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Home / Pearls
The legends of pearls have been spoken about since antiquity.
Pearls have been treasured as one of the most valuable of all gems; regarded as "tears of the Gods" in Persian mythology. The Chinese believed that pearls were jewels in the sea and grew by the power of the moonlight.
The oldest recorded pearl jewelry is 4,300 years old, found during the excavation of the king's palace at the Persian capital of Susa and currently on display in the Egyptian Museum in Cairo.
In the thirteenth century Marco Polo visited the coasts of India and the Persian Gulf and recorded the labor of the local pearl divers. He described the divers as "being laden with weights and lowered to the seabed to gather pearl oysters while holding their breath."
In 1913 the German zoologist Friedrich Alverdes established the exact scientific process to explain how a pearl is created from the oyster. Alverdes discovered that pearls are formed when a foreign body, such as a grain of sand, penetrates the shell of the oyster and the need to isolate the irritant the mollusk encases it with layer upon layer of a substance called nacre, which is calcium carbonate. As each layer of nacre is added, the pearl (covered irritant), becomes more iridescent.
After six to eight years an oyster creates fine quality pearl that is lusturous due to a thick nacre. Pearls that are removed from an oyster after a short while will have a thin nacre and will look like chalk.
In 1904, Mise, Japanese carpenter, started pearl culturing experiments in 1904 and became the first person to develop a spherical, cultured pearl. However, Mise was not able to achieve a patent in China for his work.
Based on Mise' effort and knowledge, a zoologist named Nichikawa in 1907, also began producing spherical, cultured pearls. Upon Nchikawa's death his father-in-law, the noodle seller Mikimoto, took over the culturing project and created a company by achieving a patent.
Mikimoto named his new firm after himself, although he had no prior knowledge about culturing a pearl. Over the years the Mikimoto company has made great contributions to the development of the pearl industry. Because Mikimoto was long believed to be the originator of cultured pearls, the term Mikimoto Pearls is used incorrectly when referring to the finest cultured pearls.
The method of culturing a pearl begins with opening the valves of a pearl oyster and inserting a small piece of mother-of-pearl shell. After a few years in a protected environment ( in their native water) the oyster will have covered the inserted shell with nacre.
The longer the oyster is in the water the thicker the nacre becomes. A thick nacre deposit will create a pearl more lustrous and valuable. The only true way to detect a natural pearl (not nucleated by man) from a cultured pearl is to x-ray the nucleus, the original irritant.
Pearls are cultivated in many parts of the world. The largest pearls in the world are from huge oysters in the Australian warm waters. South Sea pearls are grown over 20mm in size and can be round or baroque in shape, with colors varying in shades of white, grey and golden. The most expensive of all pearls, and a strand of matching perfect, golden-round South Sea pearls are very rare. South Sea Pearl refers to a pearl cultivated from the waters of Burma, Indonesia, French Polynesia and Australia.
Cultured pearls produced from the Akoya oyster from Japan are called Akoya Pearl; this term refers specifically to a Japanese saltwater cultured pearl. The Japanese Akoya cultured pearls are round and oval to semi-baroque in shapes with natural colors of white, rose, and light-golden; ranging in sizes typically from 2mm-19mm.
The second most important saltwater producing mollusk is the giant conch, Strombus Gigas. Conch pearls produced from this shell have an opaque, naturally vivid pink color and are extremely rare. Orange pearls, called Melo, have a similar appearance to the conch pearl except for color are unique to the Malaysian, Myna Marian and Vietnamese waters.
Pearls cultivated from the waters of Tahiti are known as Black Tahitian Pearls. Not a true black, they are shades of grey to dark gunmetal blue with overtones of green, pink, lavender and brown. A lustrous black pearl should look metallic, with very few to no blemishes. Tahitian pearls range in sizes of 7mm to 30mm in shapes of round to baroque; round being the most valuable. Natural colors of the cultured Tahitian pearl should not be confused with the dyed black pearls from China.
Pearls found at random by divers are Natural Pearls. Natural pearls of the finest quality are from the Persian Gulf are traditionally called Oriental Pearls. Natural pearls have been found in the Gulf of Manaar, Red Sea, India, Australia, South Sea Islands of Micronesia and Polynesia, Japan, Venezuela, Gulf of Mexico, Panama, Pacific coastline.
Natural Pearls maintained a high value because of their scarcity prior to pearl culturing. Cartier Jeweler frequently tells the famous story relating to the value of pearls. In 1910, Mrs. Morton Plant sold her fabulous mansion at 52nd street and 5th Ave. in New York to Cartier for a strand of pearls worth one million dollars. Cartier still operates their store from the Plant mansion today.
Pearls are graded according to size, color, luster, surface blemishes and shapes. Some pearl companies have their own system of grading. For example, AAAA identifies the top quality pearl to A for the lowest quality. There is no universal set of grading standards and the A system is very subjective. Buying pearls from a Gemologist is recommended.
The size of a pearl varies on the type of oyster, location and the water temperature. The worldwide standard for measuring pearls is in millimeters. Pearls are sold based on the "momme", which equals 3.75 grams in weight. Momme indicates the thickness of the nacre on each pearl, therefore a more valuable, lustrous pearl, (when measuring pearls of the same millimeter size) will weigh more. Pearl sizes typically range from 2mm to 20mm, in increments of half millimeters.
When a pearl does not have a smooth surface and has slight nicks, wrinkles, scratches, cracks, pits, dimples, bumps in the nacre, known as surface blemishes the value will be diminished.
A perfectly round pearl is the most valuable of all. The Japanese Akoya form round pearls more often than any other type of oyster. There are many oval shaped pearls that may appear round; the price of a slightly oval pearl will be considerably less.
Tahitian pearls are round, semi-round, drop, button, baroque and circle (rings around the pearl). South Sea pearls are round, semi round, circle and baroque. Freshwater pearls are mostly baroque and come in endless varieties of shapes, often flat as rather than spherical. A blister pearl is a natural or cultured pearl that is attached to the surface of the shell, when they are removed from the shell they are flat on one side and covered in nacre on the top. Mabe pearls are a cultured blister pearl with a round top and tend to be very delicate. Seed pearls are very small natural pearls usually 2mm round. Keshi pearls are a byproduct of the oyster, a small pearl that can form in the muscle of the oyster in addition to the cultured pearl. They can be flat, oval, odd-shaped and usually has a poor luster quality.
When choosing a strand of pearls, the first thing to look for is matched size, color, roundness and luster. Pearls are traditionally strung on a special silk cord from Japan that are usually tied with a tiny knot in between each pearl to keep them separate and secure. When pearls are worn over the years the thread will stretch, if the pearl slides on the thread, it is an indication that it is time to have the pearls taken apart, cleaned and restrung. A 16" strand is called a choker; 18" strand a princess; 20" a matinee and 32" an opera. Any strand longer than opera is called a rope of pearls.
Pearls are a delicate gem that can easily be damaged or destroyed with perfumes, hair sprays and oils from skin. The nacre, or surface of the pearl, will dissolve from acids. Pearls should never be worn in water such as hot tubs, swimming pools or showers. Extreme heat can crack the nacre, if left in the sun or by a heater.
Pearls need to be cleaned with a soft, damp cloth, without the use of any detergents or cleaners. Never use any type of abrasive cleaners or abrasive materials or the pearl surface. Do not put pearls in ultrasonic cleaners or commercial jewelry cleaners. A damaged pearl can never be repaired because the nacre cannot be replaced. Pearls should be stored in a soft pouch or pearl folder. Safekeeping and treatment of pearls will ensure that pearls can last for generations.
Have questions about purchasing pearls? call us: 415-459-3739


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Network security vs. app security: What's the difference, and why does it matter?
Cloud computing and mobile applications have expanded the boundaries of the enterprise network, but those applications must also be secured.
Kacy Zurkus (CSO (US)) 18 January, 2016 22:23
If you're familiar with the film The NeverEnding Story, then you know that the goal of the hero, Atreyu, was to reach the boundaries of Fantasia. He's disappointed to learn that Fantasia has no boundaries because it's the land of human fantasy.
In some ways, the land of Fantasia is like network security. Where once there existed a fortress around the perimeter of a land that needed to be protected, those boundaries have expanded, leaving security professionals scratching their heads trying to discern how best to protect the enterprise against invaders.
The idea that time and resources should be invested in either network security or application security is misguided as both are equally as important to securing the enterprise.
Yet, according to a recent Forrester Research report on the state of network security, the largest portion of the security technology spending budget in 2015 was on network security with an expected increase to this budgetary category in the years to come.
"Looking ahead, 41% of decision-makers expect to increase spending on network security at least 5% from 2015 to 2016, with 9% of security decision-makers planning to increase network security spending more than 10%," the report said.
[ ALSO ON CSO: Application security needs to be shored up now ]
While application security has been around for a while, IT professionals remain entrenched in the traditions that are at the root of network security. The result has often been a budgetary either-or decision when it comes to investing in security tools.
The reality is that just like Fantastia, the network has no boundaries.
While it's easy to dismiss The NeverEnding Story as a children's movie, there is much that the adult world and the cybersecurity world can learn from children. In a Jan. 7, 2016 Marketplace Education story on NPR, "Kids start honing their cybersecurity skills early," one fourth grader, James Estrella offered some sage advice.
"Estrella said he already knows more about computers than his parents. To have good security you need to get rid of bugs in your code, he said. Oh, and to make strong passwords. Otherwise, he pointed out, you could get hacked."
In reference to the NPR story, Cigital Internal CTO John Steven said that even these young children have realized it's not about the network.
Over the last two decades people have historically taken an outside-in approach with a focus on perimeter security and firewalls. "There is no perimeter," Steven said, "We carve holes in our networks to do business."
"Organizations that think they are going to stay in the legacy environment fail to see that they don't have limits to their network. The perimeter isn't there," Steven said. At home we buy devices to have them talk to each other, and the enterprise environment is no different.
The network is very porous, said Steven, and the IoT will accelerate that trend. "One prime directive is to stop putting fences around things and recognize that communication is the purpose of the devices," Steven said.
Too often Steven has seen companies very surprised to learn that they have many more attack surfaces than they expected. "If a legacy system encompasses the databases, server, and client, some people believe that they are only dealing with one untrusted connection to the browser."
MORE: Sample password protection policy
The risk for that enterprise is in backups, disaster recovery, incident response and any other outsourced unedited, unencrypted, and unaudited connections.
Paula Musich, research director, NSS Labs said, "Historically, network security has been focused on ports and protocols, and it has relied on the ability to scan network traffic—typically at the perimeter of the enterprise network."
Included in protecting the network are, "firewalls, intrusion prevention systems (IPS), secure web gateways (SWG), distributed denial-of-service (DDoS) protection, virtual private networks (VPN), and more," Musich said.
The introduction of context-aware network security, said Musich, "has blurred the lines between network and application security, and the integration of network security appliances and software with endpoint protection has contributed to that blurring. Nevertheless, network security still relies on the ability to scan traffic on the enterprise network."
Cloud computing and mobile applications have contributed to the crumbling walls of the network perimeter. "Access to cloud-based enterprise applications, and to mobile apps used by workers to collaborate on company business, must still be secured," Musich said. "Application security, on the other hand, focuses on how the applications operate and looks for anomalies in those operations."
Application security encompasses web application firewalls, database security, email server security, browser security, and mobile application security, Musich continued. "You could also include static and dynamic testing of application code, although that is more often done on custom enterprise applications before they are released to production," she said.
Building security into the things we want to protect is critical not only for the future but also for right now. "Connectivity is the value, not a fad," said Steven, "and the ability to connect and build trust between devices is how they have value."
Those organizations that continue to focus their resources on network security, though, are not necessarily misguided, said Bill Ledingham, CTO and executive vice president of engineering at Black Duck Software.
"The problem of network security doesn't go away," Ledingham said, "other challenges are getting layered on top of that."
Critical assets outside of the perimeter are vulnerable because of the number of applications and resources exposed during internet access. "You take your laptop on the road, enable them for Internet access, there are other points of vulnerability injected into that overall picture," Ledingham said.
In order to best defend themselves, security team should first gain visibility into what they have and what needs to be protected. "Putting a process in place that prioritize risks even when they are working with limited resources," is a good practice, Ledingham said.
The biggest challenge for any security team is dealing with everything that is on their plate. "How do they spend their limited resources? They need to understand new vulnerabilities and be able to quickly analyze and understand the impact of those vulnerabilities," said Ledingham.
ALSO ON CSO: The Illustrated Guide to Security
Where security has traditionally been focused on protecting the perimeter, there is a growing shift with more and more information accessible via the Internet and applications exposed on the Internet. "That's the challenge that companies are struggling with right now," Ledingham said.
Security is neither a network nor an application problem, it's a risk management problem. The solution, said Ledingham, is prioritizing based on the sensitivity of data or applications in conjunction with understanding how high of a risk is actually present.
Both applications and networks present risks and have the potential for malicious hackers to gain access to sensitive information inside the network or inside applications that have access to the network. "Take into account what your infrastructure looks like and the applications that are externally exposed," said Ledingham.
"I don't think you pick one or the other," Ledingham said of allocating resources to network security vs application security. "Look at it from a risk perspective and decide where you are going to allocate between the two."

redpajama_set_name: RedPajamaCommonCrawl


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In certain cases the judgment reached by the court may be of public interest or have wider implications beyond the parties involved. In these cases a summary of the court's opinion will be produced and published along with a link to the full opinion. The summary provides a short explanation of the decision, the main points that it raises and will give an indication of any further proceedings that may be required.
You can search judgments and opinions for individual cases on the Scottish Courts and Tribunals Service's website. Please note that only in cases where there is a significant point of law or particular public interest will the opinions be published.
SSE Generation Ltd (SSE) v Hochtief Solutions AG
Tuesday, 10 April, 2018
Scottish & Southern Energy (SSE) has succeeded in an appeal for £130 million damages against Hochtief Solutions AG following the collapse of a tunnel at the Glendoe hydro-electric scheme in 2009. An Appellate Division of the Court of Session allowed a reclaiming motion by SSE against a decision of the Court of Session, which found that Hochtief was not liable for the collapse, although the commercial judge at that stage had awarded £1 million to SSE to reflect the period during which the electricity generation scheme was out of operation. The following is a summary of the court opinion:
Renyana Stahl Anstalt v Loch Lomond and The Trossachs National Park Authority
The owners of a Scottish estate who were seeking to challenge a decision to the effect that they had breached "the right to roam" by locking three gated entrances to the land and by erecting a sign warning of wild boar have had their appeal dismissed. An appellate division of the Court of Session has refused an appeal by Renyana Stahl Anstalt, the Liechtenstein-based owners of the Drumlean Estate in the Trossachs, against a decision of the Sheriff Appeal Court (SAC), which upheld a complaint by Loch Lomond and The Trossachs National Park Authority over the extent to which the landowners required to afford access to members of the public over the estate in terms of the Land Reform (Scotland) Act 2003. The following is a summary of the opinion of the court.
Andy Wightman MSP and others v Advocate General for Scotland
A petition seeking judicial review of the United Kingdom Government's "position" on the revocability of a notice of intention to withdraw from the European Union in terms of Article 50.2 of the Treaty on European Union has been granted permission to proceed following an appeal. The following is a summary of the opinion of the court.
HM Revenue & Customs v FindMyPast Limited
Friday, 8 September, 2017
The Inner House of the Court of Session has refused an appeal by The Commissioners for Her Majesty's Revenue and Customs (HMRC) against a ruling by the Upper Tribunal in an appeal by Findmypast Limited, a company providing access to genealogical and ancestry websites which claimed repayment of the value added tax (VAT) accounted for in respect of unredeemed vouchers. The following is a summary of the opinion of the court.
AW v Greater Glasgow Health Board
A mother who sued Greater Glasgow Health Board for damages alleging negligence during her pregnancy has lost her appeal at the Court of Session. The following is a summary of the Opinion of the Court delivered by Lady Dorrian, the Lord Justice Clerk, who heard the appeal sitting with Lord Brodie and Lord Drummond Young.
Next »« Previous 01 02 03 04 05
In certain cases the judgment reached by the court may be of wider public interest. In these cases a summary of the court's Opinion is produced and published along with a link to the full Opinion.


Discussion in 'UFC Discussion' started by how high, May 24, 2014.
I know this is the place for UFC discussion , but I could desperately use your help. Last night there was a shooting near my college campus that left 7 dead and 7 injured. Isla Vista, California is the birthplace of Urijah Faber and a place where a young Chuck Liddell spent a lot of his time. I'm trying to reach out to those two guys in particular as well as other stars with ties to the area to donate signed memorabilia to be auctioned off. All money will be donated to the victim's families. I will not see a penny of what is donated through auction.
To help if you could please go to my twitter page and retweet the tweets I sent out to each fighter to help raise the notoriety of my tweets. Also, if you could possibly tweet @ the fighters and tag my twitter in it that would be great!
I could use all the help you guys can provide right now! If this thread needs to be moved then so be it, but this is a cause that needs to be looked at.
In advance, thank you for your help. As far as I know I don't personally know any of the victims but this happened in not only the town I go to college in, but the town I've spent my entire life in.
you're better off tweeting uncle dana with your request. uncle dana can do alot more than what a few random tweeters can do.
you should be on twitter @uncledana. wierd no one pointed that out already!


We checked on the Oakmont Bypass Trail work site today and the ground is over-saturated and will be too wet for a successful work day on Saturday, even if the weather is clear, so the volunteer work day on January 14th is cancelled.
We are planning to try again in two weeks, with Saturday January 28th as the work day.I will send out a work day notice in a week or so.
Join the Trails Council and Oakmont Village volunteers to help build a new trail on Saturday, January 14th, from 9am to about 3pm.
Light rain won't cancel but heavy rain will.


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CAMERA CLUBS AND SOME AMATEUR ACTIVITY IN GEORGIA AFTER 1880, PART 2
August 3, 2014 · by gaphodoc · in Amateur photographers, Artists, Research · 6 Comments
"An Amateur Photographer" by George W. Spencer, ca. 1907; Courtesy Library of Congress Prints & Photographs Division; LC-USZ62-30786
In this post, part two of two on camera clubs and similar organizations formed in Georgia after 1880, we'll look at the clubs and amateur activity in Atlanta and the surrounding area (aka Metro Atlanta). There were some fascinating personalities involved in these clubs and in the amateur photography life of Atlanta during this period. I had hoped to discuss the books and periodicals then available to amateurs (the first in the U.S., The American Amateur Photographer, began in July 1889), in this same post, but I'll save that for another day.
I want to thank Marianne Bradley, Archives Manager at McCain Library of Agnes Scott College for pointing out the wonderful images of the Institute's two camera clubs. My searches have turned up nothing more like those images, so I would love to hear about similar clubs at other Atlanta area colleges, in particular those at our area's African American colleges and universities (HBCUs). I believe there were other clubs formed across the metro area, and it would be such fun to know when and where.
The following is not the result of an exhaustive search, and I've done no site visits. This text is a chronological account of information I've come across, often while looking for something else. The subject of camera clubs certainly interests me and relates to my project to document Georgia photographers, and these clubs have entries in my database. But – I do not plan to concentrate on this. I hope some my information on the people and places given in these two posts is helpful, and possibly puts someone a step closer in their research on this, or another subject.
The Atlanta Camera Club held its first meeting on October 15, 1888 when they selected officers for 1888-1889. The Atlanta Constitution covered the event. Officers elected were a who's who of the city. The president was Sumner Salter, vice president C. H. Behre, general secretary F. J. Paxon, corresponding secretary Miss E. M. Lindley, and treasurer F.O. Stockton. The Executive Committee was composed of J.P. Field, C.A. Lane, Orion Frazee, George Crafts, and W. P. [sic; W.T.] Downing. (Atlanta Constitution October 16, 1888 p. 4 and Dec. 2, 1888 p.2; the Anthony's Photographic Bulletin v.20 #3 Feb. 9, 1889 incorrectly reported that the Club first met in September 1888).
Several of these names are familiar to historians of Atlanta history, and certainly to historians of the arts in Atlanta. Orion Frazee (1848-1916), an artist, sculptor and art critic, moved to Atlanta in 1885 and left in 1894. In addition to working with the Atlanta Camera Club through 1890, he was the 1889 president of the Art Student's League of Atlanta, and was known for his death-masks of Southern heroes.
Architect Walter T. Downing (1885-1918) was in Atlanta by 1876. He, too, participated in the Atlanta Camera Club through 1890. He established his own architectural firm in 1890 and probably had less time for the Club. He and Frazee were instrumental in the formation of the Art Student's League of Atlanta. I have previously written about Downing, his photography, and his unfortunate death. See my post "Friday Frights – Some Less Than Usual Deaths, and One Close Call" at http://wp.me/p3wX4F-1W
The Club took its first outing around election day, shortly after its formation, to photograph Stone Mountain. Their second outing was near Thanksgiving when they took the rail to Salt Springs, and then went boating on the Sweetwater River. They took views along the river banks, primarily photographing the ruins of the Manchester Cotton Mill. The mill was destroyed by the Union Army, and those ruins, on what is now called Sweetwater Creek, are still visible today.
Even before the Atlanta Club was officially formed, stock photo companies were advertising to to the area's amateur photographers. These companies included Schumann's Photo Stock Depot (then at 63 1/2 Whitehall), who advertised in May 1888 that they sold "Photographic Outfits" for amateurs as well as professionals "for $10 upwards, with full instructions."
From the American Druggist and Pharmaceutical Record, Feb. 11, 1895 v. 26 #3, p.94
Theodore Schumann (1823-1894), a German immigrant who arrived in Atlanta from New York, was a druggist with his own pharmacy who, by 1882, was also selling photo stock. By 1884 it was called Schumann's Parmacy, Photo Stock Depot and Chemical Laboratory, and by 1885 it was located at 63 Whitehall and at 92 Peachtree St. He employed his son and his son-in-law in the business and the company continually advertised, both locally and nationally, until Schumann's death. (Manufacturing & Merchantile Resources, 1883, entry for Atlanta, Georgia, p. 295).
By 1887 Schumann's Photographic Bulletin, a price list with some notes on photography, became available. I have not seen this item, but it is recorded in the Sept. 24, 1887 issue of Anthony's Photographic Bulletin (v.18 #18 p. 576) and I would appreciate knowing if any of you can point me to it.
At the end of 1890 Schumann closed his drug business and concentrated exclusively on photo supplies. In 1883 Schumann's daughter Emelie, a musician, had married Charles H. Behre, a chemist. Five yeas later Behre was the first was vice president of the Atlanta Camera Club. Since he managed his father in law's "Chemical Laboratory on Greens Ferry" [avenue] where they handled "large quantities of photographic material," being involved with the Club was a very good business decision (March 15, 1884 p.1 Brunswick Advertiser & Appeal). He continued his community involvement and served as president of the Atlanta Orchestra Association by 1904.
In March 1889 the Atlanta Camera Club made another outing, this time to "the gem city" Marietta, where they visited and photographed at Sewell's Mill, the Marble Works, the National Cemetery, and Kennesaw Mountain. Several Mariettians, all women, joined them afterward for a picnic. Dr. H. P. Gatchell was guide to a group of about twenty-five. (Atlanta Constitution March 12, 1889 p.5; Marietta Journal March 14, 1889 p.5)
The club's movements were directed by Miss Marguerite Lindley, who has a large class in physical culture here. Among those who were present were [the] Misses Sharpe, Miss Schumann, Miss Gilbert, Miss Sterne, Miss Mims, Professor J. C. Lynes, Dr. Gatchell, Mr. Nixon, Mr. Sterne, Mr. Downing, Mr. Sharpe, Mr. Richards, and many others from Atlanta.
In October 1889 officers were elected for 1890 and the office of president went to F. J. Paxon. John Sharp was in Paxon's old position as secretary, but other officers (Behr, Stockton, Lindley) remained in their positions. On the Executive Committee, J.P. Field was replaced by Miss L. [Lenonore] Schumann, one of T. Schumann's three daughters.
They took another photo trip to Stone Mountain in November, and the Atlanta Constitution of Dec. 2, 1889 (p. 8) devoted several paragraphs to
Amateur Photographers / Who Take Pictures In and About And Around Atlanta / The Atlanta Camera Club and What They Are Doing – Other Amateurs Who Make Good Pictures But Are Not In the Club
If you must be an amateur –
If it must be –
Be an amateur photographer.
The Club had recently exhibited at the Piedmont Exposition and the newspaper mentioned the views were "not to be had for sale in the bookstores." Many were landscapes of familiar places, and photos of buildings included the Technical Institute (Georgia Tech), as well as St. Philip's, Immaculate Conception, and other churches.
"Very few amateurs can do their own developing or make the photograph from the plate." Two members were singled out for doing their own developing and printing – Miss Schumann and Mr. Downing. Club participation in an Exchange Club, exchanging their photographs with other photographers in other places, is also described.
We are in correspondence now with clubs all over the north, and in Europe. — We send a picture of McPherson's monument or the new capitol or Peachtree Creek – we get in return a photograph of Bunker Hill monument, a street scene in Berlin or London, or a view of the Gettysburg Battlefield.
"Where We Make Them," 1886 Photographic Society of Philadelphia interior; platinum print by Robert Redfield, collection of Yale University Art Gallery, Gift of Alfred G. Redfield (accession number 1988.97.20) http://artgallery.yale.edu
These Exchange Clubs had existed for some time in Philadelphia and New England, and in the 1860s the Amateur Photographic Exchange Club in those areas were exchanging stereo views. Several repositories hold views by that club and here is a link to those collected by Charles F. Himes, at the Library of Congress http://www.loc.gov/pictures/item/2001696374/
In 1891, the New York Times published a tiny bit about the Atlanta and New Orleans camera clubs, saying "the field is comparatively new in the South," but their photos had a "delightful spirit of originality about them to those who are accustomed to see the Bronx River over and over again." They would "be much admired when they are brought North [as] lantern slides." (New York Times Nov. 29, 1891 p. 10)
By 1914, an Exchange Club called "The Round World Exchange Club" had a representative for Georgia and South Carolina living in Atlanta, B. A. Mills, and photographs by Atlantans would be cited from time to time in exchange lists published in American Photography (v.8, January and February 1914).
The Atlanta Camera Club was listed among the "American & Western Photographic Societies" in the International Annual of Anthony's Photographic Bulletin in 1890 (v. 3). This semi-official listing states their date of organization as October 1, 1888, and meeting the second Monday of each month at their club address, 66 1/2 Whitehall street. This was the address for the Art Student's League of Atlanta where Orion Frazee, H. W. Barnitz, W. A. Sharp, and W. T. Downing were founders and officers as president, vice president, secretary, and treasurer. All but Barnitz is known to have been involved in the Atlanta Camera Club.
Atlanta Constitution June 29, 1890 p. 7
In June 1890 the Atlanta Constitution brought out another article on the Atlanta Camera Club and other amateur photographers. This article included line drawings made from some members' work, and discussed some of the club members. No one "had done more for the art" than now deceased first president Sumner Salter, who "used a small, convenient 3×4 outfit, made by the Boston Camera Company." Sculptor Orion Frazee was "using a 5×8 outfit with which he [photographed] views of Richmond –" and "Miss Helen[e] Schumann was "one of the most enthusiastic lady photographers of this city." Other members listed outside of the elected officers and board members were Mr. Vol Bullock and Mr. J. K. Ohl.
The so-called detective cameras are being used a good deal now. They generally resemble a little valise, which is so arranged that, by means of a separate focusing apparatus, by simply pressing the button the picture is taken instantaneously. The principal camera of this kind, are the Kodak and the Hawkeye. —–another kind [is] the button hole camera, the lens of which is so small, and the receptacle of the plate so flat, that while the former peeps through the button-hole, that latter is hid under the vest.
Mr. Downing "has probably done the most work and all of it is excellent." Miss Lindley, who ran physical education classes, took time out "to tote about her camera, — and faces are present in many of her pictures, and pretty pictures they are." The article is signed at the end "C.H.B." which would be member Charles H. Behre, who closes with
Suffice it to say, in conclusion, that photography is on the increase here in Atlanta, and the devotees of the camera are many. Photography is the "craze" of the day, and a sensible craze it is. If you think otherwise, go and talk with some member of our club.
Four separate cuts were printed within the article, which the author "tried to reproduce here —- but all we can hope to get in a newspaper cut is some idea of the subject." Of the cuts, two were by "Miss Schumann," and "Miss Leonore Schumann," but on July 1, 1890 on page 4, Leonore Schumann's letter appeared in the Constitution under "Letters From the People" headed "Injustice to Her Sister." Apparently these two cuts were reproduced from her sister Helene's photographs, not hers. It seems that brother-in-law Charles Behre confused his two sisters-in-law!
Helene, like all the Schumann family members, is an interesting person. She was twenty-six years old when she married a German, Otto Kreuser, in August 1893. They lived in Germany from their wedding until they came back to the United States in 1906 with their two children. Because Helene married a non-U.S. citizen, she lost her citizenship and she did not regain it again until 1931, after her husband's death. It was her good fortune to be out of Germany before both world wars.
The New York Times published an article on "What an Outfit Will Cost – Misapprehension as to the Expenses of Amateur Photography" in the issue of April 26, 1891, which was probably reproduced in other newspapers regionally. The article covered everything from the most expensive to the least expensive camera, and suggested that if one cannot rig up a darkroom "there are plenty of places to have the work done a moderate prices." They went so far as to quote a British Journal of Photography article about "the photographer's eyesight — whether practical photographic work unduly tries the eyes and what precautions are necessary —-."
In 1891 the Atlanta Camera Club was not often mentioned in the newspapers, and according to an article published in Anthony's International Annual & Photographic Bulletin (June 1891, pp. 161-163) by the Club's Corresponding Secretary, Marguerite Lindley:
now, instead of eagerly flocking to the appointed rendezvous for a day's outing, many permit dust and cobwebs to accumulate on their cameras in some remote corner of the store room; so that the Atlanta Camera Club is now composed largely of professional people, artists especially, whose various lines of work encourage photography—
Atlanta Constitution Nov. 23, 1895 p. 8 "Miss Lindley and Her Work"
Because this is not really a very different make up of Club members, it seems that Ms. Lindley was a wee bit ticked off with the Club, and she used this article as her vent.
She goes on to list the wonderful landscape opportunities in the Piedmont South, as well as the coastal shipping areas, and she notes (oh, my!) one can see there "— a gang of stalwart negro stevedores at work — the muscular forms of the men, often but partially clad, glistening in the glare of the sputtering lights, — as they occasionally burst into song."
Lindley, like so many photographers from outside the South, was fascinated with the African Americans, and she wrote that "- – no matter where you find [the negro] — he rarely fails to be picturesque." Just as fascinating to Lindley was the "cracker," whom she refers to as "the white element in Georgia's black and white studies."
I intend to write about the turn-of-the-century photographic depictions of African Americans and Crackers in Georgia. According to my research thus far, these images were primarily made and distributed by non-southerners to be sold outside of the south.
— it is plainly evident that the decline of interest in the Atlanta Camera Club cannot in any way be due to the lack of interesting material at hand, but rather to the deplorable want of appreciative taste on the part of the members.
Lindley, originally from Union, Maine, came to Atlanta in 1888. In about 1892 she left Atlanta, where she apparently was not happy, and moved to New York City to carry on her work. She invented her Lindley Home Massage machine (we cannot help but wonder about this thing, right?), wrote the book "Health in the Home," and taught classes and Chautauqua in various New England spots.
After 1891, the Atlanta Camera Club all but disappeared as an organized group, but companies within the state and without continued to advertise and sell to the city's amateur photographers.
1891 Atlanta city directory (Polk's), p. 44 of advertiser section
In June and July 1894 a classified advertisement ran in the Atlanta Constitution placed by a disgruntled amateur who offered to sell his entire outfit, "used only about two months and is as good as new" for $15.00, but "cost $20." This fellow needed to wait four years, because in September 1898 the Atlanta Camera Club was reborn – "the camera fiend has come back to life." This club, often called the Atlanta Amateur Camera Club, lasted less than two years.
The group first met at the offices of Dr. T. H. Huzza (1863 – Dec. 1898), who was elected as Secretary. Shortly before that first meeting, Dr. Huzza, a physician who had returned to Atlanta in late 1888, sent two of his panoramic city scenes to The Photo-Beacon, a magazine for amateurs. The photographs were "taken with the Alvista camera — with [it] set on end, so that the lens in its movement traveled perpendicularly instead of horizontally." A few months later that magazine awarded him first prize in their Second Competition, the subject of which was "domestic animals." (The Photo-Beacon, August 1898 p. 238 and Nov. 1898 p. 297)
Huzza was associated with the Atlanta Camera Club for a very short time. He died n December 9, 1898, in New York City, following an appendectomy. (Atlanta Constitution, Dec. 10 – 12, 1898)
At least two of the new organization's directors were involved with photography as a businesses, R. Glenn and J. B. McCleery.
John R. Glenn and his sister Carrie (Caroline, 1857-1922) ran the Glenn Photo Stock Co., a photo supply business they opened in 1886. The company remained in business until 1925, but J.R. Glenn left Atlanta in 1910, and his sister only remained associated with the company another year.
James McCleery advertised that he worked "for amateurs only" and specialized in processing and printing for amateurs as well as loaning out cameras. The office of the club secretary was at 411 Norcross building, which was the same building in which McCleery had his business. (Atlanta Constitution Sept. 8-11, 1898).
In October 1898 the Club was in new rooms, numbers 212 and 213, in the Norcross building. There was a darkroom, a meeting room and a reception room. At a November meeting, McCleery gave a "demonstration upon the subject of photographing prints by artificial light." By November 1898 the group had moved up to the Norcross building's fifth floor, to number 513.
Through December they held a contest and offered prizes for the best picture of the state capitol building by a Club member and by a non-member, and all submissions would belong to the Atlanta Amateur Camera Club. Four prizes were offered – free membership in the Club plus six months dues, a copy of "Amateur Portraiture at Home" by Todd, a copy of "Second Steps in Photography" and 4th prize was a copy of "First Steps in Photography." (Atlanta Constitution Oct. 16, Nov. 17 & 24, Dec. 4, 1898)
This iteration of the Club made it rather clear that women were not among those invited for membership, even though their two stated requirement for membership were (1) that one be a bona fide amateur, and (2) be of good reputation.
The Amateur photographers of Atlanta have organized a club among the gentlemen of the city having a penchant for photography. —- names will go before the club for consideration. —- Men who are connected with camera companies and manufacturers of sensitive papers will be invited to address the club.
In February 1899, the group hosted photographer B. Frank Moore who spoke on "The Different Schools of Photography" and he shared examples. Moore may have been reinforcing his superiority over his audience when he cautioned the amateurs "to avoid the methods used by professionals in their work." (Atlanta Constitution February 11, 1899 p.10)
Edwin & Marguerite Stauffacher, ca. 1896 cabinet card made by amateur Earnest R. Aberli; marked address is for the business of grocer G. G. Sahli, where the photographer worked as a clerk; collection of E. Lee Eltzroth
In February and March 1899, the Club held another contest, "The Atlanta Constitution Prize Picture Contest" sponsored by the Atlanta Constitution newspaper. For the best view of an Atlanta building or street scene made by a member, the first prize would be a camera valued at $10.00 (on exhibit at Glenn Photo Stock Co.) and the second prize would be a year's Club dues. The judges were photographer B. Frank Moore, a Mr. Healey, John R. Glenn, James McCleery and photographer W. F. Russell. (Atlanta Constitution, Feb. 12 and March 12, 1899)
In 1903 an article "Social Booklets Offer Field to Camera Fiends" was printed in the Atlanta Constitution on March 15th, and it was directed toward the female photographer. Perhaps she can make money with her camera!
The society booklet is the outward and visible sign of the "souvenir craze." Is there a house party? Someone suggests that characteristic groups ought to be photographed for "souvenirs." —- and here entereth the camera girl, armed with tact and patience. — For — indoor work she will need a knowledge of flashlight photography — there is absolutely no danger — and instructions can be secured from any first class dealer in camera supplies.
The next indication of any photo club activity in the Atlanta area is at a woman's college, Agnes Scott Institute (Agnes Scott College as of 1906). In both 1903 and 1905 there were student camera clubs, and probably both clubs had a faculty adviser. Membership lists for both the 1903 Camera Club and the 1905 Kodak Club can easily be read by clicking the images below.
Membership List, and drawing by F.B.H., for the Agnes Scott Institute 1903 Camera Club (see group photo in Part 1 or at the link below) from the 1903 Silhouette page 102, collection Agnes Scott College, McCain Library Special Collections & Archives http://tinyurl.com/lyyal7d
Agnes Scott Institute 1905 Kodak Club and membership list, from the 1905 Silhouette page 119, collection Agnes Scott College, McCain Library Special Collections & Archives http://tinyurl.com/pqu8458
There was little about the camera clubs or amateur photographers that made the Atlanta news for the next several years, but cameras were getting better, more light weight, and easier to use, and the amateurs were still out there taking photographs. I have written previously about the February 1913 death of an Atlanta amateur photographer, Stuart Johnston, Jr. (see my post "Friday Frights – Some Less Than Usual Deaths, and One Close Call" at http://wp.me/p3wX4F-1W ). Activity in his darkroom reportedly lead to his death.
It was not until April 1913 that the Atlanta Camera Club was re-formed, "welded together for the love of pushing the button." The Club statement for their existence was "for mutual help and improvement in photographic work among amateurs." Their first meeting was held at the the Federation of Musicians' Hall and soon afterward a second meeting was held at the Carnegie Library. Temporary officers were J. C. Symmes, chairman, and L. O. Surles, secretary. Surles became an "Album Director" for Camera Craft magazine for the state of Georgia as of April 1914, and he continued to work with them at least into 1918, after his move to Cuthbert, Georgia.
After the Club's elections were held, officers were E. L. Marston president, Symmes became vice president and treasurer, and Surles ("founder of the Club") remained as secretary. They issued a call for"All camera enthusiasts, amateur and professional" to attend future meetings.
By the time they held their first June meeting, they were located in the entire third floor of a building at the corner of Broad and Alabama streets, right on the car lines. They had a assembly hall, a portrait studio, a dark room, a room for enlarging and copying, and rooms for mounting and framing: "In fact, everything that the heart of any amateur camera enthusiast could wish." (Atlanta Constitution April 7, 12, 16 and June 15, 1913; American Photography, July 1913 p.425-426)
Camera suppliers published advertisements during the spring and summer of 1913 touting the new Camera Club as a reason to patronize them. The Elkin Drug Co. began advertising on April 20th and the ad ran into the month of June, and E. H. Cone, Inc. (who had two Atlanta stores) advertised during the month of June, and possibly longer.
Atlanta Constitution April 20, 1913 p.8 advertisement
Like the club of 1898, the 1913 Atlanta Camera Club appears to have been for "men only." In July the Club held an "Initial Smoker," with "music, Havanas, and refreshments," which was a
"howling" success last night. Seventy-five "young men and men who stay young" were on hand and enlivened the festivities from fruit punch to cigars in a worthy manner.
In 1914 and 1915 the Atlanta city directory listed the Club at 18 1/2 W. Alabama Street, but after that it appears the Club once again died out. Photo supply companies, of course, continued to advertise to the amateurs of the Atlanta area throughout the 'teens and we know those amateurs continued making photographs without a formal organization.
In the summer of 1921 a "Snap Shot Contest" for the amateur photographer was sponsored by the Atlanta Consitution. A total of 115 cameras were to be given as prizes for the best amateur photographs submitted. First prize was a "No. 3A Folding Autographic Special, with a Bosch and Lomb f.63 asstigmat lens, kodamatic shutter, self-timer and portrait attachment."
Atlanta's photo dealers were to help entrants and "co-operate in any way with — developing, coaching, advice —." Companies listed were Glenn Photo Stock, Goodhart-Tompkins, A. K. Hawkes, Tomas H. Pitts, Charles H. Smith, Camera Exchange, Georgia Art Supply, Silveus Optical, E. H. Cone (now with three stores), Rich's, "and the hundreds of out-of-town dealers of the Branson Sisters' studio." Glenn Photo Stock Co. was showing 67 of the 115 cameras to be given as prizes. (Atlanta Consitution July 20, August 20 and 21, 1921)
All of these companies were active with the community of amateur and professional photographers, many of them had an interesting history, and some were in business for quite awhile. I will share details on these companies with you in a future post.
The contest closed on October 15, 1921 and William B. Thayer of Columbus, Georgia, won first prize. Among other winners were Miss Hazel Kirk and Miss Virginia Loving, both of Atlanta. (Atlanta Constitution Nov. 13, 1921 p.5).
The Atlanta Camera Club existed in one form or another as late as the 1940s. From 1947 to 1949, the Atlanta Camera Club, along with the the new Dixie Camera Club (founded 1946, and a member of the Photographic Society of America), co-sponsored, with the Atlanta Historical Society, photograph competitions and exhibitions.
Adolph Rosenberg, the Atlanta Historical Society's Photography Chairman, stated the aim of this joint project
The idea was that today's scenes are the basis of tomorrow's history. — Photographs entered in the Exhibition were to remain in the possession of the Historical Society. They would then augment the already fine picture collection [of the Society].
The first competition, open to all photographers, closed in April 1947, and the first Annual Historical Photographic Exhibition of about 50 prints by the winners was held at the Historical Society in June. The theme that year was Post World War II Atlanta, and prints were entered into either the amateur, salon, or advanced group. Prizes were Atlanta Memorial Wedgewood tea cups and saucers.
The second contest, with the theme of Atlanta Architecture, closed in September 1948, and the Second Annual Exhibition was held in October. This time, $65.00 in prizes, trophies and ribbons were given to winners which again included both professional and amateur photographers. The third contest, with the theme of Atlanta At Work closed on September 24, 1949, and although entries were left with the AHS, the exhibit took place at the Great Southeastern Fair, September 30 – October 9. Prizes this year were cash, merchandise certificates, cameras, light sets, and a gadget bag. (Southern Exposure, April and May 1947 issues, The Dixie Camera Club; Atlanta Historical Society Second and Third Annual Photographic Exhibition brochures, Sept. 1948 and Sept. 1949; Atlanta Historical Bulletin, Oct. 1948)
There are similar clubs in the Atlanta area today for both the amateur and professional photographers. One of these is the Atlanta Photographic Society, and like their predecessors, they hold regular meetings monthly, host member or guest speakers, and have workshops and group critiques.
Again, if you have more information on Georgia camera clubs to share, please do. I know there is quite a lot more to be written on this topic. Until next time, I wish you a wonderful time with your hunting and gathering of information on photography and photographers, on your ancestors, or on any historic research in which you find yourself involved.
Tags: advertising, Atlanta, Atlanta Historical Society, Business, cameras, contests, Genealogy, Georgia, Glenn family, History, Huzza family, Marietta, McCleery family, Nineteenth Century, organizations & clubs, photograph studios, Publications, racial stereotypes, Schumann family, Twentieth Century, Websites
Camera Clubs and Some Amateur Activity in Georgia After 1880 « Agnes Scott College, McCain Library · August 4, 2014 - 10:10 am · Reply→
[…] CAMERA CLUBS AND SOME AMATEUR ACTIVITY IN GEORGIA AFTER 1880, PART 2. […]
gaphodoc · August 4, 2014 - 5:54 pm · Reply→
Thanks for posting the link! So now I am following your blog, Agnes Scott College McCain Library!
Patricia Gerard · August 12, 2014 - 3:45 pm · Reply→
Brownies & Hawkeyes! Haven't heard those words lately! Thanks for the nostalgia.
As I say on my Pinterest board, Your Nostalgia is My Past….! Thanks for reading.
Laura Spicer · May 16, 2016 - 2:04 am · Reply→
I am Theodor and Lenore Schumann's descendant. May I have a copy of this article that I can post on Theodor and Lenore's Ancestry.com page? I'm happy to cite your reference. Photography has run deep in my family. My father, Theodore (named after Theodor) was a photographer and so is his granddaughter, Sindha. They would very much appreciate this post. I can be reached below.
gaphodoc · May 16, 2016 - 11:17 am · Reply→
Hi there! Thanks for reading. I will contact you soon. I am thrilled to know the photo gene continues in your family.
← Camera Clubs and Some Amateur Activity in Georgia after 1880, part 1
Thinking Tuesday – Tips for Researchers →


text:
Lista dos deputados estaduais de Santa Catarina - 2ª legislatura (1951 — 1955).

Composição das bancadas

Deputados estaduais

Ver também
 Santa Catarina
 Assembleia Legislativa de Santa Catarina
 Constituição do Estado de Santa Catarina
 Lista de governadores de Santa Catarina
 Deputado estadual

Bibliografia
Piazza, Walter: O poder legislativo catarinense: das suas raízes aos nossos dias (1834 - 1984). Florianópolis: Assembleia Legislativa do Estado de Santa Catarina, 1984.

 Deputados Estaduais 1951
 1951

redpajama_set_name: RedPajamaWikipedia


text:
Q: lwIP - Best way to send data from microcontroller Currently, I am using Server Side Includes to transfer data from my microcontroller to my webpage. The issue with this approach is that if I want to graph the data I have to store the SSI value in a javascript variable, which gets messy (currently I am continuously refreshing a hidden iframe on the page that has an element whose value attribute is being modified with new data from the microcontroller, then my javascript variable reads that elements value to update a graph). Is there a better way to send/receive data?
Thanks!

A: Yes, use an internet of things (IoT) service.
e.g.

*

*Xively

*ThingSpeak

*DeviceHub

*Nimbits

*Carriots

*Zetta

*and on and on...

Typically your device sends the data to the IoT server using whatever protocol they support. Then your webpage can request the data and generate graphs or tables. Most of the sites have built in graphs that you can simply embed in your page.
If you want to roll your own, this is what I have done:

*

*Server with mysql database

*PHP page that parses device data from GET requests (e.g. http://myserver.com/process.php?device_id=12345&data1=turtle&data2=34 and stores them in the database

*Another page that queries the database and generates graphs

A: If your microcontroller needs to receive data in JSON you can use tiny-json. It's an open source C library.

redpajama_set_name: RedPajamaStackExchange


text:
Storage 24 (2012)
"Will their first contact be their last?"
Cast: Noel Clarke, Colin O'Donoghue, Antonia Campbell-Hughes
Synopsis: In London, a military plane crashes leaving its highly classified contents strewn across the city. Completely unaware that the city is in lockdown, a group of people become trapped inside a storage facility with a highly unwelcome guest.
Storage 24 is a low-budget, small scale horror movie which is basically Alien in a storage warehouse with a menage-a-trois sub-plot tacked on to it. It's written by Noel Clarke, who also nabs for himself the leading role of Charlie, who's just been jilted by his girlfriend and visits the storage warehouse with his best friend Mark (Colin O'Donoghue) to collect a few of his belongings. Stuck in a traffic jam on the way, the two friends discover that an aircraft has crashed in London and almost the entire city is in lockdown. They make it to the warehouse anyway, only to find themselves locked inside when the fall-out from the crash causes an intermittent power failure. To make matters worse they find that Shelley (Antonia Campbell-Hughes), Charlie's ex- is already in the warehouse with a couple of her friends (Jamie Thomas King, and the rather lovely Laura Haddock) — as is an alien that has presumably escaped from the downed aircraft.
Storage 24 is no great shakes, to be honest, although it does boast a convincing alien, which begins stalking the vast corridors of the warehouse, picking off a variety of characters at regular intervals. That's not to say it's a bad movie — it just fails to add anything new to a storyline that is already over-familiar. Clarke is as good as he always is, and the terrific Geoff Bell has a small role which fails to make best use of his talents, but otherwise the rest of the cast fail to distinguish themselves. Storage 24 won't make it to the top of anyone's all-time best list, but it provides an hour-and-a-half of mindless entertainment for those who aren't in too much of a demanding mood.
Storage 24 Trailer


Keep it cosmic with our most out there new jersey. Inspired by those night ride's space has long been something that keeps you guessing much like the mountain bike world.
It uses our specially blended polyester microfibre material to allow for quick moisture wicking whilst still being breathable keeping you cool and dry even on those hot days! It's super tough with double stitching so it'll go the distance with you.


text:
Thirteen Moons on Turtle's Back
A Native American Year of Moons
By Joseph Bruchac and Jonathan London
Illustrated by Thomas Locker
Category: Children's Picture Books
Aug 25, 1997 | ISBN 9780698115842 | 4-8 years
*This title is not eligible to earn points towards the Reader Rewards program
About Thirteen Moons on Turtle's Back
"Unusual and intelligent…An exemplary introduction to Native American culture with its emphasis on the importance of nature." —Publishers Weekly
In Native American legend, the thirteen scales on Old Turtle's back hold the key to the thirteen cycles of the moon and the changing seasons. These lyrical poems and striking paintings celebrate the wonder of the seasons, from the Northern Cheyenne's Moon of the Popping Trees to the Big Moon of the Abenaki.
"This book instills a spiritual respect for our land and an appreciation for the people who were its first caring guardians." —American Bookseller
A Notable Children's Trade Book in the Language Arts
An IRA Teacher's Choice Book
A Notable Children's Trade Book in the Field of Social Studies
Also by Joseph Bruchac, Jonathan London
See all books by Joseph Bruchac, Jonathan London
About Joseph Bruchac
Joseph Bruchac is a highly acclaimed children's book author, poet, novelist, and storyteller, as well as a scholar of Native… More about Joseph Bruchac
About Jonathan London
Jonathan London is the creator of more than 20 books about the lovable and enduringly popular character Froggy. He is also… More about Jonathan London
Paperback | $7.99
Published by Puffin Books
Aug 25, 1997 | 32 Pages | 8 x 10-1/4 | 4-8 years | ISBN 9780698115842
People Who Read Thirteen Moons on Turtle's Back Also Read


text:
In Search of the Lost Chord: Beauty In Music
I seem to be on a lifelong quest to find the Most Beautiful Song.
Not that I'm even sure how to describe it right now, of course—other than that, when I find it, it would be the sort that I might listen to ten million times without tiring of a single note or chord. And it's certainly not that I haven't heard beautiful music before. There are songs and compositions I have been listening to for many years now that are still as fresh and powerful as when their melodies first pulsed through my wide-eyed heart. But even these I play in intervals, giving them a few months' rest here and there. They do not experience continuous repetition.
Over time, I have loosely identified two basic categories of enjoyable music: that which makes memories, and that which soothes or stirs the listener with striking poignance. Both, of course, frequently overlap. In fact, both of these working together raise the very question of what makes music beautiful. Can a deep, heartfelt sense of longing and joy felt in a piece of music exist without past experience? Does the poignant power of music arise from appreciation of its technicality, the power of nostalgic sentiments, or the imagination of things that might one day come to pass?
For the first category: A host of songs exist that have served as soundtracks for different times in my life. Some of these represent chapters and seasons; some bring back days, events, and specific memories. They're the type that are enormously fun to belt out at the top of one's lungs when chilling with old comrades. Many of these I would never consider "beautiful", but if the nostalgia is especially strong, or if the music has a good catch to it, I might listen to it several times in a row till I get my fix. You get the idea; everyone has at least one song that carries connotation of the past or captivates their fascination with that one guitar setting, the sound of that snare drum, the timber of the vocalist's voice.
For the second category: There are songs and compositions that are so richly written that it is a crime to simply crank them up as background music. Much of classical music falls into this category; so do any stirring, poetic songs or pieces of music that demonstrate technical and creative ingenuity. If I am at work hammering out a paper, I cannot passively listen to Rachmaninoff's "Ты помнишь ли вечер" as it drifts through my earphones. We have Top 40 radio for that purpose. We have things like Russian harmonics for active listening.
So, what is the Most Beautiful Song? I regret that I cannot nail down one particular track for you, though on many occasions certain songs have captured my attention which I believed to be my favorite song of all time. I can possibly name my top three favorite songs and compositions for any given artist or composer, but I must rest the case if called to select one representative of all sonic history. Rather, if you want to really strike my ear, consider these characteristics:
Creativity. Don't give me just three basic chords, give me a unique variety. Or if you want to keep things simple (and multi-chord songs can definitely be overdone), stick with the three chords and give me a melodic riff I'll never forget.
Depth. Give me something I'll keep chewing on. Give me a lyric that poetically expresses an observation, story, or truth. The song needs to engage me just as much as I engage it. Every other pop song starts off with some variation of the word "tonight" and from there you know exactly what the rest of the song is about. Don't give me shallow cliche and shortsighted sensual exaltation, give me depth. I want at least one line over which I can scratch my head. Artists like Derek Webb, Josh Garrels, and Dan Haseltine (to name only a few) do an excellent job of writing songs with enigmatic clarity, and as a result I spend months chewing on their songs as they play on repeat in my car.
Arrangement. Many are the songs that are eloquently written and creatively crafted, but possess an arrangement either unfitting to the mood or undeveloped to the full extent of the lyrical requirement. This is a pretty subjective factor; different songs hit people's ears differently. But there's something to be said about the proper mood. Don't give me something upbeat and almost whimsical if you're singing about God's sovereignty as your anchor amid the confusing darkness of life's uncertainty (I have a song in mind that does exactly this, and it's wretched).
I will never find the Most Beautiful Song this side of Heaven, of course. I suppose that's part of the eternal longing within each of us. We want to be filled with delight over something that will never grow old. But while I sojourn on this earth, I want to take the gift of music God has given unto man and craft it into audible art that pierces the soul, portrays the world in all its beauty and brokenness, and points to His redemption of the universe.


text:
What's next for OSGi?
BJ Hargrave (IBM Lotus)
OSGi DevCon · Short Talk
Thursday, 15:10, 10 minutes | Room 209/210 |
BJ Hargrave
OSGi is a mature and well received technology. It is the component model and module system underpinning Eclipse. But what is next for OSGi? This short talk will take a quick look at some of the proposed changes for the next release of the OSGi technology.
BJ Hargrave is a Senior Technical Staff Member at IBM Lotus with over 20 years of experience as an IBM software architect and developer. His focus is small computer operating systems (kernels, file systems, development tools, application binary interface specifications) and Java technology. He holds multiple patents for JVM performance improvements and is the IBM expert and lead architect for OSGi technologies. BJ holds a Bachelor of Science in Computer Science from Rensselaer Polytechnic Institute and a Master of Science in Computer Science from the University of Miami. BJ has been a leader in the development of the OSGi technology since its inception and was named an OSGi Fellow in 2002 for his technical contributions and leadership in the OSGi Alliance. He is currently CTO of the OSGi Alliance and chair of the OSGi Core Platform Expert Group. BJ is also a committer on the Eclipse Equinox project.


UPDATE: The title as of now for the sixth Die Hard is Die Hard: Year One. The post below has been edited to reflect that.
EARLIER: The wheels have begun to slowly spin on Die Hard: Year One. 20th Century Fox is in negotiations with Live Free or Die Hard director Len Wiseman to return to the series, a spokesperson told EW. If a deal is struck, Wiseman would team up with Transformers producer Lorenzo di Bonaventura to develop the new installment of local cop/anti-terrorist specialist John McClane (Bruce Willis).
There is no screenwriter attached or a script in place, but the current idea being floated about the new movie is reinvent the franchise and go back in time to show how McClane became McClane, in addition to having Willis still be involved. He's not on officially on board, but Willis is reportedly apprised of any developments of the next feature.
Wiseman's first run at the series was a success: The fourth feature was the first in 12 years and made $383 million and earned decent praise. The fifth film, A Good Day to Die Hard, was a critical dud, but the 2013 film raked in over $300 million worldwide on a budget just north of $90 million.
Deadline first reported the talks.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Web;

namespace CkanDotNet.Web.Models
{
    public static class GuidHelper
    {
        /// <summary>
        /// Gets a unqiue key based on GUID string hash code.
        /// </summary>
        /// <param name="length">The length of the key returned.</param>
        /// <returns>Unique key returned.</returns>
        public static string GetUniqueKey(int length)
        {
            string guidResult = string.Empty;

            while (guidResult.Length < length)
            {
                // Get the GUID.
                guidResult += Guid.NewGuid().ToString().GetHashCode().ToString("x");
            }

            // Make sure length is valid.
            if (length <= 0 || length > guidResult.Length)
                throw new ArgumentException("Length must be between 1 and " + guidResult.Length);

            // Return the first length bytes.
            return guidResult.Substring(0, length);
        }
    }
}

redpajama_set_name: RedPajamaGithub


The new work of American photographer Armando Adajar you see below features the latest swimwear designs of Ergowear and model Shawn Alexander. The great photographer chose a very nice setting by the sea, always a great location for swimwear shoots, and Shawn, a great looking model to make our Friday even better! Many thanks to Armando Adajar for sharing these photos with us.


The word cocktail is vital when ordering in all except the grandest, smartest bars and restaurants. If you simply ask for a martini, you might get Martini vermouth.
This most famed of alcoholic drinks is a mixture of gin and dry (non-sweet) vermouth, itself a herby-spicy aperitif, originally from Italy. And there the complications begin. Quite which gin and quite what proportion of vermouth has been, and is, and will be a constant pursuit; the goal is a martini cocktail that is exactly what you want it to be. Some add a good slug of vermouth, some add a mixture of dry and sweet (red) vermouth and others argue for a proportion of 3:1, 5:2, 5:1, 7:1 ad infinitum. Find a gin that thrills you with the flavours of its aromatic inclusions and you might not want to add much vermouth at all, perhaps merely rubbing a finger wetted with vermouth around the inside of the glass, or opening the bottles in separate rooms and introducing them in a loud voice. Whatever proportion of one to the other that you choose is correct.
If you order a dry or a very dry martini cocktail it should come with very little detectable vermouth.
Wherever there is gin and vermouth and ice.
The best is entirely up to you, according to the style of gin you like best. There are also variations of dry vermouth. But a martini cocktail must be shaken with ice and served in a chilled glass. Straight up means served without ice in the glass; on the rocks means there will be ice in the glass. Beware the American propensity to serve over mountains of ice, which dilutes the taste severely.
Actually, a pre-mixed martini cocktail stores remarkably well and does not deteriorate even if transported in a Thermos flask. Yet somehow it tastes better for you having heard it shaken with ice and then poured and sipped at once.
Martini cocktails, dry or otherwise, should be ordered with an olive or with a twist – a sliver of lemon zest that is twisted directly over the cocktail after it has been decanted into the glass, which coats the surface with a veil of lemon oil. The classic V-shaped glass with a wide mouth is part of the martini cocktail ritual; perhaps this is because you must be very careful to hold it firmly and not to spill.
There are many variations, some old, some new. A dash of orange bitters was once common and is highly recommended: a dirty martini has a splash of the salty water in which olives are stored. A 21st century version might use English pink gin, in which raspberries have macerated to give colour and taste.
Make a classic martini cocktail by mixing gin and dry vermouth then try exciting new twists from mince pie and espresso to courgette and cucumber.


Choose from 24 attractive colors. Pebble is a colorful mosaic of tiny pebbles, which are tightly fused with white Portland cement, and lightly buffed to create a rich pool surface. Finishing your pool with pebble may be more expensive, but offers a more durable, stain-resistant, natural-looking surface than white plaster. As the sunlight plays off the water Pebble will create a spectrum of colors.


Get new jobs related to e-commerce role in Sports Industry by Climb Asia Pte Ltd company, published on June 22, 2016.
This is an individual contributor role, reporting directly to the Group GM for the Climb Asia group of sport climbing gyms. Our gyms are spread across Singapore, China, Malaysia, Australia, Philippines, with more outlets in the pipeline.
Phase 2 – a combination of fixed salary with variable component based on the sales turnover of the portal. At the end of 24 months, a percentage share will be assigned to the individual upon reaching the mutually agreed targets established in the 12th month.


text:
Q: Parsing a structure in an associative manner with Boost Spirit and Fusion I'm trying to parse a key-value string into a structure. Some key-values may be absent or may be in different order, so I wanted to use boost::fusion to adapt the structure and then parse into it with at_key<> directive.
#include <iostream>
#include <string>
#include <boost/spirit/include/qi.hpp>
#include <boost/spirit/include/phoenix.hpp>
#include <boost/fusion/adapted.hpp>
#include <boost/fusion/sequence.hpp>

using namespace std;
namespace qi = boost::spirit::qi;
namespace ascii = boost::spirit::ascii;
namespace phx = boost::phoenix;

using boost::fusion::at_key;

typedef string::const_iterator iter_type;

struct Couple {
    int a;
    int b;
    Couple() : a(0), b(0) {}
};

namespace keys {
    struct first;
    struct second;
}

BOOST_FUSION_ADAPT_ASSOC_STRUCT(
    Couple,
    (int, a, keys::first)
    (int, b, keys::second)
    )

struct G: qi::grammar< iter_type, Couple(), ascii::space_type >
{
    G() : G::base_type( start_rule ) {
        using qi::_val;
        using qi::_1;
        using qi::_2;

        start_rule =
                        ( "first" >> qi::int_
                                [ at_key<keys::first>(_val) = _1 ]
                        )
                    ^
                        ( "second" >> qi::int_
                                [ at_key<keys::second>(_val) = _1 ]
                        );
    }

    qi::rule< iter_type, Couple(), ascii::space_type > start_rule;
};

int main() {
    Couple couple;
    string example = "second 2 first 1";
    iter_type begin( example.begin() );
    iter_type end( example.end() );

    // test at_key -- compiles with no error
    at_key<keys::second>(couple) = 5;

    bool ok = qi::phrase_parse( begin, end, G(), ascii::space, couple );
    if ( ok )
        cout << couple.a << " " << couple.b << endl;
    else
        cout << "Parse failed" << endl;

    return 0;
}

The problem is that the code does not compile (Boost 1.50.0, g++ 4.5.0, MinGW), apparently fails at the at_key<> rules:
In file included from D:\projects\workspace\boost/boost/fusion/support/category_of.hpp:10:0,
                 from D:\projects\workspace\boost/boost/fusion/include/category_of.hpp:10,
                 from D:\projects\workspace\boost/boost/proto/fusion.hpp:20,
                 from D:\projects\workspace\boost/boost/proto/core.hpp:21,
                 from D:\projects\workspace\boost/boost/proto/proto.hpp:12,
                 from D:\projects\workspace\boost/boost/spirit/home/support/meta_compiler.hpp:19,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/meta_compiler.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/action/action.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/action.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/include/qi.hpp:16,
                 from ..\src\spirit02_test.cpp:11:
D:\projects\workspace\boost/boost/fusion/support/detail/category_of.hpp: In instantiation of 'boost::fusion::detail::fusion_category_of<const boost::phoenix::actor<boost::spirit::attribute<0> > >':
D:\projects\workspace\boost/boost/fusion/support/category_of.hpp:44:58:   instantiated from 'boost::fusion::extension::category_of_impl<boost::fusion::non_fusion_tag>::apply<const boost::phoenix::actor<boost::spirit::attribute<0> > >'
D:\projects\workspace\boost/boost/fusion/support/category_of.hpp:66:9:   instantiated from 'boost::fusion::traits::category_of<const boost::phoenix::actor<boost::spirit::attribute<0> > >'
D:\projects\workspace\boost/boost/fusion/support/category_of.hpp:73:9:   instantiated from 'boost::fusion::traits::is_associative<const boost::phoenix::actor<boost::spirit::attribute<0> > >'
D:\projects\workspace\boost/boost/mpl/if.hpp:67:11:   instantiated from 'boost::mpl::if_<boost::fusion::traits::is_associative<const boost::phoenix::actor<boost::spirit::attribute<0> > >, boost::fusion::result_of::key_of<mpl_::arg<1> >, boost::fusion::result_of::value_of<mpl_::arg<1> > >'
D:\projects\workspace\boost/boost/fusion/algorithm/query/find.hpp:45:9:   instantiated from 'boost::fusion::result_of::find<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>'
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp:38:17:   instantiated from 'boost::fusion::extension::at_key_impl<boost::fusion::non_fusion_tag>::apply<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>'
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp:71:9:   instantiated from 'boost::fusion::result_of::at_key<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>'
..\src\spirit02_test.cpp:54:35:   instantiated from here
D:\projects\workspace\boost/boost/fusion/support/detail/category_of.hpp:15:38: error: no type named 'category' in 'const struct boost::phoenix::actor<boost::spirit::attribute<0> >'
In file included from D:\projects\workspace\boost/boost/proto/args.hpp:21:0,
                 from D:\projects\workspace\boost/boost/proto/core.hpp:14,
                 from D:\projects\workspace\boost/boost/proto/proto.hpp:12,
                 from D:\projects\workspace\boost/boost/spirit/home/support/meta_compiler.hpp:19,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/meta_compiler.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/action/action.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/action.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/include/qi.hpp:16,
                 from ..\src\spirit02_test.cpp:11:
D:\projects\workspace\boost/boost/mpl/if.hpp: In instantiation of 'boost::mpl::if_<boost::fusion::traits::is_associative<const boost::phoenix::actor<boost::spirit::attribute<0> > >, boost::fusion::result_of::key_of<mpl_::arg<1> >, boost::fusion::result_of::value_of<mpl_::arg<1> > >':
D:\projects\workspace\boost/boost/fusion/algorithm/query/find.hpp:45:9:   instantiated from 'boost::fusion::result_of::find<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>'
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp:38:17:   instantiated from 'boost::fusion::extension::at_key_impl<boost::fusion::non_fusion_tag>::apply<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>'
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp:71:9:   instantiated from 'boost::fusion::result_of::at_key<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>'
..\src\spirit02_test.cpp:54:35:   instantiated from here
D:\projects\workspace\boost/boost/mpl/if.hpp:67:11: error: 'value' is not a member of 'boost::fusion::traits::is_associative<const boost::phoenix::actor<boost::spirit::attribute<0> > >'
D:\projects\workspace\boost/boost/mpl/if.hpp:70:41: error: 'value' is not a member of 'boost::fusion::traits::is_associative<const boost::phoenix::actor<boost::spirit::attribute<0> > >'
In file included from D:\projects\workspace\boost/boost/fusion/sequence/intrinsic.hpp:20:0,
                 from D:\projects\workspace\boost/boost/fusion/include/intrinsic.hpp:10,
                 from D:\projects\workspace\boost/boost/proto/fusion.hpp:22,
                 from D:\projects\workspace\boost/boost/proto/core.hpp:21,
                 from D:\projects\workspace\boost/boost/proto/proto.hpp:12,
                 from D:\projects\workspace\boost/boost/spirit/home/support/meta_compiler.hpp:19,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/meta_compiler.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/action/action.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/action.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/include/qi.hpp:16,
                 from ..\src\spirit02_test.cpp:11:
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp: In instantiation of 'boost::fusion::extension::at_key_impl<boost::fusion::non_fusion_tag>::apply<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>':
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp:71:9:   instantiated from 'boost::fusion::result_of::at_key<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>'
..\src\spirit02_test.cpp:54:35:   instantiated from here
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp:38:17: error: no type named 'type' in 'struct boost::fusion::result_of::find<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::first>'
..\src\spirit02_test.cpp: In constructor 'G::G()':
..\src\spirit02_test.cpp:54:35: error: no matching function for call to 'at_key(const boost::spirit::_val_type&)'
In file included from D:\projects\workspace\boost/boost/fusion/sequence/intrinsic.hpp:20:0,
                 from D:\projects\workspace\boost/boost/fusion/include/intrinsic.hpp:10,
                 from D:\projects\workspace\boost/boost/proto/fusion.hpp:22,
                 from D:\projects\workspace\boost/boost/proto/core.hpp:21,
                 from D:\projects\workspace\boost/boost/proto/proto.hpp:12,
                 from D:\projects\workspace\boost/boost/spirit/home/support/meta_compiler.hpp:19,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/meta_compiler.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/action/action.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi/action.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/home/qi.hpp:14,
                 from D:\projects\workspace\boost/boost/spirit/include/qi.hpp:16,
                 from ..\src\spirit02_test.cpp:11:
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp: At global scope:
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp: In instantiation of 'boost::fusion::extension::at_key_impl<boost::fusion::non_fusion_tag>::apply<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::second>':
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp:71:9:   instantiated from 'boost::fusion::result_of::at_key<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::second>'
..\src\spirit02_test.cpp:58:36:   instantiated from here
D:\projects\workspace\boost/boost/fusion/sequence/intrinsic/at_key.hpp:38:17: error: no type named 'type' in 'struct boost::fusion::result_of::find<const boost::phoenix::actor<boost::spirit::attribute<0> >, keys::second>'
..\src\spirit02_test.cpp: In constructor 'G::G()':
..\src\spirit02_test.cpp:58:36: error: no matching function for call to 'at_key(const boost::spirit::_val_type&)'

If I use a simpler rule (without associativity), everything compiles and works fine, but this solution is somewhat fragile:
    // A non-associative solution
    //start_rule %= ( ("first" >> qi::int_) ^ ("second" >> qi::int_) );

Why cannot I use at_key in the semantic action? Is there a better way to do an "associative" parse into a non-associative structure?

A: You need a lazy version of at_key. The patch for this sadly never made it into Spirit (yet):
/*=============================================================================
    Copyright (c) 2005-2008 Hartmut Kaiser
    Copyright (c) 2005-2007 Joel de Guzman
    Copyright (c) 2011      Michael Caisse

    Distributed under the Boost Software License, Version 1.0. (See accompanying
    file LICENSE_1_0.txt or copy at http://www.boost.org/LICENSE_1_0.txt)
==============================================================================*/
#ifndef PHOENIX_SEQUENCE_AT_KEY_HPP
#define PHOENIX_SEQUENCE_AT_KEY_HPP

#include <boost/fusion/include/at_key.hpp>
#include <boost/spirit/home/phoenix/core/actor.hpp>
#include <boost/spirit/home/phoenix/core/compose.hpp>
#include <boost/type_traits/remove_reference.hpp>

namespace boost { namespace phoenix
{
    template <typename Key>
    struct at_key_eval
    {
        template <typename Env, typename Tuple>
        struct result
        {
            typedef typename Tuple::template result<Env>::type tuple;
            typedef typename
                fusion::result_of::at_key<
                    typename remove_reference<tuple>::type, Key
                >::type
            type;
        };

        template <typename RT, typename Env, typename Tuple>
        static RT
        eval(Env const& env, Tuple const& t)
        {
            return fusion::at_key<Key>(t.eval(env));
        }
    };

    template <typename Key, typename Tuple>
    inline actor<typename as_composite<at_key_eval<Key>, Tuple>::type>
    at_key(Tuple const& tup)
    {
        return compose<at_key_eval<Key> >(tup);
    }

}}

#endif

If you add it, you can use boost::phoenix::at_key:
using boost::phoenix::at_key;

Things will compile and work as expected. The linked patch also modifies boost/spirit/home/phoenix/fusion.hpp to include this new header, of course.


text:
Legendary sound system operator Count Suckle dead at 80
Published:Monday | May 26, 2014 | 12:00 AM
Count Suckle
Shereita Grizzle, Gleaner Writer
Jamaican sound system operator and nightclub owner, Wilbert 'Count Suckle' Campbell is dead. According to online reports Campbell passed away on May 19. He was 80-years-old.
Wilbert Campbell was born in Kingston, Jamaica, but went to Britain in the early 1950s. Not long before arriving in the United Kingdom, Campbell tried his hand at managing sound systems and by 1956 he was running his own in Ladbroke Grove.
In the 1960s Suckle began managing his own club, The Cue, which was later changed to Q Club in Paddington. It went on to become one of the most popular black clubs for American soul, blues and later ska and reggae music in London.
During that period Suckle also became the resident DJ at the Roaring Twenties club on Carnaby Street in the United Kingdom. It was there that he began showcasing records he received from singer-songwriter Prince Buster. His clientele included English musicians Georgie Fame and John Paul Jones. The Q Club closed its doors in the 1980s.
Many credit Campbell and his partner Duke Vin for the emergence of ska in the 1960s.
In 2008, Campbell was one of the key contributors for the film Duke Vin and the birth of Ska directed by Gus Berger.
The film tells the story of the two Jamaicans who journeyed to the United Kingdom, bringing with them the sound system, and showed the part they played giving birth to ska.


In 2010 with the first iPad I became excited about the potential for eBooks. A year before I had been publishing small magazines that were art and graffiti related. I soon set up a site with over twenty PDF eBooks that were mostly about graffiti. They looked beautiful on the iPad. It was linked to my graffiti blog. I just updated my graffiti blog and the eBook site is https://sites.google.com/site/doerpsk/ . My graffiti blog is https://doerpsk.blogspot.com/ which has a few photos that are graffiti related.
The drag of publishing the magazines at a big cost was why I was happy to go digital. It was so expensive making physical magazines as I had to have people hand do them at a printing house. I did seven and I sold a small amount and gave some away. I still have some they are quite beautiful pieces. It was in 2009 that I wanted to publish physical books that were picture books essentially and as new technology came along I was amazed at digital publishing. iBooks and Kindle really impressed me. I tend to use Kindle more but I still like the idea of iBooks and its multimedia slant.
After 2013 I was hooked on the idea of publishing on iBooks. I wanted to do a graffiti picture book. In the end my first eBook on iBooks was very conservative. It was not as big as I was originally going to do. I wanted to do my friends work initially who is more well known. I went quite lightly initially and my next eBook was only a fraction bigger. Now I have gone totally away from image based work. If I were to do an image based book I would use iBooks and try to do something big. It wouldn't be my own work either. For me now I plan on printing some physical books again but it is more about text. Text has an aesthetic all its own. It doesn't need images for me now. Just perfectly set text. I want to be left to imagine with the text. What I want to do is quite cheap. Small runs of text based work nothing fancy. I can sell them cheap or just give them away to friends.
On another note it is interesting how the global financial crisis which hit the world in 2008ish only hit Australia nominally a few years later. I probably wouldn't have had the money to keep doing the magazines anyway with wages stagnating. But a new world had opened with digital publishing. Unfortunately iBooks tried to gauge the market and had an anti-trust case against it which really didn't help its growth. Digital was by far cheaper and the technology was fairly cheap as well considering or at least comparatively. The updated sites are cleaner and I hope to have some physical copies of my book too in the next few weeks.


Discussion in 'Stock Car Extreme' started by Alex McRacing, Oct 30, 2015.
I get poor frame rates with the default tracks, I assume because they are much more detailed than the mod tracks I have. Even with track detail, shadow settings and texture settings at minimums. Are there any specific NVIDIA settings I can target to fix this issue?
Also, is there any tool you can use to monitor the frame rates like on iRacing?