background Windows tasks/services ( http://www.thewindowsclub.com/processor-scheduling-in-windows-7-8, https://stackoverflow.com/questions/17944180/windows-service-performance-vs-windows-application-performance ). No parts of Hauptwerk run as a background service, so you'd probably effectively be taking some CPU time away from Hauptwerk with the latter setting, although longer time-slices might benefit benefit Hauptwerk's audio engine in other respects. By all means feel free to try each option, but do test and compare the results carefully (polyphony, resilience to audio glitches, MIDI latency, etc.).
I have the Cantible guide. After trying the Sweetwater guide settings, I reverted to the Hauptwerk recommendations. Thanks for the additional information.
I had been suffering from Audio glitches for a year or two despite doing everything recommended for audio optimization.
Since then I've had no problems.
sutherland wrote: Finally, a couple of weeks ago I changed 1HKEY_LOCAL_MACHINE\SYSTEM\CurrentControlSet\Services\TimeBrokersvc Start to 4.
> 4 is Disabled, 3 is Manual and 2 is Automatic startup.
> Before editing, the original value was 3. Set to 4 to disable. Just change the 3 to a 4 through the MODIFY menu selection, exit regedit and reboot your system.
> After this edit, Runtime Broker no longer runs and the CPU at idle is now only 0 to 1 or 2 percent.
> No adverse affects after disabling Runtime Broker on my system.


text:
Q: OpenCV on eclipse on windows I'm trying to install opencv on windows, here are my steps:

*

*downloaded opencv 2.4.3 from website

*run the exe, extracted the folder in the same path

*opened eclipse (with MinGW previously set and configured)

*created new project XYZ

*added new folder "src"

*added new class "main.cpp"

*added the following code:
hash include <cv.h>

hash include <highgui.h>
using namespace cv;
int main(int argc, char** argv) {

Mat image;
image = imread(argv[1], 1);

if (argc != 2 || !image.data) {
    printf("No image data \n");
    return -1;
}

namedWindow("Display Image", CV_WINDOW_AUTOSIZE);
imshow("Display Image", image);

waitKey(0);

return 0;
}

*added the two paths

*

*"E:\Sources\opencv\build\include"

*"E:\Sources\opencv\build\include\opencv"

*got the compilation error "Symbol 'cv' could not be resolved"
Please advice if any step is missing

A: cv.h is for the old C API. To use the Cpp API try the following:
#include <opencv2/opencv.hpp>

A: you gonna need the latest stable version of openCV 2.4.3 .
Eclipse Juno ! (Eclipse IDE for C/C++ Developers )
And
MinGW - Minimalist GNU for Windows
we will ignore x86/64 choice, since we gonna work with a 32 compiler / and 32 openCV build, even though the system is a 64 one !
Step 1 : Download and Install
Eclipse
Download Eclipse from and decompress the archive . ( I assumed that you already have JRE on your computer , if not ! download and install it ) .
MinGW
Download MinGW  . the installer will lead you through the process !
you might have to add the bin directory to the path ! (Default path :  C/MinGW/bin )
OpenCV
Download openCV exe from the link , extract the files (in the  C:/ directory in this tutorial ) .
Make sure you have the file structure below .
don't forget to add the bin directory => Path !
As I mentioned earlier ! I'll use x86 build even if i have a 64 OS to avoid compiler problems and to keep this tutorial open to x86 OS users !
Step 2 : Create and Configure

*

*Open the Eclipse IDE !

*Create a new C++ project : File > New > C++ Project

*Choose a Hello Word Project to have a pre structured one !
Don't forget to select the MinGW toolchains

Click Finish and let's get to work !
Now that you have you first Hello word project ! replace the Code in the Soure file .cpp  by the code below
///////////////CODE///////////
#include "opencv2/highgui/highgui.hpp"
#include <iostream>
using namespace cv;
using namespace std;
int main(int argc, char** argv)
{
  Mat im = imread(argc == 2 ? argv[1] : "lenna.png", 1);
  if (im.empty())
  {
    cout << "Cannot open image!" << endl;
    return -1;
  }
  imshow("image", im);
  waitKey(0);
  return 0;
}

///////////////CODE///////////
Obviously there are multiple errors on the code , yes ! we have to link the libraries !
Now go to Properties >> C/C++ Build >> Settings
on the Tool Setting tab >> GCC C++ Compiler >> Includes  and include opencv path !
[opencvDir\build\include]
Now scroll to MinGW C++ Linker >> Libraries and add the Library search path [opencvDIR\build\x86\mingw\lib]
in the Libraries part ! we add as much librarie as we need  for the project !
here I added 4 libraries just for tutorial sake even if well need only the highgui one for our test code to work !
The libraries names can be found on the [opencvDIR\build\x86\mingw\lib]
Example !  for  libopencv_video243.dll.a  wee add opencv_video243 in the linker !
click OK !
Now we can build our first project !
You figured that you have to add a picture to the project as implied in the source code "lenna.png"
Use lenna for good luck
Build and Run the project !
If you see the beautiful lady :) Congrats :)
have a look here for snapshots!
opencveclipse-on-windows

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Eddie Hall Breaks World Record with 500kg Deadlift
The deadlift may or may not be the ultimate test of strength, but when Eddie Hall became the first man ever to deadlift 500 kilograms (1,102.31 pounds) officially in competition over the weekend, few had any reason to doubt his strength.
That he broke his own deadlift world record again only solidified that fact.
Burst blood vessels and nosebleeds were the price paid for victory and all part of Hall's half ton deadlift.
Eddie Hall, also known as "The Beast" is currently considered England's strongest man. A title he was held since 2011. The 28-year-old Englishman is also currently ranked the fourth strongest man in the world.
Speaking to the Yorkshire Post about his record-breaking 500kg deadlift, Hall offered up the following:
"That nearly killed me. The pressure on my body was surreal. I passed out after. I had nose bleeds. It's not healthy doing something like that.
"But I've done it. I'm sure it will be in the history books for a very long time."
Hall is not alone though in his impressive feats of strength.
Fellow Englishman, Andy Bolton was officially the first man to deadlift over 1,000 pounds (453.6 kilograms).
American Bud Jeffries who has squat 900 pounds (408.2 kilograms) and is said to have lifted 1,000 pounds (453.6 kilograms) in a squat before.
Less known for powerlifting and more for their feats of strength, both John Brookfield and Dennis Rogers have incredible credits to their names in the world of strength. Like bending steel with their bare hands.
There is also Hafthor Björnsson, who has been Iceland's and Europe's strongest man. While his deadlift isn't quite in the realm of Hall's, Björnsson did previously break the 1,000-year-old strongman record and Icelandic Viking legend of Orm Stórólfsson, by carrying a log on his back for five steps which weighed 650 kilograms (1,433 pounds).
It's this diverse but pure pursuit of strength and the quest to become the World's Strongest Man that Eddie Hall will now focus his attention towards.
As for another go at deadlifting over 500 kilograms (1,102.31 pounds), Hall believes he'll let it be for now.
Should his deadlift record be broken though, the Beast may well be unleashed once again.
Feature Image Credit: Official Strongman
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Biografia
Figlio del linguista Manlio Cortelazzo, Michele Cortelazzo si è laureato a Padova con Gianfranco Folena nel 1974, iniziando la sua carriera scientifica in Germania, all'Università del Saarland, alla scuola di Max Pfister. È stato poi ricercatore all'Università degli studi di Padova, professore associato all'Università degli studi di Trieste e poi di Padova, dove è diventato professore ordinario e dove insegna tuttora Linguistica italiana. Ha insegnato anche all'Università di Innsbruck, all'Università di Venezia, all'Università di Ferrara, all'Università di Fiume.

La sua attività di ricerca è concentrata sull'italiano contemporaneo e in particolare sulle lingue speciali: linguaggio politico (dai comizi di Mussolini ai discorsi di fine anno dei presidenti della repubblica), quello amministrativo e giuridico. Negli ultimi anni ha fatto parte del gruppo di lavoro interregionale, istituito dalla Conferenza dei Presidenti dei Consigli regionali, che ha lavorato alla semplificazione del linguaggio burocratico: in questo ambito ha curato (con Federica Pellegrino) la Guida alla scrittura istituzionale (Roma, Laterza, 2003), il manuale Il comune scrive chiaro: come semplificare le comunicazioni al cittadino: con 24 esempi di testi rielaborati e le istruzioni per scrivere con stile (Santarcangelo di Romagna, Maggioli, 2005), e, col provocatorio sottotitolo Omaggio al Ministro dell'Interno (con Chiara Di Benedetto e Matteo Viale),  le Istruzioni per le operazioni degli uffici elettorali di sezione" tradotte in italiano (Padova, Cleup, 2008). Il libro nasce dalla sua esperienza di venticinque anni come presidente di seggio, che lo ha visto coinvolto in numerosi episodi: nel 2004, durante le elezioni comunali a Padova, segnalò un errore nelle schede, poi fatte ristampare dalla Prefettura; in quelle stesse elezioni fu accusato (con altri presidenti di seggio) di irregolarità formali nella stesura del verbale, accuse poi cadute in seguito ad archiviazione da parte del Presidente della Corte d'Appello di Venezia.

È stato preside della Facoltà di Lettere e filosofia dell'Università degli studi di Padova e direttore del dipartimento di Studi linguistici e letterari. Attualmente è direttore della Scuola Galileiana di Studi Superiori dell'Università di Padova. È accademico ordinario dell'Accademia della Crusca. Gestisce un proprio blog su internet.

Opere principali
La formazione della retorica mussoliniana tra il 1901 e il 1914, Padova, Liviana, 1977
La diffusione del Manifesto in Italia alla fine dell'Ottocento e la traduzione di Labriola, Modena, Mucchi, 1981
Lingue speciali: la dimensione verticale, Padova, Unipress, 1990
DIC: Dizionario dell'italiano contemporaneo, Brescia, La scuola, 1998
Italiano d'oggi, Padova, Esedra, 2000
Messaggi dal Colle. I discorsi di fine anno dei presidenti della Repubblica, Venezia, Marsilio, 2007
I sentieri della lingua, Padova, Esedra, 2012
Il linguaggio della politica, Roma, Editoriale L'Espresso, 2016

Voci correlate
Università degli Studi di Padova
Italiano burocratico

Altri progetti

Collegamenti esterni

Accademici della Crusca
Blogger italiani
Professori dell'Università degli Studi di Trieste
Professori dell'Università degli Studi di Ferrara
Professori dell'Università di Fiume
Professori dell'Università di Innsbruck
Professori dell'Università degli Studi di Padova
Studenti dell'Università degli Studi di Padova


Two years ago, Gina Miller's name was unheard of in the political sphere. It was only last year, following the UK's decision to leave the European Union, that Miller burst onto the stage, leading a successful challenge against the government to ensure parliamentary sovereignty over the triggering of Article 50. An ambitious businesswoman in the City of London, she has long been campaigning for transparency in the financial sector, championing philanthropy and social responsibility. Today, she has inadvertently become something of a flag-bearer for the soft-Brexit movement.
Fresh from delivering a thought-provoking talk on the future of democracy to LSE100 students, Miller sweeps across the LSE LIFE centre and is ushered into a secluded area for us to conduct the interview. As we sit down, I cannot help but imagine her life outside the confines of the LSE Library – the barrage of hostility, abuse and death threats that she has faced since the day of the court ruling have rampantly pursued her for a over a year. Just last month, she considered fleeing the UK over concerns for her safety and that of her family, following a new wave of threats after the election campaign.
On this train of thought, I start off by pressing Ms Miller on a comment she had made just a few minutes before, during the LSE100 event. She claimed that 'emotion was at the fore' of the Brexit campaign, driving the kind of vitriolic abuse that she has received. Does she believe that this is becoming a global trend in politics? "I do think we are living in a really overtly emotional world, and I think some of it has to do with social media," she begins. "You can't deny that there is a connection between this and the whole idea of instant gratification – that you can be anything you want. Social media is, what I call, 'ghettoising minds', and changing hearts because it's making people look at themselves too much".
As I listen, the infamous headline 'ENEMIES OF THE PEOPLE' emblazoned across the front page of the Daily Mail inevitably comes to mind. However, press regulation is a tricky subject, I propose. From Erdogan's imprisonment of journalists in Turkey to Donald Trump's attacks on the mainstream press, I ask her how far society can go in restraining the media without being accused of limiting freedom of speech.
Leaving the topic of the media to one side, I press Miller on what she thinks about the future of the European Union. She has spoken in the past of EU reform being the best solution forward, despite her representation by many in the UK as a die-hard Europhile. However, I challenge her on whether there is a real possibility of reform, given that there have been many indications of further integration through proposals for a common military force, for example. Is this kind of reform really going to convince the Eurosceptics? And should reform go ahead, how would Germany, for example, be brought on board?
As important and all encompassing as the issue of Brexit is, it was something of an elephant in the room at the recent Labour Party Conference. I ask Miller why she thinks it was struck off the agenda. Would she go as far as to suggest that Corbyn is a closet Brexiteer, despite his insistence to the contrary?


text:
Mbaqanga är en musikstil som uppstod i svarta förstäder (townships) i 1960-talets Sydafrika, inspirerad av marabi och kwela, jazz och swing och folkdanser som indlamu.

1964 bildade Rupert Bopape det svarta grammofonbolaget Mavuthela Music Company. Han satte också ihop ett eget husband för bolaget, Mavuthela house band - senare känt under namnet Makgona Tsohle Band, bestående av Marks Mankwane, Joseph Makwela, Vivian Ngubane, Lucky Monama och West Nkosi. Denna grupp gjorde mbaqangan känd för en bredare publik.

Bopape värvade också en rad kvinnliga sångare till bolaget och lät dem sjunga ihop i en räcka olika konstellationer, ackompanjerade av Makgona Tsohle Band. Tillsammans med Simon 'Mahlathini' Nkabinde turnerade man runt som Mahlathini and the Mahotella Queens och uppnådde stor popularitet runt om i landet. Miriam Makeba bidrog till att göra musikstilen internationellt känd.

Mot slutet av 1970-talet avtog mbaqangan i popularitet, sedan soulen och discon gjort stora landvinningar bland Sydafrikas svarta.
I mitten av 1980-talet upplevde musikstilen dock en renässans i samband med att Paul Simon gästade Sydafrika och producerade albumet Graceland tillsammans med flera kända mbaqangamusiker. Makgona Tsohle Band gjorde en bejublad comeback ihop med Mahlathini och delar av de ursprungliga Mahotella Queens. En av deras stora hits var låten "Mbaqanga".

Band som Juluka nådde samtidigt en ny mbaqangapublik.

Källa
Engelska Wikipedia

Musik i Sydafrika


Trey Hodge sees his first action since a Week 1 shoulder separation kept him on the sidelines. Photo by Wayne Grubbs.
The Hughes Springs Mustangs made the short trip over to Jefferson to take on the Bulldogs Friday night. Despite the short distance, it was probably a long bus ride home for the Mustangs. The Bulldog offense was as explosive as ever, and the Dawg defense held Hughes Springs to only one score.
Hughes Springs received the opening kickoff and quickly picked up a first down. On the next set of downs, Kannon Glover and Eric Gipson each had a tackle for loss to force a Mustang punt. The very short punt gave the Bulldogs excellent field position on the Mustang 40-yard line. Quarterback Kylan Thomas immediately scored a touchdown on a 40-yard keeper. Landon Fuquay added a PAT to give the Dawgs a 7-0 lead with 8:33 left in the first.
Tyler Cherry delivers a blow to Andrew Gaul. Photo by Wayne Grubbs.
After the kickoff, Hughes Springs began moving the ball down the field pretty effectively. Thanks to a couple of Mustang penalties and sacks by Glover and Gipson, Hughes Springs was forced to punt. On the next series, the Bulldogs picked up a couple of penalties of their own, calling back two touchdown runs by Dee Black. The first quarter ended with the Bulldogs on top, 7-0.
In the second quarter, Trey Hodge, who has been out for the past 5 weeks with a clavicle injury, resumed his role as quarterback. After he found Kylan Thomas on a long pass play, the Bulldogs were deep in Mustang territory. Dee Black rushed for a 27-yard touchdown, and Fuquay tacked on a PAT to increase the Dawgs' lead to 14-0 with 7:40 left in the half. Hughes Springs began moving the ball again, but key tackles for no gain by Glover, Tyler Cherry, and Dillon Griffin stalled their efforts.
Trace Smith stuck the rusher before the line-to-gain on third down, but the Mustangs went for it on fourth down. The defense held on, and the ball was turned over on downs. The Bulldog offense quickly went back to work, and Hodge connected with TQ Jackson for a touchdown pass. Fuquay's PAT made the score 21-0 with a little over 3 minutes left in the first half. Hughes Springs began another drive, but thanks to a pass broken up by Bryson Johnson and a sack by Malik Cannon, they were unable to find the end zone. The Dawgs took a 21-0 lead into the locker room.
Nakia Lee gets stood up by Kannon Glover for no gain. Photo by Wayne Grubbs.
The Bulldog offense scored quickly on the first play of the third quarter. Only eleven seconds into the half, Thomas threw a pass to Kenneth Bell, who picked up some nice yardage on his way to the end zone. Following Fuquay's PAT, the Bulldogs expanded their lead to 28-0. After a sustained drive, Hughes Springs finally found their way onto the scoreboard, and with 7:36 left in the third, the score was 28-7. With Jefferson back on offense, Hodge scooted into the end zone to give the Dawgs a 35-7 advantage. Following a strong Dawg defensive stand, the Mustangs were forced to punt. Jackson received the punt and weaved down the field for a touchdown, giving Jefferson a 41-7 lead going into the fourth quarter.
The fourth quarter was riddled with penalty markers, and three Jefferson touchdowns were called back, one by K'Von Smith and two by Malik Cannon. All three potential touchdowns, along with 5 penalties, were in the same set of downs. The Dawgs punted, and Hughes Springs made a run for the end zone with less than a minute left in the game. The play was stopped by Cannon, and the game ended with Jefferson bettering their record to 6-0, 2-0 in district.
As usual, the Bulldog offense was fast and virtually uncontrollable. They racked up 484 yards (308 rushing and 176 passing). Hodge completed 5 of 7 passes, and had 2 carries for 14 yards, including a touchdown. Kylan Thomas rushed for 112 yards and had 56 yards receiving. TQ Jackson caught 2 balls for 86 yards and a touchdown, and also added touchdown on a punt return. Kenneth Bell caught 1 for 54 yards and a TD. Dee Black rushed for an even 100 yards on 5 carries, and had a touchdown.
On defense, the Dawgs allowed 262 yards on the ground, and the secondary allowed only 12 yards through the air. Trace Smith was on fire with 13 tackles, 2 for loss, 2 QB hurries, and a pass break up. Lyrik Rawls and Bryson Johnson showed out with 12 tackles each, and Brennan Varnell, the Dawgs' leading tackler for the season, had 15 for the night. Kannon Glover had a great defensive night with 16 tackles, 2 for loss. Malik Cannon was all over the field with 13 tackles (3 for loss), 1 sack and 1 QB pressure. Eric Gipson harassed the entire offense all night with 11 tackles (3 for loss), 2 sacks, and 2 pressures.
Next Friday, October 12, Jefferson will travel to Mt. Vernon to take on the 4-1, 1-0 Tigers in what is sure to be a fantastic district showdown. The Bulldogs are averaging over 48 points per game, while Mt. Vernon averages 32 per game. The defenses are a little more evenly matched, with Jefferson allowing an average of 10.5 points per game, and Mt. Vernon allowing 15.2. However, the Bulldog defense in the past three games has only allowed 14 points, while Mt. Vernon has allowed 55. It should be a heck of a game!


text:
New violence in Kashmir on eve of India's independence day
Other News Materials 14 August 2008 21:38 (UTC +04:00)
(AFP) ї Police shot dead another protester on Thursday in Indian Kashmir, bringing the death toll from days of rioting to 22 as security was boosted on the eve of India's Independence Day celebrations.
Police opened fire on dozens of stone-hurling demonstrators who marched in defiance of a four-day-old curfew in the disputed region's main city Srinagar, killing one and wounding another, a doctor and residents said.
Srinagar and other parts of the Muslim-majority Kashmir valley have been the scene of some of the biggest anti-India protests to shake the region in two decades. At least 22 people have been killed and 600 injured since Monday.
"One person died of bullet injuries while another was injured," a doctor at Srinagar's main hospital said on Thursday, after security forces opened fire in what authorities said was an attempt to disperse demonstrators.
The unrest, triggered by a Kashmir government move in June to donate land to a Hindu shrine trust -- a decision later reversed -- has shattered several years of relative calm here brought about by the India-Pakistan peace process.
US-based Human Rights Watch called on India to "refrain from using lethal force against violent protesters... unless it is absolutely necessary to protect life."
The protests in the picturesque Himalayan region -- hit by an anti-Indian insurgency since 1989 that has claimed tens of thousands of lives -- have given new life to Kashmir's independence movement.
Security forces were patrolling Srinagar and other troubled areas in Kashmir amid fears of attacks by Islamic militants on Friday, India's Independence Day -- a day when guerrillas have traditionally carried out strikes.
"We have intelligence inputs militants may try to carry out attacks," defence spokesman S.D. Goswami told AFP, saying security had been tightened even further than usual for the event.
The anniversary of India's independence is marked as a "black day" in the region.
Late on Wednesday, thousands of protesters shouting "We want freedom" poured onto the streets, reviving memories of demonstrations in the early 1990s in support of the separatist insurgency.
On Thursday, hundreds of Srinagar residents held prayers for those killed since Monday. Pro-India Peoples Democratic Party (PDP) also held a demonstration against what its leader Mehbooba Mufti said were "atrocities against Kashmiri Muslims."
Critics allege that during the past week security forces have often not let off warning shots before opening fire on crowds, contrary to usual procedure.
The unrest has triggered a new war of words between nuclear-armed India and Pakistan, which each hold part of the disputed region and claim it in full. They have fought two of their three wars over Kashmir.
Pakistan's parliament on Wednesday condemned the "excessive and brutal" use of force by Indian security forces against "the innocent civilian population of Indian-occupied Kashmir."
The lawmakers called on the international community, particularly the UN and human rights groups, to take note of the deteriorating situation.
An irate India fired back, with foreign ministry spokesman Navtej Sarna saying the allegations "bear no relationship to reality."
"To call for international involvement in the sovereign internal affairs of India is gratuitous, illegal and only reflects reversion to a mindset that has led to no good consequences for Pakistan in the past," Sarna said.
In another sign of deteriorating ties, a trans-Kashmir bus service launched by India and Pakistan in April 2005 amid much fanfare was suspended.


After a long day serving The Man at the mine, there's no better way to wind down while simultaneously getting revved up for Sunday's 96th running of the "The Greatest Spectacle in Racing" than an hour with Curt Kevin & Kevin Lee.
So. Come 7:00 ET, cozy up to the wireless (1070 The Fan AM) or log on to the information super highway (1070TheFan.com), and soak up the '500' goodness.
It only comes 'round once a year, so carpe diem!


text:
Vuzix Announces New Wrap 310 Widescreen Video Glasses
By Shane McGlaun/Sept. 15, 2009 11:35 am EST
I have seen and used several different styles of video glasses over the years. Some of them have been better than others, but the big issue for me is that the glasses look really stupid when you are wearing them. Vuzix has announced a new set of glasses that will launch soon called the Wrap 310 Widescreen.
The company is offering the glasses for consumer, defense, and low vision markets. The new glasses promise to look like normal sunglasses and include two high-resolution video displays in the eyes. The two screens are able to project a 55-inch image size and the device has removable noise blocking earphones.
The 310 glasses are also designed for upgradability with an expansion port to allow compatibility with different accessories. Other features include an onscreen user interface, independent focus adjustment for those who wear contacts, and compatibility with major 3D formats.


Making sheet for people working in another software - Page 2 - Welcome to TVPaint Community forums !
Excellent. I will have to wait until next week to try it. Thank you!
I have to admit , the thing baffles me ! I really don't understand the logic of it. I started looking at it again when I saw your post and I remembered that I also have times where it might be useful to print out an "X-sheet" version of my timeline . There's no tutorial for using this tool as far as I know. I'd be very interested to see how it's actually supposed to work in real production usage.
The formatting of the sheet looked better to me in that earlier version.
EDIT: ok, upon rereading that earlier discussion more closely, I see at least one major thing I've been doing WRONG --- before generating the sheet it is first necessary to MARK the Keys with Image Marks. Otherwise it will show the drawing as simply an X on the sheet. Then after the inbetweens are completed the inbetween frames should have Image Marks assigned .
I hope someone from the development team can step in to explain this better, maybe with a video tutorial.
My keys on Anim layer A are 1 , 9, 17, 27 and are given a RED image mark .
My keys on Anim layer B are 1 , 9, 13, 21 and given a BLUE image mark.
inbetween frames as X's .
inbetweens will be filled in and image marked in the next step.
Image Mark colors assigned to the inbetween frames.
columns to the right of the first set , showing the inbetween frames which have been added .
So this is now behaving more like I would expect from an "X-sheet" ... BUT some issues remain for me, namely the spacing is too cramped. The font sizes used for the layer names, the drawing numbers , the "Dialog" and "Camera" columns all render too large for the space they are intended to be contained in , so readability is an issue. The red circle placed around the drawings designated as KEYS is a good idea, but the circle is too small compared to the font size used. Perhaps this is an issue on my end , my default fonts are set too large or something ? I don't know . Again, I'd be curious to see how this works for someone else . I feel confused when trying to use this tool. Really, in my professional experience, there's nothing more logical and elegant than an X-sheet . It should be clearly legible . This tool is a step in the right direction, I can see it being useful, but it still needs refinement in my opinion. (or else I need a swift kick in the pants and someone to tell me what I'm doing wrong when I try to use it , if this confusion is just me being an idiot) .
In this case with the single Background image did I name the instance as "BG" , so it would show up clearly on the sheet . The layers are simply named A - B - C (the BG is on layer C).
Of course the way this currently works the TVPaint timesheet has rendered the layer ordering as : C - B - A , but you just have to do the mental gymnastics to reverse the standard ordering and realize that on this sheet the lowest layer is the first one on the left and the topmost layer is the last one on the right . (to my way of thinking that order should be reversed to read from left-to-right , but this is what is for now ...) .
By the way, this PRINTS nice and easy, from File Menu > Print .
Ok, now look at this next image . I went back to the discussion from last year -- https://forum.tvpaint.com/viewtopic.php ... 63&p=92855 -- and downloaded the Timesheet v 7.5 that Thierry uploaded in that thread. When I use the Timesheet v 7.5 I get much better results . Look at it: this sheet is neatly rendered and legible. (yes, the numbers are smaller , as they must be to fit inside the small squares , but this is much better than having larger numbers smooshed together in a space that is too small to contain them) So now I'm wondering: is there possibly a BUG in the current version of Timesheet included by default in version 11.0.8 ?
Hi D.T., I only just got access to the right version of TVPaint to try this stuff out. Your last result with the old version looks the best, but do I detect that the names of the drawings seem to correspond always to the frame no? Does that mean that the name of the cells are changed? That is problematic, since I need the xsheet names to correspond to the file names, or what's the point of an xsheet? So far, I am unfortunately going to have to type it all in by hand in an excel sheet, even though the various options give correct results. From the Timesheet panel I get no cell names at all, only x's and o's. There's no way I can send this to someone and ask them to figure it all out. Is there any way to get the cell names? I also tried to export as a .csv file. That too is, technically, correct, but all the names of the cells are changed and so you have to use the image exports that go with it, with their names that seem to correspond to the frame number, and they are all .png, which I can't use. I need to send someone an image sequence, and the names of the images must correspond to the names in the xsheet, which also should correspond to the names in my timeline. No renaming, no x's and o's. Is that possible? Thanks.
. I need to send someone an image sequence, and the names of the images must correspond to the names in the xsheet, which also should correspond to the names in my timeline. No renaming, no x's and o's. Is that possible?
I don't know. As I said before, it puzzles me ... I see the potential, I understand what it's supposed to do , but it's not quite there yet , imo.
Your last result with the old version looks the best, but do I detect that the names of the drawings seem to correspond always to the frame no? Does that mean that the name of the cells are changed?
No, in the example I posted the drawings (instances) on my timeline correspond to the numbers shown on the x-sheet . I always number according to the frame number and whether the animation is ON 1's or ON 2's .... if there's hold I start the numbering again on the frame when the animation resumes.
I didn't name the instances (with an identifying prefix like A-1 , B- 1, C-1 , D-1 , or specific names like HAT-1 , EYES-1 , etc. ) because the squares on the sheet don't have enough room to include those identifying prefixes or names without getting too cramped .
I need to send someone an image sequence, and the names of the images must correspond to the names in the xsheet, which also should correspond to the names in my timeline.
I'm not sure how to do all of that automatically ... Do I understand you correctly that each instance on your timeline has a unique name , it's not just a number that corresponds to the frame number or a Prefix+Number that corresponds to the frame number ? Is it possible to post a screen grab example of your Timeline so I can see what it is you're trying to do ?
Here's a screen grab. By names I mean numbers, but the name for each image is unique. No problem with unique names with TVP, as it always adds the name of the layer as a prefix, so each name is unique. But none of my numbers correspond to the frame number. First I do drawings, and then I retime. I add more tweens where necessary, I take out if I think a hold is long. This is an ongoing process which is part of my animation process. My scenes go through many revisions, and so maybe a month later, I'm back in the scene, making changes. So no, there is no way that the images will correspond to the frame number. They never do. But for some reason when I export, TVP likes to rename everything according to the frame number. I am working with people using Toon Boom Harmony, and also photoshop. I send them a scene, and then there is a correction, and I have to send a new exsheet, along with a few new drawings. Now we're in trouble. Over there, they have a scene with image files, and they all have their unique names, and now everything has a new name. No way this can work. I won't do a paper sheet. I will have to make an excel sheet template and will fill that in. But I was hope to avoid it. I will also consider sending them a screen grab of the timeline, hoping that they can learn to interpret it.
The Timesheet corresponds to Japanese needs.
In your case, you may use the XSV export (Clip : layer structure).
On the current version of the Timesheet , is there any way to adjust the size of the font used , so it isn't so cramped ? What do the Japanese studios do when the numbering in their scenes is in triple and quadruple digits ? The sheet becomes unreadable .
In your case, you may use the CSV export (Clip : layer structure).
It is also cluttered and difficult to read . Is it possible to refine how the data is imported to the Excel .csv file ?
Using Mads Juul's Tracker Shortcuts panel , I've named each instance with an identifying Prefix and the Numbering corresponding to the frame numbers.
To my eyes, this is much cleaner and readable , with some resemblance to what we all know as an X-sheet .
The extra bracketed numbers inserted seem redundant to me . The first set of bracketed numbers seem to be the Layer number  , then the next set of bracketed numbers is the frame number  ... We already have the frame count along the left in Column A . So why insert the frame number again in front of the instance name in each column ? We can see how many layers there are , so the layer number doesn't need to be inserted in front of the instance name. If those extra bracketed numbers could be eliminated and instead just have the instance name in the columns , it would be cleaner .
However, if it is not possible to eliminate those extra bracketed numbers that are inserted in front of the instance name , can it be configured to show the instance name in BOLD font for better readability ? And even better , can HOLDS be shown in lighter grey font ? See the next screen shot . This shows the column for the the cat's Eye Blink LIne , which occurs from frame 9 to frame 30 , however the eye drawing 25 is HELD 6 frames, so it only appears in BOLD font at the head on frame 25 , then frames 26 , 27, 28, 29, 30 it is in light grey text . This makes it easy to spot the holds at a glance when reading the Excel sheet.
Last edited by D.T. Nethery on 29 Jan 2018, 14:46, edited 2 times in total.
Well, I've made it so the Timesheet uses a Japanese font which takes less space. I don't know why it's that big on non-japanese versions though... I don't know if I can change that easily without interfering with the "intented" font, but I'll check when I'll have the time.
About the numbers: they represent the instances names: in Japan, they always name their instances with numbers: thus, they never go higher than 2 digits: they split the scene so it doesn't become too long.
For example , here is the X-sheet in OpenToonz , with a scene that goes up to three-digits (105). The X-sheet in OpenToonz goes into 5 digits .
Well, anyway, that's none of my business, but the earlier version 7.5 did handle 3 digit numbers in a legible way. If you could fix the newer version to adjust the font size it would be useful . With the font size used presently , even 2-digit numbers get too cramped to be legible.
Last edited by D.T. Nethery on 29 Jan 2018, 15:36, edited 1 time in total.
In Japan, work is segmented so 1 episode of 20 minutes (minus opening and ending scenes) is actually divided into 300 scenes (called "cuts"). You need between 3000 to 3500 drawings for 1 episode.
That is why, the timesheet doesn't need to be that long.
Generally about 20 animators are working on the drawings. It is easier this way to manage : if there is a mistake, you just need to correct one little part of the animation rather than the whole scene. Also, working in small parts allows you to send the drawings quickly to the next department (coloring, compositing...) or when the animator fails to send his work on time, to call somebody else quickly to pick over.
Moreover, they re-use a lot of drawings, so the numbers are not raising up.
I have all the same questions, D.T. This is what I get when I make an xsheet. There are no numbers at all, only x's and o's. It's totally useless. I see that at least you got numbers, and I don't know how you did it. The older xsheet panel that you shared, which at least has the nicer looking printout. I downloaded it but I don't know how to install it. Any tips? Thanks.
To get the X's and 0's to show as numbers on the sheet you need to mark them on the Timeline with the Image Marks (so for example, all Keys are marked with RED Image Mark , all Inbetweens are marked with GREEN Image Mark .
Last edited by D.T. Nethery on 01 Feb 2018, 15:46, edited 1 time in total.
I think I might have a solution for you. It came to me when discussing a similar issue in this topic: https://www.tvpaint.com/forum/viewtopic ... 10&t=11231 .
I think the solution may be to name the instances with an identifying Prefix (for instance a character named "Bob" would have the instances named as B1, B3 , B5 , B7 etc. whereas the other character in the scene named Wilma would have instances named W1, W3 , W5 , W7 , etc. ) and the instances are numbered to match the frame number , using a handy little custom panel by Mads Juul called "Tracker Panel Shortcuts" , which among other things can be used to auto-rename/renumber instances with a custom Prefix and number the instances to match the frame number . So animation exposed on 2's would be like this , starting with B1 , which is held for 12 frame: B1_ _ _ _ _ _ _ _ _ _ _ B13_ B15_B17_B19_B21_B23_B25 , then if it switches to 1's , it would continue B26 B27 B28 B29 B30 B31 B32 (resuming on 2's) B33_B35_B37_B39_B41 _ _ _ _ _ _ _ _ (B41 holds 8 frames), B43_B45_B49_B51, etc. If you had frames on 4's it would be like this B53 _ _ _ B57 _ _ _ B61 _ _ _ B65_ _ _ B69 _ _ _ B73 , etc. Ok ? So it's the classical way of numbering drawings and an X-sheet , what Richard Williams describes as "The Best Numbering System" which he got from Milt Kahl, but most of the Disney animators used it . This system always keeps the drawing numbers matched to continuous frame numbers .
So now every layer has it's own name and every instance on that layer has an identifying Prefix letter and is numbered to the frame.
Now, if we go to Export > Clip Layers Structure > JSON (.json + images) it will export each layer to a separate folder and the exported images will be only the head of each instance.
Ughhh ... full stop , darn it ... here's a major roadblock: everything worked perfectly up to the point when I imported the image sequence into TB . TB did not respect the image file names B1_ B3_B5_B7 _ _ _ B11 _ _ _ B15_ _ _ _ _ _ _ B23_B25_B27_ _ _ B31_ _ _ B35_B37_B39 _ _ _ _ _ _ _ B47_ etc , and instead it renumbered each imported image 1 , 2, 3, 4, 5, 6, 7, 8, 9, 10 , 11, 12, 13, 14 , etc. so there's no way to see at a glance what the exposure of each image is intended to be . This is a bust if there is no way to get TB to respect the file names .
Good news is that when importing the image sequence into Photoshop , PS does respect the file names, it doesn't renumber them like TB does. I never work with the Animation Timeline in PS , so I don't know if there is a way to select a group of frames and adjust the exposure (to be all ON 2's. or all ON 4's , or whatever it may be ...) The only way I can see to do it is to manually click and drag to adjust each frame to the number of exposures (1's , 2's , 4's, 6's , etc.) desired , which is very slow. There must be an automated way (?) but I don't know it . For some reason Photoshop's default is to import each image exposed for 120 frames/5 seconds on the Timeline (why Photoshop, WHY ?! That's just stupid ; why not have the default be for 1 frame each , then the user can adjust the exposure as needed) , so to adjust my imported frames to be the same as they are numbered in TVPaint and in the image sequence , I had to manually click and drag each frame to be exposed for the correct number of frames on the PS timeline . Yuck. That would take too much time.
So I think it would work in Photoshop , if you can find a way to select a block of drawings and automatically convert them to be exposed ON 2's , 3's, 4's or whatever they may be, instead of having to manually adjust each drawing, one at a time .
Or, if you can find a way to force TB to respect the image sequence file names instead of renaming them when it imports & vectorizes them , it would work. I hope maybe it is a step in the right direction for you ... good luck.
Well, I've made it so the Timesheet uses a Japanese font which takes less space. I don't know why it's that big on non-japanese versions though... I don't know if I can change that easily without interfering with the "intended" font, but I'll check when I'll have the time.
I hope you can fix the font size issue for non-Japanese versions. In the meantime a workaround to make the X-sheet more legible is to insert a BLANK (untitled) layer between each animation layer , so it adds a space between each layer on the generated exposure sheet (I'm assuming "Timesheet" is the preferred Japanese term ? In my 30 years in the industry I've never heard an Exposure Sheet referred to as a "timesheet" ... X-Sheet , sometimes Ex-Sheet , or Dope Sheet (mostly in Canadian and U.K. usage , rare for U.S. studios to refer to "dope sheet" , the more common term is X-sheet) .
Also , it is more legible if the layers are named with simple one-letter prefixes - A - B - C - D - E - F , etc. Two-letter prefixes like OL (overlay) or BG (background) work .
In the example shown below , I have a scene with 6 animation layers ( A- B - C - D - E- F) plus an OL layer and a BG layer . Notice each layer has the untitled blank layer inserted, to provide for a space on the generated X-sheet (timesheet).
If those two columns are going to be kept as part of the Timesheet , then at least abbreviate them to Dial and Cam , to save space, because notice how cramped the words are in the current version .
Indeed, they add an extra layer in the timesheet project with indications for camera moves and dialog.
Most studios are not working fully in digital yet. After the key animation is done in TVPaint, they print out the drawings and the timesheet to pass it to the animation supervisor who will check the drawing and timing on paper.
Some studios who are adapting to a full-digital work-flow still need the timesheet for working with After Effects (especially indications for camera moves are more relevent in this case) so they don't print it out.


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I'm a typical millennial in that aspect – I have quit a job every year since I graduated (2013, 2014 and 2015). People like to paint millennials as non-committal because of how often we quit, but we're really just trying to speed up the process of finding our place in the world.
I love this piece in the Atlantic about how job-hopping in your 20s can lead to more fulfilling work in your 30s and 40s.
I've heard so often about how important it is to add years of experience to your resume before moving on to the next job. But what if it's a job, like many millennials face, that's not worth it?
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My second job was a little better, but had massive layoffs before, during and after my time there. It became a place where you feared for your job on a daily basis.
My most recent work was tedious, remote work that mainly served as a filler for our move out west. No real complaints there. In this last case, it was just time to move on.
But what I'm saying is that my story is not unique – so many young people are facing underemployment or finding themselves in companies that don't respect them. There's such negativity about young people being flaky and quitting jobs after only a year or two, but since when did moving yourself forward become a bad thing?
Years ago, I read The Icarus Deception by Seth Godin and quit my first job just a few weeks later. His words about picking yourself and his cautions against flying too low stuck with me. It made me realize that I was in control.
Do you find yourself dreading each workday or stressing out on Sunday evenings because Monday is just around the corner? Is there more than just a paycheck waiting for you at the end of the day, or are you unfulfilled in your work?
I know quitting and changing is not easy. But would you rather dread your work or do put in the work of searching for another job? And what if that next job turns out to be no better? Take charge of your life and be fearless in your pursuit of a job you are excited about doing.
I've been pretty quiet here on the blog for the last couple of weeks and that's because I've been working on transitioning more time to my other gig as a data management coordinator (a fancy name for "make sure the data is where it needs to be when it needs to be there").
This means I have a few extra hours and a little more mental energy each week for blogging! But the best news? I get to enjoy work-free weekends with my husband and explore this cool city we've called home for almost ten months.
So if you're feeling stuck, polish up your resume and send it out to a couple new jobs this week. What's the worst that could happen?


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